The Renaissance of the Vocal Art

A Practical Study of Vitality, Vitalized Energy, of the Physical, Mentaland Emotional Powers of the Singer, through Flexible, Elastic BodilyMovements

BY EDMUND J. MYERF. S. Sc. (London)

_Author of "Truths of Importance to Vocalists, " "The Voice from aPractical Stand-Point, " "Voice-Training Exercises" (a study of the naturalmovements of the voice), "Vocal Reinforcement, " "Position and Action inSinging, " etc. , etc. _

1902

"_When you see something new to you in art, or hear a proposition inphilosophy you never heard before, do not make haste to ridicule, deny orrefute. Possibly the trouble is with yourself--who knows?_"

PREFACE. 

To my readers once again through this little work, greetings. For the manykind things said of my former works by my friends, my pupils, the criticand the profession, thanks! To those who have understood and appreciatedthe 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 readersin general, who may not have fully understood or appreciated the principlesof vitality, of vitalized energy, aroused and developed through themovements set forth in my last book, to such I will say that I hope thislittle work will make clearer those principles. I hope that it may leadthem to a better understanding of the fundamental principles of the system, principles which are founded upon natural laws and common sense. In thiswork I have endeavored to logically formulate my system. 

As it is not possible to fully study and develop any one fundamentalprinciple of singing without some understanding or mastery of all others, so it is not possible to write a work like this without more or lessrepetition. Certain subjects are so closely related, are so interdependent, that repetition cannot be avoided. I am not offering an apology for this; Iam simply stating that a certain amount of repetition is necessary. 

CONTENTS. 

PREFACEEXORDIUM

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 greatpossessions, to master great truths, we must climb all the hills, all themountains, which confront us. Unfortunately the vocal profession dwells toomuch upon the lowlands of tradition, or is buried too deep in the valleysof prejudice. Better things, however, will come. They must come. Thecurrent of the advanced thought, the higher thought, of this, the openingyear of the twentieth century, will slowly but surely increase in power andinfluence, will slowly but surely broaden and deepen, until the light ofreason breaks upon the vocal world. We may confidently look, in the nearfuture, 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 "TheOld Italian School of Singing. " How much of value there is in this may besurmised when we stop to consider that of the many who claim to teach thetrue Old Italian method no two of them teach at all alike, unless theyhappen to be pupils of the same master. 

A system, a method, or a theory is not true simply because it is old. Itmay 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 stampit with the mark of truthfulness. 

The truth is, we know but little of the Old Italian School of Singing. Wedo know, however, that the old Italians were an emotional and impulsivepeople. Their style of singing was the flexible, florid, coloratura style. This demanded freedom of action and emotional expression, which morelargely than anything else accounts for their success. 

The old Italians knew little or nothing of the science of voice as we knowit to-day. They did know, however, the great fundamental principles ofsinging, which are freedom of form and action, spontaneity and naturalness. They studied Nature, and learned of her. Their style of singing, it istrue, would be considered superficial at the present day, but it isgenerally conceded that they did make a few great singers. If theprinciples of the old school had not been changed or lost, if they had beenretained and developed up to the present day, what a wonderful legacy thevocal profession might have inherited in this age, the beginning of thetwentieth century. Adversity, however, develops art as well asindividuality; 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 atwork which were destined to influence the entire vocal world. The subtleinfluence of these forces was felt so gradually, and yet so surely andpowerfully, that while the profession, as one might say, peacefully slept, art was changed to artificiality. Thus arose that which may be called thedark ages of the vocal art, --an age when error overshadowed truth andreason; for while real scientists, after great study and research, discovered much of the true science of voice, many who styled themselvesscientists discovered much that they imagined was the true science ofvoice. 

Upon the theories advanced by self-styled scientists, many systems ofsinging 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 theeighteenth century and the first half of the nineteenth, but stillmanifests itself at the present day, and no doubt will continue to do sofor many years to come. 

The vocal world undoubtedly owes much to the study and research of the truescientist. All true art is based upon science, and none more than the artof 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 ofart is works. In art, truth is the means to an end; in science, truth isthe end. 

The science of voice is a knowledge of certain phenomena or movements whichare found under certain conditions to occur regularly. The object of thetrue art of voice is to study the conditions which allow these phenomena tooccur. 

The greatest mistake of the many systems of singing, formulated upon thetheories of the scientists, and of the so-called scientists, was not somuch in their being based upon theories which oftentimes were wrong, as inthe misunderstanding and misapplication of true theories. The generalmistake of these systems was and is that they attempt by direct localeffort, by direct manipulation of muscle, to compel the phenomena of voice, instead of studying the conditions which allow them to occur. In this waythey attempt to do by direct control, that which Nature alone can docorrectly. 

While it is true that the vocal world owes much to science and thescientists, yet "the highest science can never fully explain the truephenomena of the voice, which are truly the phenomena of Nature. " Thephenomena of the voice no doubt interest the scientists from an anatomicalstandpoint, but these things are of little practical value to the singer. As someone has said, "To examine into the anatomical construction of thelarynx, to watch it physiologically, and learn to understand the motions ofthe vocal cords in their relation to vocal sounds, is not much more thanlooking at the dial of a clock; the movements of the hands will give you noidea of the construction of the intricate works hidden behind the face ofthe clock. "

We should never lose sight of the fact that there is a true science ofvoice, and that the art of song is based upon this science. The true art ofsong, however, is not so much a direct study of the physical or mechanicalaction of the parts, as it is a study of the spirituelle side; a study ofthe forces which move the parts automatically, in accordance with the lawsof nature. In other words, voice, true voice, is more psychological thanphysiological; is more an expression of mind and soul than a physicalexpression or a physical force. It is true, the body is the medium throughwhich the soul, the real man, gives expression to thought and feeling; andyet voice that is simply mechanical or physical is always common andmeaningless and as a rule unmusical. The normal condition of true artisticvoice is emotional and soulful. 

ARTICLE THREE. 

THE TWO PREVAILING SYSTEMS. 

The misunderstanding or the misapplication of any principle, theory ordevice, always leads to error. This was eminently true of themisunderstanding and misapplication on the part of many writers andteachers who based their systems upon the theories of the scientists andthe self-styled scientists. The result is evident; it is that which isknown as the local-effort, muscular school of the nineteenth century; theschool which to this day so largely prevails; the school which makes of mana mere vocal machine, instead of a living, emotional, thinking soul. 

The local-effort school attempts, by direct control and manipulation ofmuscle and of the vocal parts, to compel the phenomena of voice. In thisrespect it is unique; in this respect it stands alone. The truth of thisstatement becomes evident when we stop to consider that in nothing knownwhich requires muscular development, as does the art of singing, is thisdevelopment or training secured by direct manipulation and control ofmuscle. There is nothing in the arts or sciences, nothing in the broadfield of athletics or physical culture, nothing in the wide world thatrequires physical development, in which the attempt is made to develop bydirect effort as does the local-effort school. Hence we say the mistakethey make is in attempting to compel the phenomena of voice, instead ofstudying the conditions which allow them to occur. It might be interesting, it certainly would be very amusing, to enumerate and illustrate the manythings 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 tooridiculous to consider except that they should be exposed for the good ofthe profession. 

The result of all this direct manipulation of muscle isugliness--everywhere hard, unmusical, unsympathetic voices. The public isso used to hearing hard, muscular voices that the demand for beautiful toneis not what it should be. In fact, it is not generally known that it ispossible to make almost any voice more or less beautiful that is at allworth training. The hard, unmusical voice of the day is a hybrid, unnaturaland altogether unnecessary voice. Physical effort in singing developsphysical tone and physical effect. Common tone makes common singing. Agreat 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 amuscle is set and rigid, either in attempting to hold the breath or toforce the tone, it is virtually out of action; that instead of actuallyhelping the voice it is really preventing a free, natural production, andthat other parts are then compelled to do its work; this accounts for manyruined voices. "To make a part rigid is equal to the extirpation of suchpart. While it is in a state of rigidity it ceases to take part in anyaction 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. Theincubus of this school is fastened upon the vocal profession withoctopus-like tentacles which reach out in every direction, and which striveto strangle the truth in every possible way; but, while "life is short, artis long;" the truth must prevail. 

* * * * *

As an outgrowth of the local-effort school, and as an attempt to counteractits evil tendencies, there is to-day in existence another school or systemknown 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 therecan be no tonicity without tension. Flexible firmness without rigidity, theresult of flexible, vitalized position and action, is the only truecondition. The tone of the school of relaxation is nearly always depressedand 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 artsand sciences, and it is especially true of the art of song. Thus we havehad the period known as "The Old Italian School of Singing. " This wasfollowed by the modern school, or "The Local-Effort School" of thenineteenth century, the period which may be called The Dark Ages of theVocal Art. 

There is a constant evolution in all things progressive, and this evolutionis felt very perceptibly to-day in the vocal world. Great principles, greattruths, are of slow growth, slow development. Times change, however, and wechange with them. While the changes may be slow and almost imperceptible tothe observer, they are sure, and finally become evident by the accumulationof event after event. 

The prevailing systems of the nineteenth century tried to develop voice bydirect local muscular effort. These systems have proved themselvesfailures. The vocal world is looking for and demanding something better. Wemay say that we are now on the eve of great events in the vocal art. Whenthe morn comes, and the light breaks, we may confidently expect thatawakening or reawakening which may properly be called The Renaissance ofthe Vocal Art. 

This is the age of physical culture in all its forms. There is a tendencyfrom the artificial habits of life, back, or rather one should say forward, to Nature and Nature's laws. "Athletes appreciate the value of physicaltraining: brain-workers appreciate the value of mental training, ofthinking before acting, and if you would become either you must follow themethods 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 ofeducation. However, all vocal training and development in the past, we areglad 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 havepreserved 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 whohave handed it down through the dark ages of the vocal art. The work ofthese men has not been lost. Its influence has been felt, and is today morepowerful than ever. Hence the trend of the best thought of the professionis away from the ideas of the local-effort school, away from rigidity andartificiality, and more in the direction of naturalness and common sense. Ibelieve we are now, as a profession, slowly but surely awakening to truthswhich will grow, and which will in time bring to pass that which must comesooner or later, the new school of the twentieth century. 

There is to-day that which is known as "The New Movement in the VocalArt"--a movement based upon natural laws and common sense and opposed tothe ideas of the local-effort school;--movement in the direction of freedomof action, spontaneity and flexible strength as opposed to rigidity anddirect effort;--a movement which advocates vitalized energy instead ofmuscular effort;--a movement which had its origin in the belief that no manever learned to sing because he locally fixed or puckered his lips; becausehe held down his tongue with a spatulum or a spoon; because he locallylowered or raised his soft palate; because he consciously moved or locallyfixed his larynx; because he consciously, rigidly set or firmly pulled inone direction or another, his breathing muscles; because he carried anunnaturally high chest at the sacrifice of form, position and strength inevery other way; because he sang with a stick or a pencil or a cork in hismouth; or because he did a hundred other unnatural things too foolish tomention. No man ever learned or ever will learn to sing because of thesethings. It is true he may have learned to sing in spite of them, whichshows that Nature is kind; but as compared to the whole, he is one in athousand. 

"The New Movement" has come to stay. It will, of course, meet with bitteropposition. Why not? The custom of many has been, and is, to condemnwithout investigation; to condemn because it does not happen to be in theline of their teaching and study. Someone has said, "He who condemnswithout knowledge or investigation is dishonest. "

"The New Movement" is simply a study of the conditions which allow thephenomena 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 useof the voice, as a soulful expression of the emotional nature. Matter ormuscle will be taught to obey mind or will spontaneously. The thoughtbefore the effort, or rather before the action, will be the controllinginfluence, and vitalized emotional energy will be the true motor power ofthe voice. The elocutionists and the physical culturists understand thisfar better, as a rule, than the vocalists. 

