The
controlling force lies in the chest, in a properly adjusted larynx and the
approximated breath-bands. These two forces must be balanced during the act
of singing. Most singers are much stronger in the driving or motor power
than in reaction or the controlling force; and with many, the weakness in
control, reaction or adjustment, is an absolute bar to success. Hence the
importance of strengthening the chest, and the position of the organ of
sound, through physical culture.
When these two forces, motor power and control, are not equal, the balance
of force is placed upon the throat and throat muscles. This the singer can
no more avoid doing than he can avoid balancing himself to keep from
falling. When, in order to place, the voice is pushed up, deliberately and
maliciously pushed, both forces are exerted in the same direction. They are
then virtually but one force--a driving force. As there must be two forces
in singing, as Nature compels this, there is nothing left for the singer to
do but to use the throat and throat muscles as a controlling force. Under
these conditions, as before stated, the tone may be brilliant, but it will
always be unsympathetic and unmusical.
I hope no one will think for a moment, in considering the movements we
advocate, that we do not believe in strength and power. We do believe in
applied power, applied indirectly; not by local grip and contraction, but
indirectly through vitalized energy, expansion, and flexibility, through
the true position and action of the singer.
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