e studied both sides of the
question. These things, as I have said, have been given to the vocal world
in my book, "Position and Action in Singing." Many have understood them,
have used them, and are enthusiastic advocates of the idea. Others have not
fully understood them, as was and is to be expected. For that reason I have
written this little book in the hope that it might make things plainer to
all. I have endeavored to embody these practical, natural, necessary
movements in the formula of study given in this book.

The formula which follows is systematically and logically arranged for the
study and development of fundamental principles through or by the means of
these flexible vitalized movements. In this way I hope to make these ideas
plainer and more definite to pupil and teacher.

Every correct system of voice-training is based upon principle, theory, and
the devices used to develop the principles. There are certain fundamental
principles of voice, which are Nature's laws laid down to man, and which
cannot be violated. Upon these principles we formulate theories. The
theories may be right or wrong, as they are but the works of man. If they
are right, the devices used are more apt to be right. If they are wrong,
wrong effort is sure to follow, and the result is disastrous.

After all, the most important question for consideration is that of the
devices used to develop and train the voice. All depends upon whether the
writer, the teacher, and the pupil study Nature's laws through common-sense
methods or resort to artificiality. If the devices used are right, if they
develop vitality, emotional energy, if they avoid rigidity and depression,
then the singer need not know so much about principle and theory. But with
the teacher it is different. He must know what to think and how to think it
before he can intelligently impart the ideas to his pupils. Hence a system
based upon correct principle, theory, and device is absolutely necessary
for the teacher who hopes to succeed.

The following system, as formulated, is largely the outgrowth of my summer
work at Point Chautauqua, on Lake Chautauqua. There we have a school every
summer, not only for the professional singer and teacher, but for those who
desire to become such. Beside the private lessons we give a practical
normal course in class lessons. There the principles, the theory, and the
devices used are studied and worked out in a practical way by lecture, by
illus