and as here given, develop these conditions.  They give the singer physical vitality, freedom of voice, spontaneity, absolute automatic breath control, and make self-expression, emotional expression, and tone-color, not only possible but comparatively easy.  Singing is self-expression, an expression of thought and feeling.  There must be a medium, however, for the expression of feeling aroused through thought; that medium is the body and the body alone.  Therefore it is easy to see the importance of so training the body that it will respond automatically to the thought and will of the singer.

The opposite of depression, which local effort develops, is vitalized energy, the singer’s sensation, that which I have called the third power, and which is a revelation to those who have studied both sides of the question.  These things, as I have said, have been given to the vocal world in my book, “Position and Action in Singing.”  Many have understood them, have used them, and are enthusiastic advocates of the idea.  Others have not fully understood them, as was and is to be expected.  For that reason I have written this little book in the hope that it might make things plainer to all.  I have endeavored to embody these practical, natural, necessary movements in the formula of study given in this book.

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

Every correct system of voice-training is based upon principle, theory, and the devices used to develop the principles.  There are certain fundamental principles of voice, which are Nature’s laws laid down to man, and which cannot be violated.  Upon these principles we formulate theories.  The theories may be right or wrong, as they are but the works of man.  If they are right, the devices used are more apt to be right.  If they are wrong, wrong effort is sure to follow, and the result is disastrous.

After all, the most important question for consideration is that of the devices used to develop and train the voice.  All depends upon whether the writer, the teacher, and the pupil study Nature’s laws through common-sense methods or resort to artificiality.  If the devices used are right, if they develop vitality, emotional energy, if they avoid rigidity and depression, then the singer need not know so much about principle and theory.  But with the teacher it is different.  He must know what to think and how to think it before he can intelligently impart the ideas to his pupils.  Hence a system based upon correct principle, theory, and device is absolutely necessary for the teacher who hopes to succeed.