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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/32602-0.txt b/32602-0.txt new file mode 100644 index 0000000..60b3d7e --- /dev/null +++ b/32602-0.txt @@ -0,0 +1,2225 @@ +The Project Gutenberg EBook of What Every Singer Should Know, by Millie Ryan + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: What Every Singer Should Know + +Author: Millie Ryan + +Release Date: May 30, 2010 [EBook #32602] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK WHAT EVERY SINGER SHOULD KNOW *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + + + + + + + + +[Illustration: image of Millie Ryan] + +What +Every Singer +Should Know + +[Illustration: music-harp] + +Published by + +FRANKLIN PUBLISHING CO. + +OMAHA, NEBR. + +Copyrighted 1910 + +by + +MILLIE RYAN + +DEDICATION. + +I LOVINGLY DEDICATE THIS BOOK + +TO MY SON, + +EDWARD RYAN, JR. + + + + +TABLE OF CONTENTS. + + +"Is it Worth My While to Have My Voice Cultivated" 1 + +"Can I Become a Grand Opera Singer?" 8 + +"At What Age Shall I Take Up the Study of Voice Culture?" 12 + +Singing Lessons as a Health Culture 23 + +Advice to Parents 25 + +"Is it Necessary to go Abroad to Study?" 28 + +Chorus Singing 34 + +Stage Fright 36 + +The Accompanist 42 + +Selecting a Teacher 45 + +Art for Art's Sake 52 + +Educating the Masses 57 + +Hints and Helps 64 + +What and How to Practice 73 + +The Breath 83 + +A Few Practical Exercises and Illustrations 88 + + + + +INTRODUCTION. + + +This book is not for the purpose of instruction in singing, as singing +is an art which cannot be taught from book or correspondence. Neither is +it a technical treatise on the voice, but instead I aim through the +medium of my book to have a "heart-to-heart" talk with the beginner, and +with those who contemplate the study of voice culture. + +Books abounding in technical terms are valueless to a beginner, and the +finished artist does not need such a book. There are many valuable books +published, but very few which are written in a manner simple enough for +the beginner to grasp. I wish to give all the valuable "hints" and +"helps" that it has taken years of experience to gather, covering all +the questions that are absolutely necessary to know, making it brief, +simple and =understandable=. + +[Illustration: MADAME LILLIAN NORDICA + +Who is carrying out her plans of establishing a conservatory of music +and festival house for operatic performances, at Neal, N.J. Mme. Nordica +says: "I am confident that there is a crying need in this country for +this sort of musical establishment. Present conditions make it +impossible to enable the public to enjoy opera in English or to hear the +singing of that great host of talented Americans who are forced to +address their efforts to European audiences.] + + + + +"IS IT WORTH MY WHILE TO HAVE MY VOICE CULTIVATED?" + + +The first question which arises with all those who possess an average +singing voice is, "Will it pay me to study voice culture?" The answer +may be found in the following: + +"If you possess a good voice, do not hesitate a moment to cultivate it, +regarding it as the most beautiful gift granted you by +Heaven."--Schumann. + +"But," says the applicant, "I must make my own living. Have I enough +material to cultivate and be able to realize returns?" + +This depends entirely on yourself and what your ambitions are. + +There is a great field in music, and if you have ear, voice, and talent, +STUDY. And, if in addition to these you have ambition, determination and +application, you are sure of success. What your field of operation will +be, whether church, concert or opera, time will decide. + +The power to win is yours--determine to succeed and you cannot fail. + +In order to make a success of anything, you must give it your undivided +attention, and while doing so, your aim must be fixed constantly on the +goal which you desire to attain. Rome was not built in one day, neither +can the elementary training of a voice be accomplished in a year. + +If you are in good health, you must never allow the warm days of summer +to be an obstacle to your practice. Can you imagine the successful +banker, rising young doctor, lawyer or actor stopping their work because +of a warm day? There may be =some= who do, but they are not the ones who +are successful. When you hear a great singer, think of the obstacles she +must have overcome in reaching her position of excellence. Never doubt +yourself or your ability, but say "that what determination and +application have done for others can be done for me." + +You must have confidence in yourself if you want others to have +confidence in you. + +Never lose your temper. Adeline Patti was asked how she preserved her +charm long after the springtime of youth deserts the average woman. She +replied, "I keep my temper." Don't expect to grasp, assimilate and put +into practice in one lesson what it has taken years for your teacher to +accomplish. + +I remember one pupil who said her purse would not allow anything better +than a hall room in New York for a whole winter's study, and that she +really had no "chance" to practice, as her room was too small. This was +a very poor excuse, as that was merely one obstacle to be overcome. + +The artists who have reached the top are those who have had =innumerable= +obstacles to overcome. + +In Switzerland, over a little barber shop, in a room so small that there +was not room for two chairs in addition to the piano, Madame Nordica, +with Madame Cosima Wagner, and a coacher, practiced daily. The following +winter she won one of the successes of her career, as "Isolde." + +To reach the top in the profession, you must have more than voice and +application, for a singer may have the greatest of technique, yet lack +"soul" and "intelligence." The latter two you must possess, as these the +teacher is unable to give you. + +The beginner, in singing, needs a model to imitate, just as much as the +painter or sculptor. Everything is "imitation" until you develop in your +work; your individuality will assert itself as you become proficient. Do +not allow anyone to frighten you by telling you "never imitate or you +will simply be a parrot." Only the very poor teacher who knows her own +weakness as a model would make such an assertion. If the beginner is +fortunate enough to secure a teacher who can demonstrate a =perfect tone=, +do not be afraid to imitate. + +In order to fully interpret the emotions it is necessary to have +knowledge outside of the singing lesson. It is for this reason that +singers seldom reach the stage of "artist" until they are pretty well +advanced in years. It is not how many lessons you take, but the gradual +development, which you attain through experience. You must feel the +heartbeats of others, must know intimately "joy," "pain" and "sorrow" in +order to fully express these emotions. There is no rule of "right" and +"wrong" in the interpretation of a song, it being simply a matter of +opinion. That is where the individuality asserts itself. I remember +taking the old warhorse, "Una Voce Poco Fa," from Il Barbiere (Rossini) +to three of the greatest living singing masters in Italy. Each one +interpreted the aria a little differently, and I am positive each +thought he was the nearest to the composer's idea. Which one was +correct? + +"When you sing you are delivering a message, and you must make your +audience understand and feel it, as it is our 'feelings' above all that +are immediately affected by music."--Von Weber. + +Do not be too anxious to realize financially. Consider that Wagner's +salary as choir-master in the city of Warsaw was less than $12.00 a +month. The great drawback to many of the students in America is the +desire to work on the surface only--they don't seem willing to start at +the beginning and work their way up. The matter of studying voice +culture for a year does not make it possible for the singer to step +before an audience and attain immediate success without other +preparation. + +It takes more than the studio to make a "star." No artist ever began as +a master. In addition to being a singer, you must possess talent, +character and the ability to manage. If there is one of these qualities +lacking, you must remain only an "artist." It takes all three in accord +to produce a "STAR." + + + + +"CAN I BECOME A GRAND OPERA SINGER?" + + +The average teacher, in fact, most teachers, will say, "Yes, if you +study," but this is not true, as you have only about one chance in a +thousand. Have you any idea of the requirements necessary in order to +become a "star" of the Metropolitan Opera Company? + +You must have a fine voice, a "big" voice, a voice of great power and +endurance, fine enunciation, clear and correct pronunciation, knowledge +of the modern languages, have at least twenty-five operas committed to +memory, fine dramatic ability, good physique, size, personality and +"pull." And you must also be on the other side of the ocean to accept +the engagement; and then, your acceptance by a director to "star" is +about as difficult as an audience with a king. + +[Illustration: ALBERT MILDENBERG + +The well known composer who has enaugerated a plan to establish +Municipal Grand Opera in New York City. Mr. Mildenberg's experience as +conductor in the Municipal Opera Houses in France and Italy has fitted +him well for this laudable undertaking which will pave the way for the +training and placing of many talented pupils in this country, who have +heretofore been compelled to go abroad in order to secure positions on +the Grand Opera Stage.] + +There is no reason why a person with voice and talent who has to make +his own living, could not do so after several years of study. I have +over one hundred pupils who are making a good living by singing, and as +many more holding church positions paying them enough to enable them to +continue their studies. + +Show me a pupil who has to make his own living, and who has studied with +one teacher for eight or nine years and is not making his living by +singing, and you are showing me one who =never will=. + +There is, of course, no end to the study of voice culture. I have +studied more or less for over twenty years and am still studying, but if +you have to make your own living, secure whatever position may be open +to you. The church or concert position is =equally= valuable as the opera. + +In Europe, where you hear grand opera all the year around, it becomes a +second nature, but here in our western cities, until recently, grand +opera was almost unknown; two or three performances a year was about all +we could hope for. This was not enough to thoroughly acquaint the people +with the operas, and not enough to create a demand. + +In a western city of 200,000 inhabitants where five years ago it was +impossible to draw an audience of a hundred persons unless heralded by +spectacular advertising, I had the pleasure of witnessing this year +"Standing Room Only" during the performance of the dear old operas, Il +Trovatore, Faust and Carmen. The operas that the people have become +acquainted with through the phonographs, the orchestras and the grand +opera study clubs, organized by the more up-to-date teachers. Mr. Albert +Mildenberg is taking up a most commendable work, that of establishing +the municipal grand opera in New York City; he will eventually succeed, +and, with Herr Andreas Dippel organizing permanent grand opera in the +larger cities west of New York, it will not be long before the grand +opera positions will be plentiful. Within the next year, through the +efforts of Victor Maurel, the grand opera sung in English will also gain +ground, and divide honors with the French, German and Italian, giving +those who have not studied the foreign languages, but who are otherwise +prepared, a chance for positions on the grand opera stage. + +Some cranks insist that the days of the old Italian opera, with its +arias and glorious coloratura work, are passing in order to give place +for the new =music drama=. This is not correct, and will not be possible +as long as there are excellent singers who can sing these operas. We +have room for both the grand opera and the music drama. + +To be an "artist" is the aim the student has in view, and "study" is the +means to that end. + + + + +"AT WHAT AGE SHALL I TAKE UP THE STUDY OF VOICE CULTURE?" + + +Mrs. L. and her 15-year-old daughter called at my studio. The mother +explained that her little girl had been "leading the singing" in school +ever since she was eleven years old, but that her voice was not as good +as it used to be, and that she would like to have her study, but thought +she was too young. I tried the girl's voice and found two registers used +so differently that a person sitting in the next room would think they +were listening to two persons singing. She had a terrible break between +the chest and head tones, and for =four= years had been developing in this +bad way of singing. Now, this child should either have taken up voice +culture at eleven years of age or not "lead the singing" in school. +Children, with very few exceptions, in going from chest to head tones, +will sing =with= the throat, not understanding how to make the change, or +rather how to place the tone; in this way producing a break, which later +in life, when they take up voice culture, will cause endless, and in +some cases, permanent trouble. + +I know of many children who sing at entertainments, school, church, +etc., and you will hear their parents say, "Scarcely a week passes that +my daughter does not sing at some entertainment. If she were a little +older, we would have her take up voice culture." Now, if your daughter +is old enough to sing at entertainments, she is old enough to study. +Either do not let her sing, or put her under the care of a good teacher. + +"How shall I know if she is under proper instruction?" + +A good teacher will, first of all, not allow her to sing at the top of +her voice, which all children seem to delight in doing. A good teacher +will not develop on the extreme =high= or extreme =low= tones. A good +teacher will even up the =medium= register, teach her how to use the +=breath on the tone=, how to =place= the tone, overcoming all seeming change +from chest to head, will give her perfect pronunciation and enunciation. +This can be done at any age from eleven years, depending on the +individual. A girl who has good ear, and who does not lead the singing +in school at eleven and sing at entertainments, can begin at sixteen or +seventeen and develop into a very fine singer. + +"Should my son take up voice culture before his voice has changed?" + +This case is just the same as with the girl, =if he sings=. In fact, I +have found in my twenty years' experience as singer and teacher that the +boy who studies voice culture before his voice changes has an easy road +to travel =after= his voice has changed. Many boys' voices have not +finished changing until they are eighteen or nineteen years of age. The +boy who studied before his voice began changing understands the breath +control, the placing of the tone, and the pronunciation and enunciation. +These four fundamentals are absolutely necessary in order to sing well; +and whether his voice, after the change, develops into tenor or bass, +these fundamentals remain the same, and enable him to continue, instead +of merely begin. The boy, who has studied, or is under a good +instructor, will know =when= to stop singing. I have known many boys with +promising voices, who have ruined them entirely by singing or trying to +sing =during= the change. But they were not boys who were under +instruction, or they would have known better. I do =not= claim that it is +necessary to begin the study of voice culture as a child, as this is +entirely a matter of the individual, but I =do= claim that you can count +on one hand the singers who have reached distinction and whose voices +have lasted any length of time, who started their singing lessons after +they were out of their teens. + +I have pupils who are making a good living as church soloists and on the +concert stage, who commenced their study after they were twenty years +old, but they are the =exception=, and not the =rule=. + +I think a woman has the greatest success in teaching children. This may +be partly due to her maternal instincts. Her illustrations and +demonstrations are more simple than a man's. Her patience with children +also fits her wonderfully well to teach the child. + +You can accomplish nothing with the voice through fear. If the young boy +or girl loves the work, looks forward to the lessons, they cannot fail +in whatever they undertake. + +To satisfy those who disagree with me in regard to the value of early +study, I would ask them to read the lives of the great singers, and they +will find that with very few exceptions they took up the study of voice +culture before and during their early teens. Space forbids me to give a +complete list. However, for the benefit of those who have no access to +the biographies of the singers, I will select the names that I am sure +you are familiar with, beginning at 1740, and down to the present time: + +Malibran, one of the world's most famous singers, at the age of seven +was studying Solfeggio with Panseron at Naples, Italy, and made her +debut in grand opera in her fifteenth year. + +Pesaroni made her grand opera debut at sixteen, and twenty-five years +later we find her still one of the leading grand opera singers. + +Teresa Titjens made her debut in grand opera at the age of fifteen. + +Pauline Lucca was singing at thirteen, and made her debut at the age of +sixteen. + +Kellog made her debut as Gilda in "Rigoletto" at the age of eighteen. + +Minnie Hauk took up voice study at the age of twelve, and was singing in +grand opera during her seventeenth year. + +Christine Nilson, as a child, sang on the streets, was placed under an +instructor, and six months later sang at Court. + +Albini, during her twenty-second year, was engaged by the Royal Italian +Grand Opera at Covent Garden, to sing the leading roles of the grand +opera. + +Scalchi studied while a mere child, and made her grand opera debut at +the age of sixteen. + +Melba made her debut in grand opera when she was twenty-two years of +age. + +Nevada sang in public at the age of six, and has been singing ever +since. + +Patti made a three-year concert tour under the direction of Strakosh, +between the ages of eight and eleven, and made her grand opera debut at +nineteen. + +Nordica made her debut at fifteen, and is still one of the greatest and +loveliest of our singers. + +Sembrich sang solos in church when she could scarcely see over the +railing, and was in grand opera at the age of twenty. + +You may have doubts as to the art of singing of those whom you have read +about, but I am sure you have heard at least Scalchi, Melba, Patti, +Nordica and Sembrich, and you can have no doubt as to their being +classed both as singers and artists. + +It is needless to say that these people must have studied these operas +in order to sing them, and when you take into consideration that they +were not "music dramas" that require really more proficiency in acting +than in singing, but the Italian operas, requiring most perfect +=coloratura= work, and the Wagner operas, demanding heavy =dramatic= +singing, I think you must be convinced that if early study were +injurious to the voice, these great "songsters" would not be living +examples of my assertion. + +Someone will say, "This may be the case with women, but what of the +men?" + +We find the great German tenor, Albert Nieman, singing the grand opera +roles at eighteen. + +Heinrich Vogl, styled the "Interpreter of Wagner," sang these opera +roles at the age of twenty. + +Italo Campanini was singing in grand opera at twenty-one. + +Guilliam Ibos, the grand French tenor, and Van Dyck, were both singing +the grand opera roles at the age of twenty-two. + +Jean de Reszke was soloist at the cathedral at Warsaw at the age of +=twelve=, and was singing in grand opera at twenty-two. I am sure many of +you have heard him sing after his forty-fifth year, and will not deny +that he is both singer and artist. + +Then I hear someone say, "Perhaps their voices did not change, as they +were tenors." There is =some= change at maturity in =all voices=. Very well, +what about Victor Maurel? He was singing the grand opera roles at +twenty-one. Jean Baptiste Faure took up the study of the voice at +thirteen, and at twenty-two =created= the part of Mephistopheles in Faust. + +These men and women, whose names stand out as brilliant stars in the +firmament of music, studied and sang before and in their early teens, +and these are the voices that have been everlasting. + +Within the past six or eight years some beautiful singers have appeared +in the grand opera--one tenor who claims to have studied less than six +months before he appeared in grand opera, and a soprano, making the same +claim, and this study is supposed to have taken place after they were +out of their teens. It will be of interest to wait and watch these +voices to see if they will withstand the wear of twenty-five years' +service, and still be beautiful, or like the fire-fly, radiate their +beautiful light but for a moment and then disappear. + + + + +SINGING LESSONS AS A HEALTH CULTURE. + + +"I should like to take up the study of voice culture, but am not very +strong." + +That is the very reason you should take up singing. I have seen anæmic +girls take up the study of voice culture, and at the end of one year's +study develop perfect breathing, a fine full chest, rosy lips, warm +hands, an elegant digestion, and a good disposition. + +There is no tonic for the =nerves= equal to voice culture. At one of the +large sanitariums where eight hundred and five patients were suffering +from tuberculosis, there was but one who had been a singer. The nasal +breathing prevents adenoids from developing. The deep respiration +oxygenates the blood and gives us power to resist diseases. We stand and +walk better. We derive unusual pleasure for ourselves, with the power +to entertain others. As the study is unlimited, our interest cannot fail +to increase with each year. It fills our lives as nothing else can do. + +"Though everything else may appear shallow and repulsive, even the +smallest task in music is so absorbing and carries us so far away from +town, country and earth, and all earthly things that it is truly a +blessed gift of God."--Mendelsohn. + +It is a fact that more people become patients through "boredom" than +through fever. It is the monotony of the daily routine and lack of +interest which is the root of most of the "illness" and "nerves" of our +present day young women. + +Try the study of voice culture as an interesting and permanent remedy. + +The cause of "musical indigestion" is the attending of concerts where +one is compelled to listen to singing or playing, which is poorly +executed or too far beyond one to be properly understood. + + + + +ADVICE TO PARENTS. + + +Parents should encourage their children who are taking up the study of +voice culture, as home encouragement is necessary to children. I know +that parents are inclined to think that when they pay for the music +lessons, nothing further should be expected of them. But this is +positively a wrong idea. + +Do not make the great mistake of forcing your children too soon upon the +public. Many excellent young voices have been ruined in this manner. A +child eleven years of age was brought to my studio. She had ear, voice +and talent, but was almost "sung out." She had a bad break in her voice, +and performed the most unusual contortions in taking a tone, produced by +pushing the throat. The mother assured me that everybody thought she +sang "just grand." She was to sing at an entertainment in a month, and +they thought a few lessons in voice culture would be of great value. It +took an hour of my valuable time to convince them that she must not sing +at present, as it was positively necessary to overcome the break in her +voice, keep her from singing too much, and cure her audible breathing. +They finally arranged for her instruction, but made semi-monthly trips +during three months to ascertain if she was ready to sing in public, and +left with the remark that "they knew of many teachers who would be glad +to have her sing for them as an advertisement." Even the child was +disappointed, as undoubtedly she heard nothing but this at home. + +Parents should be sensible enough to remember that their little girl +cannot finish school in three months, that their son cannot go through +college in three months, and that they cannot learn to play the piano in +three months. + +"That she is young and people will not expect much" is not an excuse. +The public judge by what they see and hear and not by what she may be +able to accomplish if she is given time. How often we have heard father +say, "Johnny, go and play a piece for the company." Poor Johnny would +rather take a licking. =He= knows he is not ready to play for company, but +father says, "Here I have been paying for Johnny's piano lessons and +Mary's singing lessons for nearly three months, and I haven't heard a +song or piece yet. If they are not learning anything, they had better +quit taking lessons." And poor Johnny and Mary inflict on the company +what might be expected after only three months of training. + +Parents, select a reputable teacher--the highest priced is often the +cheapest in the end. When you know that they are under perfect +instruction, leave it to the teacher as to when they should play or sing +in public, and you will find that just as soon as they are able, the +teacher will be as anxious and pleased as yourself to have them appear. + + + + +"IS IT NECESSARY TO GO ABROAD TO STUDY?" + + +This, of course, depends entirely upon your ambition. There are very few +American singers who have reached positions on the grand opera stage +without having previously studied abroad. + +It is well in any case to get your preliminary training at home. For +tone placing and singing you can do equally as well in this country as +abroad, as we have excellent teachers here from all parts of the globe. + +I would advise the boy or girl who has a good home and lives in a +community where it is possible to get proper instruction to take their +first two or three years of work in this country. Take up the study of +languages and if your progress warrants your making a life work of +music, then I would suggest that you go to Europe in order to get the +broadening and the finishing touches that are necessary in order to +become an artist. + +[Illustration: VICTOR MAUREL + +The noted baritone for whom Verdi composed Otello and Falstaff, thinks +that Americans are as much entitled to hear their language at the Opera +Houses as the German, French and Italians. To further this project he +will include opera in English during his present Grand Opera season in +New York City. Mr. Maurel also believes strongly in giving young +American artists of real promise, an occasion to make their début in +this country and under favorable artistic patronage and he is going to +give them a chance to do so.] + +For your German songs and operas you should go to Germany. For the +Italian operas to Italy, where it is possible for you to live in the +atmosphere of the opera and hear the language every day. The same also +applies to the French, who, of all people insist emphatically on perfect +diction. + +You can, of course, take up and to some extent learn the languages here, +but you are liable to meet with the same disappointment as a young lady +from the west who studied French in school for several years and thought +herself proficient in that language. She went to Paris to study music +and it was fully six months before she was able to either understand or +to be understood in common, every-day conversation. + +I am in favor of the class lessons so popular in Europe, and hope some +day we will be able to make them universal. Ten or twelve pupils +assemble at one time and each takes his lesson in turn. In this way each +gets the benefit of the other lessons. This also enables the pupils to +become accustomed to singing before each other, which is invaluable in +overcoming nervousness. Some pupils desire to take their lessons in +private, as they do not care to sing before a class. This feeling will +gradually disappear and it is much better to have it over with in the +beginning, than later when you are expected to go before a critic or +manager to sing. + +The expense of studying abroad may be adjusted entirely according to +your pocketbook. When anyone tells you it is cheaper to study on the +other side, they display their ignorance of the subject. I have studied +in this country, Germany, France and Italy, and I have found that, +including everything, it costs about the same everywhere. You can +secure board and room from five dollars a week up to any price you wish +to pay. It is also possible to live cheaper than this if necessary, but +for the student of singing it is of great importance to eat good, +nourishing food, as it is impossible to sing well unless you are in +excellent condition physically. + +Several of the old Italian music masters do not hesitate to say that it +is the American with the large purse who has forced them to raise their +prices, when they were perfectly satisfied to charge much less. + +Miss Moneybag arrives in Italy to take up voice culture. She calls on +one of the old masters; he asks her seventeen lire (about $3.00) per +lesson. This sounds cheap to her as she has been paying $5.00 a lesson +at home, so she starts out again looking for a higher-priced teacher. +She finds one who has had a little more experience with the Americans, +he sizes her up and asks her thirty-five lira; this sounds more in +accordance with her pocketbook, and she lists for the season. This +sizing up of the American pocketbook has been going on for some time and +the old "Maestro" who was perfectly satisfied with $3.00 is waking to +the fact that if he wants these Americans he must raise his prices. And +so we find at present, lessons costing about the same the world over. +However, when Miss Small Pocketbook and real talent arrives, she can +always arrange terms in accordance with her pocketbook, when she proves +she is there to accomplish results. This is not merely hearsay, but +facts gathered in my interviews with some of the most noted +singing-masters. + +If you intend to go into the grand opera it is advisable to go abroad, +as it gives you the prestige which is necessary at present, in order to +secure these positions of which we have a fair illustration in the case +of a beautiful mezzo soprano who had been singing with the English +Grand Opera Company, and though in every way qualified to sing with the +Metropolitan Grand Opera Company, was unable to secure an engagement +with them. She went abroad, changed her name, and returned the following +season as one of the Metropolitan Grand Opera stars, and is still one of +the favorites in that company. + +This seems rather inconsistent, but is nevertheless true. + +If you are fortunate enough to make your debut abroad you will have +practically no trouble in securing a position with any manager on this +side of the ocean. + + + + +CHORUS SINGING. + + +It is of great value to the singer to belong to a good chorus, provided +you know enough not to attempt to be the whole chorus yourself, and are +willing to give the others a chance. + +To be a success in the chorus you must observe the following rules: + +Be punctual. + +Stand erect, and on both feet. Let your chest lead. + +Make yourself a part of the chorus. This is not a solo. + +Don't annoy those around you by "wiggling" or "fidgeting." + +Rise and sit down in unison with the others. + +Do not look all over the place, but keep your eyes on the conductor. + +Do not cover your face with your music. + +Remember it is the conductor's duty to beat time. Keep head, arms and +feet still. + +Do not try to sing louder than the others. You will not be heard any +better and will strain your voice. + +Remember to hold the long note for