Excerpt from The Vocal Instructor, Vol. 3
The first great fundamental principle of artistic tone production is freedom, the removal of all restraint.
Theory
Correct tone is the result of certain conditions - conditions that are in nature, conditions demanded by nature. These conditions are the result only of correct form and adjustment. Form and adjustment to be right must be automatic, and never the result of direct or local effort or influence.
Devices
The devices are the studies which follow.
Conditions
1. Free, flexible, vitalized bodily position and action. (Energy instead of effort.)
2. Natural or automatic adjustment of all the parts, especially the organ of sound - the larynx.
3. Automatic form and inflation of all the resonance cavities, the great reinforcing power.
4. Approximation of the breath bands, the false vocal chords, the great natural controlling force.
5. Equal pressure and resistance of the two great physical forces, motor power and control.
6. Automatic articulation.
7. Physical mental, and emotional energy or vitality combined; the body, mind, and soul in action.
A Study of the Movements of the System
Thu Singer's Position and Action
Study the Stunts and the Singing Movement slowly and carefully. Think out and work out each numbered line or paragraph before going on to the next. The movements are very simple but very definite. It is difficult for the student or singer to realize how simple and natural they are, - to realize that through them he docs freely and naturally those things which the average student believes - or is made to believe - he must do by conscious local effort; to realize that they induce all true conditions of tone through automatic form and adjustment. They completely change the average singer's viewpoint of free, beautiful tone by arousing new sensations through correct thought, feeling and action. They develop the true technical production and control of artistic tone.
A Study of the Motor Power
Stunt No. 1.
1. Stand in an easy, natural position, weight on one foot (either one).
2. Place hands and arms as indicated in. Figure No. 1 by A-A, palms up, elbows touching the hips.
3. Move hands and arms easily to position indicated by B-B and back again. No effort, no rigidity, the center of thought and action at the elbows.
Note. - Always keep the palms of the hands up and so level that water in them would not spill. If the arms turn or twist, the influence is lost. Hands and elbows must move in parallel lines. If the hands swing out and back faster and farther than the elbows, the movement is of little value.
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