Abuse brings reform in art as well as in all other things. So the abuse ofNature's laws and the lack of common sense in the training of the singingvoice has led, through a gradual evolution, to "The New Movement. " Thismovement is the outgrowth of the best or advanced thought of the professionrebelling against unnatural methods. 

In the fundamental principles of "The New Movement, " there is nothing newclaimed by its advocates. All is founded upon the science of voice, as areall true systems of teaching. The claims are made with regard to thedevices used to study natural laws, to develop the God-given powers of thesinger. Remember that Nature incarnates or reflects God's thoughts anddesires and not man's ideas or inventions. Someone has said that there wasnothing new, nor could there be anything new, in the art of singing. Thereare many, alas! who talk and write as did this man. Is not this simplyproof of the fact that ignorance cheapens and belittles that which wisdomviews with awe and admiration? And this is true of nothing so much as it isof the arts and sciences. 

Is, then, ours in all the world, the only profession based upon science andart that must stand still, that must accept blindly the traditions handeddown to us, without investigation? Are we to feel and believe that with usprogress is impossible, that we may not and cannot keep up with the spiritof the age? God forbid. Is it not true that "each age refutes much which aprevious age believed, and all things human wax old and vanish away to makeroom for new developments, new ideals, new possibilities"? Is it possiblethis is true of all professions but ours? The signs of the times indicatedifferently. Hence we may confidently expect the Renaissance of the VocalArt 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 makinga bold stand for natural, common-sense methods. The trend of the higherthought of the vocal profession is away from artificiality, and in thedirection of naturalness. 

The coming school, or system, of the twentieth century will undoubtedlyfind 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, andartificiality reigns supreme in the training of the voice. While this isnot true in regard to the strictly aesthetic side of the question, it ispainfully true as far as the fundamental principles of voice developmentare concerned. Of course we are glad to say there are bright and shiningexceptions to this rule in all lands, but to the new country we mustundoubtedly look for the new school. 

So far the world has produced but two great teachers. The first of these isNature; the second is Common Sense. Nature lays down the fundamentalprinciples of voice; Common Sense formulates the devices for developmentaccording to these principles. Therefore we say, Go to Nature and learn ofher, and use Common Sense in studying and developing her principles. Thenearer the approach to Nature, the higher the art; hence the new schoolmust be founded upon artistic laws which are Nature's laws, and not uponartificiality. 

The coming school must teach the idealized tone. The ideal in itscompleteness means the truth, --all the truth, --and not, as many suppose, anexaggerated form of expression. The truth in tone, or the idealized tone, is beautiful and soulful, and demands for its production and use all theforces that Nature has given to the singer, --physical, mental, andemotional or spirituelle. Unmusical, muscular tone is not the true tone. Itcontains much that it should not have on the physical side, and lacks muchthat it should have on the spirituelle. As a rule, it means nothing; infact, it is often simply a noise. The idealized tone always represents athought, an idea, an emotion; it is the expression of the inner--thehigher--man; it is, in reality, self-expression. 

"The human voice is the most delicately attuned musical instrument that Godhas created. It is capable of a cultivation beyond the dreams of those whohave given it no thought. It maybe made to express every emotion in thegamut of human sensation, from abject misery to boundless ecstasy. It marksthe 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, uponflexible bodily movements, the result of vitalized energy instead ofmuscular effort. There must be no set, rigid, static condition of themuscles. Artistic singing is a form of self-expression; andself-expression, to be natural and beautiful, must be the result of correctposition 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 theinfluence of direct local muscular effort, the removal of all restraint isimpossible. Hence the coming school must be based upon free flexibleaction. In this respect it will be much like the old Italian school, exceptthat it will be as far in advance of the old school in the science of voiceas the twentieth century is in advance of the eighteenth. It must also befar in advance of the old school in the devices used to develop thefundamental 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 offlexible movements and vitalized energy, must do as much for thedevelopment of the singing voice in three or four years as the old schoolwas able to do in eight or ten. This is necessary, both because the singingworld demands it, and Nature and common sense teach us that it does nottake years and years of hard study and practice simply to develop thevoice. From a strictly musical standpoint, however, it does take years toripen a great singer, to make a great artist. Many voices are ruinedmusically by years of hard, muscular practice. Hence we say the new schoolmust give the voice freedom, and remove all muscular restraint by orthrough natural, common-sense, vitalized movements. 

ARTICLE SIX. 

CONDITIONS. 

Nature's laws are God's laws. All nature, the universe itself, is anexpression of God's thoughts or desires in accordance with His laws. Thisone controlling force, this principle of law, is at the bottom ofeverything in nature and art. Everything which man says or does undernormal, free conditions, is self-expression, an expression of his innernature; but this expression must be under the law. If not, the expressionis unnatural and therefore artificial. This principle, which holds true inall of man's expression, in all art, is in nothing more evident than in theuse of the singing voice. 

"Nature does nothing for man except what she enables him to do forhimself. " Nature gives him much, but never compels him to use what shegives. Man is a free agent. He can obey or violate the laws of Nature atwill; but he cannot violate Nature's laws, and not pay the penalty. Thisthought 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 toescape the penalty, which is hard, harsh, unmusical tone or ruined voice. Nature demands certain conditions in order to produce beautiful, artistictone. If the student of the voice desires to develop beautiful, artistictone he is compelled to study the conditions, the fundamental principlesunder the law; and this can be done only by the use of common-sensemethods. 

All artistic tone is the result of certain conditions, conditions demandedby Nature and not man's ideas or fancies. These conditions are dependentupon form and adjustment, or we might better say adjustment and form, asform is the result of the adjustment of the parts. So far all writers onthe voice, and all teachers, agree; but here comes the parting of the ways. One man attempts form and adjustment by locally influencing the parts, --thetongue, the lips, the soft palate, the larynx, etc. This results inmuscular singing and artificiality. We have found that form and adjustment, to be right, must be automatic. This condition cannot be secured by anysystem of direct local effort, but must be the result of flexible, vitalized bodily movements--movements which arouse and develop all the trueconditions of tone; movements which allow the voice to sing spontaneously. 

The fundamental conditions of singing demanded by Nature we find are asfollows:

 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. " Iknow many writers on the voice, and many teachers, do not agree with me onthis subject of conditions; but facts are stubborn things, and "A physicalfact is as sacred as a moral principle. " "The sources of all phenomena, thesources of all life, intelligence and love, are to be sought in theinternal--the spiritual realm; not in the external or material. " "A man isconsiderably out of date who says he does not believe a thing, simplybecause he cannot do that thing or does not understand how the thing isdone. 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 beunderstood and fully appreciated by investigation only. There is noabsolute definite knowledge in this world except that gained fromexperience. 

The voice in correct use is always tuned like an instrument. This must bein order to have resonance and freedom, and this is done only throughnatural or automatic adjustment of all the parts. In singing there arealways two forces in action, pressure and resistance, or motor power andcontrol. In order to have automatic adjustment these two forces mustprevail. When the organ of sound is automatically adjusted, the breathbands approximate: This gives the true resisting or controlling force. Whenthe breath bands approximate we have inflation of the ventricles of thelarynx, the most important of all the resonance cavities, for when thiscondition prevails we have freedom of tone, and the inflation of all othercavities. And not only this; it also enables us to remove all restraint orinterference from the parts above the larynx, and especially from theintrinsic and extrinsic muscles of the throat. This automatic adjustment, approximation of the breath bands and inflation of the ventricles, gives usa yet more important condition, namely, automatic breath control; this isbeyond question the most important of all problems solved for the singerthrough this system of flexible vitalized movements. 

The removal of all interference or direct local control of the parts abovethe larynx, gives absolute freedom of form and action; and when the formand action are free, articulation becomes automatic and spontaneous. Whenall restraint is thus removed, the air current comes to the front, and wesecure the important condition of high placing. Furthermore, under theseconditions, when the air current strikes the roof of the mouth freely, itis reflected into the inflated cavities, and there is heard and felt, through sympathetic vibration of the air in the cavities, added resonanceor the wonderful reinforcing power of inflation: in this way is secured notonly the added resonance of all other cavities, but especially theresonance of the chest, the greatest of all resonance or reinforcingpowers. 

When the voice is thus freed under true conditions, it is possible toarouse easily and quickly the mental and emotional power and vitality ofthe singer. In this way is aroused that which I have called the singer'ssensation, 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 absolutelynecessary to the complete mental and emotional expression of the singer, tothe development of all his powers. This life or vital force is to thesinger a definite, controllable power. "Various terms have been applied tothis mysterious force. Plato called it 'the soul of the world. ' Otherscalled it the 'plastic spirit of the world, ' while Descartes gave it theafterward popular name of 'animal spirits. ' The Stoics called it simply'nature, ' which is now generally changed to 'nervous principle. '" "Thefar-reaching results of so quiet and yet so tremendous a force may be seenin the lives of the men and women who have the mental acumen to understandwhat is meant by it. " The singer who has developed and controlled "thethird power" through the true conditions of voice, never doubts itsreality; and he, and he only, is able to fully appreciate it. 

The development of all the above conditions depends upon one importantthing, 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 alaw 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, secondnature. There is a wide difference between art and artificiality. True artis based upon Nature's laws. Artificiality, in almost every instance, is aviolation of Nature's laws, and at best is but a poor imitation. 

The impression prevails that art is something far off, something that iswithin 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 ofGod and his own efforts. Nature has given some men the power to easily andquickly grasp and understand things which pertain to art, but if such mendo 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 orderthan genius; but the genius of application, and the talent to apply thatwhich is learned, have made the great and useful men, the great artists ofthe world. As someone has said, "Art is not a thing separate and apart; artis only the best way of doing things;" and while this is true of all thearts, it is eminently so of the art of voice and of song. 

Artistic tone, as we have found, is the result of certain conditionsdemanded by Nature. These conditions are dependent upon form andadjustment; and form and adjustment, to be right, must be automatic. Allwriters and teachers agree that correct tone is the result of form andadjustment; but here, as we have said, comes the parting of the ways. Oneman attempts, by directly controlling and adjusting the parts, to do thatwhich nature alone can do correctly; result--hard, muscular tone. Anotherattempts, by relaxation, to secure the conditions of tone; result--vocaldepression, 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 thingsare true, and they are as true as the fact that the world moves, then thereis only one way under heaven by which it is possible to secure theseconditions; that way is through a flexible, vitalized body, throughflexible bodily position and action. 

The rigid, muscular school cannot secure these conditions, for they makeflexible freedom impossible. The limp, relaxed school cannot secure them, for there is no tone without tonicity and vitality of muscle. Vitalizedenergy _can_ secure these true conditions, but through flexible bodilyposition and action only. 

The rigid school is muscle-bound, and lacks life and vitality. The limpschool, of course, is depressed and lacks energy. The world is full of deadsingers, --dead so far as vitality and emotional energy are concerned. Singing is a form of emotional or self-expression, and requires life andvitality. Life is action. Life is vital force aroused. Life in singing isemotional energy. Life is a God-given, eternal condition, and is afundamental 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 vocalprofession. That a right use or training of the body, automaticallyinfluences form and adjustment, and secures right conditions of tone, hasbeen and is being demonstrated day by day. This is a revelation to many whohave tried to sing by the rigid or limp methods. There is really nothingnew claimed for it, for it is as old as the hills. Truth is eternal, andyet a great truth may be lost to the world for a time. The only things newwhich we claim, are the movements and the simple and effective devices usedto study and apply them. These movements have a wonderful influence on thevoice, for the simple reason that they are based upon Nature's laws andcommon sense. These truths are destined to influence, sooner or later, theentire vocal world. 

A great truth cannot always be suppressed, and some day someone willpresent these truths in a way that will compel their recognition. They arenever doubted now by those who understand them, and they are appreciated bysuch to a degree of enthusiasm. I am well aware that when these movementsare spoken of in the presence of the followers of the prevailing rigid orlimp schools, they exclaim, "Why, we do the same thing. We use the bodytoo. " Of course they use the body, but it is by no means the same. Theiruse of the body is often abuse, and not only of the body, but of the voiceas well. 

