Therefore it is important to know
what to think and how to think it.

We say, put yourself and keep yourself constantly upon a level with the
tone, mentally, physically and emotionally. For the present we have to do
with the mental and physical only.

Stand in an easy, natural manner, the hands and arms hanging loosely by the
sides. You desire to sing the above exercise. Turn the palms of the hands
up in a free, flexible manner, and lift the hands up and out a little, not
high, not above the waist line. When moving the hands up and out, move the
body from the hips up and out in exactly the same manner and proportion.
The hands and arms must not move faster than the body; the body must move
rhythmically with the arms. This rhythmical movement of body and arms is
highly important. In moving, the sensation is as though the body were
lifted lightly and freely upon the palms of the hands. The hands say to the
body, "Follow us." In this way, _lift, expand, and let go_. Do not
raise the shoulders locally. The movement is from the hips up. The entire
body expands easily and freely by letting go all contraction of muscle. Do
not first lift, and after lifting expand, and then finally try to let go,
as is the habit of many; but lift, and when lifting expand, and when
lifting and expanding let go as directed. Three thoughts in one
movement--three movements in one--lifting, expanding, and letting go
simultaneously as one movement, which in fact it must finally become. This
is the only way in which it is possible to secure all true conditions of
tone.

With this thought in mind, and having tried the movement without singing,
sing the above exercise. Start from repose, as described, and by using the
hands and body in a free, flexible manner, move to what you might think
should be the level of the first tone. Just when you reach the level of the
first tone let the voice sing. Move up with the arpeggio to the highest
note, using hands, body, and voice with free, flexible action; then move
body and hands with the voice down to the lowest note of the arpeggio; when
the last tone is sung go into a position of repose.

The movement from repose to the level of the first tone is highly
important, for the reason that it arouses the energies of the singer, and
secures all true conditions through automatic form and adjustment. Do not
hesitate, do not hurry. All movement must be rhythmical and spontaneous,
and never the result of effort. In si