the limp or relaxed school.

That tone is the result of certain conditions demanded by Nature, and that
these conditions are dependent upon form and adjustment, cannot be denied;
but unless form and adjustment give freedom to the voice, unless they
result in the removal of all restraint, then the manner or method in which
they are secured must surely be wrong. Local effort or contraction cannot
do this. Relaxation cannot secure the true conditions. There is and can be
but one principle which makes true form and adjustment possible: All form
and adjustment must be automatic, and not the result of direct or local
effort.

This brings us to a study of devices; and devices, to influence correctly
not only the voice but the individual, must be in accordance with natural
and not artificial conditions. The singer must put himself and keep himself
upon a level with the tone--upon a level with the tone physically, mentally
and emotionally. The device which we use, or the formula, is, _lift,
expand, and let go_.

With the singer who contracts the throat muscles during the act of singing,
that which may be called the center of gravity or of effort is at the
throat. With the singer who carries a consciously high chest and a drawn-in
or contracted diaphragm, the center of gravity is at the chest. With the
singer who takes a conscious full breath, and hardens and sets the
diaphragm to hold it, the center of gravity is at the diaphragm. In none of
these cases is it possible to remove all restraint; for they all result in
contraction, especially of the throat muscles, and make flexible
expansion--a condition necessary to absolute freedom--impossible.

Place the center of gravity, by thought and action, at the hips. Everything
above the hips must be free, flexible, elastic and vitalized when singing.
We say, _lift, expand, and let go_, which must be in the following
proportion: Lift a little, expand more than you lift, and let go entirely.
The lift is from the hips up, and must be done in a free, flexible manner,
with a constant study to make the body lighter and lighter, and the
movement more elastic and flexible. Do not lift as though lifting a weight,
but lift lightly as though in response to thought or suggestion.

Expand the entire body in a flexible, elastic manner. This will bring into
action every muscle of the body, and apply strength and support to the
voice; for, as we have found, there is no strength correctly applied exc