its full count. + +Time and rhythm are the two great factors in chorus singing. + +Remember that "rests" are of as great importance as "notes" in music. + +Do not start before or hang on after the others have ceased to sing. + +Do not fail to slightly accentuate the first beat of each measure except +where accents are especially marked on other beats. + +Don't look bored because you must stand up to sing. Determine whether +you are going to be =too tired= to do your part before becoming a member +of a chorus. + +Keep your eyes on the conductor. + + + + +STAGE FRIGHT. + + +I have never met a singer, amateur or professional, who does not or has +not at some time suffered from this dreadful malady. There is no +positive cure but constantly appearing before an audience, and then some +of the singers never overcome this form of nervousness. + +The only consolation is in knowing that a person entirely void of this +feeling will never make an artist, as they are lacking in temperament. +Emotion is the flesh and blood of music and the condition is one in +which self-consciousness, nervous energy and emotion play a large part. +However, as you gain confidence in yourself and your work, and feel that +you are in "rapport" with your audience, this sensation will wear off to +a great extent. + +Very few children before their teens are troubled with stage fright. In +fact, they seem to glory in appearing before an audience. This is the +best time to continue the work that will be of inestimable value the +balance of their lives. Let them appear before the classes in the studio +until they are prepared to appear in public. + +When one begins to discuss nervousness, suggestion takes it up and it +spreads like wildfire. A young singer who had appeared several times in +the same solo and done excellent work was stepping on the stage to sing +when one of her friends thoughtlessly remarked: "Aren't you nervous +about that high 'C?'" The suggestion immediately lodged in her brain and +she could think of nothing but that high "C." Her fear increased and she +sang it with an almost heroic physical effort, a tone that had never +given her the least trouble before. + +It is the confident friend who helps you to win your audience by the +encouraging remark, "I know you will be a success," while the one who +asks, + +"Aren't you afraid you are going to break down?" in reality will assist +you in doing so. Always try and have the confident friends around you, +especially in the earlier stage of your career. + +There is an erroneous idea about not eating before singing. If you are +nervous there is nothing so dangerous as trying to sing on an empty +stomach. I know of singers who eat nothing on the day they are going to +sing, the result being increased nervousness caused from weakness. + +I would not advise a big meal before singing, but I would advise taking +something, depending entirely on the individual. A cup of black coffee, +a glass of water, a glass of claret, an orange, a raw egg, or anything +that agrees with you. Give the stomach some work to do and that "giddy +feeling" will entirely disappear. I always take a raw egg before +singing. + +One of our noted tenors, before walking out on the stage, lights a +cigarette, takes three puffs and throws it away. Three puffs could be of +very little value, but he imagines he sings better. Judging from his age +and voice, and its endurance, it has evidently not injured him, though I +would not advise singers to use tobacco. + +Those suffering from phlegm in the throat will find almost instant +relief in eating a dry prune. I acquired this habit in Italy, where it +is very popular with the singers. Dried prunes are beneficial for the +general health as well as the throat. Find what agrees with you, for +what might be agreeable to one may be disagreeable to another. + +When you step out on the stage take time to fully relax, get your mind +on the introduction your accompanist is playing. This prepares you for +your song. Look =beyond= your audience, not =at= them. + +By this time you will have fairly good control of yourself. Think of +=what you are going to sing=, and not of how you are feeling. Sing to your +audience as if you were telling them a story. Speak distinctly and make +them understand and feel what you are saying. Don't wear anything that +binds you, such as tight shoes, tight corsets or tight collars, as they +all tend to contract instead of relax. It is through nervousness that +singers have "wobbled" off the stage after their solo, before the +accompanist has finished. Remember in the interval between the end of +your solo and the last note of the accompaniment you should stand +perfectly still. Say to your audience (mentally), "Don't move until the +accompaniment is finished." You will be surprised to see how well you +can hold them. All these little thoughts will help make you forget +yourself. + +I once read an article on stage fright. The author advised the singer to +look at his audience as though they were so many cabbage heads. I +cannot agree with him. You, no doubt, have heard people sing as though +they were inspired. I have felt that way many times when singing, and I +am sure my audience inspired me. It would have been impossible to sing +like that to empty chairs or a field of cabbage heads. + +Analyze yourself and your work as much as you please at home, but when +you go before an audience, forget yourself and let your aim be to win +them. + + + + +THE ACCOMPANIST. + + +I find that only about one in every hundred, who study voice culture, +are able to accompany themselves on the piano. Nearly all know the +keyboard and can get along after a fashion, therefore it is necessary +that the student of voice culture should secure a first-class +accompanist. + +Your voice teacher here, or abroad, is always in a position to furnish +you with one. You must arrange for his services at least twice a week. +You can have no idea of the progress this will mean in your work. If you +are asked to sing at an entertainment, do not take anyone's word that +"there will be a good accompanist on hand," but see to it yourself. If +it is not possible for you to have your own accompanist, be sure that +you have ample time for rehearsal, and if the accompanist present is not +a good one, =do not sing=. + +A poor accompanist has been the cause of the failure of many young +singers who are anxious to get before the public. + +The young and inexperienced singer cannot be too particular on this +point, and I would suggest that amateurs during their first few +appearances before the public sing only with an accompanist with whom +they have become accustomed to sing. All young singers are more or less +nervous; in fact, I know very few old ones who are not, and this is +where your own accompanist proves of the greatest value. + +One of my pupils who made her debut said, "I had a sensation as of a +lump in my throat, and felt that at the end of the pause I =must= swallow +or choke. My accompanist had played for me before and seemed to +anticipate my predicament, so gave me a little more time on that 'pause' +and I was saved. With a strange accompanist, I would have gone to +pieces." + +Because a singer is an amateur, their parents and friends seem to think +that anyone can play their accompaniments. The truth of the matter is, +the less experienced the singer, the better the accompanist must be. +Good accompanists are born, not made. + +To be sure, practice makes perfect, but I know of many fine pianists who +read well, have time, rhythm, technique, execution, and yet who will +never make good accompanists. It takes all of these and more. + +Nothing makes failure more certain than the blundering of an +inexperienced and unskilled accompanist. + + + + +SELECTING A TEACHER. + + +It is not always that the best read man on voice culture makes the best +teacher; in fact, we find that teachers, who have not been singers +themselves, but who have devoted years to the study of the physical and +technical side of the question have turned out very few good singers. + +In order to make a good teacher, one must first have command of his own +voice in order to make perfect demonstrations which are essential to the +beginner. Further, a teacher in order to be successful must have +practical experience with the world and singers. No two voices can be +treated in the same manner. Therefore, the teacher with the practical +experience is naturally far better equipped to teach than the one who +has merely studied the mechanism of the throat. + +It is positively harmful for a teacher to make any attempt to explain +the technical side of the voice to a =beginner=. Better develop the ear +and memory. A teacher must have patience and tact in order to be able to +deal with the different natures, dispositions and moods that are +encountered in the studio. One word of kindness and encouragement will +invariably do more toward putting a pupil at his ease and secure the +best results from his work than any number of severe sermons and +sarcastic criticisms. + +The pupils are paying for their lessons and are entitled to courteous +treatment. Avoid the nervous, irritable teacher. The teacher who becomes +impatient or ruffled because a pupil cannot instantly grasp his meaning, +walking up and down the floor with clenched fists chastising the air, +and in every way displaying his own nerves and lack of self-control, is +not a =teacher=, but a =fool=. Such a person has either forgotten his own +earlier struggles or had never studied. + +Avoid the teacher with a hobby. There is nothing so barren in the world +as one idea, spring from one idea, nourished by one idea and aiming at +one idea. This includes the teacher who believes in keeping the pupil on +one tone for six months. While your tone needs more than six months to +become perfect, dwelling on that one tone alone for that length of time +would be decidedly wrong. + +We frequently accept students who have acquired numerous bad habits in +breathing or singing. They often know their trouble and ask how long it +will take to undo this work and get back into the right way. They seem +to think it is a matter of a certain time working back to the beginning +and then starting over again. This is not true. It is a matter of +beginning =now= and beginning right. The thoughts of a pupil should be +=advance=, not =retreat=. You must not think of what you =have done=, but +what you =must do=. + +Avoid the teacher who advances theories and mechanical contrivances. A +laryngoscope in the hands of a physician might save many lives, but in +the hands of a singing teacher may ruin many voices. The perfect teacher +uses the simplest demonstrations, realizing that technical terms go +entirely over the heads of the beginner. The following suggestions are +entirely useless: + +Sing the tone forward. + +Sing the tone on the teeth. + +Sing over your larynx. + +Sing that tone with the epiglottis lowered, the palate raised, and on +the end of the breath. + +I have personally heard these instructions given to pupils, and I assure +you the pupil did not gain anything by it. + +It is positively absurd to insist on a beginner knowing the structures +of the vocal chords, neither will the patting, pinching or massaging of +the neck and facial muscles, that some teachers advocate, make you sing +any better. It is undoubtedly of some benefit to "wrinkles," but not to +the voice. + +Garcia, admitted to be one of the greatest singing masters of his time, +said, regarding the position of larynx being higher or lower or the more +or less raising of the palate, that the singer need only follow natural +effects, and larynx, palate and the rest will take care of themselves. +Do not complicate it with theories. + +A new pupil went into the studio of a well-known teacher for a hearing. +She took with her a popular song--the only song which she knew. The +teacher cried "Trash," and would not even talk the matter over. This was +foolish, selfish and unreasonable. + +Every voice which comes under our care includes the personality behind +the voice, and is of distinct and special interest. This pupil's +=environment= had undoubtedly been such that she was not further developed +and could hardly be expected to love and understand the music, which the +teacher was accustomed to perform or teach. However, many a singer, who +first brought the popular song, has developed into a successful church +and concert singer. This was not brought about by reprimands and unkind +criticisms of their short-comings, but by patient consideration and +gradual development. Give the pupil a chance to learn to perform good +music before you demand that they should appreciate it. A good teacher +will encourage questions. If there are any questions pertaining to the +study of voice culture that he cannot answer it is time he should know. + +Unless a teacher is a perfect accompanist, so that he can keep his eyes +away from the keyboard, he should employ an accompanist, for the +teacher should =see= as well as =hear= the pupil sing the finished numbers. + +And last, but not least, select a teacher who tries to understand you, +who makes you feel at ease, and who shows as much interest in your voice +as in your pocketbook. + + + + +ART FOR ART'S SAKE. + + +How many musicians live up to this much-abused term? In my travels here +and abroad I have found just two whose lives were entirely devoted to +"art for art's sake". They both reminded me of the last act of Beau +Brummell, and certainly did not suggest happiness. To fully live up to +"art for art's sake," one must necessarily have means, and you would be +surprised to know how few of those who are in position to live up to it, +do so. Singers, in whom you would expect to find a demonstration,--real +musicians, to whom the whole world has bent its knee,--will stand up +before an audience and sing a little popular waltz song, a la "After the +Ball,"--a song we would consider too inferior to allow one of our pupils +to sing. Is this "art for art's sake?" Where then should we look for a +demonstration, if not in the finished singer or artist? + +Do not these singers know better? Certainly, but they study their +audience, give the few their best, and the masses what they want. In +search for "art for art's sake," we turn to the "artist," and we find +him trying to please the audience. + +We are living in a very material age. If you can afford to do so, live +art for art's sake in your home, but if you have to make your living, +and cope with the world to make a success, you must study your audience; +they paid their money and want to be entertained. You can strike a happy +medium, where you will not lower your dignity, as a singer and an +artist. + +I notice that those who "rant" and "storm" on the subject of "art for +art's sake" seldom live it, of which we were given a fair demonstration +when one of our disciples of "art for art's sake" went on a "concert" +tour and was so anxious to "please" his audience, that the program was a +perfect vaudeville performance. It is needless to say that the "artist" +was severely criticised. Don't bill yourself as a concert singer and +then give a vaudeville performance. Use judgment. Watch the teacher who +is constantly talking "art for art's sake." Note to how many struggling +musicians he holds out a helping hand and how much of his time and life +he devotes to "art for art's sake." + +We teachers charge enough for our lessons to make it possible for us to +devote an evening a week "to art for art's sake"; invite our pupils, +talk, sing, take up the biographies of the old masters, do ensemble +work; study the oratories and operas. I am sure this would help create a +greater love and understanding of the better things in music, for the +more we hear it, the more we love it. This would go further in helping +to create a love and understanding of "art for art's sake," and would be +a greater test of our sincerity. + +Debussy, the well-known composer of Peleas and Melisande, says in an +article on "Art for Art's Sake": "Don't talk to me about elevating +public taste. That is the greatest 'bluff' one can din into your ears. +Just think for a moment what the public is composed of. How many in the +audience understand music? How many devote themselves to music during +the day? An infinitesimal number. The rest, where do they come from? +From offices, stores, business houses of some kind, or they come from +teas and gossip, and then they go to hear the opera. Most of them are +tired after a day's work or idleness, and such people you expect to take +an interest in serious music. Impossible! No; the only thing you can do +for the public is to lift it, for one moment, out of its daily thoughts, +and with that we have to be content. Under such conditions, what +difference does it make whether you have German, Italian or French +opera? There is no immovable truth in art. You cannot say this is so or +so, and what difference do the means make as long as the end is +accomplished? If Italian opera is more effective than German opera, what +does it matter? All art is untruth. You may have been told that art is +eternal because it is true, but there you are mistaken." + +[Illustration: ANDREAS DIPPEL + +Of the Metropolitan Grand Opera and General Manager of the Chicago Grand +Opera, who through his tireless and skillful service is meeting with +great success in the establishing of permanent Grand Opera in the larger +cities west of New York, is an enthusiastic supporter of the Grand Opera +in the vernacular, giving the many excellent American singers an +opportunity to make their début in this country and in their own +language. Mr. Dippel predicts the time is not far distant when New York +will establish the home of the National Grand Opera.] + + + + +EDUCATING THE MASSES. + + +The musician who refuses to make certain concessions to the public gives +proof of courage, but not of wisdom. One cannot expect to go before an +audience and sing over their heads, and by so doing educate them up to +one's own standard of music. + +You must reach down from your lofty ideals and meet the public on its +own ground. + +For example, in creating a love for the grand opera (which the people, +especially of the west, up to a few years ago have had no chance of +hearing), you must proceed gradually, carefully and with tact. + +Teachers of voice culture should organize grand opera study clubs, give +concerts, using selections from the popular grand opera--I mean by +popular grand opera "Il Trovatore," "Carmen," "Faust," etc. These +operas contain airs that are attractive, and can be followed by the +masses. + +It would not be long before the grand opera would share honors with the +now flourishing musical comedy in the affections of the music-loving +public, and the term "grand opera" would not sound to them like a +"bugaboo." + +In Brooklyn one afternoon I passed a number of boys coming from school, +and was astonished to hear them whistling "Tannhauser." While this would +be quite natural in Europe it is rather unusual here, where the popular +song has the upper hand with the young folks. I made inquiries and found +that a phonograph had been installed in the school and that every +morning the pupils listened to selections from the grand operas. My +already good opinion of the value of the phonograph was strengthened, as +I fully realize what effect hearing good music in the public schools +would have on the coming generation. + +In order to fully appreciate a difficult composition one must have made +a study of music, same as a doctor, in order to appreciate a lecture on +some intricate subject about his profession, must have made a study of +that profession. + +The painter sees in a great painting the beauties of execution that +entirely escape the eyes of the uninitiated; yet the musician will go +before an audience of whom two-thirds have probably never studied music +at all, and expect them to appreciate the classical music, and because +they do not, he would brand them as unappreciative, absurd; he expects +the impossible. + +The average audience does not care for the name of a composition as long +as the music appeals to them, and this is generally a matter of how it +is interpreted. + +The power of a beautiful interpretation does not make itself felt in +singing classics alone. Many persons harbor the notion that +interpretation relates to the work of the dead masters only. This is not +true. The simplest song needs interpretation, as well as the oratorio or +opera and the difference between good and bad artists is largely a +matter of interpretation. A simple song that emanates from the heart and +soul, will have a reciprocal effect on others and will outlive all +sermons in the memory. + +The average audience goes to the concert, not to be educated, but to be +entertained. Entertain them, interest them, win them and they will come +again. + +After you have endeared yourself to them, you can begin to sing more +pretentious music, and before they realize it, they are listening to and +enjoying the works of the great masters. + +I have seen a vast audience go to hear Patti sing "Home, Sweet Home," +and while listening they became acquainted with other songs, that by +hearing again and again, have helped to educate them to appreciate the +better music. + +I love the "oratorios" and "grand operas" particularly. They are part of +my life. But I do not expect all with whom I come in contact to feel the +same. + +I have seen more people asleep at a piano recital than I have at church, +and I did not blame them, when some amateur would be wrestling with a +twenty-page selection of which he had not the slightest conception, with +the exception of being able to read the notes and find them on the +instrument. + +Let us not become so blinded that we can see only one way--our way. + +In educating the masses let us not begin by driving them away with +compositions which they cannot understand. + +Art has no fatherland, and all that is beautiful should be prized by us, +no matter how simple or what clime or region produced it. + +When you hear someone dwelling on the fact that Mansfield did not ask +his audience what play they wanted, neither did Patti ask them what she +should sing, the argument is ridiculous. Bear this in mind: The audience +did not go to hear "Il Barbiere" or "Peer Gynt," they went to hear Patti +and see Mansfield, and what they rendered was only incidental to the +fact that they were Patti and Mansfield, people in whom the public was +interested. But while they were listening to these artists they became +acquainted with the better works. + +So leave it to the "finished artist" to produce the great works. You are +an amateur and have your little share to do in educating the masses. +Don't begin by giving a difficult program. Sing something simple, that +you are perfectly familiar with, and don't be afraid of the new +compositions. It is surprising that even old singers fear a new song. +Select something with pretty melody and rhythm and you are perfectly +safe. + +Always be on the lookout for something you can identify with yourself, +just as the artists all have some favorite song. + + + + +HINTS AND HELPS. + + +Get out in the fresh air at least once a day, summer and winter. + +If you are in good health, =walk= in preference to riding. + +Get plenty of sleep. It is better than all other tonics. + +If you are "out of sorts," try a little "new thought," or "mental +science." It may be all you need. + +Sponge your neck, chest and back with cold water every morning. + +Girls, accustom yourselves to wearing your waists minus collars. + +Boys, wear your collars loose. The artists all do. + +Never bundle your neck in winter. A light covering will do. + +Eat what agrees with you, and avoid going on diets, if possible. + +If you desire to gain weight or put on more flesh, you must eat plenty +of nourishing food at least three times a day, drink plenty of pure +fresh water, good rich milk, ale, malt extracts, and everything that +agrees with you. + +Should you desire to reduce your weight, eat sparingly--a shredded wheat +biscuit, some dry toast with a cup of coffee in the morning. At noon eat +one or more oranges, and nothing else. For dinner take only one kind of +meat or fish, a vegetable, a fruit, a salad, some dried toast, with a +cup of black coffee or tea. Use no potatoes, butter or cream. + +There is no special diet for singers. It is only necessary to keep in +good health, take plenty of exercise, and eat and drink only those +things which agree with you. + +Pose your speaking voice low, as it not only benefits the voice, but it +denotes refinement. + +Robusto tenors are high baritones with the head tones developed. + +Saddle riding, walking, physical culture, fencing, dancing, elocution, +the study of any instrument will all be of some value in helping you to +become an artist. + +Use your brains more than your throat. + +Don't be impatient because things do not come your way at once. Rome was +not built in one day. + +Let your study of music cultivate within you a sympathy and love for all +that is artistic. + +Do not be unjustly prejudiced against good music because you do not +understand it. Hear that class of music more, and it will overcome your +prejudice. + +Acquaint yourself with the old masters and works before you take up the +novelties. + +Keep young in mind and thought, and the body will not grow old. + +Think for yourself and =think=. + +Don't worry, for worry is born largely of misdirected ambition. + +When someone is singing, do not shrug your shoulders and assume a pained +expression, so as to impress those who may be sitting near you that you +are a great critic. + +Have you ever thought what a desolate place this world would be without +music? + +Never neglect an opportunity to hear a great singer. If your means are +limited, subdue your pride, for it is far better to sit in the gallery +and be able to hear ten "artist concerts" than to sit in the orchestra +and be able to hear only one. + +Be willing to sacrifice much for your music. + +Associate as much as possible with people who =know more= about music than +you do. Read everything you can find on the subject. You will find =some= +truth in all of it. + +When you attend a concert look forward for the best only--don't be a +pessimist, be an optimist, and you will derive much more benefit. Don't +criticize audibly when someone is singing. =An artist never does.= + +Before going to hear an artist sing, acquaint yourself as much as +possible with the program. + +While under one instructor, do not run around to other studios to have +your voice tried. It is undignified, and reflects on your teacher, as +well as upon yourself. + +Become a sight reader by reading at sight. + +You can break yourself from clearing your throat by not clearing it. You +will be surprised to find it was only a habit. + +Punctuality at the studio is essential. Ten minutes early for your +lesson is better than two minutes late. + +If there is anything about your lesson that you do not understand, ask +questions. You are paying for information. + +Practice systematically if you expect to make a success. + +Beginners should practice only fifteen minutes at a time. + +The scales are the backbone of music study. + +Remember your consonants are of as great value as your vowels. + +In singing, you must use both your nose and mouth for breathing. + +Always stand up when practicing your exercises. + +Memorize all your songs. + +When asked to sing, sing songs with which you are perfectly familiar. + +Stand on both feet and let your chest, not your stomach lead. + +If you expect to sing well, leave the tight collar, the tight corset and +the tight shoes at home. + +It is better to stand too near the footlights than too far back. + +If you are not an expert at handling a train on the stage, don't wear +one. + +While waiting for the introduction to be played, don't count the +footlights or the stars, but look out beyond the audience, rather in +with your eyes and nose. + +When holding music, never hold it high enough to cover your face from +the audience. + +Sing =to= your audience, not =at= it. + +Try and look pleasant, even if you don't feel that way. The audience +can't help it. + +Never fail to give a smile or word of encouragement to other beginners +who may be on the same program with you. + +It is certainly appalling to know how many good singers have bad stage +manners. + +A man must never put either one or both hands in his trouser pockets, +nor stand with his feet spread far apart while singing. Both of these +faults denote improper training. + +If you are ever so warm, use your handkerchief only before or after you +leave the stage. + +Correct dress is essential. + +For a man, for informal entertainments, black suit, black shoes, white +shirt, collar and cuffs, with either a black or white tie. For concert, +only evening dress is appropriate. + +For girls, the nicest thing to wear is a gown; if you do not wear one, +try to have your waist and skirt correspond in shade. The so-called +shirtwaist effect, which is produced by waist and skirt of different +colors, is not effective on the stage. + +Wear hose and slippers of the same color if possible. + +Amateurs when on the stage frequently rearrange a tie or smooth back a +stray curl, etc.; this is but a form of nervousness and looks bad. +Finish your toilet at home. + +For ease and grace take dancing lessons. + +The graduate from dancing and dramatic schools never appear ill at ease +before company. + + + + +WHAT AND HOW TO PRACTICE. + + +It is not so much =what=, but =how= you practice. The average beginner takes +up his practice in an aimless sort of way. Every action should have some +result in view. After taking your lesson, if you find you are not +positive as to the proper course to be pursued at home, you must ask +your teacher the questions necessary to put you on the right path. You +should have all your work laid out for you and go about it in a +systematic manner. Only in this way can you hope to achieve any degree +of success. + +A beginner should not practice much more than five minutes at a time on +each construction, neither would much less than that be sufficient to +accustom that set of muscles to that one construction. Never practice +your limit tones at either end of your range as much as you do your +middle register. What I mean by middle register is low enough to +produce chest and high enough to produce head tones. If you can produce +a fine middle register, the high tones will naturally follow in time. +Melba says, "On days when my high tones do not come easily in practice, +I do not sing them." Do not show or cover your teeth because you have +seen some singers do so; individual construction differs. + +Pronounce your words naturally and distinctly, never forgetting the +consonants at the end of the words. Don't think because you are singing +from a Marchesi book that you are studying her method. You are getting +the method of the teacher with whom you are studying. There are but two +ways of singing--"right" and "wrong"--and it makes little difference +from what instruction book you are taking your lesson, they are all good +and all constructed on the same principles. The main thing is knowing +=what= you are trying to do. + +Many pupils who are poor readers worry through several exercise books, +and at the end of that time have only memorized the notes and made no +progress whatever on the main point--tone. + +The pupil should learn to use the ear, mind and memory, and a great deal +of time would be gained in tone placing which should be taken up before +using an exercise book. If you are not a sight reader, take up this +study at once, preferably in class work, as it is absolutely necessary +that you should be able to read music at sight. + +Antiquated and complicated systems of sight reading are responsible for +many poor readers. We need more ear =training= and ability to =think=. Avoid +the use of the do-re-me syllables unless you are already proficient in +that system. Practice with the pitch names, A, B, C, D, and with the +scale numbers, 1, 2, 3, 4, in order to acquire a relationship