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.