The influence on the singing voice of a rightly used or rightly trainedbody is almost beyond the ability of man to put in words. 

All singing should be rhythmical. These flexible bodily movements developrhythm. 

All singing should be the result of vitalized energy and never of musculareffort. These movements arouse energy and make direct effort unnecessary. 

Singing should be restful, should be the result of power in repose or undercontrol. These movements, and these movements alone, make such conditionspossible. 

All singing should be idealized, should be the result of self-expression, of an expression of the emotions. This is impossible except through correctbodily action. "By nature the expression of man is his voice, and the wholebody through the agency of that invisible force, sound, expresses thenobility, dignity, and intellectual emotions, from the foot to the head, when properly produced and balanced. Nothing short of the whole body canexpress 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 useof the voice. Rigid, set muscles, or relaxed, limp muscles dwarf and limitin every way the powers of the singer, physical, mental, and emotional; thephysical action is wrong, the thought is wrong, and the expression iswrong. 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 isno strength properly applied without movement; but when right movements arenot used, the voice is pushed and forced by local effort and by contractionof the lung cells and of the throat. This of course means physicalrestraint, and physical restraint prevents self-expression. Singing is morepsychological than physiological; hence the importance of freeself-expression. Direct physical effort produces physical effect;relaxation produces depression. 

All artistic tone is reinforced sound. There are two ways of reinforcingtone. First, by direct muscular effort, the wrong way; second, by expansionand inflation, the added resonance of air in the cavities, the right way. This condition of expansion and inflation is the distinguishing feature ofmany great voices, and is possible only through right bodily position andaction. These movements are used by many great artists, who develop them asthey themselves develop, through giving expression to thought, feeling, andemotion, through using the impressive, persuasive tone, the fervent voice. This brings into action the entire vocal mechanism, in fact all the powersof the singer; hence these movements become a part of the great artist. Hemay not be able to give a reason for them, but he knows their value. Thepersuasive, fervent voice demands spontaneity and automatic form andadjustment; these conditions are impossible without flexible, vitalizedmovements. The great artist finds by experience that the throat was made tosing and not to sing with; that he must sing from the body through thethroat. He finds that the tone must be allowed and not made to sing. Hencein the most natural way he develops vitalized bodily energy. 

Next in importance to absolute freedom of voice, which these movementsgive, is the fact that through them absolute, automatic, perfectbreath-control is developed and mastered. These movements give the breathwithout a thought of breathing, for they are all breathing movements. Thesinger cannot lift and expand without filling the lungs naturally andautomatically, unless he purposely resists the breath. The conscious breathunseats the voice, that is, disturbs or prevents correct adjustment, andthus compels him to consciously hold it; but this very act makes itimpossible to give the voice freedom. Through these movements, throughcorrect position, we secure automatic adjustment, which means approximationof the breath bands, the principle of the double valve in the throat, whichsecures automatic breath-control. In other words, the singer whose positionand action are correct need never give his breathing a thought. This isconsidered by many as the greatest problem--for the singer--solved in thenineteenth century. 

To study and master these movements and apply them practically, the singerneeds to know absolutely nothing of the mechanism of his vocal organs. Heneed not consider at all the physiological side of the question. Of coursethe study of these movements must at first be more or less mechanical, until they respond automatically to thought or will. Then they arecontrolled mentally, the thought before the action, as should be the casein all singing; and finally the whole mechanism, or all movements, respondnaturally 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 rigidmuscular school or the limp relaxed school; and yet they are destined toinfluence sooner or later all systems of singing. They have been used moreor less in all ages by great artists. It is strange that they are notbetter understood by the profession. 

* * * * *

In this connection it might be well to speak of the importance of physicalculture for the singer. A series of simple but effective exercises shouldbe used, exercises that will develop and vitalize every muscle of the body. There are also nerve calisthenics, nervo-muscular movements, whichstrengthen and control the nervous system. These nerve calisthenicsgenerate electrical vitality and give life and confidence. "The body bycertain exercises and regime may be educated to draw a constantlyincreasing amount of vitality from growing nature. "

A singer to be successful must be healthy and strong. He should take plentyof out-door exercise. Exercise, fresh air, and sunlight are the three greatphysicians of the world. But beside this, all singers need physicaltraining and development, which tense and harden the muscles, and increasethe lung capacity; that training which expands all the resonance cavities, especially the chest, and which directly develops and strengthens the vocalmuscles themselves, particularly the extrinsic and intrinsic muscles of thethroat. As we have learned, a trained muscle responds more spontaneously tothought or will than an uneducated one; flexible spontaneity the singeralways needs. Beyond a doubt, the singer who takes a simple but effectivecourse of physical training in connection with vocal training willaccomplish twice as much in a given time, in regard to tone, power andcontrol, as he could possibly do with the vocal training alone. This is theday of physical training, of physical culture in all things; and theaverage vocal teacher will have to awake to the fact that his pupils needit 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 asmall work like this. The student of the voice can get physical trainingand physical culture from many teachers and many books. It may not betraining that will so directly and definitely develop and strengthen thevocal muscles and the organ of sound itself, or training that will sodirectly influence the voice as does our system, which is especiallyarranged for the singer; but any good system of physical development, anysystem that gives the student health and strength, is good for the singingvoice. "Activity is the source of growth, both physical and mental. ""Strength to be developed, must be used. Strength to be retained, must beused. "

RAISON D'ĘTRE. 

Since writing my last book, "Position and Action in Singing, " and afterfour or five years more of experience, I have been doubly impressed andmore than convinced of the power and influence of certain things necessaryto a right training and use of the voice. Herbert Spencer says, "Experienceis the sole origin of knowledge;" and my experience has convinced me, notonly that certain things are necessary in the training of the voice, butthat certain of the most important principles or conditions demanded byNature, are entirely wanting in most systems of singing. 

Singers, as a rule, are artificial and unnatural. They do not use all thepowers with which Nature has endowed them. This has been most forciblyimpressed upon my mind by the general lack of vitality, or vital energy, among singers; by a general lack of physical vitality, and, I venture tosay, largely of mental vitality, and undoubtedly of emotional vitality, often, but mistakenly, called temperament. These things have been forcedupon me by the general condition of depression which prevails. Vitality, however, or vitalized energy, is in fact the true means or device wherebythe 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 ninetyare physically depressed, are physically below the standard of artisticsinging. Singing, it is true, is more mental than physical, and moreemotional than mental; but a right physical condition is absolutelynecessary, and the development of it depends upon the way the pupil istaught to think. Singing is a form of self-expression, of an expression ofthe emotions. This is impossible when there is physical depression. Thesinger must put himself and keep himself upon a level with the tone andupon a level with his song, the atmosphere of his song; upon a level withthe sentiment to be expressed, physically, mentally and emotionally. Thiscannot be done, or these conditions cannot prevail, when there isdepression. 

There is, to my mind, but one way to account for this condition ofdepression among singers. That is, the way they think, or are taught tothink, in regard to the use of their bodies in singing. The way in whichthey breathe and control the breath, the way in which they drive andcontrol 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 tonalresult is indisputable evidence of this. 

Knowledge comes through experience; and my experience in studying bothsides of this question has convinced me that there is but one way todevelop physical, mental and emotional vitality in the singer, and that isthrough some system of flexible, vitalized bodily movements. There must beflexible firmness, firmness without rigidity. The movements as given in mybook, "Position and Action in Singing, " and as here given, develop theseconditions. 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 comparativelyeasy. Singing is self-expression, an expression of thought and feeling. There must be a medium, however, for the expression of feeling arousedthrough thought; that medium is the body and the body alone. Therefore itis easy to see the importance of so training the body that it will respondautomatically to the thought and will of the singer. 

The opposite of depression, which local effort develops, is vitalizedenergy, 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 thequestion. These things, as I have said, have been given to the vocal worldin my book, "Position and Action in Singing. " Many have understood them, have used them, and are enthusiastic advocates of the idea. Others have notfully understood them, as was and is to be expected. For that reason I havewritten this little book in the hope that it might make things plainer toall. I have endeavored to embody these practical, natural, necessarymovements in the formula of study given in this book. 

The formula which follows is systematically and logically arranged for thestudy and development of fundamental principles through or by the means ofthese flexible vitalized movements. In this way I hope to make these ideasplainer and more definite to pupil and teacher. 

Every correct system of voice-training is based upon principle, theory, andthe devices used to develop the principles. There are certain fundamentalprinciples of voice, which are Nature's laws laid down to man, and whichcannot be violated. Upon these principles we formulate theories. Thetheories may be right or wrong, as they are but the works of man. If theyare 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 thedevices used to develop and train the voice. All depends upon whether thewriter, the teacher, and the pupil study Nature's laws through common-sensemethods or resort to artificiality. If the devices used are right, if theydevelop vitality, emotional energy, if they avoid rigidity and depression, then the singer need not know so much about principle and theory. But withthe teacher it is different. He must know what to think and how to think itbefore he can intelligently impart the ideas to his pupils. Hence a systembased upon correct principle, theory, and device is absolutely necessaryfor the teacher who hopes to succeed. 

The following system, as formulated, is largely the outgrowth of my summerwork at Point Chautauqua, on Lake Chautauqua. There we have a school everysummer, not only for the professional singer and teacher, but for those whodesire to become such. Beside the private lessons we give a practicalnormal course in class lessons. There the principles, the theory, and thedevices used are studied and worked out in a practical way by lecture, byillustration, and by the study of all kinds of voices. Many who have taughtfor years have there obtained for the first time an idea, the true idea, offlexible vitalized movements, the devices demanded by nature for giving thevoice vitality, freedom, ease, etc. These teachers who are thus arousedbecome the most enthusiastic supporters of, and believers in, our system offlexible vitalized movements. 

It is, therefore, through the Chautauqua work that I have been impressedwith the importance of placing this system in a plainer and more definiteway, 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 theresult of certain conditions demanded by Nature, not man's ideas. Theseconditions are dependent upon form and adjustment; and form and adjustment, to be right, must be automatic, and not the result of direct or localeffort. 

The devices used for developing the above conditions are simple vocalexercises which are favorable to correct form and adjustment, and arestudied and made to influence the voice through correct position andaction. 

A correct system for training and developing the voice must be based uponprinciple, theory, and device; upon the principles of voice which areNature's laws, upon the theories based upon these principles, and upon thedevices for the study and development of such principles. 

My purpose in this little work is to give just enough musical figures orexercises to enable us to study and apply the movements, the practical partof our system. 

The first principle of artistic tone-production is the removal of allrestraint. This no one can deny without stultifying himself. The removal ofall restraint means absolute freedom, not only of form and action, but oftone. It is evident, then, that any local hardening or contracting ofmuscle, any tension or contraction which would prevent elasticity, wouldmake the removal of all restraint impossible. Hence we find that this firstprinciple is an impossibility with the rigid local-effort school. On theother hand, relaxation, while it may remove restraint, makes artisticcontrol and tonicity impossible. Hence artistic tone, based upon this firstprinciple, is an impossible condition with the limp or relaxed school. 

That tone is the result of certain conditions demanded by Nature, and thatthese conditions are dependent upon form and adjustment, cannot be denied;but unless form and adjustment give freedom to the voice, unless theyresult in the removal of all restraint, then the manner or method in whichthey are secured must surely be wrong. Local effort or contraction cannotdo this. Relaxation cannot secure the true conditions. There is and can bebut one principle which makes true form and adjustment possible: All formand adjustment must be automatic, and not the result of direct or localeffort. 

This brings us to a study of devices; and devices, to influence correctlynot only the voice but the individual, must be in accordance with naturaland not artificial conditions. The singer must put himself and keep himselfupon a level with the tone--upon a level with the tone physically, mentallyand 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 thethroat. With the singer who carries a consciously high chest and a drawn-inor contracted diaphragm, the center of gravity is at the chest. With thesinger who takes a conscious full breath, and hardens and sets thediaphragm to hold it, the center of gravity is at the diaphragm. In none ofthese cases is it possible to remove all restraint; for they all result incontraction, especially of the throat muscles, and make flexibleexpansion--a condition necessary to absolute freedom--impossible. 

