Out of every hundred voices tried I am safe in saying that at least ninety
are physically depressed, are physically below the standard of artistic
singing. Singing, it is true, is more mental than physical, and more
emotional than mental; but a right physical condition is absolutely
necessary, and the development of it depends upon the way the pupil is
taught to think. Singing is a form of self-expression, of an expression of
the emotions. This is impossible when there is physical depression. The
singer must put himself and keep himself upon a level with the tone and
upon a level with his song, the atmosphere of his song; upon a level with
the sentiment to be expressed, physically, mentally and emotionally. This
cannot be done, or these conditions cannot prevail, when there is
depression.

There is, to my mind, but one way to account for this condition of
depression among singers. That is, the way they think, or are taught to
think, in regard to the use of their bodies in singing. The way in which
they breathe and control the breath, the way in which they drive and
control the tone. It is the result of rigid muscular effort or relaxation,
and both depress not only the voice but the singer as well. The tonal
result is indisputable evidence of this.

Knowledge comes through experience; and my experience in studying both
sides of this question has convinced me that there is but one way to
develop physical, mental and emotional vitality in the singer, and that is
through some system of flexible, vitalized bodily movements. There must be
flexible firmness, firmness without rigidity. The movements as given in my
book, "Position and Action in Singing," 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,