sonants are not to be sung. They
are points of interference and must be distinct but short. The principle
of freedom applies to consonants no less than to vowels.

=Second,=--consonants must not be allowed to interrupt the continuity of
the pitch produced by the vocal cords. This is necessary to preserve
legato. Some consonants close the channel completely, others only
partially. It is a great achievement to be able to sing all consonant
combinations and still preserve a legato.

=Third,=--consonants must in no way interfere with the freedom of the
vocal organ. If the student attempts to sing the consonants, that is, to
prolong them he is sure to make his throat rigid and the pure singing
tone at once disappears. He must therefore learn dramatic utterance
without throwing the weight of it on the throat. To do this he must
begin with a consonant which offers the least resistance and practice it
until the three points mentioned have been mastered. The one which will
give the least trouble is l. At the pitch G sing ah-lah-lah-lah-lah,
until it can be done with relaxed tongue, with perfect continuity of
tone, and with perfect freedom in the vocal instrument. In the same way
practice n, d, v, th, m, and the sub vocals, b, d, g. Always begin with
a vowel.

If the singer has the patience to work the problem out in this way he
can apply the principles of _bel canto_ to dramatic singing. The road to
this achievement is long, longer than most people suspect, but if one is
industrious and persevering it may be accomplished.

But there remains yet to be mentioned the most important element of
artistic singing. To the pure tone and perfect diction must be added the
imagination. The _imagination_ is the image making power of the mind,
the power to create or reproduce ideally that which has been previously
perceived: the power to call up mental images. By means of the
imagination we take the materials of experience and mold them into
idealized forms. The aim of creative art is to idealize, that is, to
portray nature and experience in perfect forms not with the
imperfections of visible nature. "In this" says Hegel, "art is superior
to nature."

The activity of the imagination is directly responsible for that most
essential thing--emotional tone. Taking intelligence for granted, the
imagination is the most important factor involved in interpretation. If
the imagination be quick and responsive it will carry the singer away
from him