of the +tones of the scale, otherwise the syllable "la" or any other syllable +will do. + +If you have an "off day," when all the work seems to go wrong, don't +practice. Mechanical work is of no value whatever in singing. Even the +artists have their "off days," but don't allow these days to become too +frequent. + +The best position for practice is to stand naturally, clasp your hands +in front or let them hang carelessly and naturally at your sides. +Clasping your hands behind your back or resting them on your hips, are +both bad positions for singing. + +When you practice do not simply kill fifteen minutes' time. Mere +practice makes a mechanical gymnast, while study produces a musician. + +In taking up your exercises use the instrument as little as possible. +For illustration we will take the arpeggio. + +Play the arpeggio until you are perfectly familiar with the +construction, then =sing= it once =with= the piano, then play only the chord +or keynote and sing the arpeggio =without= the piano; continue in this way +in all the keys within your range, getting your pitch from the chord or +keynote; this manner of practice is of the greatest value, as you can +stand in a natural singing position and as you do not have to give part +of your thought to the music or instrument, you pay more attention to +the pitch and tone, so that when you come to arias with recitatives +=without= accompaniment, you will not have as much difficulty staying on +pitch as those who invariably depend on the support of the instrument. + +In songs you should pursue the same course, play the most difficult +passages, "memorize them" before you attempt to sing them; in this way +you do not unnecessarily tire the voice. Memorize all your songs; it is +only after you get away from the reading that you are capable of doing +your best work. Always practice before a mirror and you will not be so +liable to acquire facial contortions and would soon overcome the very +bad habit of lifting the shoulders when you "see yourself as others see +you." + +Pupils frequently ask why it is so much easier to sing an exercise on +"ah" than to sing a sentence. In the "ah" you only have one vowel, while +in the sentence there are both vowels and consonants. By diligent +practice you will soon find that the tone helps the word, and the words +help the tone. + +Another complaint frequently heard in the studio is this: "I sang this +exercise perfectly at home, and can't see why I am unable to sing it +now." How many times did you sing this exercise perfectly at home. Don't +consider an exercise learned until you can sing it ten times in +succession =without an error=. + +Lillie Lehmann says: "I expended ten years in perfecting the trill which +every voice must master," and yet some pupils become discouraged +because they can not master the art of singing in a few months! + +Many singers complain of a contraction (hardness under the chin). This +is frequently found where they have been taught to place the tip of the +tongue against the back of the lower teeth to keep the tongue down. +Leave the tongue limp and speak your vowels and consonants perfect and +distinct, and the tongue will take care of itself. + +Those who are working to produce low tones will find that in the +morning, immediately after rising, the lower tones respond most readily +and may help you to find a way of increasing the lower range. + +Don't neglect the scales. Many years ago Madame Patti, while on a +concert tour, was awakened from her early morning sleep by the sound of +a piano in a room close to hers. It was slow scale practicing and was +maddening to the singer. She rang the bell, and demanded that the +practice be at once discontinued. What was her astonishment to learn +that the player was not some beginner as she had supposed, but the great +artist, Hans Von Bulow. + +Why is the so-called Italian method supposed to be the correct method of +singing? Partly because the Italian "a" (as you would pronounce "ä") is +the most natural sound that can be sung, and as the "ä" is the sound +used in two-thirds of the words in the song you sing, it plays an +important part in singing. + +Very few beginners realize that it is not only the words "law," "raw," +"saw," "tall," "hall," etc., that contain the Italian "ä," but also the +words "light," "bright," "might." + +In the word "night," the beginner usually dwells on the "ee," making it +"na-=ee=t," while it =should be= pronounced "n=aw=-eet," dwelling on the "ä." + +The Italian vowels cover the sound, tone color and pronunciation of the +Latin, English, Italian and German, with the exception of the German "o" +and "ü." + +With the French it is quite different. The sound and production stands +by itself. A French singer does not so readily sing the other languages, +neither does an American in the same length of time master the French as +well as the other languages. The French insist on =perfect diction=, and +one of our grand opera singers who delights the New York opera goers by +her singing of "Faust," "Carmen," etc., in the French, would not be +tolerated at the opera in Paris on account of her diction. + +As the French is the diplomatic language of the world, it would be well +to take up this language first. Then study your Italian for your singing +and you will find the Spanish, Latin and German can be easily mastered. + +Study only those songs which have merit. "After the Ball" was composed +within the past twenty years, and over 3,000,000 copies have been sold, +yet this song is both dead and buried, while the "Earl King," by +Schubert, composed in 1798, is today found upon practically all the +programs of our noted singers. + +When taking up a new song read the words over carefully and get an idea +what you are going to sing about before you try to sing it. Never +breathe in the middle of a word, or break a sentence by taking a +breath. + + + + +THE BREATH. + + +The foundation upon which you have to build your voice is the =breath=, +and like all other foundations, it must be properly laid, or the +structure will be a failure. It is imperative that you have absolute and +perfect =control= of the breath. An athlete once said to me, "If breath is +the foundation of good singing, I certainly should make a fine singer, +as I have the largest chest expansion and can hold my breath the longest +time of anyone in the college." The truth is, a small girl, weighing +ninety-six pounds, who had less than one-fifth of his chest expansion, +had twice the volume of sound-carrying power in tone, and could sustain +a tone three times as long as he. + +To practice breathing is not practicing singing, and the teacher who +keeps a pupil indefinitely on "breathing lessons" is either "killing +time" or is not a proficient instructor of voice culture. + +It should be taken for granted that all healthy persons breathe +properly. + +It is not the breathing, but the power of control, which is of vital +importance. It may be that after taking "breathing lessons" for a period +of six months that you will still be far from able to control the breath +=on the tone=. It is the way you practice, rather than the length of time +which brings proficient results. + +You will find by referring to the chapter on "Practical Exercises" that +I demonstrate the matter thoroughly. + +A good tone should have =resonance=, or what we call "vibration," but not +"tremolo." Many young singers confuse these two. Undoubtedly it is just +as bad to sing with a straight, cold, unmusical tone as it is to produce +an exaggerated "vibrato" or "tremolo." + +If you are unable to make the distinction between these two, do not fail +to consult someone who can do so, that you may not enter the pitfalls, +which it takes months to overcome. + +You cannot realize =how little breath= is necessary =on the tone=; we sing +with a great amount of =pressure=, but with =very little breath=. Have you +ever taken a covered head tone without scarcely taking any breath, and +found that you could sustain it for a practically unlimited period? + +I found one of my pupils who had elsewhere taken a course in =breathing=, +in taking a tone, would push her breath out so hard that you heard more +=breath= than =tone=. In singing a tone or short sentence, her chest would +collapse and she would become, as she termed it, "All out of breath." +She would give me all kinds of wonderful breath demonstrations, but +could not connect the =breath= and =tone=. + +I requested her to speak in a natural way the sentence, "This is a very +beautiful day." I asked her if she could hear a lot of escaping breath? +She answered, "No." I then asked her to place one hand across the ribs +and one across the chest and center her thoughts directly at these two +points to see if she could ascertain what was taking place there, while +once again in a natural speaking voice she repeated the sentence. She +did so, and found she was =not= "out of breath," and that her chest did +=not= collapse and she did not feel any discomfort. I then asked her to +repeat the sentence on the medium tone "E" above middle "C," then on +"F," then on "G," directing her each time to think she was merely +=speaking= the sentence, and then for the first time in her life she was +able to understand =control of breath=. During the next lesson we were +able to begin "tone placing" without the least trouble in connecting the +breath and tone. =Try it yourself.= + +All kinds of athletics, breathing lessons or exercises in moderation +are beneficial, but they are not voice culture. As your breath plays a +most important part in =tone placing=, the breath and tone should start +together, hand in hand, from the very beginning. In the following +chapter I shall give some practical exercises that will give the BREATH +and =tone= a chance to become acquainted with each other. + + + + +A FEW PRACTICAL EXERCISES AND ILLUSTRATIONS. + + +Stand erect, but not in a strained position. Place the palm of your +hands over your ribs, pointing the fingers forward. (See Figure 1.) + +=Exhale= by blowing slowly through the closed lips, very much as though +you were blowing on embers to make them burn. In doing this, you will +find that your finger tips will almost meet in front. (See Figure 2.) + +Keep your hands in the same position and =inhale= through the nose. You +will notice a large space in front between your hands. (See Figure 3.) + +Keeping your hands in the same position, repeat this exercise five +times; then drop your arms to your sides, relax and rest a few moments, +repeating this exercise several times until it comes easy. + +[Illustration: five images of the rib-cage doing breath exercises.] + +Go before an open window every morning, place your hands as in figure 4, +inhale through the nose, (don't raise the shoulders) see that the +expansion is as great under the left hand as under the right hand (as in +figure 5) while holding the breath count 5 (aloud) then exhale while +holding the hands in same position, repeat this exercise 5 times in +succession. A positive cure for all forms of nervousness.] + +Be sure when =inhaling= you do not use enough muscular exertion to take +enough breath to cause lifting of the shoulders, which is decidedly +wrong. + +Place your hands as in the first position, exhale, then inhale and, +while you keep the ribs extended against your hands, which is done by +holding the breath and by muscular tension, speak the sentence, "This is +a beautiful day," then exhale, inhale again, holding the breath while +you repeat the sentence. Repeat this several times, then drop your arms +to the sides and rest. + +It is better at the beginning to take =too little= breath than to take =too +much=. Most beginners take too much breath, which makes it impossible to +control it. Until you understand control of the breath, it is better to +only take enough to extend your ribs against your hand as far as they +will go =without discomfort=. + +Don't let anyone tell you that "diaphragmatic," "intercostal" or +"abdominal" breathing =alone= is the only safe course; perfect breathing +is a =combination= of these and more. + +By practicing the above exercises you will find in a short time all the +organs that nature intended to be used for breathing will be in play. + +The reason the beginner is instructed to place the hands on the ribs is +to work from the =central= point, and as the student progresses, by +continuation of the exercises it will be found that the costal, +intercostal, dorsal, diaphragmatic and abdominal muscles are all doing +their share. + +Place your hands as in the first position. =Exhale--inhale.= Sustain the +syllable "saw" on an easy medium tone. As you attack the tone do not let +the ribs collapse, but as you sustain it, let the ribs very slowly +collapse under the palm of your hands. Try to resist so as to not let +too much breath escape. Don't let your chest collapse any more than is +absolutely necessary. The lower the tones you sing the =less= resistance +you need, while the higher tones you sing the =more= resistance you need. +In order to sustain a high tone, =draw in= slightly under the ribs, +leaving the chest extended. Singing the tone, now takes the place of the +=exhaling= exercise. + +[Illustration: musical notation, saw ...saw ...saw ...] + +The word "saw," besides giving you the vowel "ä," also gives you the +correct sound of the Italian "ah" and what the "ah" should be in +singing. + +The average beginner sings too much on the tone color of "a" as in =hat=, +which, as you ascend the scale, would finally land the tone in the +region of the back of your neck. + +In learning to sing the "ah" or Italian "ä," always use words like +"saw," "raw," "law," "paw," "daw," "gnaw," sustaining the tone. + +THE VOWELS + +a e i o u + +Pronounced: a as ä in saw + +e as a in fate + +i as ee in meet + +o as o in note + +u as oo in moon + +Example-- + +[Illustration: musical notation demonstrating pronounciation ä ā ee o oo] + +In ascending the scale, you should cover the tone. To cover the tone +simply put a little more "o" in your "ah," so that by the time you are +up near your high limit tone you should almost be singing "so," "lo," +"dough." This enables you to find your head tone. It will not be "low" +or "dough" but a good "ah." If you do =not gradually curve the "ah" into +an "o"= toward your high tones, you will find them turning into the "a" +as in hat. + +In producing head tones there are two valuable exercises I would +suggest. + +[Illustration: THE VOWELS, images of faces pronouncing the vowels: + +a as ä in saw. e as ā in fate. + +i as ee in meet. + +o as o in note. u as oo in moon.] + + +Positions of the mouth in pronouncing the vowels.] Drop your jaw as in +singing "saw"; leave the jaw dropped singing "saw," but curving your +lips into an "o." You will find an "oh" with fine head resonance and an +open relaxed throat. + +Example-- + +[Illustration: musical notation, ä o ä o ä o ä o ä o ä o ä o ä o ä o] + +Sing this exercise in all the keys within your range. + +Some find their head tones first by humming through the nose, while to +some this suggestion would be of no value. + +If you have a break or any trouble going from your high to low tones, +practice the exercise from the high tone down instead of from the low +tone up. + +Example-- + +[Illustration: musical notation, + +o a o a o a + +saw saw saw +] + +If you have trouble rolling your "r's", which is absolutely necessary, +practice the following words in two syllables, not, however, dropping +the tone. + +Example-- + +Tree as tau-ree. + +Trust as tau-rust. + +True as tau-rue + +Breeze as b-reeze. + +Train as tau-rain. + +Bright as b-right. + +Brown as b-rown. + +=After= you have mastered the rolled "r" through the above exercises, +pronounce them in one syllable as they should be. + +Next, take up your consonants before the vowel + +[Illustration: + +musical notation, + +Baw, bay, bee, bo, boo Baw, bay, bee, bo, boo Baw, bay, bee, bo, boo + +Daw, day, dee, do, doo Daw, day, dee, do, doo Daw, day, dee, do, doo + +Faw, fay, etc. Faw, fay, etc. Faw, fay, etc. + +Gaw, gay, etc. Gaw, gay, etc. Gaw, gay, etc. + +Haw, hay, etc. Haw, hay, etc. Haw, hay, etc. + +J, k, l, m, n, p, q, r, s, t, v, w, y, z.] + +until you have covered all the consonants. + +Then your final consonants, as in "late," "date," "light," "bright." + +In the word "date," make your "d" and your "a" distinct and =on the tone=, +but as you pronounce your "t," which must also be distinct, drop the +tone so as not to leave an "after-tone." This must be done in all words +except those ending with "m" and "n." + +Next build sentences from words which seem most difficult to you and +sing the entire sentence on one sustained tone. + +Example-- + +[Illustration: musical notation repeating Now the day is over. Now the +day is over. Now the day is over.] + +In a song where some particular phrase or sentence seems difficult to +you, sing the entire phrase or sentence on one sustained tone, +pronouncing the words distinctly until you have gone down several tones +=below= and several tones =above= the pitch in which it is written, singing +it over and over on the one sustained tone in all the keys of your +range. I cannot tell you of the benefit you will derive from mastering a +difficult phrase or sentence in this manner. + +For the hardness and muscular contraction under the chin, which has +undoubtedly been brought about by "methods" advocating the placing of +the tip of the tongue against the back of the lower teeth, put your +thumb well up under your chin and see that there is no contraction +(hardness). Leave your tongue perfectly limp, and hum first through the +nose, gradually turning the humming into an "äo," "äo," "äo," then to +"oä," "oä," "oä," sustaining the tone and keeping the thumb pushed well +up under the chin to feel that there is no contraction. By using this +exercise you will be able to overcome this common fault in a very short +time, but you must go at it systematically. + +In singing songs pronounce your words perfectly and distinctly, letting +the palate, glottis and larynx take care of themselves. If your method +of singing is good, =nothing= can injure your voice. + +As this book voices the sentiment of some of the most brilliant lights +in the profession, and contains facts based on years of actual +experience, it is not egotistical for me to say that its careful, +thoughtful and conscientious perusal will give to the student of voice +culture assistance that will be of =inestimable value= in reaching his +goal. + +Start with ease and naturalness and the chances are excellent for your +pathway to be illumned with =success=. + +THE AUTHOR. + + + + + +End of Project Gutenberg's What Every Singer Should Know, by Millie Ryan + +*** END OF THIS PROJECT GUTENBERG EBOOK WHAT EVERY SINGER SHOULD KNOW *** + +***** This file should be named 32602-0.txt or 32602-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/2/6/0/32602/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/32602-0.zip b/32602-0.zip Binary files differnew file mode 100644 index 0000000..1ba6e7a --- /dev/null +++ b/32602-0.zip diff --git a/32602-8.txt b/32602-8.txt new file mode 100644 index 0000000..6676ba1 --- /dev/null +++ b/32602-8.txt @@ -0,0 +1,2225 @@ +The Project Gutenberg EBook of What Every Singer Should Know, by Millie Ryan + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: What Every Singer Should Know + +Author: Millie Ryan + +Release Date: May 30, 2010 [EBook #32602] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WHAT EVERY SINGER SHOULD KNOW *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + + + + + + + + +[Illustration: image of Millie Ryan] + +What +Every Singer +Should Know + +[Illustration: music-harp] + +Published by + +FRANKLIN PUBLISHING CO. + +OMAHA, NEBR. + +Copyrighted 1910 + +by + +MILLIE RYAN + +DEDICATION. + +I LOVINGLY DEDICATE THIS BOOK + +TO MY SON, + +EDWARD RYAN, JR. + + + + +TABLE OF CONTENTS. + + +"Is it Worth My While to Have My Voice Cultivated" 1 + +"Can I Become a Grand Opera Singer?" 8 + +"At What Age Shall I Take Up the Study of Voice Culture?" 12 + +Singing Lessons as a Health Culture 23 + +Advice to Parents 25 + +"Is it Necessary to go Abroad to Study?" 28 + +Chorus Singing 34 + +Stage Fright 36 + +The Accompanist 42 + +Selecting a Teacher 45 + +Art for Art's Sake 52 + +Educating the Masses 57 + +Hints and Helps 64 + +What and How to Practice 73 + +The Breath 83 + +A Few Practical Exercises and Illustrations 88 + + + + +INTRODUCTION. + + +This book is not for the purpose of instruction in singing, as singing +is an art which cannot be taught from book or correspondence. Neither is +it a technical treatise on the voice, but instead I aim through the +medium of my book to have a "heart-to-heart" talk with the beginner, and +with those who contemplate the study of voice culture. + +Books abounding in technical terms are valueless to a beginner, and the +finished artist does not need such a book. There are many valuable books +published, but very few which are written in a manner simple enough for +the beginner to grasp. I wish to give all the valuable "hints" and +"helps" that it has taken years of experience to gather, covering all +the questions that are absolutely necessary to know, making it brief, +simple and =understandable=. + +[Illustration: MADAME LILLIAN NORDICA + +Who is carrying out her plans of establishing a conservatory of music +and festival house for operatic performances, at Neal, N.J. Mme. Nordica +says: "I am confident that there is a crying need in this country for +this sort of musical establishment. Present conditions make it +impossible to enable the public to enjoy opera in English or to hear the +singing of that great host of talented Americans who are forced to +address their efforts to European audiences.] + + + + +"IS IT WORTH MY WHILE TO HAVE MY VOICE CULTIVATED?" + + +The first question which arises with all those who possess an average +singing voice is, "Will it pay me to study voice culture?" The answer +may be found in the following: + +"If you possess a good voice, do not hesitate a moment to cultivate it, +regarding it as the most beautiful gift granted you by +Heaven."--Schumann. + +"But," says the applicant, "I must make my own living. Have I enough +material to cultivate and be able to realize returns?" + +This depends entirely on yourself and what your ambitions are. + +There is a great field in music, and if you have ear, voice, and talent, +STUDY. And, if in addition to these you have ambition, determination and +application, you are sure of success. What your field of operation will +be, whether church, concert or opera, time will decide. + +The power to win is yours--determine to succeed and you cannot fail. + +In order to make a success of anything, you must give it your undivided +attention, and while doing so, your aim must be fixed constantly on the +goal which you desire to attain. Rome was not built in one day, neither +can the elementary training of a voice be accomplished in a year. + +If you are in good health, you must never allow the warm days of summer +to be an obstacle to your practice. Can you imagine the successful +banker, rising young doctor, lawyer or actor stopping their work because +of a warm day? There may be =some= who do, but they are not the ones who +are successful. When you hear a great singer, think of the obstacles she +must have overcome in reaching her position of excellence. Never doubt +yourself or your ability, but say "that what determination and +application have done for others can be done for me." + +You must have confidence in yourself if you want others to have +confidence in you. + +Never lose your temper. Adeline Patti was asked how she preserved her +charm long after the springtime of youth deserts the average woman. She +replied, "I keep my temper." Don't expect to grasp, assimilate and put +into practice in one lesson what it has taken years for your teacher to +accomplish. + +I remember one pupil who said her purse would not allow anything better +than a hall room in New York for a whole winter's study, and that she +really had no "chance" to practice, as her room was too small. This was +a very poor excuse, as that was merely one obstacle to be overcome. + +The artists who have reached the top are those who have had =innumerable= +obstacles to overcome. + +In Switzerland, over a little barber shop, in a room so small that there +was not room for two chairs in addition to the piano, Madame Nordica, +with Madame Cosima Wagner, and a coacher, practiced daily. The following +winter she won one of the successes of her career, as "Isolde." + +To reach the top in the profession, you must have more than voice and +application, for a singer may have the greatest of technique, yet lack +"soul" and "intelligence." The latter two you must possess, as these the +teacher is unable to give you. + +The beginner, in singing, needs a model to imitate, just as much as the +painter or sculptor. Everything is "imitation" until you develop in your +work; your individuality will assert itself as you become proficient. Do +not allow anyone to frighten you by telling you "never imitate or you +will simply be a parrot." Only the very poor teacher who knows her own +weakness as a model would make such an assertion. If the beginner is +fortunate enough to secure a teacher who can demonstrate a =perfect tone=, +do not be afraid to imitate. + +In order to fully interpret the emotions it is necessary to have +knowledge outside of the singing lesson. It is for this reason that +singers seldom reach the stage of "artist" until they are pretty well +advanced in years. It is not how many lessons you take, but the gradual +development, which you attain through experience. You must feel the +heartbeats of others, must know intimately "joy," "pain" and "sorrow" in +order to fully express these emotions. There is no rule of "right" and +"wrong" in the interpretation of a song, it being simply a matter of +opinion. That is where the individuality asserts itself. I remember +taking the old warhorse, "Una Voce Poco Fa," from Il Barbiere (Rossini) +to three of the greatest living singing masters in Italy. Each one +interpreted the aria a little differently, and I am positive each +thought he was the nearest to the composer's idea. Which one was +correct? + +"When you sing you are delivering a message, and you must make your +audience understand and feel it, as it is our 'feelings' above all that +are immediately affected by music."--Von Weber. + +Do not be too anxious to realize financially. Consider that Wagner's +salary as choir-master in the city of Warsaw was less than $12.00 a +month. The great drawback to many of the students in America is the +desire to work on the surface only--they don't seem willing to start at +the beginning and work their way up. The matter of studying voice +culture for a year does not make it possible for the singer to step +before an audience and attain immediate success without other +preparation. + +It takes more than the studio to make a "star." No artist ever began as +a master. In addition to being a singer, you must possess talent, +character and the ability to manage. If there is one of these qualities +lacking, you must remain only an "artist." It takes all three in accord +to produce a "STAR." + + + + +"CAN I BECOME A GRAND OPERA SINGER?" + + +The average teacher, in fact, most teachers, will say, "Yes, if you +study," but this is not true, as you have only about one chance in a +thousand. Have you any idea of the requirements necessary in order to +become a "star" of the Metropolitan Opera Company? + +You must have a fine voice, a "big" voice, a voice of great power and +endurance, fine enunciation, clear and correct pronunciation, knowledge +of the modern languages, have at least twenty-five operas committed to +memory, fine dramatic ability, good physique, size, personality and +"pull." And you must also be on the other side of the ocean to accept +the engagement; and then, your acceptance by a director to "star" is +about as difficult as an audience with a king. + +[Illustration: ALBERT MILDENBERG + +The well known composer who has enaugerated a plan to establish +Municipal Grand Opera in New York City. Mr. Mildenberg's experience as +conductor in the Municipal Opera Houses in France and Italy has fitted +him well for this laudable undertaking which will pave the way for the +training and placing of many talented pupils in this country, who have +heretofore been compelled to go abroad in order to secure positions on +the Grand Opera Stage.] + +There is no reason why a person with voice and talent who has to make +his own living, could not do so after several years of study. I have +over one hundred pupils who are making a good living by singing, and as +many more holding church positions paying them enough to enable them to +continue their studies. + +Show me a pupil who has to make his own living, and who has studied with +one teacher for eight or nine years and is not making his living by +singing, and you are showing me one who =never will=. + +There is, of course, no end to the study of voice culture. I have +studied more or less for over twenty years and am still studying, but if +you have to make your own living, secure whatever position may be open +to you. The church or concert position is =equally= valuable as the opera. + +In Europe, where you hear grand opera all the year around, it becomes a +second nature, but here in our western cities, until recently, grand +opera was almost unknown; two or three performances a year was about all +we could hope for. This was not enough to thoroughly acquaint the people +with the operas, and not enough to create a demand. + +In a western city of 200,000 inhabitants where five years ago it was +impossible to draw an audience of a hundred persons unless heralded by +spectacular advertising, I had the pleasure of witnessing this year +"Standing Room Only" during the performance of the dear old operas, Il +Trovatore, Faust and Carmen. The operas that the people have become +acquainted with through the phonographs, the orchestras and the grand +opera study clubs, organized by the more up-to-date teachers. Mr. Albert +Mildenberg is taking up a most commendable work, that of establishing +the municipal grand opera in New York City; he will eventually succeed, +and, with Herr Andreas Dippel organizing permanent grand opera in the +larger cities west of New York, it will not be long before the grand +opera positions will be plentiful. Within the next year, through the +efforts of Victor Maurel, the grand opera sung in English will also gain +ground, and divide honors with the French, German and Italian, giving +those who have not studied the foreign languages, but who are otherwise +prepared, a chance for positions on the grand opera stage. + +Some cranks insist that the days of the old Italian opera, with its +arias and glorious coloratura work, are passing in order to give place +for the new =music drama=. This is not correct, and will not be possible +as long as there are excellent singers who can sing these operas. We +have room for both the grand opera and the music drama. + +To be an "artist" is the aim the student has in view, and "study" is the +means to that end. + + + + +"AT WHAT AGE SHALL I TAKE UP THE STUDY OF VOICE CULTURE?" + + +Mrs. L. and her 15-year-old daughter called at my studio. The mother +explained that her little girl had been "leading the singing" in school +ever since she was eleven years old, but that her voice was not as good +as it used to be, and that she would like to have her study, but thought +she was too young. I tried the girl's voice and found two registers used +so differently that a person sitting in the next room would think they +were listening to two persons singing. She had a terrible break between +the chest and head tones, and for =four= years had been developing in this +bad way of singing. Now, this child should either have taken up voice +culture at eleven years of age or not "lead the singing" in school. +Children, with very few exceptions, in going from chest to head tones, +will sing =with= the throat, not understanding how to