ard high placing and the added resonance of the inflated cavities and
especially of the chest.

In singing, as we have learned, there are two forces constantly in
action,--pressure and resistance, or motor power and control. These two
forces must prevail, and in order to produce the voice artistically, they
must be balanced. This is done, indirectly, through the movements we
advocate, through the position and action of the body. The motor power lies
in the diaphragm and in the abdominal and intercostal muscles. The
controlling force lies in the chest, in a properly adjusted larynx and the
approximated breath-bands. These two forces must be balanced during the act
of singing. Most singers are much stronger in the driving or motor power
than in reaction or the controlling force; and with many, the weakness in
control, reaction or adjustment, is an absolute bar to success. Hence the
importance of strengthening the chest, and the position of the organ of
sound, through physical culture.

When these two forces, motor power and control, are not equal, the balance
of force is placed upon the throat and throat muscles. This the singer can
no more avoid doing than he can avoid balancing himself to keep from
falling. When, in order to place, the voice is pushed up, deliberately and
maliciously pushed, both forces are exerted in the same direction. They are
then virtually but one force--a driving force. As there must be two forces
in singing, as Nature compels this, there is nothing left for the singer to
do but to use the throat and throat muscles as a controlling force. Under
these conditions, as before stated, the tone may be brilliant, but it will
always be unsympathetic and unmusical.

I hope no one will think for a moment, in considering the movements we
advocate, that we do not believe in strength and power. We do believe in
applied power, applied indirectly; not by local grip and contraction, but
indirectly through vitalized energy, expansion, and flexibility, through
the true position and action of the singer. There is no strength properly
applied in singing except through movement; through correct movement all
the forces which nature has given the singer are indirectly brought into
action; in this way there is constant physical and vocal development.

Every tone sung, as we have learned, is a reinforced sound. There are two
ways of reinforcing tone. First, by muscular tension, muscular contraction,
muscular effort--the