l be the
sensation of freedom, of ease, of power; a feeling as though the entire
body from the head down to the waist were open and filled with tone.
Remember, however, this important fact, that it is possible to lift and
expand, and even to let go, and yet not to influence the tone. We can act
well and yet sing with a common tone. The pupil must think and feel the
tone, must think and feel the effect desired. The thought must precede the
action.

This point is worthy of all consideration,--right thought or right feeling
assists the tone in every way, has, in fact, a wonderful influence in
developing right action. The idealized tone brings into action more of the
true powers of the singer than it is possible to do in any other way.

[Illustration: SIXTH STUDY. Ya, ah.]

This study lends itself easily and naturally, not only to the development
of high placing, but to correct bodily action.

Sing the first tone staccato, placing the body upon a level with the tone
as described. Then from the level of this first tone, through flexible
vitalized action, carry the body spontaneously or by impulse to the level
of the upper tone; the air current or the tone should strike the roof of
the mouth well forward and instantly reflect into the low cavities. In this
way all true conditions are secured, and the voice is allowed to sing
instead of being made or compelled. There must be a very free lift,
expansion, and let go between the first and the upper tone. Do not let the
second tone start until its level is reached, or the effect will be
spoiled, or at least modified. All this must be done rhythmically, which
means without the least hesitation, or without the sensation of haste. To
hesitate compels local effort. To hurry disturbs all true conditions. This
is a very valuable exercise, if understood.

[Illustration: SEVENTH STUDY. Ah....]

This study is virtually the same as the sixth, except that the voice is not
suspended or arrested between the first and second tones. This exercise
must be studied with the same action and the same impulse as the sixth
study. Some singers can get placing and reaction better on this study than
on the sixth.

[Illustration: EIGHTH STUDY. Ah....]

Find the level of the first tone as suggested, using hands and body; move
down, hands and body going with the tone, while singing the first three
notes of this exercise; then, without stopping or hesitating, reverse the
action or the movement, by li