make the change, or +rather how to place the tone; in this way producing a break, which later +in life, when they take up voice culture, will cause endless, and in +some cases, permanent trouble. + +I know of many children who sing at entertainments, school, church, +etc., and you will hear their parents say, "Scarcely a week passes that +my daughter does not sing at some entertainment. If she were a little +older, we would have her take up voice culture." Now, if your daughter +is old enough to sing at entertainments, she is old enough to study. +Either do not let her sing, or put her under the care of a good teacher. + +"How shall I know if she is under proper instruction?" + +A good teacher will, first of all, not allow her to sing at the top of +her voice, which all children seem to delight in doing. A good teacher +will not develop on the extreme =high= or extreme =low= tones. A good +teacher will even up the =medium= register, teach her how to use the +=breath on the tone=, how to =place= the tone, overcoming all seeming change +from chest to head, will give her perfect pronunciation and enunciation. +This can be done at any age from eleven years, depending on the +individual. A girl who has good ear, and who does not lead the singing +in school at eleven and sing at entertainments, can begin at sixteen or +seventeen and develop into a very fine singer. + +"Should my son take up voice culture before his voice has changed?" + +This case is just the same as with the girl, =if he sings=. In fact, I +have found in my twenty years' experience as singer and teacher that the +boy who studies voice culture before his voice changes has an easy road +to travel =after= his voice has changed. Many boys' voices have not +finished changing until they are eighteen or nineteen years of age. The +boy who studied before his voice began changing understands the breath +control, the placing of the tone, and the pronunciation and enunciation. +These four fundamentals are absolutely necessary in order to sing well; +and whether his voice, after the change, develops into tenor or bass, +these fundamentals remain the same, and enable him to continue, instead +of merely begin. The boy, who has studied, or is under a good +instructor, will know =when= to stop singing. I have known many boys with +promising voices, who have ruined them entirely by singing or trying to +sing =during= the change. But they were not boys who were under +instruction, or they would have known better. I do =not= claim that it is +necessary to begin the study of voice culture as a child, as this is +entirely a matter of the individual, but I =do= claim that you can count +on one hand the singers who have reached distinction and whose voices +have lasted any length of time, who started their singing lessons after +they were out of their teens. + +I have pupils who are making a good living as church soloists and on the +concert stage, who commenced their study after they were twenty years +old, but they are the =exception=, and not the =rule=. + +I think a woman has the greatest success in teaching children. This may +be partly due to her maternal instincts. Her illustrations and +demonstrations are more simple than a man's. Her patience with children +also fits her wonderfully well to teach the child. + +You can accomplish nothing with the voice through fear. If the young boy +or girl loves the work, looks forward to the lessons, they cannot fail +in whatever they undertake. + +To satisfy those who disagree with me in regard to the value of early +study, I would ask them to read the lives of the great singers, and they +will find that with very few exceptions they took up the study of voice +culture before and during their early teens. Space forbids me to give a +complete list. However, for the benefit of those who have no access to +the biographies of the singers, I will select the names that I am sure +you are familiar with, beginning at 1740, and down to the present time: + +Malibran, one of the world's most famous singers, at the age of seven +was studying Solfeggio with Panseron at Naples, Italy, and made her +debut in grand opera in her fifteenth year. + +Pesaroni made her grand opera debut at sixteen, and twenty-five years +later we find her still one of the leading grand opera singers. + +Teresa Titjens made her debut in grand opera at the age of fifteen. + +Pauline Lucca was singing at thirteen, and made her debut at the age of +sixteen. + +Kellog made her debut as Gilda in "Rigoletto" at the age of eighteen. + +Minnie Hauk took up voice study at the age of twelve, and was singing in +grand opera during her seventeenth year. + +Christine Nilson, as a child, sang on the streets, was placed under an +instructor, and six months later sang at Court. + +Albini, during her twenty-second year, was engaged by the Royal Italian +Grand Opera at Covent Garden, to sing the leading roles of the grand +opera. + +Scalchi studied while a mere child, and made her grand opera debut at +the age of sixteen. + +Melba made her debut in grand opera when she was twenty-two years of +age. + +Nevada sang in public at the age of six, and has been singing ever +since. + +Patti made a three-year concert tour under the direction of Strakosh, +between the ages of eight and eleven, and made her grand opera debut at +nineteen. + +Nordica made her debut at fifteen, and is still one of the greatest and +loveliest of our singers. + +Sembrich sang solos in church when she could scarcely see over the +railing, and was in grand opera at the age of twenty. + +You may have doubts as to the art of singing of those whom you have read +about, but I am sure you have heard at least Scalchi, Melba, Patti, +Nordica and Sembrich, and you can have no doubt as to their being +classed both as singers and artists. + +It is needless to say that these people must have studied these operas +in order to sing them, and when you take into consideration that they +were not "music dramas" that require really more proficiency in acting +than in singing, but the Italian operas, requiring most perfect +=coloratura= work, and the Wagner operas, demanding heavy =dramatic= +singing, I think you must be convinced that if early study were +injurious to the voice, these great "songsters" would not be living +examples of my assertion. + +Someone will say, "This may be the case with women, but what of the +men?" + +We find the great German tenor, Albert Nieman, singing the grand opera +roles at eighteen. + +Heinrich Vogl, styled the "Interpreter of Wagner," sang these opera +roles at the age of twenty. + +Italo Campanini was singing in grand opera at twenty-one. + +Guilliam Ibos, the grand French tenor, and Van Dyck, were both singing +the grand opera roles at the age of twenty-two. + +Jean de Reszke was soloist at the cathedral at Warsaw at the age of +=twelve=, and was singing in grand opera at twenty-two. I am sure many of +you have heard him sing after his forty-fifth year, and will not deny +that he is both singer and artist. + +Then I hear someone say, "Perhaps their voices did not change, as they +were tenors." There is =some= change at maturity in =all voices=. Very well, +what about Victor Maurel? He was singing the grand opera roles at +twenty-one. Jean Baptiste Faure took up the study of the voice at +thirteen, and at twenty-two =created= the part of Mephistopheles in Faust. + +These men and women, whose names stand out as brilliant stars in the +firmament of music, studied and sang before and in their early teens, +and these are the voices that have been everlasting. + +Within the past six or eight years some beautiful singers have appeared +in the grand opera--one tenor who claims to have studied less than six +months before he appeared in grand opera, and a soprano, making the same +claim, and this study is supposed to have taken place after they were +out of their teens. It will be of interest to wait and watch these +voices to see if they will withstand the wear of twenty-five years' +service, and still be beautiful, or like the fire-fly, radiate their +beautiful light but for a moment and then disappear. + + + + +SINGING LESSONS AS A HEALTH CULTURE. + + +"I should like to take up the study of voice culture, but am not very +strong." + +That is the very reason you should take up singing. I have seen anmic +girls take up the study of voice culture, and at the end of one year's +study develop perfect breathing, a fine full chest, rosy lips, warm +hands, an elegant digestion, and a good disposition. + +There is no tonic for the =nerves= equal to voice culture. At one of the +large sanitariums where eight hundred and five patients were suffering +from tuberculosis, there was but one who had been a singer. The nasal +breathing prevents adenoids from developing. The deep respiration +oxygenates the blood and gives us power to resist diseases. We stand and +walk better. We derive unusual pleasure for ourselves, with the power +to entertain others. As the study is unlimited, our interest cannot fail +to increase with each year. It fills our lives as nothing else can do. + +"Though everything else may appear shallow and repulsive, even the +smallest task in music is so absorbing and carries us so far away from +town, country and earth, and all earthly things that it is truly a +blessed gift of God."--Mendelsohn. + +It is a fact that more people become patients through "boredom" than +through fever. It is the monotony of the daily routine and lack of +interest which is the root of most of the "illness" and "nerves" of our +present day young women. + +Try the study of voice culture as an interesting and permanent remedy. + +The cause of "musical indigestion" is the attending of concerts where +one is compelled to listen to singing or playing, which is poorly +executed or too far beyond one to be properly understood. + + + + +ADVICE TO PARENTS. + + +Parents should encourage their children who are taking up the study of +voice culture, as home encouragement is necessary to children. I know +that parents are inclined to think that when they pay for the music +lessons, nothing further should be expected of them. But this is +positively a wrong idea. + +Do not make the great mistake of forcing your children too soon upon the +public. Many excellent young voices have been ruined in this manner. A +child eleven years of age was brought to my studio. She had ear, voice +and talent, but was almost "sung out." She had a bad break in her voice, +and performed the most unusual contortions in taking a tone, produced by +pushing the throat. The mother assured me that everybody thought she +sang "just grand." She was to sing at an entertainment in a month, and +they thought a few lessons in voice culture would be of great value. It +took an hour of my valuable time to convince them that she must not sing +at present, as it was positively necessary to overcome the break in her +voice, keep her from singing too much, and cure her audible breathing. +They finally arranged for her instruction, but made semi-monthly trips +during three months to ascertain if she was ready to sing in public, and +left with the remark that "they knew of many teachers who would be glad +to have her sing for them as an advertisement." Even the child was +disappointed, as undoubtedly she heard nothing but this at home. + +Parents should be sensible enough to remember that their little girl +cannot finish school in three months, that their son cannot go through +college in three months, and that they cannot learn to play the piano in +three months. + +"That she is young and people will not expect much" is not an excuse. +The public judge by what they see and hear and not by what she may be +able to accomplish if she is given time. How often we have heard father +say, "Johnny, go and play a piece for the company." Poor Johnny would +rather take a licking. =He= knows he is not ready to play for company, but +father says, "Here I have been paying for Johnny's piano lessons and +Mary's singing lessons for nearly three months, and I haven't heard a +song or piece yet. If they are not learning anything, they had better +quit taking lessons." And poor Johnny and Mary inflict on the company +what might be expected after only three months of training. + +Parents, select a reputable teacher--the highest priced is often the +cheapest in the end. When you know that they are under perfect +instruction, leave it to the teacher as to when they should play or sing +in public, and you will find that just as soon as they are able, the +teacher will be as anxious and pleased as yourself to have them appear. + + + + +"IS IT NECESSARY TO GO ABROAD TO STUDY?" + + +This, of course, depends entirely upon your ambition. There are very few +American singers who have reached positions on the grand opera stage +without having previously studied abroad. + +It is well in any case to get your preliminary training at home. For +tone placing and singing you can do equally as well in this country as +abroad, as we have excellent teachers here from all parts of the globe. + +I would advise the boy or girl who has a good home and lives in a +community where it is possible to get proper instruction to take their +first two or three years of work in this country. Take up the study of +languages and if your progress warrants your making a life work of +music, then I would suggest that you go to Europe in order to get the +broadening and the finishing touches that are necessary in order to +become an artist. + +[Illustration: VICTOR MAUREL + +The noted baritone for whom Verdi composed Otello and Falstaff, thinks +that Americans are as much entitled to hear their language at the Opera +Houses as the German, French and Italians. To further this project he +will include opera in English during his present Grand Opera season in +New York City. Mr. Maurel also believes strongly in giving young +American artists of real promise, an occasion to make their dbut in +this country and under favorable artistic patronage and he is going to +give them a chance to do so.] + +For your German songs and operas you should go to Germany. For the +Italian operas to Italy, where it is possible for you to live in the +atmosphere of the opera and hear the language every day. The same also +applies to the French, who, of all people insist emphatically on perfect +diction. + +You can, of course, take up and to some extent learn the languages here, +but you are liable to meet with the same disappointment as a young lady +from the west who studied French in school for several years and thought +herself proficient in that language. She went to Paris to study music +and it was fully six months before she was able to either understand or +to be understood in common, every-day conversation. + +I am in favor of the class lessons so popular in Europe, and hope some +day we will be able to make them universal. Ten or twelve pupils +assemble at one time and each takes his lesson in turn. In this way each +gets the benefit of the other lessons. This also enables the pupils to +become accustomed to singing before each other, which is invaluable in +overcoming nervousness. Some pupils desire to take their lessons in +private, as they do not care to sing before a class. This feeling will +gradually disappear and it is much better to have it over with in the +beginning, than later when you are expected to go before a critic or +manager to sing. + +The expense of studying abroad may be adjusted entirely according to +your pocketbook. When anyone tells you it is cheaper to study on the +other side, they display their ignorance of the subject. I have studied +in this country, Germany, France and Italy, and I have found that, +including everything, it costs about the same everywhere. You can +secure board and room from five dollars a week up to any price you wish +to pay. It is also possible to live cheaper than this if necessary, but +for the student of singing it is of great importance to eat good, +nourishing food, as it is impossible to sing well unless you are in +excellent condition physically. + +Several of the old Italian music masters do not hesitate to say that it +is the American with the large purse who has forced them to raise their +prices, when they were perfectly satisfied to charge much less. + +Miss Moneybag arrives in Italy to take up voice culture. She calls on +one of the old masters; he asks her seventeen lire (about $3.00) per +lesson. This sounds cheap to her as she has been paying $5.00 a lesson +at home, so she starts out again looking for a higher-priced teacher. +She finds one who has had a little more experience with the Americans, +he sizes her up and asks her thirty-five lira; this sounds more in +accordance with her pocketbook, and she lists for the season. This +sizing up of the American pocketbook has been going on for some time and +the old "Maestro" who was perfectly satisfied with $3.00 is waking to +the fact that if he wants these Americans he must raise his prices. And +so we find at present, lessons costing about the same the world over. +However, when Miss Small Pocketbook and real talent arrives, she can +always arrange terms in accordance with her pocketbook, when she proves +she is there to accomplish results. This is not merely hearsay, but +facts gathered in my interviews with some of the most noted +singing-masters. + +If you intend to go into the grand opera it is advisable to go abroad, +as it gives you the prestige which is necessary at present, in order to +secure these positions of which we have a fair illustration in the case +of a beautiful mezzo soprano who had been singing with the English +Grand Opera Company, and though in every way qualified to sing with the +Metropolitan Grand Opera Company, was unable to secure an engagement +with them. She went abroad, changed her name, and returned the following +season as one of the Metropolitan Grand Opera stars, and is still one of +the favorites in that company. + +This seems rather inconsistent, but is nevertheless true. + +If you are fortunate enough to make your debut abroad you will have +practically no trouble in securing a position with any manager on this +side of the ocean. + + + + +CHORUS SINGING. + + +It is of great value to the singer to belong to a good chorus, provided +you know enough not to attempt to be the whole chorus yourself, and are +willing to give the others a chance. + +To be a success in the chorus you must observe the following rules: + +Be punctual. + +Stand erect, and on both feet. Let your chest lead. + +Make yourself a part of the chorus. This is not a solo. + +Don't annoy those around you by "wiggling" or "fidgeting." + +Rise and sit down in unison with the others. + +Do not look all over the place, but keep your eyes on the conductor. + +Do not cover your face with your music. + +Remember it is the conductor's duty to beat time. Keep head, arms and +feet still. + +Do not try to sing louder than the others. You will not be heard any +better and will strain your voice. + +Remember to hold the long note for its full count. + +Time and rhythm are the two great factors in chorus singing. + +Remember that "rests" are of as great importance as "notes" in music. + +Do not start before or hang on after the others have ceased to sing. + +Do not fail to slightly accentuate the first beat of each measure except +where accents are especially marked on other beats. + +Don't look bored because you must stand up to sing. Determine whether +you are going to be =too tired= to do your part before becoming a member +of a chorus. + +Keep your eyes on the conductor. + + + + +STAGE FRIGHT. + + +I have never met a singer, amateur or professional, who does not or has +not at some time suffered from this dreadful malady. There is no +positive cure but constantly appearing before an audience, and then some +of the singers never overcome this form of nervousness. + +The only consolation is in knowing that a person entirely void of this +feeling will never make an artist, as they are lacking in temperament. +Emotion is the flesh and blood of music and the condition is one in +which self-consciousness, nervous energy and emotion play a large part. +However, as you gain confidence in yourself and your work, and feel that +you are in "rapport" with your audience, this sensation will wear off to +a great extent. + +Very few children before their teens are troubled with stage fright. In +fact, they seem to glory in appearing before an audience. This is the +best time to continue the work that will be of inestimable value the +balance of their lives. Let them appear before the classes in the studio +until they are prepared to appear in public. + +When one begins to discuss nervousness, suggestion takes it up and it +spreads like wildfire. A young singer who had appeared several times in +the same solo and done excellent work was stepping on the stage to sing +when one of her friends thoughtlessly remarked: "Aren't you nervous +about that high 'C?'" The suggestion immediately lodged in her brain and +she could think of nothing but that high "C." Her fear increased and she +sang it with an almost heroic physical effort, a tone that had never +given her the least trouble before. + +It is the confident friend who helps you to win your audience by the +encouraging remark, "I know you will be a success," while the one who +asks, + +"Aren't you afraid you are going to break down?" in reality will assist +you in doing so. Always try and have the confident friends around you, +especially in the earlier stage of your career. + +There is an erroneous idea about not eating before singing. If you are +nervous there is nothing so dangerous as trying to sing on an empty +stomach. I know of singers who eat nothing on the day they are going to +sing, the result being increased nervousness caused from weakness. + +I would not advise a big meal before singing, but I would advise taking +something, depending entirely on the individual. A cup of black coffee, +a glass of water, a glass of claret, an orange, a raw egg, or anything +that agrees with you. Give the stomach some work to do and that "giddy +feeling" will entirely disappear. I always take a raw egg before +singing. + +One of our noted tenors, before walking out on the stage, lights a +cigarette, takes three puffs and throws it away. Three puffs could be of +very little value, but he imagines he sings better. Judging from his age +and voice, and its endurance, it has evidently not injured him, though I +would not advise singers to use tobacco. + +Those suffering from phlegm in the throat will find almost instant +relief in eating a dry prune. I acquired this habit in Italy, where it +is very popular with the singers. Dried prunes are beneficial for the +general health as well as the throat. Find what agrees with you, for +what might be agreeable to one may be disagreeable to another. + +When you step out on the stage take time to fully relax, get your mind +on the introduction your accompanist is playing. This prepares you for +your song. Look =beyond= your audience, not =at= them. + +By this time you will have fairly good control of yourself. Think of +=what you are going to sing=, and not of how you are feeling. Sing to your +audience as if you were telling them a story. Speak distinctly and make +them understand and feel what you are saying. Don't wear anything that +binds you, such as tight shoes, tight corsets or tight collars, as they +all tend to contract instead of relax. It is through nervousness that +singers have "wobbled" off the stage after their solo, before the +accompanist has finished. Remember in the interval between the end of +your solo and the last note of the accompaniment you should stand +perfectly still. Say to your audience (mentally), "Don't move until the +accompaniment is finished." You will be surprised to see how well you +can hold them. All these little thoughts will help make you forget +yourself. + +I once read an article on stage fright. The author advised the singer to +look at his audience as though they were so many cabbage heads. I +cannot agree with him. You, no doubt, have heard people sing as though +they were inspired. I have felt that way many times when singing, and I +am sure my audience inspired me. It would have been impossible to sing +like that to empty chairs or a field of cabbage heads. + +Analyze yourself and your work as much as you please at home, but when +you go before an audience, forget yourself and let your aim be to win +them. + + + + +THE ACCOMPANIST. + + +I find that only about one in every hundred, who study voice culture, +are able to accompany themselves on the piano. Nearly all know the +keyboard and can get along after a fashion, therefore it is necessary +that the student of voice culture should secure a first-class +accompanist. + +Your voice teacher here, or abroad, is always in a position to furnish +you with one. You must arrange for his services at least twice a week. +You can have no idea of the progress this will mean in your work. If you +are asked to sing at an entertainment, do not take anyone's word that +"there will be a good accompanist on hand," but see to it yourself. If +it is not possible for you to have your own accompanist, be sure that +you have ample time for rehearsal, and if the accompanist present is not +a good one, =do not sing=. + +A poor accompanist has been the cause of the failure of many young +singers who are anxious to get before the public. + +The young and inexperienced singer cannot be too particular on this +point, and I would suggest that amateurs during their first few +appearances before the public sing only with an accompanist with whom +they have become accustomed to sing. All young singers are more or less +nervous; in fact, I know very few old ones who are not, and this is +where your own accompanist proves of the greatest value. + +One of my pupils who made her debut said, "I had a sensation as of a +lump in my throat, and felt that at the end of the pause I =must= swallow +or choke. My accompanist had played for me before and seemed to +anticipate my predicament, so gave me a little more time on that 'pause' +and I was saved. With a strange accompanist, I would have gone to +pieces." + +Because a singer is an amateur, their parents and friends seem to think +that anyone can play their accompaniments. The truth of the matter is, +the less experienced the singer, the better the accompanist must be. +Good accompanists are born, not made. + +To be sure, practice makes perfect, but I know of many fine pianists who +read well, have time, rhythm, technique, execution, and yet who will +never make good accompanists. It takes all of these and more. + +Nothing makes failure more certain than the blundering of an +inexperienced and unskilled accompanist. + + + + +SELECTING A TEACHER. + + +It is not always that the best read man on voice culture makes the best +teacher; in fact, we find that teachers, who have not been singers +themselves, but who have devoted years to the study of the physical and +technical side of the question have turned out very few good singers. + +In order to make a good teacher, one must first have command of his own +voice in order to make perfect demonstrations which are essential to the +beginner. Further, a teacher in order to be successful must have +practical experience with the world and singers. No two voices can be +treated in the same manner. Therefore, the teacher with the practical +experience is naturally far better equipped to teach than the one who +has merely studied the mechanism of the throat. + +It is positively harmful for a teacher to make any attempt to explain +the technical side of the voice to a =beginner=. Better develop the ear +and memory. A teacher must have patience and tact in order to be able to +deal with the different natures, dispositions and moods that are +encountered in the studio. One word of kindness and encouragement will +invariably do more toward putting a pupil at his ease and secure the +best results from his work than any number of severe sermons and +sarcastic criticisms. + +The pupils are paying for their lessons and are entitled to courteous +treatment. Avoid the nervous, irritable teacher. The teacher who becomes +impatient or ruffled because a pupil cannot instantly grasp his meaning, +walking up and down the floor with clenched fists chastising the air, +and in every way displaying his own nerves and lack of self-control, is +not a =teacher=, but a =fool=. Such a person has either forgotten his own +earlier struggles or had never studied. + +Avoid the teacher with a hobby. There is nothing so barren in the world +as one idea, spring from one idea, nourished by one idea and aiming at +one idea. This includes the teacher who believes in keeping the pupil on +one tone for six months. While your tone needs more than six months to +become perfect, dwelling on that one tone alone for that length of time +would be decidedly wrong. + +We frequently accept students who have acquired numerous bad habits in +breathing or singing. They often know their trouble and ask how long it +will take to undo this work and get back into the right way. They seem +to think it is a matter of a certain time working back to the beginning +and then starting over again. This is not true. It is a matter of +beginning =now= and beginning right. The thoughts of a pupil should be +=advance=, not =retreat=. You must not think of what you =have done=, but +what you =must do=. + +Avoid the teacher who advances theories and mechanical contrivances. A +laryngoscope in the hands of a physician might save many lives, but in +the hands of a singing teacher may ruin many voices. The perfect teacher +uses the simplest demonstrations, realizing that technical terms go +entirely over the heads of the beginner. The following suggestions are +entirely useless: + +Sing the tone forward. + +Sing the tone on the teeth. + +Sing over your larynx. + +Sing that tone with the epiglottis lowered, the palate raised, and on +the end of the breath. + +I have personally heard these instructions given to pupils, and I assure +you the pupil did not gain anything by it. + +It is positively absurd to insist on a beginner knowing the structures +of the vocal chords, neither will the patting, pinching or massaging of +the neck and facial muscles, that some teachers advocate, make you sing +any better. It is undoubtedly of some benefit to "wrinkles," but not to +the voice. + +Garcia, admitted to be one of the greatest singing masters of his time, +said, regarding the position of larynx being higher or lower or the more +or less raising of the palate, that the singer need only follow natural +effects, and larynx, palate and the rest will take care of themselves. +Do not complicate it with theories. + +A new pupil went into the studio of a well-known teacher for a hearing. +She took with her a popular song--the only song which she knew. The +teacher cried "Trash," and would not even talk the matter over. This was +foolish, selfish and unreasonable. + +Every voice which comes under our care includes the personality behind +the voice, and is of distinct and special interest. This pupil's +=environment= had undoubtedly been such that she was not further developed +and could hardly be expected to love and understand the music, which the +teacher was accustomed to perform or teach. However, many a singer, who +first brought the popular song, has developed into a successful church +and concert singer. This was not brought about by reprimands and unkind +criticisms of their short-comings, but by patient consideration and +gradual development. Give the pupil a chance to learn to perform good +music before you demand that they should appreciate it. A good teacher +will encourage questions. If there are any questions pertaining to the +study of voice culture that he cannot answer it is time he should know. + +Unless a teacher is a perfect accompanist, so that he can keep his eyes +away from the keyboard, he should employ an accompanist, for the +teacher should =see= as well as =hear= the pupil sing the finished numbers. + +And last, but not least, select a teacher who tries to understand you, +who makes you feel at ease, and who shows as