the voice. Study its possibilities
and its limitations. Study music until the musical element of difficulty is
reduced to a minimum, and until the character, style, and traditions of the
various song forms are well within your grasp. No matter how beautiful may
be the voice, or how well placed, no amount of enthusiasm or temperament
can atone for a meaningless or unintelligent treatment of the intellectual,
emotional, and musical characteristics of the song as a whole.

SUPPLEMENTARY NOTE.

The tendency of many is to raise the hands and arms too high; the hands
should not be raised above the waist-line. If raised too high, the energy
is often put in the action of the arms instead of the body; or the upper
part of the body only is moved, and thus the most important effect or
influence for power and control is wanting. The action must be from the
hips up, and not only from the hips, but the hips must act and expand with
the body. Remember the center of gravity must be at the hips. If it is
found that the tendency is to raise the hands too high, then try or study
the action as follows:

Place the hands upon the hips, and when coming into action, when seeking
the level of the tone, or during the act of singing, see that the hips
expand freely and evenly with the body. This should be tried and practiced
frequently by all in order that the movement may be from the hips up and
not above the hips only. When the hips are thus brought into action, the
abdominal muscles and the diaphragm are strengthened, and their position
and action are correct. When the upper part of the body only is brought
into action the position of the diaphragm and abdominal muscles is often
weakened. Remember that the basic law or foundation principle of our whole
system of movements is movement from the hips up, including the action or
expansion of the hips in connection with the movements of the entire body.

End of Project Gutenberg's The Renaissance of the Vocal Art, by Edmund Myer

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