Three thoughts in one
movement--three movements in one--lifting, expanding, and letting go
simultaneously as one movement, which in fact it must finally become. This
is the only way in which it is possible to secure all true conditions of
tone.
With this thought in mind, and having tried the movement without singing,
sing the above exercise. Start from repose, as described, and by using the
hands and body in a free, flexible manner, move to what you might think
should be the level of the first tone. Just when you reach the level of the
first tone let the voice sing. Move up with the arpeggio to the highest
note, using hands, body, and voice with free, flexible action; then move
body and hands with the voice down to the lowest note of the arpeggio; when
the last tone is sung go into a position of repose.
The movement from repose to the level of the first tone is highly
important, for the reason that it arouses the energies of the singer, and
secures all true conditions through automatic form and adjustment. Do not
hesitate, do not hurry. All movement must be rhythmical and spontaneous,
and never the result of effort. In singing the arpeggio the tones of the
voice must be strictly staccato; but the movement of the hands and body
must be very smooth, even, and continuous--no short, jerky movements.
The movement of the body is very slight, and at no time, in studying these
first exercises, should the hands be raised above the level of the hips or
of the waist line.
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