much interest in your voice +as in your pocketbook. + + + + +ART FOR ART'S SAKE. + + +How many musicians live up to this much-abused term? In my travels here +and abroad I have found just two whose lives were entirely devoted to +"art for art's sake". They both reminded me of the last act of Beau +Brummell, and certainly did not suggest happiness. To fully live up to +"art for art's sake," one must necessarily have means, and you would be +surprised to know how few of those who are in position to live up to it, +do so. Singers, in whom you would expect to find a demonstration,--real +musicians, to whom the whole world has bent its knee,--will stand up +before an audience and sing a little popular waltz song, a la "After the +Ball,"--a song we would consider too inferior to allow one of our pupils +to sing. Is this "art for art's sake?" Where then should we look for a +demonstration, if not in the finished singer or artist? + +Do not these singers know better? Certainly, but they study their +audience, give the few their best, and the masses what they want. In +search for "art for art's sake," we turn to the "artist," and we find +him trying to please the audience. + +We are living in a very material age. If you can afford to do so, live +art for art's sake in your home, but if you have to make your living, +and cope with the world to make a success, you must study your audience; +they paid their money and want to be entertained. You can strike a happy +medium, where you will not lower your dignity, as a singer and an +artist. + +I notice that those who "rant" and "storm" on the subject of "art for +art's sake" seldom live it, of which we were given a fair demonstration +when one of our disciples of "art for art's sake" went on a "concert" +tour and was so anxious to "please" his audience, that the program was a +perfect vaudeville performance. It is needless to say that the "artist" +was severely criticised. Don't bill yourself as a concert singer and +then give a vaudeville performance. Use judgment. Watch the teacher who +is constantly talking "art for art's sake." Note to how many struggling +musicians he holds out a helping hand and how much of his time and life +he devotes to "art for art's sake." + +We teachers charge enough for our lessons to make it possible for us to +devote an evening a week "to art for art's sake"; invite our pupils, +talk, sing, take up the biographies of the old masters, do ensemble +work; study the oratories and operas. I am sure this would help create a +greater love and understanding of the better things in music, for the +more we hear it, the more we love it. This would go further in helping +to create a love and understanding of "art for art's sake," and would be +a greater test of our sincerity. + +Debussy, the well-known composer of Peleas and Melisande, says in an +article on "Art for Art's Sake": "Don't talk to me about elevating +public taste. That is the greatest 'bluff' one can din into your ears. +Just think for a moment what the public is composed of. How many in the +audience understand music? How many devote themselves to music during +the day? An infinitesimal number. The rest, where do they come from? +From offices, stores, business houses of some kind, or they come from +teas and gossip, and then they go to hear the opera. Most of them are +tired after a day's work or idleness, and such people you expect to take +an interest in serious music. Impossible! No; the only thing you can do +for the public is to lift it, for one moment, out of its daily thoughts, +and with that we have to be content. Under such conditions, what +difference does it make whether you have German, Italian or French +opera? There is no immovable truth in art. You cannot say this is so or +so, and what difference do the means make as long as the end is +accomplished? If Italian opera is more effective than German opera, what +does it matter? All art is untruth. You may have been told that art is +eternal because it is true, but there you are mistaken." + +[Illustration: ANDREAS DIPPEL + +Of the Metropolitan Grand Opera and General Manager of the Chicago Grand +Opera, who through his tireless and skillful service is meeting with +great success in the establishing of permanent Grand Opera in the larger +cities west of New York, is an enthusiastic supporter of the Grand Opera +in the vernacular, giving the many excellent American singers an +opportunity to make their dbut in this country and in their own +language. Mr. Dippel predicts the time is not far distant when New York +will establish the home of the National Grand Opera.] + + + + +EDUCATING THE MASSES. + + +The musician who refuses to make certain concessions to the public gives +proof of courage, but not of wisdom. One cannot expect to go before an +audience and sing over their heads, and by so doing educate them up to +one's own standard of music. + +You must reach down from your lofty ideals and meet the public on its +own ground. + +For example, in creating a love for the grand opera (which the people, +especially of the west, up to a few years ago have had no chance of +hearing), you must proceed gradually, carefully and with tact. + +Teachers of voice culture should organize grand opera study clubs, give +concerts, using selections from the popular grand opera--I mean by +popular grand opera "Il Trovatore," "Carmen," "Faust," etc. These +operas contain airs that are attractive, and can be followed by the +masses. + +It would not be long before the grand opera would share honors with the +now flourishing musical comedy in the affections of the music-loving +public, and the term "grand opera" would not sound to them like a +"bugaboo." + +In Brooklyn one afternoon I passed a number of boys coming from school, +and was astonished to hear them whistling "Tannhauser." While this would +be quite natural in Europe it is rather unusual here, where the popular +song has the upper hand with the young folks. I made inquiries and found +that a phonograph had been installed in the school and that every +morning the pupils listened to selections from the grand operas. My +already good opinion of the value of the phonograph was strengthened, as +I fully realize what effect hearing good music in the public schools +would have on the coming generation. + +In order to fully appreciate a difficult composition one must have made +a study of music, same as a doctor, in order to appreciate a lecture on +some intricate subject about his profession, must have made a study of +that profession. + +The painter sees in a great painting the beauties of execution that +entirely escape the eyes of the uninitiated; yet the musician will go +before an audience of whom two-thirds have probably never studied music +at all, and expect them to appreciate the classical music, and because +they do not, he would brand them as unappreciative, absurd; he expects +the impossible. + +The average audience does not care for the name of a composition as long +as the music appeals to them, and this is generally a matter of how it +is interpreted. + +The power of a beautiful interpretation does not make itself felt in +singing classics alone. Many persons harbor the notion that +interpretation relates to the work of the dead masters only. This is not +true. The simplest song needs interpretation, as well as the oratorio or +opera and the difference between good and bad artists is largely a +matter of interpretation. A simple song that emanates from the heart and +soul, will have a reciprocal effect on others and will outlive all +sermons in the memory. + +The average audience goes to the concert, not to be educated, but to be +entertained. Entertain them, interest them, win them and they will come +again. + +After you have endeared yourself to them, you can begin to sing more +pretentious music, and before they realize it, they are listening to and +enjoying the works of the great masters. + +I have seen a vast audience go to hear Patti sing "Home, Sweet Home," +and while listening they became acquainted with other songs, that by +hearing again and again, have helped to educate them to appreciate the +better music. + +I love the "oratorios" and "grand operas" particularly. They are part of +my life. But I do not expect all with whom I come in contact to feel the +same. + +I have seen more people asleep at a piano recital than I have at church, +and I did not blame them, when some amateur would be wrestling with a +twenty-page selection of which he had not the slightest conception, with +the exception of being able to read the notes and find them on the +instrument. + +Let us not become so blinded that we can see only one way--our way. + +In educating the masses let us not begin by driving them away with +compositions which they cannot understand. + +Art has no fatherland, and all that is beautiful should be prized by us, +no matter how simple or what clime or region produced it. + +When you hear someone dwelling on the fact that Mansfield did not ask +his audience what play they wanted, neither did Patti ask them what she +should sing, the argument is ridiculous. Bear this in mind: The audience +did not go to hear "Il Barbiere" or "Peer Gynt," they went to hear Patti +and see Mansfield, and what they rendered was only incidental to the +fact that they were Patti and Mansfield, people in whom the public was +interested. But while they were listening to these artists they became +acquainted with the better works. + +So leave it to the "finished artist" to produce the great works. You are +an amateur and have your little share to do in educating the masses. +Don't begin by giving a difficult program. Sing something simple, that +you are perfectly familiar with, and don't be afraid of the new +compositions. It is surprising that even old singers fear a new song. +Select something with pretty melody and rhythm and you are perfectly +safe. + +Always be on the lookout for something you can identify with yourself, +just as the artists all have some favorite song. + + + + +HINTS AND HELPS. + + +Get out in the fresh air at least once a day, summer and winter. + +If you are in good health, =walk= in preference to riding. + +Get plenty of sleep. It is better than all other tonics. + +If you are "out of sorts," try a little "new thought," or "mental +science." It may be all you need. + +Sponge your neck, chest and back with cold water every morning. + +Girls, accustom yourselves to wearing your waists minus collars. + +Boys, wear your collars loose. The artists all do. + +Never bundle your neck in winter. A light covering will do. + +Eat what agrees with you, and avoid going on diets, if possible. + +If you desire to gain weight or put on more flesh, you must eat plenty +of nourishing food at least three times a day, drink plenty of pure +fresh water, good rich milk, ale, malt extracts, and everything that +agrees with you. + +Should you desire to reduce your weight, eat sparingly--a shredded wheat +biscuit, some dry toast with a cup of coffee in the morning. At noon eat +one or more oranges, and nothing else. For dinner take only one kind of +meat or fish, a vegetable, a fruit, a salad, some dried toast, with a +cup of black coffee or tea. Use no potatoes, butter or cream. + +There is no special diet for singers. It is only necessary to keep in +good health, take plenty of exercise, and eat and drink only those +things which agree with you. + +Pose your speaking voice low, as it not only benefits the voice, but it +denotes refinement. + +Robusto tenors are high baritones with the head tones developed. + +Saddle riding, walking, physical culture, fencing, dancing, elocution, +the study of any instrument will all be of some value in helping you to +become an artist. + +Use your brains more than your throat. + +Don't be impatient because things do not come your way at once. Rome was +not built in one day. + +Let your study of music cultivate within you a sympathy and love for all +that is artistic. + +Do not be unjustly prejudiced against good music because you do not +understand it. Hear that class of music more, and it will overcome your +prejudice. + +Acquaint yourself with the old masters and works before you take up the +novelties. + +Keep young in mind and thought, and the body will not grow old. + +Think for yourself and =think=. + +Don't worry, for worry is born largely of misdirected ambition. + +When someone is singing, do not shrug your shoulders and assume a pained +expression, so as to impress those who may be sitting near you that you +are a great critic. + +Have you ever thought what a desolate place this world would be without +music? + +Never neglect an opportunity to hear a great singer. If your means are +limited, subdue your pride, for it is far better to sit in the gallery +and be able to hear ten "artist concerts" than to sit in the orchestra +and be able to hear only one. + +Be willing to sacrifice much for your music. + +Associate as much as possible with people who =know more= about music than +you do. Read everything you can find on the subject. You will find =some= +truth in all of it. + +When you attend a concert look forward for the best only--don't be a +pessimist, be an optimist, and you will derive much more benefit. Don't +criticize audibly when someone is singing. =An artist never does.= + +Before going to hear an artist sing, acquaint yourself as much as +possible with the program. + +While under one instructor, do not run around to other studios to have +your voice tried. It is undignified, and reflects on your teacher, as +well as upon yourself. + +Become a sight reader by reading at sight. + +You can break yourself from clearing your throat by not clearing it. You +will be surprised to find it was only a habit. + +Punctuality at the studio is essential. Ten minutes early for your +lesson is better than two minutes late. + +If there is anything about your lesson that you do not understand, ask +questions. You are paying for information. + +Practice systematically if you expect to make a success. + +Beginners should practice only fifteen minutes at a time. + +The scales are the backbone of music study. + +Remember your consonants are of as great value as your vowels. + +In singing, you must use both your nose and mouth for breathing. + +Always stand up when practicing your exercises. + +Memorize all your songs. + +When asked to sing, sing songs with which you are perfectly familiar. + +Stand on both feet and let your chest, not your stomach lead. + +If you expect to sing well, leave the tight collar, the tight corset and +the tight shoes at home. + +It is better to stand too near the footlights than too far back. + +If you are not an expert at handling a train on the stage, don't wear +one. + +While waiting for the introduction to be played, don't count the +footlights or the stars, but look out beyond the audience, rather in +with your eyes and nose. + +When holding music, never hold it high enough to cover your face from +the audience. + +Sing =to= your audience, not =at= it. + +Try and look pleasant, even if you don't feel that way. The audience +can't help it. + +Never fail to give a smile or word of encouragement to other beginners +who may be on the same program with you. + +It is certainly appalling to know how many good singers have bad stage +manners. + +A man must never put either one or both hands in his trouser pockets, +nor stand with his feet spread far apart while singing. Both of these +faults denote improper training. + +If you are ever so warm, use your handkerchief only before or after you +leave the stage. + +Correct dress is essential. + +For a man, for informal entertainments, black suit, black shoes, white +shirt, collar and cuffs, with either a black or white tie. For concert, +only evening dress is appropriate. + +For girls, the nicest thing to wear is a gown; if you do not wear one, +try to have your waist and skirt correspond in shade. The so-called +shirtwaist effect, which is produced by waist and skirt of different +colors, is not effective on the stage. + +Wear hose and slippers of the same color if possible. + +Amateurs when on the stage frequently rearrange a tie or smooth back a +stray curl, etc.; this is but a form of nervousness and looks bad. +Finish your toilet at home. + +For ease and grace take dancing lessons. + +The graduate from dancing and dramatic schools never appear ill at ease +before company. + + + + +WHAT AND HOW TO PRACTICE. + + +It is not so much =what=, but =how= you practice. The average beginner takes +up his practice in an aimless sort of way. Every action should have some +result in view. After taking your lesson, if you find you are not +positive as to the proper course to be pursued at home, you must ask +your teacher the questions necessary to put you on the right path. You +should have all your work laid out for you and go about it in a +systematic manner. Only in this way can you hope to achieve any degree +of success. + +A beginner should not practice much more than five minutes at a time on +each construction, neither would much less than that be sufficient to +accustom that set of muscles to that one construction. Never practice +your limit tones at either end of your range as much as you do your +middle register. What I mean by middle register is low enough to +produce chest and high enough to produce head tones. If you can produce +a fine middle register, the high tones will naturally follow in time. +Melba says, "On days when my high tones do not come easily in practice, +I do not sing them." Do not show or cover your teeth because you have +seen some singers do so; individual construction differs. + +Pronounce your words naturally and distinctly, never forgetting the +consonants at the end of the words. Don't think because you are singing +from a Marchesi book that you are studying her method. You are getting +the method of the teacher with whom you are studying. There are but two +ways of singing--"right" and "wrong"--and it makes little difference +from what instruction book you are taking your lesson, they are all good +and all constructed on the same principles. The main thing is knowing +=what= you are trying to do. + +Many pupils who are poor readers worry through several exercise books, +and at the end of that time have only memorized the notes and made no +progress whatever on the main point--tone. + +The pupil should learn to use the ear, mind and memory, and a great deal +of time would be gained in tone placing which should be taken up before +using an exercise book. If you are not a sight reader, take up this +study at once, preferably in class work, as it is absolutely necessary +that you should be able to read music at sight. + +Antiquated and complicated systems of sight reading are responsible for +many poor readers. We need more ear =training= and ability to =think=. Avoid +the use of the do-re-me syllables unless you are already proficient in +that system. Practice with the pitch names, A, B, C, D, and with the +scale numbers, 1, 2, 3, 4, in order to acquire a relationship of the +tones of the scale, otherwise the syllable "la" or any other syllable +will do. + +If you have an "off day," when all the work seems to go wrong, don't +practice. Mechanical work is of no value whatever in singing. Even the +artists have their "off days," but don't allow these days to become too +frequent. + +The best position for practice is to stand naturally, clasp your hands +in front or let them hang carelessly and naturally at your sides. +Clasping your hands behind your back or resting them on your hips, are +both bad positions for singing. + +When you practice do not simply kill fifteen minutes' time. Mere +practice makes a mechanical gymnast, while study produces a musician. + +In taking up your exercises use the instrument as little as possible. +For illustration we will take the arpeggio. + +Play the arpeggio until you are perfectly familiar with the +construction, then =sing= it once =with= the piano, then play only the chord +or keynote and sing the arpeggio =without= the piano; continue in this way +in all the keys within your range, getting your pitch from the chord or +keynote; this manner of practice is of the greatest value, as you can +stand in a natural singing position and as you do not have to give part +of your thought to the music or instrument, you pay more attention to +the pitch and tone, so that when you come to arias with recitatives +=without= accompaniment, you will not have as much difficulty staying on +pitch as those who invariably depend on the support of the instrument. + +In songs you should pursue the same course, play the most difficult +passages, "memorize them" before you attempt to sing them; in this way +you do not unnecessarily tire the voice. Memorize all your songs; it is +only after you get away from the reading that you are capable of doing +your best work. Always practice before a mirror and you will not be so +liable to acquire facial contortions and would soon overcome the very +bad habit of lifting the shoulders when you "see yourself as others see +you." + +Pupils frequently ask why it is so much easier to sing an exercise on +"ah" than to sing a sentence. In the "ah" you only have one vowel, while +in the sentence there are both vowels and consonants. By diligent +practice you will soon find that the tone helps the word, and the words +help the tone. + +Another complaint frequently heard in the studio is this: "I sang this +exercise perfectly at home, and can't see why I am unable to sing it +now." How many times did you sing this exercise perfectly at home. Don't +consider an exercise learned until you can sing it ten times in +succession =without an error=. + +Lillie Lehmann says: "I expended ten years in perfecting the trill which +every voice must master," and yet some pupils become discouraged +because they can not master the art of singing in a few months! + +Many singers complain of a contraction (hardness under the chin). This +is frequently found where they have been taught to place the tip of the +tongue against the back of the lower teeth to keep the tongue down. +Leave the tongue limp and speak your vowels and consonants perfect and +distinct, and the tongue will take care of itself. + +Those who are working to produce low tones will find that in the +morning, immediately after rising, the lower tones respond most readily +and may help you to find a way of increasing the lower range. + +Don't neglect the scales. Many years ago Madame Patti, while on a +concert tour, was awakened from her early morning sleep by the sound of +a piano in a room close to hers. It was slow scale practicing and was +maddening to the singer. She rang the bell, and demanded that the +practice be at once discontinued. What was her astonishment to learn +that the player was not some beginner as she had supposed, but the great +artist, Hans Von Bulow. + +Why is the so-called Italian method supposed to be the correct method of +singing? Partly because the Italian "a" (as you would pronounce "") is +the most natural sound that can be sung, and as the "" is the sound +used in two-thirds of the words in the song you sing, it plays an +important part in singing. + +Very few beginners realize that it is not only the words "law," "raw," +"saw," "tall," "hall," etc., that contain the Italian "," but also the +words "light," "bright," "might." + +In the word "night," the beginner usually dwells on the "ee," making it +"na-=ee=t," while it =should be= pronounced "n=aw=-eet," dwelling on the "." + +The Italian vowels cover the sound, tone color and pronunciation of the +Latin, English, Italian and German, with the exception of the German "o" +and "." + +With the French it is quite different. The sound and production stands +by itself. A French singer does not so readily sing the other languages, +neither does an American in the same length of time master the French as +well as the other languages. The French insist on =perfect diction=, and +one of our grand opera singers who delights the New York opera goers by +her singing of "Faust," "Carmen," etc., in the French, would not be +tolerated at the opera in Paris on account of her diction. + +As the French is the diplomatic language of the world, it would be well +to take up this language first. Then study your Italian for your singing +and you will find the Spanish, Latin and German can be easily mastered. + +Study only those songs which have merit. "After the Ball" was composed +within the past twenty years, and over 3,000,000 copies have been sold, +yet this song is both dead and buried, while the "Earl King," by +Schubert, composed in 1798, is today found upon practically all the +programs of our noted singers. + +When taking up a new song read the words over carefully and get an idea +what you are going to sing about before you try to sing it. Never +breathe in the middle of a word, or break a sentence by taking a +breath. + + + + +THE BREATH. + + +The foundation upon which you have to build your voice is the =breath=, +and like all other foundations, it must be properly laid, or the +structure will be a failure. It is imperative that you have absolute and +perfect =control= of the breath. An athlete once said to me, "If breath is +the foundation of good singing, I certainly should make a fine singer, +as I have the largest chest expansion and can hold my breath the longest +time of anyone in the college." The truth is, a small girl, weighing +ninety-six pounds, who had less than one-fifth of his chest expansion, +had twice the volume of sound-carrying power in tone, and could sustain +a tone three times as long as he. + +To practice breathing is not practicing singing, and the teacher who +keeps a pupil indefinitely on "breathing lessons" is either "killing +time" or is not a proficient instructor of voice culture. + +It should be taken for granted that all healthy persons breathe +properly. + +It is not the breathing, but the power of control, which is of vital +importance. It may be that after taking "breathing lessons" for a period +of six months that you will still be far from able to control the breath +=on the tone=. It is the way you practice, rather than the length of time +which brings proficient results. + +You will find by referring to the chapter on "Practical Exercises" that +I demonstrate the matter thoroughly. + +A good tone should have =resonance=, or what we call "vibration," but not +"tremolo." Many young singers confuse these two. Undoubtedly it is just +as bad to sing with a straight, cold, unmusical tone as it is to produce +an exaggerated "vibrato" or "tremolo." + +If you are unable to make the distinction between these two, do not fail +to consult someone who can do so, that you may not enter the pitfalls, +which it takes months to overcome. + +You cannot realize =how little breath= is necessary =on the tone=; we sing +with a great amount of =pressure=, but with =very little breath=. Have you +ever taken a covered head tone without scarcely taking any breath, and +found that you could sustain it for a practically unlimited period? + +I found one of my pupils who had elsewhere taken a course in =breathing=, +in taking a tone, would push her breath out so hard that you heard more +=breath= than =tone=. In singing a tone or short sentence, her chest would +collapse and she would become, as she termed it, "All out of breath." +She would give me all kinds of wonderful breath demonstrations, but +could not connect the =breath= and =tone=. + +I requested her to speak in a natural way the sentence, "This is a very +beautiful day." I asked her if she could hear a lot of escaping breath? +She answered, "No." I then asked her to place one hand across the ribs +and one across the chest and center her thoughts directly at these two +points to see if she could ascertain what was taking place there, while +once again in a natural speaking voice she repeated the sentence. She +did so, and found she was =not= "out of breath," and that her chest did +=not= collapse and she did not feel any discomfort. I then asked her to +repeat the sentence on the medium tone "E" above middle "C," then on +"F," then on "G," directing her each time to think she was merely +=speaking= the sentence, and then for the first time in her life she was +able to understand =control of breath=. During the next lesson we were +able to begin "tone placing" without the least trouble in connecting the +breath and tone. =Try it yourself.= + +All kinds of athletics, breathing lessons or exercises in moderation +are beneficial, but they are not voice culture. As your breath plays a +most important part in =tone placing=, the breath and tone should start +together, hand in hand, from the very beginning. In the following +chapter I shall give some practical exercises that will give the BREATH +and =tone= a chance to become acquainted with each other. + + + + +A FEW PRACTICAL EXERCISES AND ILLUSTRATIONS. + + +Stand erect, but not in a strained position. Place the palm of your +hands over your ribs, pointing the fingers forward. (See Figure 1.) + +=Exhale= by blowing slowly through the closed lips, very much as though +you were blowing on embers to make them burn. In doing this, you will +find that your finger tips will almost meet in front. (See Figure 2.) + +Keep your hands in the same position and =inhale= through the nose. You +will notice a large space in front between your hands. (See Figure 3.) + +Keeping your hands in the same position, repeat this exercise five +times; then drop your arms to your sides, relax and rest a few moments, +repeating this exercise several times until it comes easy. + +[Illustration: five images of the rib-cage doing breath exercises.] + +Go before an open window every morning, place your hands as in figure 4, +inhale through the nose, (don't raise the shoulders) see that the +expansion is as great under the left hand as under the right hand (as in +figure 5) while holding the breath count 5 (aloud) then exhale while +holding the hands in same position, repeat this exercise 5 times in +succession. A positive cure for all forms of nervousness.] + +Be sure when =inhaling= you do not use enough muscular exertion to take +enough breath to cause lifting of the shoulders, which is decidedly +wrong. + +Place your hands as in the first position, exhale, then inhale and, +while you keep the ribs extended against your hands, which is done by +holding the breath and by muscular tension, speak the sentence, "This is +a beautiful day," then exhale, inhale again, holding the breath while +you repeat the sentence. Repeat this several times, then drop your arms +to the sides and rest. + +It is better at the beginning to take =too little= breath than to take =too +much=. Most beginners take too much breath, which makes it impossible to +control it. Until you understand control of the breath, it is better to +only take enough to extend your ribs against your hand as far as they +will go =without discomfort=. + +Don't let anyone tell you that "diaphragmatic," "intercostal" or +"abdominal" breathing =alone= is the only safe course; perfect breathing +is a =combination= of these and more. + +By practicing the above exercises you will find in a short time all the +organs that nature intended to be used for breathing will be in play. + +The reason the beginner is instructed to place the hands on the ribs is +to work from the =central= point, and as the student progresses, by +continuation of the exercises it will be found that the costal, +intercostal, dorsal, diaphragmatic and abdominal muscles are all doing +their share. + +Place your hands as in the first position. =Exhale--inhale.