The first principle of artistic tone-production is

_The Removal of All Restraint_.

The theory founded upon this principle is as follows: Correct tone is the result of certain conditions demanded by Nature, not man's ideas. These conditions are dependent upon form and adjustment; and form and adjustment, to be right, must be automatic, and not the result of direct or local effort.

The devices used for developing the above conditions are simple vocal exercises which are favorable to correct form and adjustment, and are studied and made to influence the voice through correct position and action.

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

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

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

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

This brings us to a study of devices; and devices, to influence correctly not only the voice but the individual, must be in accordance with natural and not artificial conditions. The singer must put himself and keep himself upon a level with the tone--upon a level with the tone physically, mentally and emotionally. The device which we use, or the formula, is, _lift, expand, and let go_.

With the singer who contracts the throat muscles during the act of singing, that which may be called the center of gravity or of effort is at the throat. With the singer who carries a consciously high chest and a drawn-in or contracted diaphragm, the center of gravity is at the chest. With the singer who takes a conscious full breath, and hardens and sets the diaphragm to hold it, the center of gravity is at the diaphragm. In none of these cases is it possible to remove all restraint; for they all result in contraction, especially of the throat muscles, and make flexible expansion--a condition necessary to absolute freedom--impossible.

Place the center of gravity, by thought and action, at the hips. Everything above the hips must be free, flexible, elastic and vitalized when singing.

We say, _lift, expand, and let go_, which must be in the following proportion: Lift a little, expand more than you lift, and let go entirely.

The lift is from the hips up, and must be done in a free, flexible manner, with a constant study to make the body lighter and lighter, and the movement more elastic and flexible. Do not lift as though lifting a weight, but lift lightly as though in response to thought or suggestion.

Expand the entire body in a flexible, elastic manner. This will bring into action every muscle of the body, and apply strength and support to the voice; for, as we have found, there is no strength correctly applied except through right movement. When we lift and expand properly, we expand the body as a whole, and not the chest alone, nor the diaphragm, nor the sides.

These all come into action and expand with proper movement; but there must be no conscious thought of, nor conscious local effort of, any particular part of the body. When we lift and expand properly the chest becomes active, the diaphragm goes into a singing position, and every muscle of the body is on the alert and ready to respond to the thought or desire of the singer. Not only this; when we lift and expand properly, we influence directly the form and adjustment of all the vocal muscles, and especially the organ of sound itself. In this way the voice is actually and artistically tuned for the production of correct tone, as is the violin in the hands of the master before playing.

_Lift, expand, and let go_. This brings us to a consideration of the third part of this expression, _let go_. This is in some respects the most important of the three; for unless the singer knows how to let go properly, absolute freedom or the removal of all restraint is impossible, and the true conditions of tone are lacking. The _let go_ does not mean relaxation, for there must be flexible firmness without rigidity. With the beginner the tendency is to lift, expand, and harden or contract all the muscles. This, of course, means restraint. The correct idea of _let go_ may be studied and better understood by the following experiment or ill.u.s.tration.

Stand with the right arm hanging limp by the side. Lift it to a horizontal position, the back of the hand upward. While lifting, grip and contract every muscle of the arm and hand out to the finger-tips. This is much like the contraction placed upon the muscles of the body and of the throat by the conscious-breathing, local-effort school. Lift the arm again from the side, and in lifting have the thought or sensation of letting go all contraction of the muscles. Make the arm light and flexible, and use just enough strength to lift it, and hold it in a horizontal position. This should be the condition of all the muscles of the body under the influence of correct, _lift, expand, and let go_. Lift the arm the third time without contraction or with the sensation of letting go, hold it in a horizontal position, the back of the hand upward. Now will to devitalize the entire hand from the wrist to the finger-tips. Let the hand drop or droop, the arm remaining in a horizontal position. This condition of the hand is the _let go_, or the condition of devitalization, which should be upon the muscles of the face, the mouth, the tongue, the jaw, and the extrinsic muscles of the throat during the act of singing.

Thus, when we say, _lift, expand, and let go_, we mean lift from the hips, the center of gravity, in an easy, flexible manner; expand the body with a free movement without conscious thought of any part of it; have the sensation of letting go all contraction or rigidity, and absolutely release the muscles of the throat and face. The _let go_ is in reality more a negative than a positive condition, and virtually means, when you lift and expand, do not locally grip, harden, or set any muscle of the body, throat, or face.

