r contraction and depression are sure to follow. Also the
higher the tone the lower the added resonance, when the conditions are
right. In this way the form elongates and the compass expands without
effort or strain. These ideas studied through flexible movements are truly
wonderful, but natural means for expanding the compass of the voice.

Much has been written lately on the subject of open tones. Should the tones
be opened or closed, is the question. Tone should never be closed. It
should always be open, but never out. If it is out of the mouth it is not a
singing sound. Even the real covered tones of the voice should never be
closed. The truth is, the form of the covered tones of the voice, through
elongation, is larger than the form of those which we call the open tones,
in contradistinction to the covered.

In the clear timbre of the voice, the bright tone, the ring of high
placing, predominates. In somber timbre, the dark tone, low resonance, or
low color, predominates. In medium tone both are heard or felt more
equally. None of this coloring or reinforcing must be done by locally
influencing form or placing. The voice must be perfectly free; and the
result must be due to sentiment, feeling, emotion, to the effect it may be
desired to produce. If all restraint is removed, if true conditions
prevail, this can always be done through the singer's sensation, through
the use of the third power. It is marvelous how, under right conditions,
the voice will respond to thought, to sentiment, to feeling.

"The tone thus produced and thus delivered, with perfect breath-control,
will set the _whole body sympathizing_, from the sole of the foot to
the crown of the head. And it is _only_ tones like these--that it is
possible to so adorn, and decorate, and beautify, with the due amount of
emphasis, and accurate intensity of emotional feelings, and exquisitely
shaded and ever-varying tinges of color in expression--that can prove
capable of captivating the heart of the hearer, that can graphically
impress the listener with such sentiments as the vocalist desires to
convey."

We will take for our first study a single tone about the middle of the
voice. In studying placing and resonance, we must of course observe all the
rules laid down in regard to the action, position, etc. Do not take a
voluntary breath before acting--do not start the tone before the action,
two things which require constant watching on the part of the beginner