= Sustain the +syllable "saw" on an easy medium tone. As you attack the tone do not let +the ribs collapse, but as you sustain it, let the ribs very slowly +collapse under the palm of your hands. Try to resist so as to not let +too much breath escape. Don't let your chest collapse any more than is +absolutely necessary. The lower the tones you sing the =less= resistance +you need, while the higher tones you sing the =more= resistance you need. +In order to sustain a high tone, =draw in= slightly under the ribs, +leaving the chest extended. Singing the tone, now takes the place of the +=exhaling= exercise. + +[Illustration: musical notation, saw ...saw ...saw ...] + +The word "saw," besides giving you the vowel "," also gives you the +correct sound of the Italian "ah" and what the "ah" should be in +singing. + +The average beginner sings too much on the tone color of "a" as in =hat=, +which, as you ascend the scale, would finally land the tone in the +region of the back of your neck. + +In learning to sing the "ah" or Italian "," always use words like +"saw," "raw," "law," "paw," "daw," "gnaw," sustaining the tone. + +THE VOWELS + +a e i o u + +Pronounced: a as in saw + +e as a in fate + +i as ee in meet + +o as o in note + +u as oo in moon + +Example-- + +[Illustration: musical notation demonstrating pronounciation [=a] ee o oo] + +In ascending the scale, you should cover the tone. To cover the tone +simply put a little more "o" in your "ah," so that by the time you are +up near your high limit tone you should almost be singing "so," "lo," +"dough." This enables you to find your head tone. It will not be "low" +or "dough" but a good "ah." If you do =not gradually curve the "ah" into +an "o"= toward your high tones, you will find them turning into the "a" +as in hat. + +In producing head tones there are two valuable exercises I would +suggest. + +[Illustration: THE VOWELS, images of faces pronouncing the vowels: + +a as in saw. e as [=a] in fate. + +i as ee in meet. + +o as o in note. u as oo in moon.] + + +Positions of the mouth in pronouncing the vowels.] Drop your jaw as in +singing "saw"; leave the jaw dropped singing "saw," but curving your +lips into an "o." You will find an "oh" with fine head resonance and an +open relaxed throat. + +Example-- + +[Illustration: musical notation, o o o o o o o o o] + +Sing this exercise in all the keys within your range. + +Some find their head tones first by humming through the nose, while to +some this suggestion would be of no value. + +If you have a break or any trouble going from your high to low tones, +practice the exercise from the high tone down instead of from the low +tone up. + +Example-- + +[Illustration: musical notation, + +o a o a o a + +saw saw saw +] + +If you have trouble rolling your "r's", which is absolutely necessary, +practice the following words in two syllables, not, however, dropping +the tone. + +Example-- + +Tree as tau-ree. + +Trust as tau-rust. + +True as tau-rue + +Breeze as b-reeze. + +Train as tau-rain. + +Bright as b-right. + +Brown as b-rown. + +=After= you have mastered the rolled "r" through the above exercises, +pronounce them in one syllable as they should be. + +Next, take up your consonants before the vowel + +[Illustration: + +musical notation, + +Baw, bay, bee, bo, boo Baw, bay, bee, bo, boo Baw, bay, bee, bo, boo + +Daw, day, dee, do, doo Daw, day, dee, do, doo Daw, day, dee, do, doo + +Faw, fay, etc. Faw, fay, etc. Faw, fay, etc. + +Gaw, gay, etc. Gaw, gay, etc. Gaw, gay, etc. + +Haw, hay, etc. Haw, hay, etc. Haw, hay, etc. + +J, k, l, m, n, p, q, r, s, t, v, w, y, z.] + +until you have covered all the consonants. + +Then your final consonants, as in "late," "date," "light," "bright." + +In the word "date," make your "d" and your "a" distinct and =on the tone=, +but as you pronounce your "t," which must also be distinct, drop the +tone so as not to leave an "after-tone." This must be done in all words +except those ending with "m" and "n." + +Next build sentences from words which seem most difficult to you and +sing the entire sentence on one sustained tone. + +Example-- + +[Illustration: musical notation repeating Now the day is over. Now the +day is over. Now the day is over.] + +In a song where some particular phrase or sentence seems difficult to +you, sing the entire phrase or sentence on one sustained tone, +pronouncing the words distinctly until you have gone down several tones +=below= and several tones =above= the pitch in which it is written, singing +it over and over on the one sustained tone in all the keys of your +range. I cannot tell you of the benefit you will derive from mastering a +difficult phrase or sentence in this manner. + +For the hardness and muscular contraction under the chin, which has +undoubtedly been brought about by "methods" advocating the placing of +the tip of the tongue against the back of the lower teeth, put your +thumb well up under your chin and see that there is no contraction +(hardness). Leave your tongue perfectly limp, and hum first through the +nose, gradually turning the humming into an "o," "o," "o," then to +"o," "o," "o," sustaining the tone and keeping the thumb pushed well +up under the chin to feel that there is no contraction. By using this +exercise you will be able to overcome this common fault in a very short +time, but you must go at it systematically. + +In singing songs pronounce your words perfectly and distinctly, letting +the palate, glottis and larynx take care of themselves. If your method +of singing is good, =nothing= can injure your voice. + +As this book voices the sentiment of some of the most brilliant lights +in the profession, and contains facts based on years of actual +experience, it is not egotistical for me to say that its careful, +thoughtful and conscientious perusal will give to the student of voice +culture assistance that will be of =inestimable value= in reaching his +goal. + +Start with ease and naturalness and the chances are excellent for your +pathway to be illumned with =success=. + +THE AUTHOR. + + + + + +End of Project Gutenberg's What Every Singer Should Know, by Millie Ryan + +*** END OF THIS PROJECT GUTENBERG EBOOK WHAT EVERY SINGER SHOULD KNOW *** + +***** This file should be named 32602-8.txt or 32602-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/2/6/0/32602/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: What Every Singer Should Know + +Author: Millie Ryan + +Release Date: May 30, 2010 [EBook #32602] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WHAT EVERY SINGER SHOULD KNOW *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + + + + + +</pre> + +<hr /> + +<div class="centeredimage" style="width: 400px;border:double 3px black;"> +<img src="images/ill_millie_ryan.png" width="358" height="550" alt="image of Millie Ryan" title="image of Millie Ryan" /> +</div> + +<div class="box"> +<div class="image" style="width:287px;"> +<img src="images/ill_title.png" width="287" height="161" alt="What Every Singer Should Know" title="What Every Singer Should Know" /> +</div> + +<div class="image" style="width:208px;"> +<img src="images/ill_logo.png" width="208" height="157" alt="logo" title="logo" /> +</div> + +<p class="c top25"><b>Published by<br/> +FRANKLIN PUBLISHING CO.<br /> +<span class="smcap">Omaha, Nebr.</span></b></p> +</div> + +<p class="c"><b>Copyrighted 1910<br /> +by<br /> +<span class="smcap">Millie Ryan</span></b></p> + +<p class="c top15"><b>DEDICATION.<br /><br /> +<span class="sml">I LOVINGLY DEDICATE THIS BOOK<br /> +TO MY SON,</span><br /> +EDWARD RYAN, JR.</b></p> + +<h3>TABLE OF CONTENTS.</h3> + +<table summary="toc" +cellpadding="2" +cellspacing="0"> +<tr><td><a href="#IS_IT_WORTH_MY_WHILE_TO_HAVE_MY_VOICE_CULTIVATED">"Is it Worth My While to Have My Voice Cultivated" </a> </td></tr> +<tr><td><a href="#CAN_I_BECOME_A_GRAND_OPERA_SINGER">"Can I Become a Grand Opera Singer?" </a></td></tr> +<tr><td><a href="#AT_WHAT_AGE_SHALL_I_TAKE_UP_THE_STUDY_OF_VOICE_CULTURE">"At What Age Shall I Take Up the Study of Voice Culture?" </a></td></tr> +<tr><td><a href="#SINGING_LESSONS_AS_A_HEALTH_CULTURE">Singing Lessons as a Health Culture </a></td></tr> +<tr><td><a href="#ADVICE_TO_PARENTS">Advice to Parents</a></td></tr> +<tr><td><a href="#IS_IT_NECESSARY_TO_GO_ABROAD_TO_STUDY">"Is it Necessary to go Abroad to Study?" </a></td></tr> +<tr><td><a href="#CHORUS_SINGING">Chorus Singing </a></td></tr> +<tr><td><a href="#STAGE_FRIGHT">Stage Fright</a></td></tr> +<tr><td><a href="#THE_ACCOMPANIST">The Accompanist </a></td></tr> +<tr><td><a href="#SELECTING_A_TEACHER">Selecting a Teacher </a></td></tr> +<tr><td><a href="#ART_FOR_ARTS_SAKE">Art for Art's Sake </a></td></tr> +<tr><td><a href="#EDUCATING_THE_MASSES">Educating the Masses</a></td></tr> +<tr><td><a href="#HINTS_AND_HELPS">Hints and Helps</a></td></tr> +<tr><td><a href="#WHAT_AND_HOW_TO_PRACTICE">What and How to Practice</a></td></tr> +<tr><td><a href="#THE_BREATH">The Breath</a></td></tr> +<tr><td><a href="#A_FEW_PRACTICAL_EXERCISES_AND_ILLUSTRATIONS">A Few Practical Exercises and Illustrations</a></td></tr> +</table> + +<h3>INTRODUCTION.</h3> + +<p class="nind"><span class="letter">T</span>HIS book is not for the purpose of instruction in singing, as singing +is an art which cannot be taught from book or correspondence. Neither is +it a technical treatise on the voice, but instead I aim through the +medium of my book to have a "heart-to-heart" talk with the beginner, and +with those who contemplate the study of voice culture.</p> + +<p>Books abounding in technical terms are valueless to a beginner, and the +finished artist does not need such a book. There are many valuable books +published, but very few which are written in a manner simple enough for +the beginner to grasp. I wish to give all the valuable "hints" and +"helps" that it has taken years of experience to gather, covering all +the questions that are absolutely necessary to know, making it brief, +simple and <b>understandable</b>.</p> + +<div class="centeredimage" style="width: 413px;"> +<img class="frame" src="images/ill_nordica.png" width="413" height="550" alt="image of Madame Lillian Nordica" title="image of Madame Lillian Nordica" /> +<span class="caption">MADAME LILLIAN NORDICA</span> +<p class="captions">Who is carrying out her plans of establishing a conservatory of music +and festival house for operatic performances, at Neal, N.J. Mme. Nordica +says: "I am confident that there is a crying need in this country for +this sort of musical establishment. Present conditions make it +impossible to enable the public to enjoy opera in English or to hear the +singing of that great host of talented Americans who are forced to +address their efforts to European audiences.</p></div> + +<h3><a name="IS_IT_WORTH_MY_WHILE_TO_HAVE_MY_VOICE_CULTIVATED" id="IS_IT_WORTH_MY_WHILE_TO_HAVE_MY_VOICE_CULTIVATED"></a>"IS IT WORTH MY WHILE TO HAVE MY VOICE CULTIVATED?"</h3> + +<p class="nind"><span class="letter">T</span>HE first question which arises with all those who possess an average +singing voice is, "Will it pay me to study voice culture?" The answer +may be found in the following:</p> + +<p>"If you possess a good voice, do not hesitate a moment to cultivate it, +regarding it as the most beautiful gift granted you by +Heaven."—Schumann.</p> + +<p>"But," says the applicant, "I must make my own living. Have I enough +material to cultivate and be able to realize returns?"</p> + +<p>This depends entirely on yourself and what your ambitions are.</p> + +<p>There is a great field in music, and if you have ear, voice, and talent, +STUDY. And, if in addition to these you have ambition, determination and +application, you are sure of success. What your field of operation will +be, whether church, concert or opera, time will decide.</p> + +<p>The power to win is yours—determine to succeed and you cannot fail.</p> + +<p>In order to make a success of anything, you must give it your undivided +attention, and while doing so, your aim must be fixed constantly on the +goal which you desire to attain. Rome was not built in one day, neither +can the elementary training of a voice be accomplished in a year.</p> + +<p>If you are in good health, you must never allow the warm days of summer +to be an obstacle to your practice. Can you imagine the successful +banker, rising young doctor, lawyer or actor stopping their work because +of a warm day? There may be <b>some</b> who do, but they are not the ones who +are successful. When you hear a great singer, think of the obstacles she +must have overcome in reaching her position of excellence. Never doubt +yourself or your ability, but say "that what determination and +application have done for others can be done for me."</p> + +<p>You must have confidence in yourself if you want others to have +confidence in you.</p> + +<p>Never lose your temper. Adeline Patti was asked how she preserved her +charm long after the springtime of youth deserts the average woman. She +replied, "I keep my temper." Don't expect to grasp, assimilate and put +into practice in one lesson what it has taken years for your teacher to +accomplish.</p> + +<p>I remember one pupil who said her purse would not allow anything better +than a hall room in New York for a whole winter's study, and that she +really had no "chance" to practice, as her room was too small. This was +a very poor excuse, as that was merely one obstacle to be overcome.</p> + +<p>The artists who have reached the top are those who have had <b>innumerable</b> +obstacles to overcome.</p> + +<p>In Switzerland, over a little barber shop, in a room so small that there +was not room for two chairs in addition to the piano, Madame Nordica, +with Madame Cosima Wagner, and a coacher, practiced daily. The following +winter she won one of the successes of her career, as "Isolde."</p> + +<p>To reach the top in the profession, you must have more than voice and +application, for a singer may have the greatest of technique, yet lack +"soul" and "intelligence." The latter two you must possess, as these the +teacher is unable to give you.</p> + +<p>The beginner, in singing, needs a model to imitate, just as much as the +painter or sculptor. Everything is "imitation" until you develop in your +work; your individuality will assert itself as you become proficient. Do +not allow anyone to frighten you by telling you "never imitate or you +will simply be a parrot." Only the very poor teacher who knows her own +weakness as a model would make such an assertion. If the beginner is +fortunate enough to secure a teacher who can demonstrate a <b>perfect tone</b>, +do not be afraid to imitate.</p> + +<p>In order to fully interpret the emotions it is necessary to have +knowledge outside of the singing lesson. It is for this reason that +singers seldom reach the stage of "artist" until they are pretty well +advanced in years. It is not how many lessons you take, but the gradual +development, which you attain through experience. You must feel the +heartbeats of others, must know intimately "joy," "pain" and "sorrow" in +order to fully express these emotions. There is no rule of "right" and +"wrong" in the interpretation of a song, it being simply a matter of +opinion. That is where the individuality asserts itself. I remember +taking the old warhorse, "Una Voce Poco Fa," from Il Barbiere (Rossini) +to three of the greatest living singing masters in Italy. Each one +interpreted the aria a little differently, and I am positive each +thought he was the nearest to the composer's idea. Which one was +correct?</p> + +<p>"When you sing you are delivering a message, and you must make your +audience understand and feel it, as it is our 'feelings' above all that +are immediately affected by music."—Von Weber.</p> + +<p>Do not be too anxious to realize financially. Consider that Wagner's +salary as choir-master in the city of Warsaw was less than $12.00 a +month. The great drawback to many of the students in America is the +desire to work on the surface only—they don't seem willing to start at +the beginning and work their way up. The matter of studying voice +culture for a year does not make it possible for the singer to step +before an audience and attain immediate success without other +preparation.</p> + +<p>It takes more than the studio to make a "star." No artist ever began as +a master. In addition to being a singer, you must possess talent, +character and the ability to manage. If there is one of these qualities +lacking, you must remain only an "artist." It takes all three in accord +to produce a "STAR."</p> + +<h3><a name="CAN_I_BECOME_A_GRAND_OPERA_SINGER" id="CAN_I_BECOME_A_GRAND_OPERA_SINGER"></a>"CAN I BECOME A GRAND OPERA SINGER?"</h3> + +<p class="nind"><span class="letter">T</span>HE average teacher, in fact, most teachers, will say, "Yes, if you +study," but this is not true, as you have only about one chance in a +thousand. Have you any idea of the requirements necessary in order to +become a "star" of the Metropolitan Opera Company?</p> + +<p>You must have a fine voice, a "big" voice, a voice of great power and +endurance, fine enunciation, clear and correct pronunciation, knowledge +of the modern languages, have at least twenty-five operas committed to +memory, fine dramatic ability, good physique, size, personality and +"pull." And you must also be on the other side of the ocean to accept +the engagement; and then, your acceptance by a director to "star" is +about as difficult as an audience with a king.</p> + +<div class="centeredimage" style="width: 410px;"> +<img class="frame" src="images/ill_mildenberg.png" width="410" height="550" alt="ALBERT MILDENBERG" title="ALBERT MILDENBER" /> +<span class="caption">ALBERT MILDENBERG</span> +<p class="captions">The well known composer who has enaugerated a plan to establish +Municipal Grand Opera in New York City. Mr. Mildenberg's experience as +conductor in the Municipal Opera Houses in France and Italy has fitted +him well for this laudable undertaking which will pave the way for the +training and placing of many talented pupils in this country, who have +heretofore been compelled to go abroad in order to secure positions on +the Grand Opera Stage.</p> +</div> + +<p>There is no reason why a person with voice and talent who has to make +his own living, could not do so after several years of study. I have +over one hundred pupils who are making a good living by singing, and as +many more holding church positions paying them enough to enable them to +continue their studies.</p> + +<p>Show me a pupil who has to make his own living, and who has studied with +one teacher for eight or nine years and is not making his living by +singing, and you are showing me one who <b>never will</b>.</p> + +<p>There is, of course, no end to the study of voice culture. I have +studied more or less for over twenty years and am still studying, but if +you have to make your own living, secure whatever position may be open +to you. The church or concert position is <b>equally</b> valuable as the opera.</p> + +<p>In Europe, where you hear grand opera all the year around, it becomes a +second nature, but here in our western cities, until recently, grand +opera was almost unknown; two or three performances a year was about all +we could hope for. This was not enough to thoroughly acquaint the people +with the operas, and not enough to create a demand.</p> + +<p>In a western city of 200,000 inhabitants where five years ago it was +impossible to draw an audience of a hundred persons unless heralded by +spectacular advertising, I had the pleasure of witnessing this year +"Standing Room Only" during the performance of the dear old operas, Il +Trovatore, Faust and Carmen. The operas that the people have become +acquainted with through the phonographs, the orchestras and the grand +opera study clubs, organized by the more up-to-date teachers. Mr. Albert +Mildenberg is taking up a most commendable work, that of establishing +the municipal grand opera in New York City; he will eventually succeed, +and, with Herr Andreas Dippel organizing permanent grand opera in the +larger cities west of New York, it will not be long before the grand +opera positions will be plentiful. Within the next year, through the +efforts of Victor Maurel, the grand opera sung in English will also gain +ground, and divide honors with the French, German and Italian, giving +those who have not studied the foreign languages, but who are otherwise +prepared, a chance for positions on the grand opera stage.</p> + +<p>Some cranks insist that the days of the old Italian opera, with its +arias and glorious coloratura work, are passing in order to give place +for the new <b>music drama</b>. This is not correct, and will not be possible +as long as there are excellent singers who can sing these operas. We +have room for both the grand opera and the music drama.</p> + +<p>To be an "artist" is the aim the student has in view, and "study" is the +means to that end.</p> + +<h3><a name="AT_WHAT_AGE_SHALL_I_TAKE_UP_THE_STUDY_OF_VOICE_CULTURE" id="AT_WHAT_AGE_SHALL_I_TAKE_UP_THE_STUDY_OF_VOICE_CULTURE"></a>"AT WHAT AGE SHALL I TAKE UP THE STUDY OF VOICE CULTURE?"</h3> + +<p class="nind"><span class="letter">M</span>RS. L. and her 15-year-old daughter called at my studio. The mother +explained that her little girl had been "leading the singing" in school +ever since she was eleven years old, but that her voice was not as good +as it used to be, and that she would like to have her study, but thought +she was too young. I tried the girl's voice and found two registers used +so differently that a person sitting in the next room would think they +were listening to two persons singing. She had a terrible break between +the chest and head tones, and for <b>four</b> years had been developing in this +bad way of singing. Now, this child should either have taken up voice +culture at eleven years of age or not "lead the singing" in school. +Children, with very few exceptions, in going from chest to head tones, +will sing <b>with</b> the throat, not understanding how to make the change, or +rather how to place the tone; in this way producing a break, which later +in life, when they take up voice culture, will cause endless, and in +some cases, permanent trouble.</p> + +<p>I know of many children who sing at entertainments, school, church, +etc., and you will hear their parents say, "Scarcely a week passes that +my daughter does not sing at some entertainment. If she were a little +older, we would have her take up voice culture." Now, if your daughter +is old enough to sing at entertainments, she is old enough to study. +Either do not let her sing, or put her under the care of a good teacher.</p> + +<p>"How shall I know if she is under proper instruction?"</p> + +<p>A good teacher will, first of all, not allow her to sing at the top of +her voice, which all children seem to delight in doing. A good teacher +will not develop on the extreme <b>high</b> or extreme <b>low</b> tones. A good +teacher will even up the <b>medium</b> register, teach her how to use the +<b>breath on the tone</b>, how to <b>place</b> the tone, overcoming all seeming change +from chest to head, will give her perfect pronunciation and enunciation. +This can be done at any age from eleven years, depending on the +individual. A girl who has good ear, and who does not lead the singing +in school at eleven and sing at entertainments, can begin at sixteen or +seventeen and develop into a very fine singer.</p> + +<p>"Should my son take up voice culture before his voice has changed?"</p> + +<p>This case is just the same as with the girl, <b>if he sings</b>. In fact, I +have found in my twenty years' experience as singer and teacher that the +boy who studies voice culture before his voice changes has an easy road +to travel <b>after</b> his voice has changed. Many boys' voices have not +finished changing until they are eighteen or nineteen years of age. The +boy who studied before his voice began changing understands the breath +control, the placing of the tone, and the pronunciation and enunciation. +These four fundamentals are absolutely necessary in order to sing well; +and whether his voice, after the change, develops into tenor or bass, +these fundamentals remain the same, and enable him to continue, instead +of merely begin. The boy, who has studied, or is under a good +instructor, will know <b>when</b> to stop singing. I have known many boys with +promising voices, who have ruined them entirely by singing or trying to +sing <b>during</b> the change. But they were not boys who were under +instruction, or they would have known better. I do <b>not</b> claim that it is +necessary to begin the study of voice culture as a child, as this is +entirely a matter of the individual, but I <b>do</b> claim that you can count +on one hand the singers who have reached distinction and whose voices +have lasted any length of time, who started their singing lessons after +they were out of their teens.</p> + +<p>I have pupils who are making a good living as church soloists and on the +concert stage, who commenced their study after they were twenty years +old, but they are the <b>exception</b>, and not the <b>rule</b>.</p> + +<p>I think a woman has the greatest success in teaching children. This may +be partly due to her maternal instincts. Her illustrations and +demonstrations are more simple than a man's. Her patience with children +also fits her wonderfully well to teach the child.</p> + +<p>You can accomplish nothing with the voice through fear. If the young boy +or girl loves the work, looks forward to the lessons, they cannot fail +in whatever they undertake.</p> + +<p>To satisfy those who disagree with me in regard to the value of early +study, I would ask them to read the lives of the great singers, and they +will find that with very few exceptions they took up the study of voice +culture before and during their early teens. Space forbids me to give a +complete list. However, for the benefit of those who have no access to +the biographies of the singers, I will select the names that I am sure +you are familiar with, beginning at 1740, and down to the present time:</p> + +<p>Malibran, one of the world's most famous singers, at the age of seven +was studying Solfeggio with Panseron at Naples, Italy, and made her +debut in grand opera in her fifteenth year.</p> + +<p>Pesaroni made her grand opera debut at sixteen, and twenty-five years +later we find her still one of the leading grand opera singers.</p> + +<p>Teresa Titjens made her debut in grand opera at the age of fifteen.</p> + +<p>Pauline Lucca was singing at thirteen, and made her debut at the age of +sixteen.</p> + +<p>Kellog made her debut as Gilda in "Rigoletto" at the age of eighteen.</p> + +<p>Minnie Hauk took up voice study at the age of twelve, and was singing in +grand opera during her seventeenth year.</p> + +<p>Christine Nilson, as a child, sang on the streets, was placed under an +instructor, and six months later sang at Court.</p> + +<p>Albini, during her twenty-second year, was engaged by the Royal Italian +Grand Opera at Covent Garden, to sing the leading roles of the grand +opera.</p> + +<p>Scalchi studied while a mere child, and made her grand opera debut at +the age of sixteen.</p> + +<p>Melba made her debut in grand opera when she was twenty-two years of +age.</p> + +<p>Nevada sang in public at the age of six, and has been singing ever +since.</p> + +<p>Patti made a three-year concert tour under the direction of Strakosh, +between the ages of eight and eleven, and made her grand opera debut at +nineteen.</p> + +<p>Nordica made her debut at fifteen, and is still one of the greatest and +loveliest of our singers.</p> + +<p>Sembrich sang solos in church when she could scarcely see over the +railing, and was in grand opera at the age of twenty.</p> + +<p>You may have doubts as to the art of singing of those whom you have read +about, but I am sure you have heard at least Scalchi, Melba, Patti, +Nordica and Sembrich, and you can have no doubt as to their being +classed both as singers and artists.</p> + +<p>It is needless to say that these people must have studied these operas +in order to sing them, and when you take into consideration that they +were not "music dramas" that require really more proficiency in acting +than in singing, but the Italian operas, requiring most perfect +<b>coloratura</b> work, and the Wagner operas, demanding heavy <b>dramatic</b> +singing, I think you must be convinced that if early study were +injurious to the voice, these great "songsters" would not be living +examples of my assertion.</p> + +<p>Someone will say, "This may be the case with women, but what of the +men?"</p> + +<p>We find the great German tenor, Albert Nieman, singing the grand opera +roles at eighteen.</p> + +<p>Heinrich Vogl, styled the "Interpreter of Wagner," sang these opera +roles at the age of twenty.</p> + +<p>Italo Campanini was singing in grand opera at twenty-one.</p> + +<p>Guilliam Ibos, the grand French tenor, and Van Dyck, were both singing +the grand opera roles at the age of twenty-two.</p> + +<p>Jean de Reszke was soloist at the cathedral at Warsaw at the age of +<b>twelve</b>, and was singing in grand opera at twenty-two. I am sure many of +you have heard him sing after his forty-fifth year, and will not deny +that he is both singer and artist.</p> + +<p>Then I hear someone say, "Perhaps their voices did not change, as they +were tenors." There is <b>some</b> change at maturity in <b>all voices</b>. Very well, +what about Victor Maurel? He was singing the grand opera roles at +twenty-one. Jean Baptiste Faure took up the study of the voice at +thirteen, and at twenty-two <b>created</b> the part of Mephistopheles in Faust.</p> + +<p>These men and women, whose names stand out as brilliant stars in the +firmament of music, studied and sang before and in their early teens, +and these are the voices that have been everlasting.</p> + +<p>Within the past six or eight years some beautiful singers have appeared +in the grand opera—one tenor who claims to have studied less than six +months before he appeared in grand opera, and a soprano, making the same +claim, and this study is supposed to have taken place after they were +out of their teens. It will be of interest to wait and watch these +voices to see if they will withstand the wear of twenty-five years' +service, and still be beautiful, or like the fire-fly, radiate their +beautiful light but for a moment and then disappear.</p> + +<h3><a name="SINGING_LESSONS_AS_A_HEALTH_CULTURE" id="SINGING_LESSONS_AS_A_HEALTH_CULTURE"></a>SINGING LESSONS AS A HEALTH CULTURE.</h3> + +<p class="nind"><span class="letter">I</span> SHOULD like to take up the study of voice culture, but am not very +strong."</p> + +<p>That is the very reason you should take up singing. I have seen anmic +girls take up the study of voice culture, and at the end of one year's +study develop perfect breathing, a fine full chest, rosy lips, warm +hands, an elegant digestion, and a good disposition.</p> + +<p>There is no tonic for the <b>nerves</b> equal to voice culture. At one of the +large sanitariums where eight hundred and five patients were suffering +from tuberculosis, there was but one who had been a singer. The nasal +breathing prevents adenoids from developing. The deep respiration +oxygenates the blood and gives us power to resist diseases. We stand and +walk better. We derive unusual pleasure for ourselves, with the power +to entertain others. As the study is unlimited, our interest cannot fail +to increase with each year. It fills our lives as nothing else can do.</p> + +<p>"Though everything else may appear shallow and repulsive, even the +smallest task in music is so absorbing and carries us so far away from +town, country and earth, and all earthly things that it is truly a +blessed gift of God."—Mendelsohn.</p> + +<p>It is a fact that more people become patients through "boredom" than +through fever. It is the monotony of the daily routine and lack of +interest which is the root of most of the "illness" and "nerves" of our +present day young women.</p> + +<p>Try the study of voice culture as an interesting and permanent remedy.</p> + +<p>The cause of "musical indigestion" is the attending of concerts where +one is compelled to listen to singing or playing, which is poorly +executed or too far beyond one to be properly understood.</p> + +<h3><a name="ADVICE_TO_PARENTS" id="ADVICE_TO_PARENTS"></a>ADVICE TO PARENTS.</h3> + +<p class="nind"><span class="letter">P</span>ARENTS should encourage their children who are taking up the study of +voice culture, as home encouragement is necessary to children. I know +that parents are inclined to think that when they pay for the music +lessons, nothing further should be expected of them. But this is +positively a wrong idea.