The _lift, expand, and let go_ must be in proportion to the pitch and power of the tone. This, if done properly, will result in automatic form and adjustment, the removal of all restraint, and open, free throat and voice. This is the only way in which it is possible to truly vitalize, to arouse the physical, mental and emotional powers of the singer. This is the only way in which it is possible to put yourself and keep yourself upon a level with the tone--upon a level, physically, mentally and emotionally.

This is in truth and in fact the singer's true position and true condition; this is in truth and in fact self-a.s.sertion; and this, and this only, makes it possible to easily and naturally _arouse_ "the singer's sensation,"

the true sensation of artistic singing.

We will take for our first study a simple arpeggio, using the syllables Ya ha, thus:

[Ill.u.s.tration: FIRST STUDY. Ya, ha....]

We use Ya on the first tone, because when sung freely it helps to place the tone well forward. Ya is p.r.o.nounced as the German _Ja_. We use ha on all other tones of this study for the reason that it is the natural staccato of the voice. Think it and sing it "in glossic" or phonetically, thus: hA, very little h but full, inflated, expanded A. A full explanation for the use of Ya and ha may be found in "Position and Action in Singing,"

page 117. All the studies given in this little work for the ill.u.s.tration and study of the movements of our system should be sung on all keys as high and as low as they can be used without effort and without strain.

It has been said that "the production of the human voice is the effect of a muscular effort born of a mental cause." Therefore it is important to know what to think and how to think it.

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

Stand in an easy, natural manner, the hands and arms hanging loosely by the sides. You desire to sing the above exercise. Turn the palms of the hands up in a free, flexible manner, and lift the hands up and out a little, not high, not above the waist line. When moving the hands up and out, move the body from the hips up and out in exactly the same manner and proportion.

The hands and arms must not move faster than the body; the body must move rhythmically with the arms. This rhythmical movement of body and arms is highly important. In moving, the sensation is as though the body were lifted lightly and freely upon the palms of the hands. The hands say to the body, "Follow us." In this way, _lift, expand, and let go_. Do not raise the shoulders locally. The movement is from the hips up. The entire body expands easily and freely by letting go all contraction of muscle. Do not first lift, and after lifting expand, and then finally try to let go, as is the habit of many; but lift, and when lifting expand, and when lifting and expanding let go as directed. Three thoughts in one movement--three movements in one--lifting, expanding, and letting go simultaneously as one movement, which in fact it must finally become. This is the only way in which it is possible to secure all true conditions of tone.

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

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

The movement of the body is very slight, and at no time, in studying these first exercises, should the hands be raised above the level of the hips or of the waist line. Of course with beginners these movements may be more or less exaggerated. When singing songs, however, they do not show, at least not nearly as much as wrong breathing and wrong effort. They simply give the singer the appearance of proper dignity, position, and self-a.s.sertion.

By all means use the hands in training the movements of the body. You can train the body by the use of the hands in one-fourth of the time that it is possible to do it without using them. Be careful, however, not to raise the hands too high, as is the tendency; when lifted too high the energy is often put into the hands and arms instead of the body; in this way the body is not properly aroused and influenced, and of course true conditions are not secured.

"Practical rules must rest upon theory, and theory upon nature, and nature is ascertained by observation and experience." Now, if you will practice this arpeggio with a free, flexible movement of hands and body, getting under the tone, as it were, and moving to a level of every tone, you will soon find by practice and experience that these movements are perfectly natural, that they arouse all the forces which nature gave us for the production of tone, that they vitalize the singer and give freedom to the voice. By moving properly to a level of the first tone you secure all true conditions of tone; and if you have placed yourself properly upon a level with the high tone, when that is reached you will have maintained those true conditions--you will have freedom, inflation and vitality instead of contraction and strain.

By moving with the voice in this flexible manner we bring every part of the body into action, and apply strength as nature demands it, without effort or strain. Remember, there is no strength properly applied in singing without movement. In this way the voice is an outward manifestation of an inward feeling or emotion. "The voice is your inner or higher self, expressed not _at_ or _by_ but _through_ the vocal organs, aided by the whole body as a sound-board."

Our next study will be a simple arpeggio sung with the _la_ sound, thus:

[Ill.u.s.tration: SECOND STUDY. La....]