Place the center of gravity, by thought and action, at the hips. Everythingabove the hips must be free, flexible, elastic and vitalized when singing. We say, _lift, expand, and let go_, which must be in the followingproportion: 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 themovement 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 intoaction every muscle of the body, and apply strength and support to thevoice; for, as we have found, there is no strength correctly applied exceptthrough right movement. When we lift and expand properly, we expand thebody 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 mustbe no conscious thought of, nor conscious local effort of, any particularpart of the body. When we lift and expand properly the chest becomesactive, the diaphragm goes into a singing position, and every muscle of thebody is on the alert and ready to respond to the thought or desire of thesinger. Not only this; when we lift and expand properly, we influencedirectly the form and adjustment of all the vocal muscles, and especiallythe organ of sound itself. In this way the voice is actually andartistically tuned for the production of correct tone, as is the violin inthe hands of the master before playing. 

_Lift, expand, and let go_. This brings us to a consideration of thethird part of this expression, _let go_. This is in some respects themost important of the three; for unless the singer knows how to let goproperly, absolute freedom or the removal of all restraint is impossible, and the true conditions of tone are lacking. The _let go_ does notmean relaxation, for there must be flexible firmness without rigidity. Withthe beginner the tendency is to lift, expand, and harden or contract allthe muscles. This, of course, means restraint. The correct idea of _letgo_ may be studied and better understood by the following experiment orillustration. 

Stand with the right arm hanging limp by the side. Lift it to a horizontalposition, the back of the hand upward. While lifting, grip and contractevery muscle of the arm and hand out to the finger-tips. This is much likethe contraction placed upon the muscles of the body and of the throat bythe conscious-breathing, local-effort school. Lift the arm again from theside, and in lifting have the thought or sensation of letting go allcontraction of the muscles. Make the arm light and flexible, and use justenough strength to lift it, and hold it in a horizontal position. Thisshould be the condition of all the muscles of the body under the influenceof correct, _lift, expand, and let go_. Lift the arm the third timewithout contraction or with the sensation of letting go, hold it in ahorizontal position, the back of the hand upward. Now will to devitalizethe entire hand from the wrist to the finger-tips. Let the hand drop ordroop, the arm remaining in a horizontal position. This condition of thehand is the _let go_, or the condition of devitalization, which shouldbe upon the muscles of the face, the mouth, the tongue, the jaw, and theextrinsic muscles of the throat during the act of singing. 

Thus, when we say, _lift, expand, and let go_, we mean lift from thehips, the center of gravity, in an easy, flexible manner; expand the bodywith a free movement without conscious thought of any part of it; have thesensation of letting go all contraction or rigidity, and absolutely releasethe muscles of the throat and face. The _let go_ is in reality more anegative than a positive condition, and virtually means, when you lift andexpand, 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 andpower of the tone. This, if done properly, will result in automatic formand adjustment, the removal of all restraint, and open, free throat andvoice. This is the only way in which it is possible to truly vitalize, toarouse the physical, mental and emotional powers of the singer. This is theonly way in which it is possible to put yourself and keep yourself upon alevel 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, makesit 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 Yaha, thus:

[Illustration: FIRST STUDY. Ya, ha. . . . ]

We use Ya on the first tone, because when sung freely it helps to place thetone well forward. Ya is pronounced as the German _Ja_. We use ha onall other tones of this study for the reason that it is the naturalstaccato of the voice. Think it and sing it "in glossic" or phonetically, thus: hA, very little h but full, inflated, expanded A. A full explanationfor 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 illustrationand study of the movements of our system should be sung on all keys as highand 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 amuscular effort born of a mental cause. " Therefore it is important to knowwhat to think and how to think it. 

We say, put yourself and keep yourself constantly upon a level with thetone, mentally, physically and emotionally. For the present we have to dowith the mental and physical only. 

Stand in an easy, natural manner, the hands and arms hanging loosely by thesides. You desire to sing the above exercise. Turn the palms of the handsup in a free, flexible manner, and lift the hands up and out a little, nothigh, not above the waist line. When moving the hands up and out, move thebody 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 moverhythmically with the arms. This rhythmical movement of body and arms ishighly important. In moving, the sensation is as though the body werelifted lightly and freely upon the palms of the hands. The hands say to thebody, "Follow us. " In this way, _lift, expand, and let go_. Do notraise the shoulders locally. The movement is from the hips up. The entirebody expands easily and freely by letting go all contraction of muscle. Donot 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 whenlifting and expanding let go as directed. Three thoughts in onemovement--three movements in one--lifting, expanding, and letting gosimultaneously as one movement, which in fact it must finally become. Thisis the only way in which it is possible to secure all true conditions oftone. 

With this thought in mind, and having tried the movement without singing, sing the above exercise. Start from repose, as described, and by using thehands and body in a free, flexible manner, move to what you might thinkshould be the level of the first tone. Just when you reach the level of thefirst tone let the voice sing. Move up with the arpeggio to the highestnote, using hands, body, and voice with free, flexible action; then movebody and hands with the voice down to the lowest note of the arpeggio; whenthe last tone is sung go into a position of repose. 

The movement from repose to the level of the first tone is highlyimportant, for the reason that it arouses the energies of the singer, andsecures all true conditions through automatic form and adjustment. Do nothesitate, do not hurry. All movement must be rhythmical and spontaneous, and never the result of effort. In singing the arpeggio the tones of thevoice must be strictly staccato; but the movement of the hands and bodymust be very smooth, even, and continuous--no short, jerky movements. 

The movement of the body is very slight, and at no time, in studying thesefirst exercises, should the hands be raised above the level of the hips orof the waist line. Of course with beginners these movements may be more orless exaggerated. When singing songs, however, they do not show, at leastnot nearly as much as wrong breathing and wrong effort. They simply givethe singer the appearance of proper dignity, position, and self-assertion. By all means use the hands in training the movements of the body. You cantrain the body by the use of the hands in one-fourth of the time that it ispossible to do it without using them. Be careful, however, not to raise thehands too high, as is the tendency; when lifted too high the energy isoften put into the hands and arms instead of the body; in this way the bodyis not properly aroused and influenced, and of course true conditions arenot secured. 

"Practical rules must rest upon theory, and theory upon nature, and natureis ascertained by observation and experience. " Now, if you will practicethis arpeggio with a free, flexible movement of hands and body, gettingunder the tone, as it were, and moving to a level of every tone, you willsoon find by practice and experience that these movements are perfectlynatural, that they arouse all the forces which nature gave us for theproduction of tone, that they vitalize the singer and give freedom to thevoice. By moving properly to a level of the first tone you secure all trueconditions of tone; and if you have placed yourself properly upon a levelwith the high tone, when that is reached you will have maintained thosetrue conditions--you will have freedom, inflation and vitality instead ofcontraction and strain. 

By moving with the voice in this flexible manner we bring every part of thebody into action, and apply strength as nature demands it, without effortor strain. Remember, there is no strength properly applied in singingwithout movement. In this way the voice is an outward manifestation of aninward 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 andbody, starting from repose to the level of the first tone, and keepingconstantly upon a level with the voice by ascending and descending. Singthis exercise first semi staccato, afterwards legato. 

The special object of this exercise is to relax the jaw, the face, and thethroat muscles. A stiff, set jaw always means throat contraction. In thisexercise, if sung in every other respect according to directions, a stiffjaw would defeat the whole thing, and make impossible a correct productionof every high tone. 

In singing the _la_ sound, the tip of the tongue touches the roof ofthe mouth, just back of the upper front teeth. Think the tone forward atthis point, and let the jaw rise and fall with the tongue. Devitalize thejaw and the muscles of the face, move up in a free, flexible manner to thelevel of every tone, and you will be surprised at the freedom and ease withwhich the high tones come. The moving up in the proper way appliesstrength, and secures automatic form and adjustment; develops orstrengthens 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 ashere described, lifting, expanding, etc. , without influencing the voice orthe tone, without applying the movements to the voice; of course suchaction is simply an imitation of the real thing. Herein, however, lies theimportance of correct thinking. The thought must precede the action. Thesinger must have some idea of what he wants to sing and how he wants tosing it. A simple chance, a simple hit or miss idea, will not do. Make yourtone mean something. Arouse the singer's sensation, and you can soon tellwhether the movement is influencing the tone or not. Of course thesemovements are all more easily applied on the middle and low tones than onthe higher tones, but these are the great successful movements for thestudy and development of the high tones. 

As we have learned in our former publications, there are but threemovements in singing, --ascending, descending, and level movements. We haveso far studied ascending and descending movements or arpeggios. We will nowstudy 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 theuse of the movements as before described; lift, expand, and let go withouthurrying or without hesitation, and just when you reach that which you feelto be the level of the tone let the voice sing. All must be done in amoment, rhythmically and without local effort. Sing spontaneously, singwith abandon, trust the movements. They will always serve you if you trustthem. If you doubt them, they are doubtful; for your very doubt bringshesitation, and hesitation brings contraction. Sing from center tocircumference, with the thought of expansion and inflation, and not fromoutside to center. The first gives freedom and fullness of form, the latterresults in local effort and contraction. The first sends the voice out fulland free, the latter restrains it. Expansion through flexible movement isthe important point to consider. When the tone is thus sung, it shouldresult in the removal of all restraint, especially from the face, jaw, andthroat. In this way the tone will come freely to the front, and will flowor 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 levelof the tone. If this is done according to directions, all restraint will beremoved and all true conditions will prevail. Never influence form. Letform and adjustment be automatic, the result of right thought, position, and action. Study to constantly make these movements of the body easier andmore 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, directeffort of any part of the body. Never exaggerate the movement or action ofone part of the body at the sacrifice of the true position of another. Thetendency is to locally raise the chest so high that the abdomen isunnaturally drawn in. This, of course, is the result of local effort, andis not the intention of the movements. The center of gravity must be at thehips; 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 doingin singing, but place your mind upon freeing the voice, upon the removal ofall restraint through these flexible vitalized movements: think the idealtone and sing. When the right begins to come through these movements thewrong must go. Over and against every wrong there is a right. We remove thewrong by developing the right. Sing in a free, flexible manner, the naturalpower of the voice. Make no effort to suppress the tone or increase itspower. After the movements are understood and all restraint is removed, then study the tone on all degrees of power, but remember when singing softand loud, and especially loud, that the first principle of artistic singingis 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 shouldbe the result of flexible action, and never of local muscular effort. Themuscular breath compels muscular control; hence throat contraction. Thenervous breath, nervous control; hence relaxation and loss of breath. 

_Devices. _--_Expand to breathe. Do not breathe to expand. _ Expandby flexible, vitalized movements; control by position the level of thetone, and thus balance the two forces, "pressure and resistance. " In thisway is secured automatic adjustment and absolute automatic breath-control. 

More has probably been written and said upon this important question ofbreathing in singing than upon any other question in the broad field of thevocal art; and yet the fact remains that it is less understood than any ofthe really great principles of correct singing. This is due to the factthat most writers, teachers, and singers believe that they must dosomething--something out of the ordinary--to develop the breathing powers. The result is, that most systems of breathing are artificial; thereforeunnatural. Most systems of breathing attempt to do by direct effort thatwhich Nature alone can do correctly. Most breathing in singing is theresult of direct conscious effort. 

The conscious or artificial breath is a muscular breath, and compelsmuscular control. The conscious breath--the breath that is taken locallyand deliberately (one might almost say maliciously) before singing--expandsthe body unnaturally, and thus creates a desire to at once expel it. Inorder to avoid this, the singer is compelled to harden and tighten everymuscle 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--theremoval 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 saynothing of artistic singing. It means a hard, set diaphragm, an unduetension of the abdominal muscles, and an unnatural position and conditionof the chest. This of course compels the hardening and contraction of thethroat muscles. This virtually means the unseating of the voice; for underthese conditions free, natural singing is impossible. The conscious, full, muscular breath compels conscious, local muscular effort to hold it andcontrol it. Result: a stiff, set, condition of the face muscles, the jaw, the tongue and the larynx. This makes automatic vowel form, placing, andeven freedom of expression, impossible. The conscious, artificial breath isa handicap in every way. It compels the singer to directly and locallycontrol the parts. In this way it is not possible to easily and freely useall the forces which Nature has given to man for the production ofbeautiful tone. 