</p> + +<p>Do not make the great mistake of forcing your children too soon upon the +public. Many excellent young voices have been ruined in this manner. A +child eleven years of age was brought to my studio. She had ear, voice +and talent, but was almost "sung out." She had a bad break in her voice, +and performed the most unusual contortions in taking a tone, produced by +pushing the throat. The mother assured me that everybody thought she +sang "just grand." She was to sing at an entertainment in a month, and +they thought a few lessons in voice culture would be of great value. It +took an hour of my valuable time to convince them that she must not sing +at present, as it was positively necessary to overcome the break in her +voice, keep her from singing too much, and cure her audible breathing. +They finally arranged for her instruction, but made semi-monthly trips +during three months to ascertain if she was ready to sing in public, and +left with the remark that "they knew of many teachers who would be glad +to have her sing for them as an advertisement." Even the child was +disappointed, as undoubtedly she heard nothing but this at home.</p> + +<p>Parents should be sensible enough to remember that their little girl +cannot finish school in three months, that their son cannot go through +college in three months, and that they cannot learn to play the piano in +three months.</p> + +<p>"That she is young and people will not expect much" is not an excuse. +The public judge by what they see and hear and not by what she may be +able to accomplish if she is given time. How often we have heard father +say, "Johnny, go and play a piece for the company." Poor Johnny would +rather take a licking. <b>He</b> knows he is not ready to play for company, but +father says, "Here I have been paying for Johnny's piano lessons and +Mary's singing lessons for nearly three months, and I haven't heard a +song or piece yet. If they are not learning anything, they had better +quit taking lessons." And poor Johnny and Mary inflict on the company +what might be expected after only three months of training.</p> + +<p>Parents, select a reputable teacher—the highest priced is often the +cheapest in the end. When you know that they are under perfect +instruction, leave it to the teacher as to when they should play or sing +in public, and you will find that just as soon as they are able, the +teacher will be as anxious and pleased as yourself to have them appear.</p> + +<h3><a name="IS_IT_NECESSARY_TO_GO_ABROAD_TO_STUDY" id="IS_IT_NECESSARY_TO_GO_ABROAD_TO_STUDY"></a>"IS IT NECESSARY TO GO ABROAD TO STUDY?"</h3> + +<p class="nind"><span class="letter">T</span>HIS, of course, depends entirely upon your ambition. There are very few +American singers who have reached positions on the grand opera stage +without having previously studied abroad.</p> + +<p>It is well in any case to get your preliminary training at home. For +tone placing and singing you can do equally as well in this country as +abroad, as we have excellent teachers here from all parts of the globe.</p> + +<p>I would advise the boy or girl who has a good home and lives in a +community where it is possible to get proper instruction to take their +first two or three years of work in this country. Take up the study of +languages and if your progress warrants your making a life work of +music, then I would suggest that you go to Europe in order to get the +broadening and the finishing touches that are necessary in order to +become an artist.</p> + +<div class="centeredimage" style="width: 442px;"> +<img class="frame" src="images/ill_maurel.png" width="442" height="548" alt="VICTOR MAUREL" title="VICTOR MAURE" /> +<span class="caption">VICTOR MAUREL</span> +<p class="captions">The noted baritone for whom Verdi composed Otello and Falstaff, thinks +that Americans are as much entitled to hear their language at the Opera +Houses as the German, French and Italians. To further this project he +will include opera in English during his present Grand Opera season in +New York City. Mr. Maurel also believes strongly in giving young +American artists of real promise, an occasion to make their dbut in +this country and under favorable artistic patronage and he is going to +give them a chance to do so.</p></div> + +<p>For your German songs and operas you should go to Germany. For the +Italian operas to Italy, where it is possible for you to live in the +atmosphere of the opera and hear the language every day. The same also +applies to the French, who, of all people insist emphatically on perfect +diction.</p> + +<p>You can, of course, take up and to some extent learn the languages here, +but you are liable to meet with the same disappointment as a young lady +from the west who studied French in school for several years and thought +herself proficient in that language. She went to Paris to study music +and it was fully six months before she was able to either understand or +to be understood in common, every-day conversation.</p> + +<p>I am in favor of the class lessons so popular in Europe, and hope some +day we will be able to make them universal. Ten or twelve pupils +assemble at one time and each takes his lesson in turn. In this way each +gets the benefit of the other lessons. This also enables the pupils to +become accustomed to singing before each other, which is invaluable in +overcoming nervousness. Some pupils desire to take their lessons in +private, as they do not care to sing before a class. This feeling will +gradually disappear and it is much better to have it over with in the +beginning, than later when you are expected to go before a critic or +manager to sing.</p> + +<p>The expense of studying abroad may be adjusted entirely according to +your pocketbook. When anyone tells you it is cheaper to study on the +other side, they display their ignorance of the subject. I have studied +in this country, Germany, France and Italy, and I have found that, +including everything, it costs about the same everywhere. You can +secure board and room from five dollars a week up to any price you wish +to pay. It is also possible to live cheaper than this if necessary, but +for the student of singing it is of great importance to eat good, +nourishing food, as it is impossible to sing well unless you are in +excellent condition physically.</p> + +<p>Several of the old Italian music masters do not hesitate to say that it +is the American with the large purse who has forced them to raise their +prices, when they were perfectly satisfied to charge much less.</p> + +<p>Miss Moneybag arrives in Italy to take up voice culture. She calls on +one of the old masters; he asks her seventeen lire (about $3.00) per +lesson. This sounds cheap to her as she has been paying $5.00 a lesson +at home, so she starts out again looking for a higher-priced teacher. +She finds one who has had a little more experience with the Americans, +he sizes her up and asks her thirty-five lira; this sounds more in +accordance with her pocketbook, and she lists for the season. This +sizing up of the American pocketbook has been going on for some time and +the old "Maestro" who was perfectly satisfied with $3.00 is waking to +the fact that if he wants these Americans he must raise his prices. And +so we find at present, lessons costing about the same the world over. +However, when Miss Small Pocketbook and real talent arrives, she can +always arrange terms in accordance with her pocketbook, when she proves +she is there to accomplish results. This is not merely hearsay, but +facts gathered in my interviews with some of the most noted +singing-masters.</p> + +<p>If you intend to go into the grand opera it is advisable to go abroad, +as it gives you the prestige which is necessary at present, in order to +secure these positions of which we have a fair illustration in the case +of a beautiful mezzo soprano who had been singing with the English +Grand Opera Company, and though in every way qualified to sing with the +Metropolitan Grand Opera Company, was unable to secure an engagement +with them. She went abroad, changed her name, and returned the following +season as one of the Metropolitan Grand Opera stars, and is still one of +the favorites in that company.</p> + +<p>This seems rather inconsistent, but is nevertheless true.</p> + +<p>If you are fortunate enough to make your debut abroad you will have +practically no trouble in securing a position with any manager on this +side of the ocean.</p> + +<h3><a name="CHORUS_SINGING" id="CHORUS_SINGING"></a>CHORUS SINGING.</h3> + +<p class="nind"><span class="letter">I</span>T is of great value to the singer to belong to a good chorus, provided +you know enough not to attempt to be the whole chorus yourself, and are +willing to give the others a chance.</p> + +<p>To be a success in the chorus you must observe the following rules:</p> + +<p>Be punctual.</p> + +<p>Stand erect, and on both feet. Let your chest lead.</p> + +<p>Make yourself a part of the chorus. This is not a solo.</p> + +<p>Don't annoy those around you by "wiggling" or "fidgeting."</p> + +<p>Rise and sit down in unison with the others.</p> + +<p>Do not look all over the place, but keep your eyes on the conductor.</p> + +<p>Do not cover your face with your music.</p> + +<p>Remember it is the conductor's duty to beat time. Keep head, arms and +feet still.</p> + +<p>Do not try to sing louder than the others. You will not be heard any +better and will strain your voice.</p> + +<p>Remember to hold the long note for its full count.</p> + +<p>Time and rhythm are the two great factors in chorus singing.</p> + +<p>Remember that "rests" are of as great importance as "notes" in music.</p> + +<p>Do not start before or hang on after the others have ceased to sing.</p> + +<p>Do not fail to slightly accentuate the first beat of each measure except +where accents are especially marked on other beats.</p> + +<p>Don't look bored because you must stand up to sing. Determine whether +you are going to be <b>too tired</b> to do your part before becoming a member +of a chorus.</p> + +<p>Keep your eyes on the conductor.</p> + +<h3><a name="STAGE_FRIGHT" id="STAGE_FRIGHT"></a>STAGE FRIGHT.</h3> + +<p class="nind"><span class="letter">I</span> HAVE never met a singer, amateur or professional, who does not or has +not at some time suffered from this dreadful malady. There is no +positive cure but constantly appearing before an audience, and then some +of the singers never overcome this form of nervousness.</p> + +<p>The only consolation is in knowing that a person entirely void of this +feeling will never make an artist, as they are lacking in temperament. +Emotion is the flesh and blood of music and the condition is one in +which self-consciousness, nervous energy and emotion play a large part. +However, as you gain confidence in yourself and your work, and feel that +you are in "rapport" with your audience, this sensation will wear off to +a great extent.</p> + +<p>Very few children before their teens are troubled with stage fright. In +fact, they seem to glory in appearing before an audience. This is the +best time to continue the work that will be of inestimable value the +balance of their lives. Let them appear before the classes in the studio +until they are prepared to appear in public.</p> + +<p>When one begins to discuss nervousness, suggestion takes it up and it +spreads like wildfire. A young singer who had appeared several times in +the same solo and done excellent work was stepping on the stage to sing +when one of her friends thoughtlessly remarked: "Aren't you nervous +about that high 'C?'" The suggestion immediately lodged in her brain and +she could think of nothing but that high "C." Her fear increased and she +sang it with an almost heroic physical effort, a tone that had never +given her the least trouble before.</p> + +<p>It is the confident friend who helps you to win your audience by the +encouraging remark, "I know you will be a success," while the one who +asks,</p> + +<p>"Aren't you afraid you are going to break down?" in reality will assist +you in doing so. Always try and have the confident friends around you, +especially in the earlier stage of your career.</p> + +<p>There is an erroneous idea about not eating before singing. If you are +nervous there is nothing so dangerous as trying to sing on an empty +stomach. I know of singers who eat nothing on the day they are going to +sing, the result being increased nervousness caused from weakness.</p> + +<p>I would not advise a big meal before singing, but I would advise taking +something, depending entirely on the individual. A cup of black coffee, +a glass of water, a glass of claret, an orange, a raw egg, or anything +that agrees with you. Give the stomach some work to do and that "giddy +feeling" will entirely disappear. I always take a raw egg before +singing.</p> + +<p>One of our noted tenors, before walking out on the stage, lights a +cigarette, takes three puffs and throws it away. Three puffs could be of +very little value, but he imagines he sings better. Judging from his age +and voice, and its endurance, it has evidently not injured him, though I +would not advise singers to use tobacco.</p> + +<p>Those suffering from phlegm in the throat will find almost instant +relief in eating a dry prune. I acquired this habit in Italy, where it +is very popular with the singers. Dried prunes are beneficial for the +general health as well as the throat. Find what agrees with you, for +what might be agreeable to one may be disagreeable to another.</p> + +<p>When you step out on the stage take time to fully relax, get your mind +on the introduction your accompanist is playing. This prepares you for +your song. Look <b>beyond</b> your audience, not <b>at</b> them.</p> + +<p>By this time you will have fairly good control of yourself. Think of +<b>what you are going to sing</b>, and not of how you are feeling. Sing to your +audience as if you were telling them a story. Speak distinctly and make +them understand and feel what you are saying. Don't wear anything that +binds you, such as tight shoes, tight corsets or tight collars, as they +all tend to contract instead of relax. It is through nervousness that +singers have "wobbled" off the stage after their solo, before the +accompanist has finished. Remember in the interval between the end of +your solo and the last note of the accompaniment you should stand +perfectly still. Say to your audience (mentally), "Don't move until the +accompaniment is finished." You will be surprised to see how well you +can hold them. All these little thoughts will help make you forget +yourself.</p> + +<p>I once read an article on stage fright. The author advised the singer to +look at his audience as though they were so many cabbage heads. I +cannot agree with him. You, no doubt, have heard people sing as though +they were inspired. I have felt that way many times when singing, and I +am sure my audience inspired me. It would have been impossible to sing +like that to empty chairs or a field of cabbage heads.</p> + +<p>Analyze yourself and your work as much as you please at home, but when +you go before an audience, forget yourself and let your aim be to win +them.</p> + +<h3><a name="THE_ACCOMPANIST" id="THE_ACCOMPANIST"></a>THE ACCOMPANIST.</h3> + +<p class="nind"><span class="letter">I</span> FIND that only about one in every hundred, who study voice culture, +are able to accompany themselves on the piano. Nearly all know the +keyboard and can get along after a fashion, therefore it is necessary +that the student of voice culture should secure a first-class +accompanist.</p> + +<p>Your voice teacher here, or abroad, is always in a position to furnish +you with one. You must arrange for his services at least twice a week. +You can have no idea of the progress this will mean in your work. If you +are asked to sing at an entertainment, do not take anyone's word that +"there will be a good accompanist on hand," but see to it yourself. If +it is not possible for you to have your own accompanist, be sure that +you have ample time for rehearsal, and if the accompanist present is not +a good one, <b>do not sing</b>.</p> + +<p>A poor accompanist has been the cause of the failure of many young +singers who are anxious to get before the public.</p> + +<p>The young and inexperienced singer cannot be too particular on this +point, and I would suggest that amateurs during their first few +appearances before the public sing only with an accompanist with whom +they have become accustomed to sing. All young singers are more or less +nervous; in fact, I know very few old ones who are not, and this is +where your own accompanist proves of the greatest value.</p> + +<p>One of my pupils who made her debut said, "I had a sensation as of a +lump in my throat, and felt that at the end of the pause I <b>must</b> swallow +or choke. My accompanist had played for me before and seemed to +anticipate my predicament, so gave me a little more time on that 'pause' +and I was saved. With a strange accompanist, I would have gone to +pieces."</p> + +<p>Because a singer is an amateur, their parents and friends seem to think +that anyone can play their accompaniments. The truth of the matter is, +the less experienced the singer, the better the accompanist must be. +Good accompanists are born, not made.</p> + +<p>To be sure, practice makes perfect, but I know of many fine pianists who +read well, have time, rhythm, technique, execution, and yet who will +never make good accompanists. It takes all of these and more.</p> + +<p>Nothing makes failure more certain than the blundering of an +inexperienced and unskilled accompanist.</p> + +<h3><a name="SELECTING_A_TEACHER" id="SELECTING_A_TEACHER"></a>SELECTING A TEACHER.</h3> + +<p class="nind"><span class="letter">I</span>T IS not always that the best read man on voice culture makes the best +teacher; in fact, we find that teachers, who have not been singers +themselves, but who have devoted years to the study of the physical and +technical side of the question have turned out very few good singers.</p> + +<p>In order to make a good teacher, one must first have command of his own +voice in order to make perfect demonstrations which are essential to the +beginner. Further, a teacher in order to be successful must have +practical experience with the world and singers. No two voices can be +treated in the same manner. Therefore, the teacher with the practical +experience is naturally far better equipped to teach than the one who +has merely studied the mechanism of the throat.</p> + +<p>It is positively harmful for a teacher to make any attempt to explain +the technical side of the voice to a <b>beginner</b>. Better develop the ear +and memory. A teacher must have patience and tact in order to be able to +deal with the different natures, dispositions and moods that are +encountered in the studio. One word of kindness and encouragement will +invariably do more toward putting a pupil at his ease and secure the +best results from his work than any number of severe sermons and +sarcastic criticisms.</p> + +<p>The pupils are paying for their lessons and are entitled to courteous +treatment. Avoid the nervous, irritable teacher. The teacher who becomes +impatient or ruffled because a pupil cannot instantly grasp his meaning, +walking up and down the floor with clenched fists chastising the air, +and in every way displaying his own nerves and lack of self-control, is +not a <b>teacher</b>, but a <b>fool</b>. Such a person has either forgotten his own +earlier struggles or had never studied.</p> + +<p>Avoid the teacher with a hobby. There is nothing so barren in the world +as one idea, spring from one idea, nourished by one idea and aiming at +one idea. This includes the teacher who believes in keeping the pupil on +one tone for six months. While your tone needs more than six months to +become perfect, dwelling on that one tone alone for that length of time +would be decidedly wrong.</p> + +<p>We frequently accept students who have acquired numerous bad habits in +breathing or singing. They often know their trouble and ask how long it +will take to undo this work and get back into the right way. They seem +to think it is a matter of a certain time working back to the beginning +and then starting over again. This is not true. It is a matter of +beginning <b>now</b> and beginning right. The thoughts of a pupil should be +<b>advance</b>, not <b>retreat</b>. You must not think of what you <b>have done</b>, but +what you <b>must do</b>.</p> + +<p>Avoid the teacher who advances theories and mechanical contrivances. A +laryngoscope in the hands of a physician might save many lives, but in +the hands of a singing teacher may ruin many voices. The perfect teacher +uses the simplest demonstrations, realizing that technical terms go +entirely over the heads of the beginner. The following suggestions are +entirely useless:</p> + +<p>Sing the tone forward.</p> + +<p>Sing the tone on the teeth.</p> + +<p>Sing over your larynx.</p> + +<p>Sing that tone with the epiglottis lowered, the palate raised, and on +the end of the breath.</p> + +<p>I have personally heard these instructions given to pupils, and I assure +you the pupil did not gain anything by it.</p> + +<p>It is positively absurd to insist on a beginner knowing the structures +of the vocal chords, neither will the patting, pinching or massaging of +the neck and facial muscles, that some teachers advocate, make you sing +any better. It is undoubtedly of some benefit to "wrinkles," but not to +the voice.</p> + +<p>Garcia, admitted to be one of the greatest singing masters of his time, +said, regarding the position of larynx being higher or lower or the more +or less raising of the palate, that the singer need only follow natural +effects, and larynx, palate and the rest will take care of themselves. +Do not complicate it with theories.</p> + +<p>A new pupil went into the studio of a well-known teacher for a hearing. +She took with her a popular song—the only song which she knew. The +teacher cried "Trash," and would not even talk the matter over. This was +foolish, selfish and unreasonable.</p> + +<p>Every voice which comes under our care includes the personality behind +the voice, and is of distinct and special interest. This pupil's +<b>environment</b> had undoubtedly been such that she was not further developed +and could hardly be expected to love and understand the music, which the +teacher was accustomed to perform or teach. However, many a singer, who +first brought the popular song, has developed into a successful church +and concert singer. This was not brought about by reprimands and unkind +criticisms of their short-comings, but by patient consideration and +gradual development. Give the pupil a chance to learn to perform good +music before you demand that they should appreciate it. A good teacher +will encourage questions. If there are any questions pertaining to the +study of voice culture that he cannot answer it is time he should know.</p> + +<p>Unless a teacher is a perfect accompanist, so that he can keep his eyes +away from the keyboard, he should employ an accompanist, for the +teacher should <b>see</b> as well as <b>hear</b> the pupil sing the finished numbers.</p> + +<p>And last, but not least, select a teacher who tries to understand you, +who makes you feel at ease, and who shows as much interest in your voice +as in your pocketbook.</p> + +<h3><a name="ART_FOR_ARTS_SAKE" id="ART_FOR_ARTS_SAKE"></a>ART FOR ART'S SAKE.</h3> + +<p class="nind"><span class="letter">H</span>OW MANY musicians live up to this much-abused term? In my travels here +and abroad I have found just two whose lives were entirely devoted to +"art for art's sake". They both reminded me of the last act of Beau +Brummell, and certainly did not suggest happiness. To fully live up to +"art for art's sake," one must necessarily have means, and you would be +surprised to know how few of those who are in position to live up to it, +do so. Singers, in whom you would expect to find a demonstration,—real +musicians, to whom the whole world has bent its knee,—will stand up +before an audience and sing a little popular waltz song, a la "After the +Ball,"—a song we would consider too inferior to allow one of our pupils +to sing. Is this "art for art's sake?" Where then should we look for a +demonstration, if not in the finished singer or artist?</p> + +<p>Do not these singers know better? Certainly, but they study their +audience, give the few their best, and the masses what they want. In +search for "art for art's sake," we turn to the "artist," and we find +him trying to please the audience.</p> + +<p>We are living in a very material age. If you can afford to do so, live +art for art's sake in your home, but if you have to make your living, +and cope with the world to make a success, you must study your audience; +they paid their money and want to be entertained. You can strike a happy +medium, where you will not lower your dignity, as a singer and an +artist.</p> + +<p>I notice that those who "rant" and "storm" on the subject of "art for +art's sake" seldom live it, of which we were given a fair demonstration +when one of our disciples of "art for art's sake" went on a "concert" +tour and was so anxious to "please" his audience, that the program was a +perfect vaudeville performance. It is needless to say that the "artist" +was severely criticised. Don't bill yourself as a concert singer and +then give a vaudeville performance. Use judgment. Watch the teacher who +is constantly talking "art for art's sake." Note to how many struggling +musicians he holds out a helping hand and how much of his time and life +he devotes to "art for art's sake."</p> + +<p>We teachers charge enough for our lessons to make it possible for us to +devote an evening a week "to art for art's sake"; invite our pupils, +talk, sing, take up the biographies of the old masters, do ensemble +work; study the oratories and operas. I am sure this would help create a +greater love and understanding of the better things in music, for the +more we hear it, the more we love it. This would go further in helping +to create a love and understanding of "art for art's sake," and would be +a greater test of our sincerity.</p> + +<p>Debussy, the well-known composer of Peleas and Melisande, says in an +article on "Art for Art's Sake": "Don't talk to me about elevating +public taste. That is the greatest 'bluff' one can din into your ears. +Just think for a moment what the public is composed of. How many in the +audience understand music? How many devote themselves to music during +the day? An infinitesimal number. The rest, where do they come from? +From offices, stores, business houses of some kind, or they come from +teas and gossip, and then they go to hear the opera. Most of them are +tired after a day's work or idleness, and such people you expect to take +an interest in serious music. Impossible! No; the only thing you can do +for the public is to lift it, for one moment, out of its daily thoughts, +and with that we have to be content. Under such conditions, what +difference does it make whether you have German, Italian or French +opera? There is no immovable truth in art. You cannot say this is so or +so, and what difference do the means make as long as the end is +accomplished? If Italian opera is more effective than German opera, what +does it matter? All art is untruth. You may have been told that art is +eternal because it is true, but there you are mistaken."</p> + +<div class="centeredimage" style="width: 415px;"> +<img class="frame" src="images/ill_dippel.png" width="415" height="550" alt="ANDREAS DIPPEL" title="ANDREAS DIPPEL" /> +<span class="caption">ANDREAS DIPPEL</span> +<p class="captions">Of the Metropolitan Grand Opera and General Manager of the Chicago Grand +Opera, who through his tireless and skillful service is meeting with +great success in the establishing of permanent Grand Opera in the larger +cities west of New York, is an enthusiastic supporter of the Grand Opera +in the vernacular, giving the many excellent American singers an +opportunity to make their dbut in this country and in their own +language. Mr. Dippel predicts the time is not far distant when New York +will establish the home of the National Grand Opera.</p> +</div> + +<h3><a name="EDUCATING_THE_MASSES" id="EDUCATING_THE_MASSES"></a>EDUCATING THE MASSES.</h3> + +<p class="nind"><span class="letter">T</span>HE MUSICIAN who refuses to make certain concessions to the public gives +proof of courage, but not of wisdom. One cannot expect to go before an +audience and sing over their heads, and by so doing educate them up to +one's own standard of music.</p> + +<p>You must reach down from your lofty ideals and meet the public on its +own ground.</p> + +<p>For example, in creating a love for the grand opera (which the people, +especially of the west, up to a few years ago have had no chance of +hearing), you must proceed gradually, carefully and with tact.</p> + +<p>Teachers of voice culture should organize grand opera study clubs, give +concerts, using selections from the popular grand opera—I mean by +popular grand opera "Il Trovatore," "Carmen," "Faust," etc. These +operas contain airs that are attractive, and can be followed by the +masses.</p> + +<p>It would not be long before the grand opera would share honors with the +now flourishing musical comedy in the affections of the music-loving +public, and the term "grand opera" would not sound to them like a +"bugaboo."</p> + +<p>In Brooklyn one afternoon I passed a number of boys coming from school, +and was astonished to hear them whistling "Tannhauser." While this would +be quite natural in Europe it is rather unusual here, where the popular +song has the upper hand with the young folks. I made inquiries and found +that a phonograph had been installed in the school and that every +morning the pupils listened to selections from the grand operas. My +already good opinion of the value of the phonograph was strengthened, as +I fully realize what effect hearing good music in the public schools +would have on the coming generation.</p> + +<p>In order to fully appreciate a difficult composition one must have made +a study of music, same as a doctor, in order to appreciate a lecture on +some intricate subject about his profession, must have made a study of +that profession.</p> + +<p>The painter sees in a great painting the beauties of execution that +entirely escape the eyes of the uninitiated; yet the musician will go +before an audience of whom two-thirds have probably never studied music +at all, and expect them to appreciate the classical music, and because +they do not, he would brand them as unappreciative, absurd; he expects +the impossible.</p> + +<p>The average audience does not care for the name of a composition as long +as the music appeals to them, and this is generally a matter of how it +is interpreted.</p> + +<p>The power of a beautiful interpretation does not make itself felt in +singing classics alone. Many persons harbor the notion that +interpretation relates to the work of the dead masters only. This is not +true. The simplest song needs interpretation, as well as the oratorio or +opera and the difference between good and bad artists is largely a +matter of interpretation. A simple song that emanates from the heart and +soul, will have a reciprocal effect on others and will outlive all +sermons in the memory.</p> + +<p>The average audience goes to the concert, not to be educated, but to be +entertained. Entertain them, interest them, win them and they will come +again.</p> + +<p>After you have endeared yourself to them, you can begin to sing more +pretentious music, and before they realize it, they are listening to and +enjoying the works of the great masters.</p> + +<p>I have seen a vast audience go to hear Patti sing "Home, Sweet Home," +and while listening they became acquainted with other songs, that by +hearing again and again, have helped to educate them to appreciate the +better music.</p> + +<p>I love the "oratorios" and "grand operas" particularly. They are part of +my life. But I do not expect all with whom I come in contact to feel the +same.