ty. Vitality or vitalized energy, it will be found, holds
good also in this, the fifth fundamental principle of artistic voice
production.

Articulation, to be artistic, must be automatic and spontaneous; must be
the result of thought and effect desired, and never of direct or local
effort. This being true, we must recognize the importance of freedom of
form and action, of the removal of all restraint, in fact, the importance
of all true conditions of tone. This brings us back again to our original
position, as do all the fundamental principles of singing; namely,--the
importance of the free, flexible movements of our system, upon which
freedom of form and action, in fact, all true conditions of tone, depend.

Language, spoken language, has been considered by many a vocal weakness.
Scientists have contended that the consonantal sounds weaken the resonance
and power of the vowels. We have found the opposite to be true. We have
found that the consonantal sounds in many ways are a wonderful help in
developing the voice. This proves that which some one has so well said,
"The demonstrations of yesterday are the falsehoods of to-day."

A free, flexible articulation of the consonantal sounds helps to place the
voice, and gives it life and freedom. Articulation, under right conditions,
will not interfere with the legato flow of voice. It is not necessary, as
many suppose, to sacrifice distinct utterance in song for the sake of the
legato flow of voice, the most desired mode of singing. On the other hand,
the free legato flow of the vowels need not interfere at all with distinct
articulation. The voice is composed of two separate and distinct
instruments, the organ which produces sounds or vowels, and the
articulating organ which produces consonants. These two instruments, when
properly trained, strengthen, complement, and support each other, and
together they mold vowels and consonants into speech.

It is true that with many, articulation is a difficult matter, and this is
especially true on the high tones of the voice. No one who has heard the
majority of the average opera and concert singers of the day, would be
justified in holding that articulation is not a lost art. A free, distinct
articulation and use of words in song, is the exception and not the rule.
This is due largely to the following fact--with most singers there is
direct or local effort on face, jaw, tongue and throat, during the act of
singing; in other words,