Now note the contrast. The artistic breath must be as unconscious or asinvoluntary as the vital or living breath. It must be the result of free, flexible action, and never of conscious effort. The artistic, automaticbreath is the result of doing the thing which gives the breath and controlsthe breath without thought of breath. The automatic breath is got throughthe movements suggested when we say, _Lift, expand, and let go_. 

When the singer lifts and expands in a free, flexible manner the body fillswith breath. One would have to consciously resist this to prevent thefilling of the lungs. The breath taken in this way means expansion, inflation, ease, freedom. There is no desire to expel the breath got inthis way; it is controlled easily and naturally from position--the level ofthe tone. When the breath is thus got through right position and action, wesecure automatic form and adjustment; and correct adjustment meansapproximation of the breath bands, inflation of the cavities--in fact, alltrue conditions of tone. Nature has placed within the organ of sound theprinciple of a double valve, --one of the strongest forces known inmechanics, --for the control of the breath during the act of singing. Thisis what we mean by automatic breath-control--using the forces which Naturehas 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 wehave not direct, correct control of the form and adjustment of the partswhich secure the true conditions of tone and automatic breath-control. These conditions, as we have learned, are secured through the flexiblemovements which are the ground-work of our system. Therefore we say, _Trust the movements_. If you have confidence in them, they willalways serve you. If you doubt them, they are doubtful; for the least doubton 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 notshow effort or action half so much as the old-fashioned, conscious muscularbreath. Breathing in this way means the use of all the forces which Naturehas given us. Breathing in this way is Nature's demand, and the reward isNature's help. 

The devices we use to develop automatic breathing and automaticbreath-control are the simplest possible exercises, studied and developedthrough the movements, as before described. In this way through rightaction we expand to breathe, or rather we breathe through flexibleexpansion, and we control by position, by the true level of the tone. Inthis 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 thevoice. Exercise three in Article One of this second part of the book willsuggest 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 beforesuggested. The lifting and expanding in a free, flexible manner will giveyou 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 thatautomatic breathing depends upon first action, the movement from repose tothe level of the tone. If the action is as described, sufficient breathwill be the result. If the position, the level of the tone, is maintainedwithout contraction, absolute automatic breath-control will be the resultso sure as the sun shines. 

The tendency with beginners and with those who have formed wrong habits ofbreathing, is to take a voluntary breath before coming into action. This ofcourse defeats the whole thing. Again, the tendency of beginners or ofthose who have formed wrong habits, is to sing before finding the level ofthe tone through the movements, or to start the tone before the action. This of course compels local effort and contraction, and makes successimpossible. The singer must have breath; and if he does not get itautomatically through the flexible movements herein described, or some suchmovements, he is compelled to take it consciously and locally. Theconscious local breath in singing is always an artificial breath, andcompels local control. Under these conditions ease and perfect freedom areimpossible. 

As we have said, the important thing to consider in this study is themovement 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 donerhythmically and in a moment, let the voice sing, --sing spontaneously. Makeno effort to hold or control the breath. Maintain correct position thelevel of the tone, in a free, flexible manner, and sing with perfectfreedom, with abandon. As the movement or action gave you the breath, sowill the position hold it. The more you let go all contraction of body andthroat muscles, the more freedom you give the voice, the more will thebreath 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 breatheand control in the old way, cannot of course understand it. The tendency ofsuch is to condemn it, --to condemn it, we are sorry to say, withoutinvestigation. 

Knowledge is gained through experience. The singer or pupil who tries thissystem of breathing and succeeds, needs no argument to convince him that itis true, natural and correct. The greatest drawback to the mastering of iton the part of many singers and teachers, is the artificial habits acquiredby years of wrong thinking and wrong effort. With the beginner it is thesimplest, the easiest, and the most quickly acquired of all systems ofbreathing; for automatic breathing is a fundamental, natural law ofartistic singing. 

For further illustration of this principle of breathing we will use thefollowing 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 singingbreath and all true conditions of tone. When singing this exercise move thehands and body with the tone or voice, ascending and descending. Inascending open freely and naturally by letting go. Do not influence theform by attempting locally to open. Do not influence the form by locallypreventing freedom or expansion. Let go all parts of the face, mouth andthroat, 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 findthat you will have secured or developed three or four times as muchsustaining breath power as you imagined you had. In descending, care mustbe taken not to droop or depress, but to carry the voice by controlling themovements of the body, and only after the last tone is finished should thebody 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 singersis to relax and depress on soft tone, or to pinch and contract. Soft toneshould never be small in form, and it should always have the same vitalityand energy as the louder tone. 

[Illustration: FIFTH STUDY. Ah. . . . ]

This exercise should be studied and practiced in every way suggested forthe study of the preceding exercises. Place yourself upon a level with thefirst tone, in the manner before described, and thus secure the automaticbreath. 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 flexibleaction. It is always a question of "the thought before the action. " Do notallow a conscious or local breath before the movement. 

Place yourself upon a level with the first tone, and allow or let the voicestart spontaneously and freely. Make no effort to hold the breath. Holdfrom position. Sing down, moving with the voice, but do not let the body orthe tone droop or relax. Neither must there be stiffness or contraction. Ifyou find it impossible to control the voice in this way, or to preventdepression of body and of tone, then try the following way. 

Place yourself upon a level with the first tone in the proper manner, singdown, 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 besurprised to find not only great breath power and control, but a power inthe tone that most singers imagine can be got through physical force alone. This power is the result of expansion and inflation, the true reinforcingpower. The increased vitalized energy of the tone is the result of theupward and outward movement. This movement of expansion and inflationthrough 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. Itis the great movement for developing the low tones of all voices. Thisreverse movement may be applied at will to all the studies given; it willdepend upon the effect we may desire to produce. If in descending, a quieteffect is desired, the movement is with the voice. If we want power wereverse the action. The body, when properly trained, becomes the servant ofthe will, and responds instantly to thought and desire. Hence theimportance of correct thought. 

In presenting these ideas to my readers, I realize how difficult it is toput 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. Thereader who may desire to experiment with these ideas should place himselfbefore a mirror, and make his image his pupil, his subject. In this way hecan better study the movements, the action, the position, the level of thetone, and the breathing. 

In private teaching, of course, we do not take up one subject or principleand finish that, and then take up the next one; but one idea is constantlybuilt upon another to form the harmonious whole. The formula which we usehere, as we have said, is the one adopted for the normal class at the PointChautauqua summer school. This we do in order to have the system properlyarranged for lecture, illustrations, and for a practical study of thedevices, not only from the singer's, but from the teacher's standpoint aswell. 

The teacher or singer who studies and masters this course never questionsor doubts the truth and power of automatic breathing and automaticbreath-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 numberof others, may be found fully carried out with accompaniment, in "Exercisesfor 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, andmust be reinforced by the low cavities and chest resonance; it must beplaced high, and reinforced or built down by added resonance throughexpansion and inflation. 

_Devices. _--Place high by removing all restraint, all obstruction, through flexible movements. The high, forward placing is the natural focusof the voice. When the voice is thus placed and automatic control prevails, reaction and reflection occur, and the sympathetic low resonance of theinflated cavities is added to the tone. Also study the naturally highplacing of E and the naturally low color of oo; then equalize all thevowels through their influence, and thus develop uniform color and qualityin all. 

This third principle of artistic singing is a very important one, and meansmuch more than one might, at first thought, suppose. Many singers think ofplacing simply as the point of contact or impact of the air current. Placing, however, means more than this. It means not only the correct focusof tone forward and high, but it also means reaction and reflection of theair current; in short, sympathetic added vibration of air in the lowinflated cavities. This being true, we find that correct placing means evenmuch more. It means the true form and adjustment of all the parts--all trueconditions of tone. 

The prevailing idea of placing is the thought of constantly pushing up thetone. Result, the organ of sound is pushed out of place and all trueconditions disturbed. The pushed-up tone means local, muscular effort, contraction, and a hard, unmusical voice. The voice thus placed may be loudand brilliant, but never soulful or beautiful. The pushed-up tone meanssinging from the larynx up. It means head-resonance only; andhead-resonance is but one side, and that the smallest side, of this greatquestion. 

Tone must be placed spontaneously, with reaction and reflection. This showsat once the importance of the first two great principles ofvoice-production, --freedom and automatic breath-control; for without thesetrue placing is impossible. Tone placed in this way means the ring of theforward high placing and the added resonance of the inflated cavities andespecially of the chest. 

In singing, as we have learned, there are two forces constantly inaction, --pressure and resistance, or motor power and control. These twoforces must prevail, and in order to produce the voice artistically, theymust be balanced. This is done, indirectly, through the movements weadvocate, through the position and action of the body. The motor power liesin the diaphragm and in the abdominal and intercostal muscles. Thecontrolling force lies in the chest, in a properly adjusted larynx and theapproximated breath-bands. These two forces must be balanced during the actof singing. Most singers are much stronger in the driving or motor powerthan in reaction or the controlling force; and with many, the weakness incontrol, reaction or adjustment, is an absolute bar to success. Hence theimportance of strengthening the chest, and the position of the organ ofsound, through physical culture. 

When these two forces, motor power and control, are not equal, the balanceof force is placed upon the throat and throat muscles. This the singer canno more avoid doing than he can avoid balancing himself to keep fromfalling. When, in order to place, the voice is pushed up, deliberately andmaliciously pushed, both forces are exerted in the same direction. They arethen virtually but one force--a driving force. As there must be two forcesin singing, as Nature compels this, there is nothing left for the singer todo but to use the throat and throat muscles as a controlling force. Underthese conditions, as before stated, the tone may be brilliant, but it willalways be unsympathetic and unmusical. 

I hope no one will think for a moment, in considering the movements weadvocate, that we do not believe in strength and power. We do believe inapplied power, applied indirectly; not by local grip and contraction, butindirectly through vitalized energy, expansion, and flexibility, throughthe true position and action of the singer. There is no strength properlyapplied in singing except through movement; through correct movement allthe forces which nature has given the singer are indirectly brought intoaction; in this way there is constant physical and vocal development. 

Every tone sung, as we have learned, is a reinforced sound. There are twoways 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. Ofcourse to produce expansion and inflation, true conditions of form andadjustment 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 inmuscular 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 verticaloval] This means high placing and low resonance; it means that the tone hasthe ring of forward high placing and the reinforcement, color, and beautyof added low resonance. Elongation is a distinguishing feature of all trulygreat 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 formmust be flexible and elastic. The larynx must be low in adjustment for theproduction of beautiful tone, but it must never be locally adjusted. Itmust always be influenced indirectly through the movements we advocate, through the true position and action of singing. In this way are securedopen throat, freedom of voice, all true conditions. In this way the tonemay be placed by impulse, by flexible action, may be started high andinstantly reflected into the inflated cavities. This means perfect poise ofvoice; it means the focus of the tone high and forward with the sympatheticadded vibration of the low cavities and especially of the chest. This isthe only true placing of voice, --the combination of head and chestresonance through automatic form and adjustment. A tight throat throughlocal, 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 trueartist 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. Ifthis does not occur contraction and depression are sure to follow. Also thehigher the tone the lower the added resonance, when the conditions areright. In this way the form elongates and the compass expands withouteffort or strain. These ideas studied through flexible movements are trulywonderful, but natural means for expanding the compass of the voice. 

