unseats the voice, that is, disturbs or prevents correct adjustment, and
thus compels him to consciously hold it; but this very act makes it
impossible to give the voice freedom. Through these movements, through
correct position, we secure automatic adjustment, which means approximation
of the breath bands, the principle of the double valve in the throat, which
secures automatic breath-control. In other words, the singer whose position
and action are correct need never give his breathing a thought. This is
considered by many as the greatest problem--for the singer--solved in the
nineteenth century.

To study and master these movements and apply them practically, the singer
needs to know absolutely nothing of the mechanism of his vocal organs. He
need not consider at all the physiological side of the question. Of course
the study of these movements must at first be more or less mechanical,
until they respond automatically to thought or will. Then they are
controlled mentally, the thought before the action, as should be the case
in all singing; and finally the whole mechanism, or all movements, respond
naturally 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 rigid
muscular school or the limp relaxed school; and yet they are destined to
influence sooner or later all systems of singing. They have been used more
or less in all ages by great artists. It is strange that they are not
better understood by the profession.

* * * * *

In this connection it might be well to speak of the importance of physical
culture for the singer. A series of simple but effective exercises should