t express something, through the character of the
tone, the idealized tone. In this way the personal magnetism of the singer
is imparted, heard, and felt. This means the expression of thought and
feeling through the color and character of the tone, the highest known form
of expression. This principle is the greatest known agency for the
development of all the powers of the singer, not only the emotional and
mental powers, but the physical as well. The student of the voice who
studies or who is trained in this way, develops, not only in character and
beauty of tone, but in actual physical power and control. This study of
tone color and tone character develops new power in every way. "The
mechanical and mental alone are but half development, but this is full and
complete development of the entire being." In proof of this, sing a light,
bright, happy thought or tone, using the clear timbre, about the middle of
the voice. It will require but little strength. Then sing a more emotional
thought, sentence, or tone; express deeper feeling, and it will be found
that more strength is required. Again, give utterance to tone or words
which express sadness, sorrow, or intense pleading, using the somber timbre
of the voice, and much more strength will be required. This will be
especially noticeable in the action or energy of the diaphragm and
abdominal muscles. It will be found that the low muscles of the body exert
more strength on somber timbre than on clear tone. This, in order to induce
the deep, low setting of the voice at the organ of sound, necessary for the
production of somber or dark tone, and the expression of deep, emotional
feeling. It is easy to see that this means greater physical as well as
emotional development; physical development, not only of every muscle of
the body, but of the organ of sound itself; a development which can be
attained through the study of tone color and emotional expression only.

The power of vitalized emotional energy, I might say the power of the
emotional power, cannot be overestimated. The power of an emotional climax,
imparted through the soft color of the voice, is often greater than that of
the dramatic climax; it will often influence and affect an audience in the
most startling way. We find that thought and will control all physical
action in singing. If the thought is right, the action will be right; if
wrong, the action will surely be wrong. When right thought and action have
developed