Much has been written lately on the subject of open tones. Should the tonesbe opened or closed, is the question. Tone should never be closed. Itshould always be open, but never out. If it is out of the mouth it is not asinging sound. Even the real covered tones of the voice should never beclosed. The truth is, the form of the covered tones of the voice, throughelongation, 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 highplacing, predominates. In somber timbre, the dark tone, low resonance, orlow color, predominates. In medium tone both are heard or felt moreequally. None of this coloring or reinforcing must be done by locallyinfluencing form or placing. The voice must be perfectly free; and theresult must be due to sentiment, feeling, emotion, to the effect it may bedesired to produce. If all restraint is removed, if true conditionsprevail, this can always be done through the singer's sensation, throughthe 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 tothe crown of the head. And it is _only_ tones like these--that it ispossible to so adorn, and decorate, and beautify, with the due amount ofemphasis, and accurate intensity of emotional feelings, and exquisitelyshaded and ever-varying tinges of color in expression--that can provecapable of captivating the heart of the hearer, that can graphicallyimpress the listener with such sentiments as the vocalist desires toconvey. "

We will take for our first study a single tone about the middle of thevoice. In studying placing and resonance, we must of course observe all therules laid down in regard to the action, position, etc. Do not take avoluntary 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 flexibleaction. Think the tone forward and high. Place by impulse, and never bylocal effort. Have the sensation as though the tone started forward andhigh, as though it impinged against the roof of the mouth, and instantlyreflected into the low cavities, and especially into the chest. In doingthis, relax the jaw, let go all face and throat contraction, expand thebody, and think and feel the chest vibrant and filled with tone. In thisway the tone may be started high and reinforced or built down by the addedresonance of all the inflated cavities. 

Another way to do this, is to start the tone spontaneously by impulsethrough correct action; in doing so, think and feel as though the toneplaced and reflected at the same instant, forward against the roof of themouth and on the chest, --as though the contact or impingement of the tonewere felt at both places simultaneously. Of course the high forward placingin mouth and face is the true placing, and the sensation on the chest isthe action or reflection of the true placing. This can be done throughflexible vitalized action alone. With a tight throat or local musculareffort it is impossible. This is perfect attack, and in this way all forceand push are avoided. In this way freedom and inflation are secured, thatcondition which unites head and chest resonance. 

Think of a rubber pouch filled with air. Imagine you grasp it in the middlewith the hand, and close the hand tight. The upper part of this pouchrepresents the face and high forward placing. That below the hand, or thelower part, the chest resonance. The hand holding the middle of the pouchrepresents the throat. So long as the hand contracts tightly the middle ofthe pouch, there is no connection between the air in the upper and lowerparts of the pouch. If the desire is to connect these two parts, relax thehand a little, and allow an opening or a free passage between them. Insinging, the same relaxation or opening must occur at the throat, if thedesire is to connect the ring of high placing with the resonance of the lowcavities. If the desire is to reinforce, to build down, the extrinsicmuscles of the throat must relax, and the throat must expand. 

In thus placing and reinforcing tone, the pupil is guided or assisted notonly by the sense of hearing but by the sense of feeling. There will be thesensation of freedom, of ease, of power; a feeling as though the entirebody from the head down to the waist were open and filled with tone. Remember, however, this important fact, that it is possible to lift andexpand, and even to let go, and yet not to influence the tone. We can actwell and yet sing with a common tone. The pupil must think and feel thetone, must think and feel the effect desired. The thought must precede theaction. 

This point is worthy of all consideration, --right thought or right feelingassists the tone in every way, has, in fact, a wonderful influence indeveloping right action. The idealized tone brings into action more of thetrue 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 developmentof high placing, but to correct bodily action. 

Sing the first tone staccato, placing the body upon a level with the toneas described. Then from the level of this first tone, through flexiblevitalized action, carry the body spontaneously or by impulse to the levelof the upper tone; the air current or the tone should strike the roof ofthe mouth well forward and instantly reflect into the low cavities. In thisway all true conditions are secured, and the voice is allowed to singinstead 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 thesecond tone start until its level is reached, or the effect will bespoiled, or at least modified. All this must be done rhythmically, whichmeans without the least hesitation, or without the sensation of haste. Tohesitate compels local effort. To hurry disturbs all true conditions. Thisis a very valuable exercise, if understood. 

[Illustration: SEVENTH STUDY. Ah. . . . ]

This study is virtually the same as the sixth, except that the voice is notsuspended or arrested between the first and second tones. This exercisemust be studied with the same action and the same impulse as the sixthstudy. Some singers can get placing and reaction better on this study thanon the sixth. 

[Illustration: EIGHTH STUDY. Ah. . . . ]

Find the level of the first tone as suggested, using hands and body; movedown, hands and body going with the tone, while singing the first threenotes of this exercise; then, without stopping or hesitating, reverse theaction or the movement, by lifting hands and body, and opening wide bydropping the lower jaw, while singing the last three notes. Of course thevoice must sing from the highest to the lowest note with a continuouslegato flow. The movement of the body down with the first three notes andthe reverse action, moving up and out on the last three, must be smooth andcontinuous. If this is done properly the reverse action will give awonderful sensation of freedom, openness, and the power of low addedresonance. It demonstrates forcibly what is meant by placing up andbuilding down. 

This is the great idea or the great movement for developing the low tonesin all voices. When the low tones are thus developed by expansion, butwithout effort, the same idea of freedom and low resonance can be carriedinto the high tones. This can be done especially well and easily onexercises six and seven. The higher the tone the lower the resonance shouldbe 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 thetone to start spontaneously, striking, as it were, the roof of the mouthand the chest simultaneously. Move body and hands down with the voice tothe low tone, and then instantly but rhythmically, lift back to the levelof the upper tone. Feel as though you were under the tone with body andhands in moving up, and let the tone strike by impulse, the roof of themouth, and instantly reflect into the chest. Practice this exercise untilit can be done with perfect freedom of form and action. 

In starting the first tone in all these exercises, feel the vibration inthe face, on the forehead, and on the cheek-bones. If this is done withoutpushing, but by flexible action, a sympathetic vibration can be feltthrough the entire body. 

A very effective and successful study of high placing and low resonance maybe got through a consideration of the natural placing and resonance of thevowel sounds. As I have written so fully on the vowel sounds in my formerworks, I shall simply touch upon that important question here. 

E as in _reed_ is naturally the highest placed vowel in the Englishlanguage. U or oo as in _you_ or _do_ is naturally the lowest incolor. Sing E with the freedom of action as suggested, and think it high inthe face. Make no effort to influence the form. The form of E is naturallyvery small. E will be found in this way to be free and bright, not hard andwiry. Sing oo in the same way. The form of oo is also very small. Oo shouldhave a flute-like sound. It will be found that in E high resonancepredominates. In oo low color. In studying the vowels the aim should be toequalize them by placing, reinforcing, and coloring them as nearly alike aspossible. In this way they are equalized instead of differentiated. 

Place E as suggested, and color it by the thought and influence of the lowresonance 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. Thehigh ring and brightness of the reed sounds of the voice, must be modifiedand influenced by the color and low resonance of the flute sounds. Theflute sounds of the voice must be made more brilliant and free by theinfluence of the high placing and high resonance of the reed sounds. Inthis way we equalize all the vowels until, in a certain sense, they allhave the same color and quality and sound, as though they belonged to oneand the same voice. For a further study of high placing, use the secondsound of O, or, as some writers classify the vowels, the second sound ofU, --the sound of uh as heard in up. This is the highest, narrowest, andmost elongated arch form in the English language; consequently it is, formany voices, the most favorable sound for the study of high placing. 

All vowel sounds, like all tones of the voice, are reinforced sounds. Thetendency of most singers is to sing the reed sounds too white and the flutesounds too dark. By properly distributing brilliancy and color we influenceand 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, " isthe true motor power of the voice. 

_Devices_. --A study of tone-color and tone-character; the idealizedtone, applied and developed by the use of words and sentiment. 

The student of the voice who has studied, understood, and, to a certainextent, mastered the first three great principles of voice production--theremoval of all restraint, automatic breathing, high placing, and lowresonance--has certainly accomplished much. He has aroused and developedthe physical and mental vitality of the singer, the vitality and energy ofbody and mind. This is the limit of progress or development with many, atleast so far as actual tone study is concerned. 

There comes a time, however, in the experience of every student of thevoice, a stage of the study, when, if he expects to be an artist, he musttake a step in advance, a step higher; he must place himself upon a higherplane or level; he must arouse his true inner nature, the singer'ssensation, that which we have called the third power. This is done by astudy of emotional, or self-expression. It is done through arousing andvitalizing the emotional energy. Vitalized emotional energy, the singer'ssensation, is undoubtedly the true motor power of the artist. 

At just what stage of development the consideration of this higher form ofstudy or expression should be placed before the mind of the pupil, is aquestion. Singers are so different, physically, mentally, and emotionally. With some I have found it best not to consider this side of the questionuntil they have developed a fair vocal technique. This should be the casewith emotional, nervous, excitable temperaments. With hard, cold, stiff, mechanical pupils, this is often the only way in which it is possible toarouse them, in order to give them a start, without wasting weeks or monthsof 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 beforedescribed. Therefore, in order to study this great question, in order tofully develop this higher form of expression, the singer must have masteredthe flexible, vitalized movements given in this work, must have acquiredthrough these movements absolute freedom of tone. Experience teaches us, however, that there are those who, while they learn, in a certain way, todo the movements comparatively well, yet do not entirely let go, --they donot free the voice. With such the study of tone color, and especially thestudy of soft color, not soft tone necessarily, but soft, emotional tonecolor, is their only salvation. It releases and relaxes all the rigid localtendencies. 

There is a stage of study, as we have said, in the experience of allstudents of the voice, when, in order to become artists, Nature demands ofthem more than mere sound. There comes a time when every tone of the voicemust mean something, must express something, through the character of thetone, the idealized tone. In this way the personal magnetism of the singeris imparted, heard, and felt. This means the expression of thought andfeeling through the color and character of the tone, the highest known formof expression. This principle is the greatest known agency for thedevelopment of all the powers of the singer, not only the emotional andmental powers, but the physical as well. The student of the voice whostudies or who is trained in this way, develops, not only in character andbeauty of tone, but in actual physical power and control. This study oftone color and tone character develops new power in every way. "Themechanical and mental alone are but half development, but this is full andcomplete development of the entire being. " In proof of this, sing a light, bright, happy thought or tone, using the clear timbre, about the middle ofthe voice. It will require but little strength. Then sing a more emotionalthought, sentence, or tone; express deeper feeling, and it will be foundthat more strength is required. Again, give utterance to tone or wordswhich express sadness, sorrow, or intense pleading, using the somber timbreof the voice, and much more strength will be required. This will beespecially noticeable in the action or energy of the diaphragm andabdominal muscles. It will be found that the low muscles of the body exertmore strength on somber timbre than on clear tone. This, in order to inducethe deep, low setting of the voice at the organ of sound, necessary for theproduction of somber or dark tone, and the expression of deep, emotionalfeeling. It is easy to see that this means greater physical as well asemotional development; physical development, not only of every muscle ofthe body, but of the organ of sound itself; a development which can beattained through the study of tone color and emotional expression only. 

The power of vitalized emotional energy, I might say the power of theemotional power, cannot be overestimated. The power of an emotional climax, imparted through the soft color of the voice, is often greater than that ofthe dramatic climax; it will often influence and affect an audience in themost startling way. We find that thought and will control all physicalaction in singing. If the thought is right, the action will be right; ifwrong, the action will surely be wrong. When right thought and action havedeveloped absolute freedom, then the emotional energy, the singer'ssensation, the true power of the voice, should dominate everything. Themind or will controls the body through thought, but the thought must bearoused through feeling or emotion; and the feeling or emotion is inspiredby the sentiment to be expressed. This means, of course, the higher form ofexpression, means the power of tone color and tone character; but itdepends first upon all true conditions of tone, mental and physical, andthen upon the temperament, upon the heart, and soul of the singer. 

