The removal of
all restraint means absolute freedom, not only of form and action, but of
tone. It is evident, then, that any local hardening or contracting of
muscle, any tension or contraction which would prevent elasticity, would
make the removal of all restraint impossible. Hence we find that this first
principle is an impossibility with the rigid local-effort school. On the
other hand, relaxation, while it may remove restraint, makes artistic
control and tonicity impossible. Hence artistic tone, based upon this first
principle, is an impossible condition with the limp or relaxed school.
That tone is the result of certain conditions demanded by Nature, and that
these conditions are dependent upon form and adjustment, cannot be denied;
but unless form and adjustment give freedom to the voice, unless they
result in the removal of all restraint, then the manner or method in which
they are secured must surely be wrong. Local effort or contraction cannot
do this. Relaxation cannot secure the true conditions. There is and can be
but one principle which makes true form and adjustment possible: All form
and adjustment must be automatic, and not the result of direct or local
effort.
This brings us to a study of devices; and devices, to influence correctly
not only the voice but the individual, must be in accordance with natural
and not artificial conditions. The singer must put himself and keep himself
upon a level with the tone--upon a level with the tone physically, mentally
and emotionally.
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