d developed
the physical and mental vitality of the singer, the vitality and energy of
body and mind. This is the limit of progress or development with many, at
least so far as actual tone study is concerned.

There comes a time, however, in the experience of every student of the
voice, a stage of the study, when, if he expects to be an artist, he must
take a step in advance, a step higher; he must place himself upon a higher
plane or level; he must arouse his true inner nature, the singer's
sensation, that which we have called the third power. This is done by a
study of emotional, or self-expression. It is done through arousing and
vitalizing the emotional energy. Vitalized emotional energy, the singer's
sensation, is undoubtedly the true motor power of the artist.

At just what stage of development the consideration of this higher form of
study or expression should be placed before the mind of the pupil, is a
question. Singers are so different, physically, mentally, and emotionally.
With some I have found it best not to consider this side of the question
until they have developed a fair vocal technique. This should be the case
with emotional, nervous, excitable temperaments. With hard, cold, stiff,
mechanical pupils, this is often the only way in which it is possible to
arouse them, in order to give them a start, without wasting weeks or months
of precious time.

The development of this principle of vitalized, emotional energy, depends,
as a rule, upon freedom of voice and the true conditions of tone as before
described. Therefore, in order to study this great question, in order to
fully develop this higher form of expression, the singer must have mastered
the flexible, vitalized movements given in this work, must have acquired
through these movements absolute freedom of tone. Experience teaches us,
however, that there are those who, while they learn, in a certain way, to
do the movements comparatively well, yet do not entirely let go,--they do
not free the voice. With such the study of tone color, and especially the
study of soft color, not soft tone necessarily, but soft, emotional tone
color, is their only salvation. It releases and relaxes all the rigid local
tendencies.

There is a stage of study, as we have said, in the experience of all
students of the voice, when, in order to become artists, Nature demands of
them more than mere sound. There comes a time when every tone of the voice
must mean something, mus