Singing, as we have said, is more psychological than physiological. Thiswhole system of flexible, vitalized movements, is first aroused by rightthought, and finally applied and controlled through the mind or will, inresponse to feeling or emotional impulse. In this way we are able to arouseand use at will the persuasive, the impressive, the fervent voice; thevoice that is something more than mere sound; the voice that has characterand 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 tonecontinually with the change of thought and sentiment, and is enabledthereby not only to avoid monotony, but to use the impressive, persuasivevoice, the tone the sentiment demands. In this way he has magnetic powerand influence over an audience. The other voice may be bright, free, andclear, yet may use the same quality or color of tone constantly on allstyles of singing, and on all degrees of power, it matters not what thethought or sentiment may be; and this style of voice is by no meansuncommon, even among many of our public singers. Now consider thedifference in the commercial value of these two voices, which should bearat least some relation to their artistic value. No artist can be trulygreat 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 thatof simply pure, free tone. It will be found that in the most beautifulvoice the tone will be common-place, meaningless; in many voices it will besimply sound. Now place yourself in every way upon a higher, a more loftyplane. Think of higher ideas and ideals. In other words, idealize the tone. Remember, the ideal is the truth, and not exaggeration. Appeal to youremotional energy, the singer's sensation, and give expression to thoughtand 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 beastonishing, will ofttimes be electrifying. In this way make the toneactually mean something. Feel like a singer, assert yourself, expressthought, sentiment, feeling, emotion, and not simply sound. 

Simple sound, as a rule, is meaningless and unnatural. Nature demands, forthe expression of beautiful, artistic tone, that all the powers she hasgiven the singer--the powers, physical, mental, and emotional--be broughtinto action and put into the tone. Character and magnetism of tone must bearoused in most voices. This cannot be done through the mechanical andmental powers alone. It requires the study and development of the emotionalenergies of the singer. In other words, the singer must put himself, notonly upon a physical and mental level, but upon the emotional level of thetone as well. 

All voices have two distinct color or character effects, the reed and theflute. These effects are the result of vowel forms, and of thepredominating influence of high placing or of low resonance. When we desirebrilliancy, the reed effect should predominate. When we desire dark coloror more somber effects, the flute quality should prevail. In clear tone ortimbre there is more reed effect than flute. In medium tone or color theeffect of both is heard and felt. In the somber tone the flutepredominates. To express joy or happiness we use the clear timbre, and thering of high forward placing predominates. To express a deeper feeling, amore 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 highplacing and the low resonance are about equally balanced. To expresssadness the somber color or low resonance predominates. 

Apply these ideas on all the exercises given. Use sentences which containthought or sentiment that will enable you to arouse a definite feeling. Forexample, to study the clear timbre, sing, "My _heart_ is glad. " Toexpress 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 oneword, "heart. "

This subject of emotional expression through tone color and tone characteris so great, so important, that it is impossible to do it justice in thislittle work. I have written more fully on this and kindred subjects in myother works, therefore I shall here touch but lightly upon the aestheticsof the vocal art. 

It should be remembered that the prime object for which this book waswritten, was to place more clearly, if possible, before my readers, theimportance and wonderful influence of the flexible, vitalized movements ofour system. 

These movements, we find, so directly influence the voice, the singer, andthe results in every way, that we feel justified in again calling attentionto them. Too much cannot be said of them, for the average student of thevoice is inclined to neglect them. If they have been, to a certain extent, understood and mastered, then the study of this, the fourth principle ofartistic singing, becomes a comparatively easy matter. With the student whodoes not understand them, emotional or self-expression is always adifficult matter, and with many an impossibility; which largely accountsfor the great number of mechanical singers. At least twenty years' hardwork and study have been put upon these movements in order to reduce themto the simplest and most effective form. They are based upon common senseand Nature's laws. Of course no one can or should expect to understand orfully 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 ofthought, and of the effect desired, never of direct or local effort. Thethought before the action, never the action before the thought. 

_Devices_. --The development of the consonantal sounds through thestudy of the three points or places of articulation, and the application bythe use of words, sentences, and sentiment, vitalized and intensified. 

In our course of study or in the formula here given, it will be evident tothe reader that we lay much stress upon the principle of vitality orvitalized energy. In the second part of this work we have considered theprinciples and the devices that develop physical and mental vitality. Inthe article which directly precedes this, special emphasis is placed uponemotional vitality. Vitality or vitalized energy, it will be found, holdsgood also in this, the fifth fundamental principle of artistic voiceproduction. 

Articulation, to be artistic, must be automatic and spontaneous; must bethe result of thought and effect desired, and never of direct or localeffort. This being true, we must recognize the importance of freedom ofform and action, of the removal of all restraint, in fact, the importanceof all true conditions of tone. This brings us back again to our originalposition, as do all the fundamental principles of singing; namely, --theimportance of the free, flexible movements of our system, upon whichfreedom 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 resonanceand power of the vowels. We have found the opposite to be true. We havefound that the consonantal sounds in many ways are a wonderful help indeveloping 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 thevoice, and gives it life and freedom. Articulation, under right conditions, will not interfere with the legato flow of voice. It is not necessary, asmany suppose, to sacrifice distinct utterance in song for the sake of thelegato 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 distinctarticulation. The voice is composed of two separate and distinctinstruments, the organ which produces sounds or vowels, and thearticulating organ which produces consonants. These two instruments, whenproperly trained, strengthen, complement, and support each other, andtogether they mold vowels and consonants into speech. 

It is true that with many, articulation is a difficult matter, and this isespecially true on the high tones of the voice. No one who has heard themajority of the average opera and concert singers of the day, would bejustified in holding that articulation is not a lost art. A free, distinctarticulation 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 isdirect or local effort on face, jaw, tongue and throat, during the act ofsinging; in other words, they grip the parts to hold the tone, and thehigher or louder they sing, the firmer the grip or contraction. Thisvirtually paralyzes action, and makes flexible articulation impossible. Articulation knows no pitch. It should be as easy on a high tone as on amiddle or low tone. If there were no direct or local effort of thearticulating muscles to hold the tone, articulation on the high tone wouldbe as easy as on the middle or low tone. This is a fact which has beendemonstrated again and again. Of course it is more difficult to learn tosustain the high tone without placing more or less effort upon the face, jaw, and throat; but under right conditions, the result of right positionand action, this can be done, and has been done many times. 

Articulation, to be artistic, must be spontaneous, --the thought before theaction. Think and feel the effect desired, and give no thought to theaction of articulation. The action, under right conditions, if there is norestraint, will respond to thought and feeling; it will be automatic andspontaneous. Just as the singer, after a certain stage of study, shouldnever 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 studywe never locally influence consonantal action. To be right, it must beautomatic and spontaneous. 

Of course we recognize the fact that in all vocal study there must be abeginning. The pupil must be taught to know and think correct physical ormechanical action in singing. He must know what it is, what it means, andhow 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. Themental, as the student progresses, must dominate and control the physical;and finally, as we have before stated, the true motor power is emotionalenergy or the singer's sensation. This order of study and development holdsgood in this fifth principle of artistic singing, as in all others. 

The device to which we first resort for the understanding and developmentof articulation, is a study of the three points or places of contact. Onpage 183 of "Vocal Reinforcement" (by the author of this work) will befound a full explanation of these three points. 

A vowel sound is the result of an uninterrupted flow of the vibratory aircurrent. A consonantal sound, on the other hand, is the result of acomplete obstruction and explosion, of a partial obstruction and explosion, or of a partial obstruction only. The place and manner of the obstructionand explosion, or of the obstruction only, determine the character of thesound. There are three points of obstruction or articulation:

1. The point of contact of the base or back of the tongue and of the softpalate. 

2. The contact of the tip of the tongue and of the hard palate, the roof ofthe 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 willgive the divisions and the location of the consonantal sounds. For thesinging voice it is always best to simplify, hence we divide theconsonantal sounds into two general divisions: the aspirates, those whichare the result of complete obstruction and explosion, or of partialobstruction only, breath and vowel sound; the sub-vocals, those which arethe result of partial obstruction and explosion, or of partial obstructiononly, sub-vocal and vowel sound. The sub-vocals, as ending or finalconsonants, are the most difficult of all to give their proper value andeffect. 

The student of the voice should study, understand, and practically trainthe action of these three points or places of articulation; for at thesethree points, with a few exceptions, all consonantal sounds are made. Takeall the consonants, and classify them in two columns, the aspirates orbreath sounds in one column, and the sub-vocals in another. We will giveone 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, andmake it more definite. The study of consonantal sounds without the use ofvowel sounds is very indefinite and unsatisfactory. 

We give the formula for the study of articulation, as found in "Exercisesfor the Training and Development of the Voice" (by the author of thiswork), 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 ofcontact or places of articulation will be very evident. It will also beevident that the point of contact or articulation is much more positive oncertain aspirates than on the sub-vocals; while on a few other aspiratesthe action or obstruction is so slight that it is almost impossible to tellwhere or how they are made. They are the exception to the general rule. Tosuch, however, very little attention or study need be given. Having studiedthe formula as given, classify the consonants in three columns, under theheadings of 1st, 2d, and 3d points or places of articulation. 

At a certain stage of study, when the student of the voice has acquiredfreedom and control, when he is able to release the face, jaw, tongue, andthroat from all local effort or contraction, --at this stage of study it iswonderful what can be done in the way of articulation in a few days, bythis system. I have known many singers who could produce beautiful tones, but who could not make themselves understood at all in the singing of asong; 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 thewords of a song as distinctly as it was possible to speak them. 

For the practical application of the above principles of articulation, formgroups of vowel sounds, and make syllables by adding consonants, and singthem on single or level tones. First place the consonant before the vowel, making the articulation the initial sound of the syllable. Then place theconsonant after the vowel, making the articulation the final sound of thesyllable. Also sing sentences on single tones or level movements. Analyzeall the consonantal elements of the sentence. Take for example thefollowing sentence, "We praise Thee, O God, " and notice at which point orplace of articulation each and every consonant is made. Let allarticulation be free, flexible, and light in movement, not heavy orlabored. Never work with articulation; play with it, but let it be distinctand definite. Make no effort of face, lips, or tongue; let all be free andpliable. Show no effort or contraction of the face in sustaining voice orpronouncing 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 andfor expression. Use words and sentences in an impulsive, impressive mannerwithout local effort. 

Articulation must be rhythmically in sympathy with the movement or therhythm of the song. Even though the voice may flow freely on the vowels, the articulation must not be hurried, nervous or spasmodic. This style ofarticulation often disturbs the legato flow and spoils the general effect. While of course it is not possible to sing the consonantal sounds, abeautiful effect is often the result of playing upon the consonantrhythmically, 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 arule, more important than the music. 

_Devices. _--A study to combine elastic vowel form and flexiblearticulation, applied by the emphasis and accent of important words andphrases; also applied through the color and character of tone, and theimpressive, persuasive, fervent voice. In short, a study of pure diction. 

Every singer and teacher of singing should, in a certain sense, be anelocutionist as well. Not an elocutionist from the standpoint of many whoare called elocutionists, who are stagey, full of mannerisms, and whoexaggerate everything pertaining to elocution. Of course the better classof elocutionists are not guilty of these things; but they do idealizeeverything, whether they read, recite, or declaim, and this in theirprofession is a mark of true art. So must the teacher and singer learn toidealize not only the tone or the voice, but everything pertaining to thesinging of a song. This must be done through the manner in which thesentiment, the thought, the central idea is brought out and presented tothe hearer; through the impressive way in which the story is told. 

The elocution of singing depends upon a knowledge and control of all theprinciples considered up to this point of study, --a knowledge and controlof physical, mental, and emotional power, of freedom of form and action, ofartistic vowel form and automatic articulation, of the removal of allrestraint, in fact, of all true conditions of tone. To interpret well, thesinger must have mastered the elocution of singing, must be able to bringout every vowel and consonantal element of the words, must know how to useand apply tone color and tone character, the impressive, persuasive, fervent voice. The singer must idealize not only the tone, but the words ofthe song; "just as the painter idealizes the landscape, so the musicalartist must use his powers of idealization in interpreting the work of thecomposer. " To be able to do this, his diction must be as pure, his languageas polished, as that of the most accomplished orator. 

