everything in nature and art. Everything which man says or does under
normal, free conditions, is self-expression, an expression of his inner
nature; but this expression must be under the law. If not, the expression
is unnatural and therefore artificial. This principle, which holds true in
all of man's expression, in all art, is in nothing more evident than in the
use of the singing voice.

"Nature does nothing for man except what she enables him to do for
himself." Nature gives him much, but never compels him to use what she
gives. Man is a free agent. He can obey or violate the laws of Nature at
will; but he cannot violate Nature's laws, and not pay the penalty. This
thought or principle constantly stands out as a warning to the vocal world.
The student of the voice who violates Nature's laws must not expect to
escape the penalty, which is hard, harsh, unmusical tone or ruined voice.
Nature demands certain conditions in order to produce beautiful, artistic
tone. If the student of the voice desires to develop beautiful, artistic
tone he is compelled to study the conditions, the fundamental principles
under the law; and this can be done only by the use of common-sense
methods.

All artistic tone is the result of certain conditions, conditions demanded
by Nature and not man's ideas or fancies. These conditions are dependent
upon form and adjustment, or we might better say adjustment and form, as
form is the result of the adjustment of the parts. So far all writers on
the voice, and all teachers, agree; but here comes the parting of the ways.
One man attempts form and adjustment by locally influencing the parts,--the
tongue, the lips, the soft palate, the larynx, etc. This results in
muscular singing and artificiality. We have found that form and adjustment,
to be right, must be automatic. This condition cannot be secured by any
system of direct local effort, but must be the result of flexible,