tration, and by the study of all kinds of voices. Many who have taught
for years have there obtained for the first time an idea, the true idea, of
flexible vitalized movements, the devices demanded by nature for giving the
voice vitality, freedom, ease, etc. These teachers who are thus aroused
become the most enthusiastic supporters of, and believers in, our system of
flexible vitalized movements.

It is, therefore, through the Chautauqua work that I have been impressed
with the importance of placing this system in a plainer and more definite
way, if possible, before the vocal world.

PART SECOND.

_VITALITY._

ARTICLE ONE.

THE FIRST PRINCIPLE OF ARTISTIC TONE--PRODUCTION.

The first principle of artistic tone-production is

_The Removal of All Restraint_.

The theory founded upon this principle is as follows: Correct tone is the
result of certain conditions demanded by Nature, not man's ideas. These
conditions are dependent upon form and adjustment; and form and adjustment,
to be right, must be automatic, and not the result of direct or local
effort.

The devices used for developing the above conditions are simple vocal
exercises which are favorable to correct form and adjustment, and are
studied and made to influence the voice through correct position and
action.

A correct system for training and developing the voice must be based upon
principle, theory, and device; upon the principles of voice which are
Nature's laws, upon the theories based upon these principles, and upon the
devices for the study and development of such principles.

My purpose in this little work is to give just enough musical figures or
exercises to enable us to study and apply the movements, the practical part
of our system.

The first principle of artistic tone-production is the removal of all
restraint. This no one can deny without stultifying himself. The removal of
all restraint means absolute freedom, not only of form and action, but of
tone. It is evident, then, that any local hardening or contracting of
muscle, any tension or contraction which would prevent elasticity, would
make the removal of all restraint impossible. Hence we find that this first
principle is an impossibility with the rigid local-effort school. On the
other hand, relaxation, while it may remove restraint, makes artistic
control and tonicity impossible. Hence artistic tone, based upon this first
principle, is an impossible condition with