The power of word vitality in the singing of a modern song, is one of thegreat elements of success, if not the greatest. Not an exaggerated form ofpronunciation, but an intense, earnest, impressive way of bringing out thethought. It would be interesting to know what per cent of teachers andsingers can read properly the words of a song; to know how many of them, orrather how few of them, have ever given this phase of the study, thought orattention. Most of them act as though they were really ashamed to try, whenyou ask them to read the words of a song, and when they read them, theyapparently have no thought of expressing, or no idea of how to express theelevated thought or feeling, necessary to bring out the author's ideas. Itis almost impossible to make them idealize the words through the elocutionof singing; and yet in the artistic rendition of a song, a ballad, or adramatic aria, the words are often of more importance than the music. Thesinger should study the story of a song by reading it aloud upon thehighest plane or level of emotional or dramatic expression. To do this, hemust know and apply the elocution of singing. Then he should endeavor tobring 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 askedby a prominent elocutionist. "Why do not elocutionists sing as they talk orread?" I replied. This, of course, at once suggests an interesting subjectfor discussion. To give the reason in a general way, is simply to statethat singers, as a rule, do not apply the principles of their art to thetalking voice. Hence they often read and talk badly. The same is true, as arule, of elocutionists. They do not apply the principles of their art whenthey attempt to sing. 

The devices we use are a study of elastic vowel form and flexiblearticulation, applied by the emphasis and accent of important words inphrases and sentences. Then a study of the character and tone colornecessary to express the meaning of the words. Then a use of the earnest, impressive, persuasive voice, as the text may demand. By using these forcesor principles, as suggested by the thought and sentiment of the words, wearouse the emotional power, the magnetism of the voice, and thus influencethe hearer. Through the elocution of singing we place our emotional, ourpersonal expression upon a high and lofty plane. We thus express thecentral 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 andmusic; it means the expression of the author's idea as a whole. 

_Devices_. --The application of all true principles by drawing, as itwere, a mental and emotional tone-picture, as suggested by words and music. 

The following article upon this subject was kindly written, especially forthis book, by my friend and pupil, the well known teacher, Mr. JohnRandolph. 

Interpretation in song is the faithful reproduction of the intention ofboth poet and composer. This reproduction includes the revelation of thecharacteristics of the poem itself, whether lyric, dramatic, or in otherways distinctive. It also reveals the musical significance of thecomposition to which the words are set. The melodic, rhythmic, and evenharmonic values must be made clear to the hearer. But interpretationincludes more than this reproduction, essential though it may be. If theexpression of the intention of poet and composer fulfilled the sum total ofinterpretation, one performance would differ little from another. Aclear-cut, automatic precision would be the result, perhaps as perfect asthe repetition given out by a music-box and certainly no more interesting. Another element enters into interpretation. The meaning of the poem and itsaccompanying music must be displayed through the medium of a temperamentcapable of self-expression. A personal subjective quality must enter intothe performance. The singer must reveal not only the significance of wordsand music, but his own intellectual and emotional comment upon them. Uponthis acceptance of the inner meaning of words and music, and upon hisability to weave around them some strands of his individuality, depend thecharacter and originality of the singer's interpretation as a whole. Let ussee how this comprehension of the meaning of songs may be acquired; uponwhat foundations rests the ability to make the meaning clear; and if we cando so, let us discover the springs of that elusive quality commonly called"temperament" which gives the personal note to one rendition as distinctfrom another, and without which the clearest exposition of vocal meaningsbecomes tame and colorless. 

The singer is a specialist, but all successful specialization rests uponthe broad foundations of general culture. The reason why there are so manysingers and so few artists who thrill us with the revelation of theintimate beauties of the songs of Franz, Grieg, and MacDowell, to take onlya few names from the rich list of song writers, is because people singwithout acquiring the range of vision which makes such interpretationpossible. How can one sing, let us say, a German song, imbued with Germanromanticism and melancholy, unless he knows something of the German art, the German spirit, the German language, the German nationalcharacteristics? A knowledge of literature, art in general, and the"Humanities, " to use an old-fashioned word, is absolutely necessary tointerpretation of a high order. Too often, alas, the singer imagines thatthe study of tone production, or acquaintance with musical literature, or apolished diction, will make him sing with the combination of qualitiescalled style. Not so! Upon the broad foundations of general culture, whichdistinguishes the man of refinement from his less fortunate brother, restsalso the specific ability to sing with distinction. Moreover, the singermust have definite musical ability, natural and developed by study. He mustthoroughly comprehend rhythm, melody, and harmony in order that hisattention may not be distracted from interpretative values to ignoblenecessities of time and tune. It is not possible to sing Mozart, not to sayBeethoven and Wagner, without acquaintance with the vocabulary and grammarof the wonderful language in which they wrote. Familiarity with thetraditions of different schools of composition and performance is necessaryalso in order not to sing the songs of Bach and Handel like those ofSchubert and Schumann, or Brahms like the modern French composers; in ordernot to interpret with like effects indiscriminately songs of the oratorioand opera, of Italian, German, French, English and modern Russian schools. 

Unquestionably the singer must have control of the physiological andtechnical possibilities of his voice. No one can make words and music meananything while he is wondering what his voice may do next. Developedintelligence, emotional richness and refinement, musical knowledge, aproperly placed voice capable of flexibility and color, distinctarticulation, polished diction, these are some of the preliminaries tosuccessful interpretation in song. 

Let us see what special qualifications assist in the actual performance ofsong, in the attempt to give pleasure or artistic gratification by singingsongs for others to hear. In the first place let us consider thelimitations as well as the advantages of the human voice. I must ask you toremember that considered as an instrument it is smaller in power than someinstruments, shorter in range than many others, often less beautiful thanthe tones of the violin. But in one respect it transcends all others. It iscapable of revealing the mind and soul of the one who plays upon it. Thespeaking voice, as well as the voice in song, reveals thought and feelingto the hearer; those subtler shades of meaning which distinguish man, madein the image of God, from his humble companions, are made clear to thoseabout him by this instrument--this wonderful, persuasive, cajoling, beseeching, enthralling, exciting, thrilling, terrifying instrument! Haveyou not been moved by the tones of the speaking voice? How can we train thevoice in song to express these varying shades of meaning, and can we learnto use them systematically instead of accidentally or when we are impelledby strong emotion? I know that there is a popular impression that somesingers possess a mysterious quality known as "temperament, " and thatothers do not. Having this uncertain quality, one singer stirs an audience;having it not, the hearer remains unmoved. If by temperament, intelligenceand emotional richness of nature are meant, I do not believe that anyonewho is not to some extent possessed of these faculties can stir thefeelings of his hearers to any considerable degree. But surely many, almostall people capable of conquering the physiological, psychological, technical, and musical difficulties to be overcome before learning to singat all well, possess these qualities. And even if modern songs of the besttype abound in subtle, emotional expression and varying shades ofintellectual significance, it is, I believe, possible for most singers togain in interpretative facility by learning to connect the thought andfeeling underlying the song with the spoken words which are their naturaloutlet and expression. 

I say spoken words; for speech is the more spontaneous expression ofthought and feeling, through which individuality attains its simplest andmost complete expression. Speech is the normal method through which we makeclear our ordinary thoughts, feelings, desires, repulsions, and attractionsto those about us. Song is the finer flower of artistic expression, one ofthe means through which imagination and the creative and interpretativefaculties find an adequate medium and outlet. But the words of the poem, whether spoken or sung, must first be thoroughly understood before thereader or singer attempts to make anyone else comprehend or feel them. Toooften an apparent lack of "temperament" is only the failure to have adefinite understanding of the meaning of the words the singer is vainlyendeavoring to impress upon his audience. Let the singer recite or readaloud the words of his songs. This is a natural form of expression, andrequires a less complex process of thought than singing, which demandsseveral automatic reflexes in securing tone production; let him read aloud, trying to give out every shade of thought and feeling the poem contains, ina tone which is persuasive and appealing. Later, when he can do this withappropriate emphasis in speech, let him try to express the same meanings inhis singing voice. In all probability he will find that he is much assistedby the music, if his tone production is reasonably correct andauthoritative, and he be enough of a musician to grasp readily tonalvalues. The sense of the words, the emotion and thought underlying thewords, will suggest the color and character of voice appropriate to theexpression and interpretation of the song as a whole. Of course, if hetries to impress upon his hearer that he thinks it rather weak and foolishto give up completely to the full significance of the words, and toimpersonate their narrative or dramatic significance, there is no help forhim. I am inclined to think that the fear of seeming exuberant or foolish, the unwillingness to give one's inner self to others, or aself-consciousness which prevents it, is at the root of much apparent lackof "temperament. " The singer must be both the narrator of the story of thepoem and the impersonator of the principal characters in that story. Uponthe completeness of his understanding of the meaning of the poem, and hisrevelation of its meanings, as well as upon the absence of stiffness orself-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 songsmean something; and this, after all, is the object of all attempts atinterpretation. 

Suppose you take a new song--one you have never seen before. Do not sit atthe pianoforte, and play at it and sing at it until, after a fashion, youknow it. This way of learning leads to the kind of statement recently heardafter a peculiarly bad performance, "Why, I never think of the words at allwhen I sing!" Instead of doing this, if you have been taught to do so, readthe song through, observing its general character. If thinking musicwithout playing or singing be impossible for you, play it over, carefullynoting _tempo_ and other general characteristics, until you have anunderstanding of the melody, rhythm, and musical content. Observe how thewords fit the music, still without singing. Then read the poem silently andcarefully, and decide whether it is narrative, lyric, dramatic, churchly, or in other ways distinctive. Next read the poem aloud, giving the voicecharacter appropriate to its sentiment, phrasing it intelligibly, observingthe emotional portent, and coloring it accordingly. If the poem benarrative, 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 andmusic are well in the mind, if possible with an accompaniment, butcertainly standing, sing the song. Sing, making a compromise between thestrict rhythmical value of the notes and the demands of the sense of thewords. Keep the general outlines of the music so far as phrasing and rhythmare concerned; but whenever a sacrifice must be made, sacrifice the musicalvalue and emphasize the emotion, the meaning, the poetry, the dramatic ornarrative significance of the words. Phrase with this end in view;sacrifice anything except tone-production to this end. Do not distort therhythm, but bend it sufficiently to emphasize important words andsyllables, by holding them a little, at the expense of unimportant words orsyllables. Finally, remember that misguided enthusiasm is notinterpretation. 

No real interpretation is possible without a full comprehension of themeaning of both words and music. Study the voice. Study its possibilitiesand its limitations. Study music until the musical element of difficulty isreduced to a minimum, and until the character, style, and traditions of thevarious song forms are well within your grasp. No matter how beautiful maybe the voice, or how well placed, no amount of enthusiasm or temperamentcan 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 handsshould not be raised above the waist-line. If raised too high, the energyis often put in the action of the arms instead of the body; or the upperpart of the body only is moved, and thus the most important effect orinfluence for power and control is wanting. The action must be from thehips up, and not only from the hips, but the hips must act and expand withthe body. Remember the center of gravity must be at the hips. If it isfound that the tendency is to raise the hands too high, then try or studythe action as follows:

Place the hands upon the hips, and when coming into action, when seekingthe level of the tone, or during the act of singing, see that the hipsexpand freely and evenly with the body. This should be tried and practicedfrequently by all in order that the movement may be from the hips up andnot above the hips only. When the hips are thus brought into action, theabdominal muscles and the diaphragm are strengthened, and their positionand action are correct. When the upper part of the body only is broughtinto action the position of the diaphragm and abdominal muscles is oftenweakened. Remember that the basic law or foundation principle of our wholesystem of movements is movement from the hips up, including the action orexpansion of the hips in connection with the movements of the entire body.