Lift, expand, and let go.  This brings us to a consideration of the third part of this expression, let go.  This is in some respects the most important of the three; for unless the singer knows how to let go properly, absolute freedom or the removal of all restraint is impossible, and the true conditions of tone are lacking.  The let go does not mean relaxation, for there must be flexible firmness without rigidity.  With the beginner the tendency is to lift, expand, and harden or contract all the muscles.  This, of course, means restraint.  The correct idea of let go may be studied and better understood by the following experiment or illustration.

Stand with the right arm hanging limp by the side.  Lift it to a horizontal position, the back of the hand upward.  While lifting, grip and contract every muscle of the arm and hand out to the finger-tips.  This is much like the contraction placed upon the muscles of the body and of the throat by the conscious-breathing, local-effort school.  Lift the arm again from the side, and in lifting have the thought or sensation of letting go all contraction of the muscles.  Make the arm light and flexible, and use just enough strength to lift it, and hold it in a horizontal position.  This should be the condition of all the muscles of the body under the influence of correct, lift, expand, and let go.  Lift the arm the third time without contraction or with the sensation of letting go, hold it in a horizontal position, the back of the hand upward.  Now will to devitalize the entire hand from the wrist to the finger-tips.  Let the hand drop or droop, the arm remaining in a horizontal position.  This condition of the hand is the let go, or the condition of devitalization, which should be upon the muscles of the face, the mouth, the tongue, the jaw, and the extrinsic muscles of the throat during the act of singing.

Thus, when we say, lift, expand, and let go, we mean lift from the hips, the center of gravity, in an easy, flexible manner; expand the body with a free movement without conscious thought of any part of it; have the sensation of letting go all contraction or rigidity, and absolutely release the muscles of the throat and face.  The let go is in reality more a negative than a positive condition, and virtually means, when you lift and expand, do not locally grip, harden, or set any muscle of the body, throat, or face.

The lift, expand, and let go must be in proportion to the pitch and power of the tone.  This, if done properly, will result in automatic form and adjustment, the removal of all restraint, and open, free throat and voice.  This is the only way in which it is possible to truly vitalize, to arouse the physical, mental and emotional powers of the singer.  This is the only way in which it is possible to put yourself and keep yourself upon a level with the tone—­upon a level, physically, mentally and emotionally.  This is in truth and in fact the singer’s true position and true condition; this is in truth and in fact self-assertion; and this, and this only, makes it possible to easily and naturally arouse “the singer’s sensation,” the true sensation of artistic singing.