hysical training in connection with vocal training will
accomplish twice as much in a given time, in regard to tone, power and
control, as he could possibly do with the vocal training alone. This is the
day of physical training, of physical culture in all things; and the
average vocal teacher will have to awake to the fact that his pupils need
it as much as, or more than, they need the constant practice of tone.

Of course it is not possible to give a system of physical training in a
small work like this. The student of the voice can get physical training
and physical culture from many teachers and many books. It may not be
training that will so directly and definitely develop and strengthen the
vocal muscles and the organ of sound itself, or training that will so
directly influence the voice as does our system, which is especially
arranged for the singer; but any good system of physical development, any
system that gives the student health and strength, is good for the singing
voice. "Activity is the source of growth, both physical and mental."
"Strength to be developed, must be used. Strength to be retained, must be
used."

RAISON D'ETRE.

Since writing my last book, "Position and Action in Singing," and after
four or five years more of experience, I have been doubly impressed and
more than convinced of the power and influence of certain things necessary
to a right training and use of the voice. Herbert Spencer says, "Experience
is the sole origin of knowledge;" and my experience has convinced me, not
only that certain things are necessary in the training of the voice, but
that certain of the most important principles or conditions demanded by
Nature, are entirely wanting in most systems of singing.

Singers, as a rule, are artificial and unnatural. They do not use all the
powers with which Nature has endowed them. This has been most forcibly
impressed upon my mind by the general lack of vitality, or vital energy,
among singers; by a general lack of physical vitality, and, I venture to
say, largely of mental vitality, and undoubtedly of emotional vitality,
often, but mistakenly, called temperament. These things have been forced
upon me by the general condition of depression which prevails. Vitality,
however, or vitalized energy, is in fact the true means or device whereby
the singer is enabled to arouse his temperament, be it great or otherwise;
to arouse it, to use it, and to make it felt easily and naturally