Again, if there is unevenness in the development of the upper register, which really corresponds to soul aspiration, it is because of lack of spiritual development. I do not wish it to be understood by this statement that soul development means what people ordinarily call religion. It has nothing to do with creed or dogma, ceremonial or form, but with a state of feeling. If music is an expression of soul passion, the music must express itself through the feeling of the singer. And if the notes in the register are uneven, then there needs to be a cultivation of one's inner feeling through the use of feeling, for we can exercise our feelings just as much as we can exercise our bodies. We exercise our bodies through physical use, and feeling is also exercised through use. Sometimes we are fearful, and to overcome that, we should cultivate courage. Sometimes the life is filled with doubt; displace it with hope, cultivate love through gentleness and kindness. Try to feel quite as much or more than you think. Remember that it is through feeling that the highest musical expression must come. The beauty and purity of the harmonics or overtones of the upper register disclose to the highly attuned person much of the development of the singer. The tree is known by its fruits. Every overtone has its own story to tell, and tells it in no uncertain way. We find, then, that the three registers correspond to three states or three phases in the evolution of man. I do not wish to be misunderstood or to convey the impression that the high tenor and soprano are living any more religious or harmonious lives than the bass and contralto singers. We must look at life, from first to last, as being spiritual, no matter what the plane of expression may be; so that the bass voice that shows evenness and beauty of tone might be indicative of a more perfectly lived life, according to one's ideals, than the tenor with unevenness or lack of quality or purity of tone. I would not have anyone think for a single moment that I would classify people as being either good or bad by the pitch or range of their voices, but people do classify themselves through the beauty, colour, and purity of their tone production or lack of it, whether they know it or not; and they do this as infallibly as the thermometer registers the temperature of heat or cold. To the untrained ear, through the use of acquired art, one may be able to cover up a multitude of sins in singing, sins of omission and commission. But to the ear that is attuned to the higher melodies and harmonies of life, there can be no such deception. The person who desires to develop the voice to its full capacity must learn to live in a full and a complete way; must experience the pleasure and joy, happiness and harmony, of all three planes, - physical, mental, and spiritual, - in order to live the whole life that man has been intended to live. He must learn to live on all planes in a thoroughly wholesome, temperate way, in order to be able to enjoy all natural phases of living. He should understand that he is related to the physical plane through his bodily senses and that the varying needs and requirements of the body should all be fittingly observed. He should be no more the ascetic than the glutton, but live his physical life in a thoroughly poised manner, getting real pleasure from such living. In his mental life he should learn to cultivate his mind and be able to give clear expression to his thoughts, for the development of beautiful imagination adds greater happiness to his life than does any physical pleasure. His mind should be taught to rule or direct his physical nature, because it is one step higher in the evolution of his life. He should never strain the mind or allow it to become either too relaxed or too tense, because just as sure as the pendulum swings too far in one direction, it must swing correspondingly far in the other. Self-control is something that each one must work for, and only by working for it will it come. Live the mental life to the full. Know as much as it is possible to know, but neither overuse nor underuse the mind and expect to be happy in so doing. Happiness is the result of right mental living.
Again, the mind should be under the dominion of the spirit; for the spirit in man is the controlling factor in life. Love and joy, faith and hope, and all qualities kindred to these constitute in man the real dynamic of life, the light that is to illumine the whole life, the power that is to be expressed through everything man does. Remember that all three of these varying phases of life exist all the way from the elemental man up, Only in the elemental man they are rudimentary, while in the highly civilised man they have become a more conscious realisation. From first to last, all proceeds from the indwelling spirit; from .
first to last,- it is a state of consciousness of realising in part or in whole.
It is a mistake on the part of the vocal master or student to think that the voice can be developed through a study of anatomy or physiology. Sooner or later they will come to see that knowledge of the various planes of life and conformity to the requirements of these planes will bring about the desired end in a shorter time and a better way. Art means making the best possible form through which the tone can be expressed. Ruskin says: "High art consists neither in altering nor in improving nature; but in seeking throughout nature for whatsoever things are lovely, whatsoever things are pure; in loving these, in displaying to the utmost of the painter's power such loveliness as is in them, and directing the thoughts of others by winning art, or gentle emphasis. Art (caeteris paribus) is great in exact proportion to the love of beauty shown by the painter, provided that the love of beauty forfeit no atom of truth." What Ruskin wrote concerning painting, an art that has far less of inner revelation than has music, is also true of music, only in a much greater way. If the painter is not to sacrifice an atom of truth, surely in an art like music, which is the very soul of all arts, there must be far less occasion for any sacrifices. A great singer like Jenny Lind will, first of all, use her voice for the glory of God. God gave her the voice, God gave her the health, feeling, and beauty that lived in her soul, and she glorified God through singing the songs that would enlighten and uplift the souls of men and women. The greatest glory we can render God is loving service to mankind. When composers, singers, and instrumental musicians realise that they are the true prophets and priests of God, then they will try, in order to be of greater service to mankind, to purify both their minds and bodies; thereby fitting themselves to become receptive to the indwelling Spirit, and thus be able to render the best service to their fellow-man.