the tone by the
use of the movements as before described; lift, expand, and let go without
hurrying or without hesitation, and just when you reach that which you feel
to be the level of the tone let the voice sing. All must be done in a
moment, rhythmically and without local effort. Sing spontaneously, sing
with abandon, trust the movements. They will always serve you if you trust
them. If you doubt them, they are doubtful; for your very doubt brings
hesitation, and hesitation brings contraction. Sing from center to
circumference, with the thought of expansion and inflation, and not from
outside to center. The first gives freedom and fullness of form, the latter
results in local effort and contraction. The first sends the voice out full
and free, the latter restrains it. Expansion through flexible movement is
the important point to consider. When the tone is thus sung, it should
result in the removal of all restraint, especially from the face, jaw, and
throat. In this way the tone will come freely to the front, and will flow
or float as long as the level of the tone is maintained without effort.

Remember the most important point is the movement from repose to the level
of the tone. If this is done according to directions, all restraint will be
removed and all true conditions will prevail. Never influence form. Let
form and adjustment be automatic, the result of right thought, position,
and action. Study to constantly make these movements of the body easier and
more natural. Take off all effort. Do not work hard. It is not hard work.
It is play. It is a delight when properly done. Make no conscious, direct
effort of any part of the body. Never exaggerate the movement or action of
one part of the body at the sacrifice of the true position of another. The
tendency is to locally raise the chest so high that the abdomen is
unnaturally drawn in. This, of course, is the result of local effort, and
is not the intention of the movements. The center of gravity must be at the
hips; and all movement above that must be free, flexible, and uniform.[1]

[Footnote 1: In this connection, see Supplementary Note, page 135.]

Do not give a thought to any wrong thing you may be in the habit of doing
in singing, but place your mind upon freeing the voice, upon the removal of
all restraint through these flexible vitalized movements: think the ideal
tone and sing. When the right begins to come through these movements the
wrong must go. Over a