This movement, of course, must be sung with the same action of hands and body, starting from repose to the level of the first tone, and keeping constantly upon a level with the voice by ascending and descending. Sing this exercise first semi staccato, afterwards legato.

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

In singing the _la_ sound, the tip of the tongue touches the roof of the mouth, just back of the upper front teeth. Think the tone forward at this point, and let the jaw rise and fall with the tongue. Devitalize the jaw and the muscles of the face, move up in a free, flexible manner to the level of every tone, and you will be surprised at the freedom and ease with which the high tones come. The moving up in the proper way applies strength, and secures automatic form and adjustment; develops or strengthens the resisting or controlling muscles of the voice; in fact, gives the voice expansion, inflation, and tonicity.

Remember that one can act in singing; and by acting I mean the movements as here described, lifting, expanding, etc., without influencing the voice or the tone, without applying the movements to the voice; of course such action is simply an imitation of the real thing. Herein, however, lies the importance of correct thinking. The thought must precede the action. The singer must have some idea of what he wants to sing and how he wants to sing it. A simple chance, a simple hit or miss idea, will not do. Make your tone mean something. Arouse the singer's sensation, and you can soon tell whether the movement is influencing the tone or not. Of course these movements are all more easily applied on the middle and low tones than on the higher tones, but these are the great successful movements for the study and development of the high tones.

As we have learned in our former publications, there are but three movements in singing,--ascending, descending, and level movements. We have so far studied ascending and descending movements or arpeggios. We will now study level movements on a single tone, thus:

[Ill.u.s.tration: THIRD STUDY. Ah.]

Place yourself in a free, flexible manner upon a level with the tone by the use of the movements as before described; lift, expand, and let go without hurrying or without hesitation, and just when you reach that which you feel to be the level of the tone let the voice sing. All must be done in a moment, rhythmically and without local effort. Sing spontaneously, sing with abandon, trust the movements. They will always serve you if you trust them. If you doubt them, they are doubtful; for your very doubt brings hesitation, and hesitation brings contraction. Sing from center to circ.u.mference, with the thought of expansion and inflation, and not from outside to center. The first gives freedom and fullness of form, the latter results in local effort and contraction. The first sends the voice out full and free, the latter restrains it. Expansion through flexible movement is the important point to consider. When the tone is thus sung, it should result in the removal of all restraint, especially from the face, jaw, and throat. In this way the tone will come freely to the front, and will flow or float as long as the level of the tone is maintained without effort.

Remember the most important point is the movement from repose to the level of the tone. If this is done according to directions, all restraint will be removed and all true conditions will prevail. Never influence form. Let form and adjustment be automatic, the result of right thought, position, and action. Study to constantly make these movements of the body easier and more natural. Take off all effort. Do not work hard. It is not hard work.

It is play. It is a delight when properly done. Make no conscious, direct effort of any part of the body. Never exaggerate the movement or action of one part of the body at the sacrifice of the true position of another. The tendency is to locally raise the chest so high that the abdomen is unnaturally drawn in. This, of course, is the result of local effort, and is not the intention of the movements. The center of gravity must be at the hips; and all movement above that must be free, flexible, and uniform.[1]

[Footnote 1: In this connection, see Supplementary Note, page 135.]

Do not give a thought to any wrong thing you may be in the habit of doing in singing, but place your mind upon freeing the voice, upon the removal of all restraint through these flexible vitalized movements: think the ideal tone and sing. When the right begins to come through these movements the wrong must go. Over and against every wrong there is a right. We remove the wrong by developing the right. Sing in a free, flexible manner, the natural power of the voice. Make no effort to suppress the tone or increase its power. After the movements are understood and all restraint is removed, then study the tone on all degrees of power, but remember when singing soft and loud, and especially loud, that the first principle of artistic singing is the removal of all restraint.

ARTICLE TWO.

THE SECOND PRINCIPLE OF ARTISTIC TONE-PRODUCTION.

The second principle of artistic tone-production is

_Automatic Breathing and Automatic Breath-Control._

_Theory._--The singing breath should be as unconscious,--or, rather, as sub-conscious,--as involuntary, as the vital or living breath. It should be the result of flexible action, and never of local muscular effort. The muscular breath compels muscular control; hence throat contraction. The nervous breath, nervous control; hence relaxation and loss of breath.