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:
Place yourself in a free, flexible manner upon a level with the tone by the use of the movements as before described; lift, expand, and let go without hurrying or without hesitation, and just when you reach that which you feel to be the level of the tone let the voice sing. All must be done in a moment, rhythmically and without local effort. Sing spontaneously, sing with abandon, trust the movements. They will always serve you if you trust them. If you doubt them, they are doubtful; for your very doubt brings hesitation, and hesitation brings contraction. Sing from center to circumference, with the thought of expansion and inflation, and not from outside to center. The first gives freedom and fullness of form, the latter results in local effort and contraction. The first sends the voice out full and free, the latter restrains it. Expansion through flexible movement is the important point to consider. When the tone is thus sung, it should result in the removal of all restraint, especially from the face, jaw, and throat. In this way the tone will come freely to the front, and will flow or float as long as the level of the tone is maintained without effort.
Remember the most important point is the movement from repose to the level of the tone. If this is done according to directions, all restraint will be removed and all true conditions will prevail. Never influence form. Let form and adjustment be automatic, the result of right thought, position, and action. Study to constantly make these movements of the body easier and more natural. Take off all effort. Do not work hard. It is not hard work. It is play. It is a delight when properly done. Make no conscious, direct effort of any part of the body. Never exaggerate the movement or action of one part of the body at the sacrifice of the true position of another. The tendency is to locally raise the chest so high that the abdomen is unnaturally drawn in. This, of course, is the result of local effort, and is not the intention of the movements. The center of gravity must be at the hips; and all movement above that must be free, flexible, and uniform.[1]
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.