</p> + +<p>I have seen more people asleep at a piano recital than I have at church, +and I did not blame them, when some amateur would be wrestling with a +twenty-page selection of which he had not the slightest conception, with +the exception of being able to read the notes and find them on the +instrument.</p> + +<p>Let us not become so blinded that we can see only one way—our way.</p> + +<p>In educating the masses let us not begin by driving them away with +compositions which they cannot understand.</p> + +<p>Art has no fatherland, and all that is beautiful should be prized by us, +no matter how simple or what clime or region produced it.</p> + +<p>When you hear someone dwelling on the fact that Mansfield did not ask +his audience what play they wanted, neither did Patti ask them what she +should sing, the argument is ridiculous. Bear this in mind: The audience +did not go to hear "Il Barbiere" or "Peer Gynt," they went to hear Patti +and see Mansfield, and what they rendered was only incidental to the +fact that they were Patti and Mansfield, people in whom the public was +interested. But while they were listening to these artists they became +acquainted with the better works.</p> + +<p>So leave it to the "finished artist" to produce the great works. You are +an amateur and have your little share to do in educating the masses. +Don't begin by giving a difficult program. Sing something simple, that +you are perfectly familiar with, and don't be afraid of the new +compositions. It is surprising that even old singers fear a new song. +Select something with pretty melody and rhythm and you are perfectly +safe.</p> + +<p>Always be on the lookout for something you can identify with yourself, +just as the artists all have some favorite song.</p> + +<h3><a name="HINTS_AND_HELPS" id="HINTS_AND_HELPS"></a>HINTS AND HELPS.</h3> + +<p class="nind"><span class="letter">G</span>ET OUT in the fresh air at least once a day, summer and winter.</p> + +<p>If you are in good health, <b>walk</b> in preference to riding.</p> + +<p>Get plenty of sleep. It is better than all other tonics.</p> + +<p>If you are "out of sorts," try a little "new thought," or "mental +science." It may be all you need.</p> + +<p>Sponge your neck, chest and back with cold water every morning.</p> + +<p>Girls, accustom yourselves to wearing your waists minus collars.</p> + +<p>Boys, wear your collars loose. The artists all do.</p> + +<p>Never bundle your neck in winter. A light covering will do.</p> + +<p>Eat what agrees with you, and avoid going on diets, if possible.</p> + +<p>If you desire to gain weight or put on more flesh, you must eat plenty +of nourishing food at least three times a day, drink plenty of pure +fresh water, good rich milk, ale, malt extracts, and everything that +agrees with you.</p> + +<p>Should you desire to reduce your weight, eat sparingly—a shredded wheat +biscuit, some dry toast with a cup of coffee in the morning. At noon eat +one or more oranges, and nothing else. For dinner take only one kind of +meat or fish, a vegetable, a fruit, a salad, some dried toast, with a +cup of black coffee or tea. Use no potatoes, butter or cream.</p> + +<p>There is no special diet for singers. It is only necessary to keep in +good health, take plenty of exercise, and eat and drink only those +things which agree with you.</p> + +<p>Pose your speaking voice low, as it not only benefits the voice, but it +denotes refinement.</p> + +<p>Robusto tenors are high baritones with the head tones developed.</p> + +<p>Saddle riding, walking, physical culture, fencing, dancing, elocution, +the study of any instrument will all be of some value in helping you to +become an artist.</p> + +<p>Use your brains more than your throat.</p> + +<p>Don't be impatient because things do not come your way at once. Rome was +not built in one day.</p> + +<p>Let your study of music cultivate within you a sympathy and love for all +that is artistic.</p> + +<p>Do not be unjustly prejudiced against good music because you do not +understand it. Hear that class of music more, and it will overcome your +prejudice.</p> + +<p>Acquaint yourself with the old masters and works before you take up the +novelties.</p> + +<p>Keep young in mind and thought, and the body will not grow old.</p> + +<p>Think for yourself and <b>think</b>.</p> + +<p>Don't worry, for worry is born largely of misdirected ambition.</p> + +<p>When someone is singing, do not shrug your shoulders and assume a pained +expression, so as to impress those who may be sitting near you that you +are a great critic.</p> + +<p>Have you ever thought what a desolate place this world would be without +music?</p> + +<p>Never neglect an opportunity to hear a great singer. If your means are +limited, subdue your pride, for it is far better to sit in the gallery +and be able to hear ten "artist concerts" than to sit in the orchestra +and be able to hear only one.</p> + +<p>Be willing to sacrifice much for your music.</p> + +<p>Associate as much as possible with people who <b>know more</b> about music than +you do. Read everything you can find on the subject. You will find <b>some</b> +truth in all of it.</p> + +<p>When you attend a concert look forward for the best only—don't be a +pessimist, be an optimist, and you will derive much more benefit. Don't +criticize audibly when someone is singing. <b>An artist never does.</b></p> + +<p>Before going to hear an artist sing, acquaint yourself as much as +possible with the program.</p> + +<p>While under one instructor, do not run around to other studios to have +your voice tried. It is undignified, and reflects on your teacher, as +well as upon yourself.</p> + +<p>Become a sight reader by reading at sight.</p> + +<p>You can break yourself from clearing your throat by not clearing it. You +will be surprised to find it was only a habit.</p> + +<p>Punctuality at the studio is essential. Ten minutes early for your +lesson is better than two minutes late.</p> + +<p>If there is anything about your lesson that you do not understand, ask +questions. You are paying for information.</p> + +<p>Practice systematically if you expect to make a success.</p> + +<p>Beginners should practice only fifteen minutes at a time.</p> + +<p>The scales are the backbone of music study.</p> + +<p>Remember your consonants are of as great value as your vowels.</p> + +<p>In singing, you must use both your nose and mouth for breathing.</p> + +<p>Always stand up when practicing your exercises.</p> + +<p>Memorize all your songs.</p> + +<p>When asked to sing, sing songs with which you are perfectly familiar.</p> + +<p>Stand on both feet and let your chest, not your stomach lead.</p> + +<p>If you expect to sing well, leave the tight collar, the tight corset and +the tight shoes at home.</p> + +<p>It is better to stand too near the footlights than too far back.</p> + +<p>If you are not an expert at handling a train on the stage, don't wear +one.</p> + +<p>While waiting for the introduction to be played, don't count the +footlights or the stars, but look out beyond the audience, rather in +with your eyes and nose.</p> + +<p>When holding music, never hold it high enough to cover your face from +the audience.</p> + +<p>Sing <b>to</b> your audience, not <b>at</b> it.</p> + +<p>Try and look pleasant, even if you don't feel that way. The audience +can't help it.</p> + +<p>Never fail to give a smile or word of encouragement to other beginners +who may be on the same program with you.</p> + +<p>It is certainly appalling to know how many good singers have bad stage +manners.</p> + +<p>A man must never put either one or both hands in his trouser pockets, +nor stand with his feet spread far apart while singing. Both of these +faults denote improper training.</p> + +<p>If you are ever so warm, use your handkerchief only before or after you +leave the stage.</p> + +<p>Correct dress is essential.</p> + +<p>For a man, for informal entertainments, black suit, black shoes, white +shirt, collar and cuffs, with either a black or white tie. For concert, +only evening dress is appropriate.</p> + +<p>For girls, the nicest thing to wear is a gown; if you do not wear one, +try to have your waist and skirt correspond in shade. The so-called +shirtwaist effect, which is produced by waist and skirt of different +colors, is not effective on the stage.</p> + +<p>Wear hose and slippers of the same color if possible.</p> + +<p>Amateurs when on the stage frequently rearrange a tie or smooth back a +stray curl, etc.; this is but a form of nervousness and looks bad. +Finish your toilet at home.</p> + +<p>For ease and grace take dancing lessons.</p> + +<p>The graduate from dancing and dramatic schools never appear ill at ease +before company.</p> + +<h3><a name="WHAT_AND_HOW_TO_PRACTICE" id="WHAT_AND_HOW_TO_PRACTICE"></a>WHAT AND HOW TO PRACTICE.</h3> + +<p class="nind"><span class="letter">I</span>T IS not so much <b>what</b>, but <b>how</b> you practice. The average beginner takes +up his practice in an aimless sort of way. Every action should have some +result in view. After taking your lesson, if you find you are not +positive as to the proper course to be pursued at home, you must ask +your teacher the questions necessary to put you on the right path. You +should have all your work laid out for you and go about it in a +systematic manner. Only in this way can you hope to achieve any degree +of success.</p> + +<p>A beginner should not practice much more than five minutes at a time on +each construction, neither would much less than that be sufficient to +accustom that set of muscles to that one construction. Never practice +your limit tones at either end of your range as much as you do your +middle register. What I mean by middle register is low enough to +produce chest and high enough to produce head tones. If you can produce +a fine middle register, the high tones will naturally follow in time. +Melba says, "On days when my high tones do not come easily in practice, +I do not sing them." Do not show or cover your teeth because you have +seen some singers do so; individual construction differs.</p> + +<p>Pronounce your words naturally and distinctly, never forgetting the +consonants at the end of the words. Don't think because you are singing +from a Marchesi book that you are studying her method. You are getting +the method of the teacher with whom you are studying. There are but two +ways of singing—"right" and "wrong"—and it makes little difference +from what instruction book you are taking your lesson, they are all good +and all constructed on the same principles. The main thing is knowing +<b>what</b> you are trying to do.</p> + +<p>Many pupils who are poor readers worry through several exercise books, +and at the end of that time have only memorized the notes and made no +progress whatever on the main point—tone.</p> + +<p>The pupil should learn to use the ear, mind and memory, and a great deal +of time would be gained in tone placing which should be taken up before +using an exercise book. If you are not a sight reader, take up this +study at once, preferably in class work, as it is absolutely necessary +that you should be able to read music at sight.</p> + +<p>Antiquated and complicated systems of sight reading are responsible for +many poor readers. We need more ear <b>training</b> and ability to <b>think</b>. Avoid +the use of the do-re-me syllables unless you are already proficient in +that system. Practice with the pitch names, A, B, C, D, and with the +scale numbers, 1, 2, 3, 4, in order to acquire a relationship of the +tones of the scale, otherwise the syllable "la" or any other syllable +will do.</p> + +<p>If you have an "off day," when all the work seems to go wrong, don't +practice. Mechanical work is of no value whatever in singing. Even the +artists have their "off days," but don't allow these days to become too +frequent.</p> + +<p>The best position for practice is to stand naturally, clasp your hands +in front or let them hang carelessly and naturally at your sides. +Clasping your hands behind your back or resting them on your hips, are +both bad positions for singing.</p> + +<p>When you practice do not simply kill fifteen minutes' time. Mere +practice makes a mechanical gymnast, while study produces a musician.</p> + +<p>In taking up your exercises use the instrument as little as possible. +For illustration we will take the arpeggio.</p> + +<p>Play the arpeggio until you are perfectly familiar with the +construction, then <b>sing</b> it once <b>with</b> the piano, then play only the chord +or keynote and sing the arpeggio <b>without</b> the piano; continue in this way +in all the keys within your range, getting your pitch from the chord or +keynote; this manner of practice is of the greatest value, as you can +stand in a natural singing position and as you do not have to give part +of your thought to the music or instrument, you pay more attention to +the pitch and tone, so that when you come to arias with recitatives +<b>without</b> accompaniment, you will not have as much difficulty staying on +pitch as those who invariably depend on the support of the instrument.</p> + +<p>In songs you should pursue the same course, play the most difficult +passages, "memorize them" before you attempt to sing them; in this way +you do not unnecessarily tire the voice. Memorize all your songs; it is +only after you get away from the reading that you are capable of doing +your best work. Always practice before a mirror and you will not be so +liable to acquire facial contortions and would soon overcome the very +bad habit of lifting the shoulders when you "see yourself as others see +you."</p> + +<p>Pupils frequently ask why it is so much easier to sing an exercise on +"ah" than to sing a sentence. In the "ah" you only have one vowel, while +in the sentence there are both vowels and consonants. By diligent +practice you will soon find that the tone helps the word, and the words +help the tone.</p> + +<p>Another complaint frequently heard in the studio is this: "I sang this +exercise perfectly at home, and can't see why I am unable to sing it +now." How many times did you sing this exercise perfectly at home. Don't +consider an exercise learned until you can sing it ten times in +succession <b>without an error</b>.</p> + +<p>Lillie Lehmann says: "I expended ten years in perfecting the trill which +every voice must master," and yet some pupils become discouraged +because they can not master the art of singing in a few months!</p> + +<p>Many singers complain of a contraction (hardness under the chin). This +is frequently found where they have been taught to place the tip of the +tongue against the back of the lower teeth to keep the tongue down. +Leave the tongue limp and speak your vowels and consonants perfect and +distinct, and the tongue will take care of itself.</p> + +<p>Those who are working to produce low tones will find that in the +morning, immediately after rising, the lower tones respond most readily +and may help you to find a way of increasing the lower range.</p> + +<p>Don't neglect the scales. Many years ago Madame Patti, while on a +concert tour, was awakened from her early morning sleep by the sound of +a piano in a room close to hers. It was slow scale practicing and was +maddening to the singer. She rang the bell, and demanded that the +practice be at once discontinued. What was her astonishment to learn +that the player was not some beginner as she had supposed, but the great +artist, Hans Von Bulow.</p> + +<p>Why is the so-called Italian method supposed to be the correct method of +singing? Partly because the Italian "a" (as you would pronounce "") is +the most natural sound that can be sung, and as the "" is the sound +used in two-thirds of the words in the song you sing, it plays an +important part in singing.</p> + +<p>Very few beginners realize that it is not only the words "law," "raw," +"saw," "tall," "hall," etc., that contain the Italian "," but also the +words "light," "bright," "might."</p> + +<p>In the word "night," the beginner usually dwells on the "ee," making it +"na-<b>ee</b>t," while it <b>should be</b> pronounced "n<b>aw</b>-eet," dwelling on the "."</p> + +<p>The Italian vowels cover the sound, tone color and pronunciation of the +Latin, English, Italian and German, with the exception of the German "o" +and "."</p> + +<p>With the French it is quite different. The sound and production stands +by itself. A French singer does not so readily sing the other languages, +neither does an American in the same length of time master the French as +well as the other languages. The French insist on <b>perfect diction</b>, and +one of our grand opera singers who delights the New York opera goers by +her singing of "Faust," "Carmen," etc., in the French, would not be +tolerated at the opera in Paris on account of her diction.</p> + +<p>As the French is the diplomatic language of the world, it would be well +to take up this language first. Then study your Italian for your singing +and you will find the Spanish, Latin and German can be easily mastered.</p> + +<p>Study only those songs which have merit. "After the Ball" was composed +within the past twenty years, and over 3,000,000 copies have been sold, +yet this song is both dead and buried, while the "Earl King," by +Schubert, composed in 1798, is today found upon practically all the +programs of our noted singers.</p> + +<p>When taking up a new song read the words over carefully and get an idea +what you are going to sing about before you try to sing it. Never +breathe in the middle of a word, or break a sentence by taking a +breath.</p> + +<h3><a name="THE_BREATH" id="THE_BREATH"></a>THE BREATH.</h3> + +<p class="nind"><span class="letter">T</span>HE FOUNDATION upon which you have to build your voice is the <b>breath</b>, +and like all other foundations, it must be properly laid, or the +structure will be a failure. It is imperative that you have absolute and +perfect <b>control</b> of the breath. An athlete once said to me, "If breath is +the foundation of good singing, I certainly should make a fine singer, +as I have the largest chest expansion and can hold my breath the longest +time of anyone in the college." The truth is, a small girl, weighing +ninety-six pounds, who had less than one-fifth of his chest expansion, +had twice the volume of sound-carrying power in tone, and could sustain +a tone three times as long as he.</p> + +<p>To practice breathing is not practicing singing, and the teacher who +keeps a pupil indefinitely on "breathing lessons" is either "killing +time" or is not a proficient instructor of voice culture.</p> + +<p>It should be taken for granted that all healthy persons breathe +properly.</p> + +<p>It is not the breathing, but the power of control, which is of vital +importance. It may be that after taking "breathing lessons" for a period +of six months that you will still be far from able to control the breath +<b>on the tone</b>. It is the way you practice, rather than the length of time +which brings proficient results.</p> + +<p>You will find by referring to the chapter on "Practical Exercises" that +I demonstrate the matter thoroughly.</p> + +<p>A good tone should have <b>resonance</b>, or what we call "vibration," but not +"tremolo." Many young singers confuse these two. Undoubtedly it is just +as bad to sing with a straight, cold, unmusical tone as it is to produce +an exaggerated "vibrato" or "tremolo."</p> + +<p>If you are unable to make the distinction between these two, do not fail +to consult someone who can do so, that you may not enter the pitfalls, +which it takes months to overcome.</p> + +<p>You cannot realize <b>how little breath</b> is necessary <b>on the tone</b>; we sing +with a great amount of <b>pressure</b>, but with <b>very little breath</b>. Have you +ever taken a covered head tone without scarcely taking any breath, and +found that you could sustain it for a practically unlimited period?</p> + +<p>I found one of my pupils who had elsewhere taken a course in <b>breathing</b>, +in taking a tone, would push her breath out so hard that you heard more +<b>breath</b> than <b>tone</b>. In singing a tone or short sentence, her chest would +collapse and she would become, as she termed it, "All out of breath." +She would give me all kinds of wonderful breath demonstrations, but +could not connect the <b>breath</b> and <b>tone</b>.</p> + +<p>I requested her to speak in a natural way the sentence, "This is a very +beautiful day." I asked her if she could hear a lot of escaping breath? +She answered, "No." I then asked her to place one hand across the ribs +and one across the chest and center her thoughts directly at these two +points to see if she could ascertain what was taking place there, while +once again in a natural speaking voice she repeated the sentence. She +did so, and found she was <b>not</b> "out of breath," and that her chest did +<b>not</b> collapse and she did not feel any discomfort. I then asked her to +repeat the sentence on the medium tone "E" above middle "C," then on +"F," then on "G," directing her each time to think she was merely +<b>speaking</b> the sentence, and then for the first time in her life she was +able to understand <b>control of breath</b>. During the next lesson we were +able to begin "tone placing" without the least trouble in connecting the +breath and tone. <b>Try it yourself.</b></p> + +<p>All kinds of athletics, breathing lessons or exercises in moderation +are beneficial, but they are not voice culture. As your breath plays a +most important part in <b>tone placing</b>, the breath and tone should start +together, hand in hand, from the very beginning. In the following +chapter I shall give some practical exercises that will give the <span class="smcap">breath</span> +and <b>tone</b> a chance to become acquainted with each other.</p> + +<h3><a name="A_FEW_PRACTICAL_EXERCISES_AND_ILLUSTRATIONS" id="A_FEW_PRACTICAL_EXERCISES_AND_ILLUSTRATIONS"></a>A FEW PRACTICAL EXERCISES AND ILLUSTRATIONS.</h3> + +<p class="nind"><span class="letter">S</span>TAND erect, but not in a strained position. Place the palm of your +hands over your ribs, pointing the fingers forward. (See Figure 1.)</p> + +<p><b>Exhale</b> by blowing slowly through the closed lips, very much as though +you were blowing on embers to make them burn. In doing this, you will +find that your finger tips will almost meet in front. (See Figure 2.)</p> + +<p>Keep your hands in the same position and <b>inhale</b> through the nose. You +will notice a large space in front between your hands. (See Figure 3.)</p> + +<p>Keeping your hands in the same position, repeat this exercise five +times; then drop your arms to your sides, relax and rest a few moments, +repeating this exercise several times until it comes easy.</p> + +<div class="centeredimage" style="width: 470px;"> +<p class="c">THE BREATH</p> +<img src="images/ill_088.png" width="470" height="550" alt="five images of the rib-cage doing breath exercises." title="five images of the rib-cage doing breath exercises." /> +</div> + +<p>Go before an open window every morning, place your hands as in figure 4, +inhale through the nose, (don't raise the shoulders) see that the +expansion is as great under the left hand as under the right hand (as in +figure 5) while holding the breath count 5 (aloud) then exhale while +holding the hands in same position, repeat this exercise 5 times in +succession. A positive cure for all forms of nervousness.]</p> + +<p>Be sure when <b>inhaling</b> you do not use enough muscular exertion to take +enough breath to cause lifting of the shoulders, which is decidedly +wrong.</p> + +<p>Place your hands as in the first position, exhale, then inhale and, +while you keep the ribs extended against your hands, which is done by +holding the breath and by muscular tension, speak the sentence, "This is +a beautiful day," then exhale, inhale again, holding the breath while +you repeat the sentence. Repeat this several times, then drop your arms +to the sides and rest.</p> + +<p>It is better at the beginning to take <b>too little</b> breath than to take <b>too +much</b>. Most beginners take too much breath, which makes it impossible to +control it. Until you understand control of the breath, it is better to +only take enough to extend your ribs against your hand as far as they +will go <b>without discomfort</b>.</p> + +<p>Don't let anyone tell you that "diaphragmatic," "intercostal" or +"abdominal" breathing <b>alone</b> is the only safe course; perfect breathing +is a <b>combination</b> of these and more.</p> + +<p>By practicing the above exercises you will find in a short time all the +organs that nature intended to be used for breathing will be in play.</p> + +<p>The reason the beginner is instructed to place the hands on the ribs is +to work from the <b>central</b> point, and as the student progresses, by +continuation of the exercises it will be found that the costal, +intercostal, dorsal, diaphragmatic and abdominal muscles are all doing +their share.</p> + +<p>Place your hands as in the first position. <b>Exhale—inhale.</b> Sustain the +syllable "saw" on an easy medium tone. As you attack the tone do not let +the ribs collapse, but as you sustain it, let the ribs very slowly +collapse under the palm of your hands. Try to resist so as to not let +too much breath escape. Don't let your chest collapse any more than is +absolutely necessary. The lower the tones you sing the <b>less</b> resistance +you need, while the higher tones you sing the <b>more</b> resistance you need. +In order to sustain a high tone, <b>draw in</b> slightly under the ribs, +leaving the chest extended. Singing the tone, now takes the place of the +<b>exhaling</b> exercise.</p> + +<div class="image" style="width: 385px;"> +<img src="images/ill_091.png" width="385" height="50" alt="musical notation, saw ...saw ...saw ..." title="musical notation, saw ...saw ...saw ..." /> +</div> + +<p>The word "saw," besides giving you the vowel "," also gives you the +correct sound of the Italian "ah" and what the "ah" should be in +singing.</p> + +<p>The average beginner sings too much on the tone color of "a" as in <b>hat</b>, +which, as you ascend the scale, would finally land the tone in the +region of the back of your neck.</p> + +<p>In learning to sing the "ah" or Italian "," always use words like +"saw," "raw," "law," "paw," "daw," "gnaw," sustaining the tone.</p> + +<p class="c top5">THE VOWELS</p> + +<p class="c sep">a e i o u</p> + +<table summary="pronunciation"> +<tr><td>Pronounced</td><td> i as ee in meet</td></tr> +<tr><td> a as in saw</td><td> o as o in note</td></tr> +<tr><td> e as a in fate</td><td> u as oo in moon</td></tr> +</table> + +<p>Example—</p> + +<div class="image" style="width: 384px;"> +<img src="images/ill_092.png" width="384" height="90" alt="musical notation" title="musical notation" /> +</div> + +<p>In ascending the scale, you should cover the tone. To cover the tone +simply put a little more "o" in your "ah," so that by the time you are +up near your high limit tone you should almost be singing "so," "lo," +"dough." This enables you to find your head tone. It will not be "low" +or "dough" but a good "ah." If you do <b>not gradually curve the "ah" into +an "o"</b> toward your high tones, you will find them turning into the "a" +as in hat.</p> + +<p>In producing head tones there are two valuable exercises I would +suggest.</p> + +<div class="centeredimage" style="width: 511px;"> +<p class="c">THE VOWELS</p> +<img src="images/ill_vowels.jpg" width="511" height="774" alt="images of faces while pronouncing the vowels." title="images of faces while pronouncing the vowels." /> +</div> + +<p class="nind">Drop your jaw as in +singing "saw"; leave the jaw dropped singing "saw," but curving your +lips into an "o." You will find an "oh" with fine head resonance and an +open relaxed throat.</p> + +<p>Example—</p> + +<div class="image" style="width: 380px;"> +<img src="images/ill_093a.png" width="380" height="36" alt="musical notation, o o o o o o o o o" title="musical notation, o o o o o o o o o" /> +</div> + +<p>Sing this exercise in all the keys within your range.</p> + +<p>Some find their head tones first by humming through the nose, while to +some this suggestion would be of no value.</p> + +<p>If you have a break or any trouble going from your high to low tones, +practice the exercise from the high tone down instead of from the low +tone up.</p> + +<p>Example—</p> + +<div class="image" style="width: 376px;"> +<img src="images/ill_093b.png" width="376" height="97" alt="musical notation" title="musical notation" /> +</div> + +<p>If you have trouble rolling your "r's", which is absolutely necessary, +practice the following words in two syllables, not, however, dropping +the tone.</p> + +<p>Example—</p> + +<ul> +<li>Tree as tau-ree.</li> +<li>Trust as tau-rust.</li> +<li>True as tau-rue</li> +<li>Breeze as b-reeze.</li> +<li>Train as tau-rain.</li> +<li>Bright as b-right.</li> +<li>Brown as b-rown.</li> +</ul> + +<p><b>After</b> you have mastered the rolled "r" through the above exercises, +pronounce them in one syllable as they should be.</p> + +<p>Next, take up your consonants before the vowel</p> + +<div class="image"> +<img src="images/ill_094.png" width="381" height="31" alt="musical notation" title="musical notation" /> + +<table border="0" cellpadding="1" cellspacing="0" summary="" +style="font-size:80%;"> +<tr><td align="left">Baw, bay, bee, bo, boo </td><td align="left">Baw, bay, bee, bo, boo</td><td align="left">Baw, bay, bee, bo, boo</td></tr> +<tr><td align="left">Daw, day, dee, do, doo </td><td align="left">Daw, day, dee, do, doo </td><td align="left">Daw, day, dee, do, doo</td></tr> +<tr><td align="left">Faw, fay, etc.</td><td align="left">Faw, fay, etc.</td><td align="left">Faw, fay, etc.</td></tr> +<tr><td align="left">Gaw, gay, etc.</td><td align="left">Gaw, gay, etc.</td><td align="left">Gaw, gay, etc.</td></tr> +<tr><td align="left">Haw, hay, etc.</td><td align="left">Haw, hay, etc.</td><td align="left">Haw, hay, etc.</td></tr> +<tr><td align="left" colspan="3">J, k, l, m, n, p, q, r, s, t, v, w, y, z.</td></tr> +</table> + +</div> + +<p class="nind">until you have covered all the consonants.</p> + +<p>Then your final consonants, as in "late," "date," "light," "bright."</p> + +<p>In the word "date," make your "d" and your "a" distinct and <b>on the tone</b>, +but as you pronounce your "t," which must also be distinct, drop the +tone so as not to leave an "after-tone." This must be done in all words +except those ending with "m" and "n."</p> + +<p>Next build sentences from words which seem most difficult to you and +sing the entire sentence on one sustained tone.</p> + +<p>Example—</p> + +<div class="image" style="width: 500px;"> +<img src="images/ill_095.png" width="377" height="34" alt="musical notation repeating Now the day is over. Now the day is over." title="musical notation repeating Now the day is over. Now the day is over." /> +<p class="c sml"><b>Now the day is over. Now the day is over. Now the day is over.</b></p> +</div> + +<p>In a song where some particular phrase or sentence seems difficult to +you, sing the entire phrase or sentence on one sustained tone, +pronouncing the words distinctly until you have gone down several tones +<b>below</b> and several tones <b>above</b> the pitch in which it is written, singing +it over and over on the one sustained tone in all the keys of your +range. I cannot tell you of the benefit you will derive from mastering a +difficult phrase or sentence in this manner.</p> + +<p>For the hardness and muscular contraction under the chin, which has +undoubtedly been brought about by "methods" advocating the placing of +the tip of the tongue against the back of the lower teeth, put your +thumb well up under your chin and see that there is no contraction +(hardness). Leave your tongue perfectly limp, and hum first through the +nose, gradually turning the humming into an "o," "o," "o," then to +"o," "o," "o," sustaining the tone and keeping the thumb pushed well +up under the chin to feel that there is no contraction. By using this +exercise you will be able to overcome this common fault in a very short +time, but you must go at it systematically.</p> + +<p>In singing songs pronounce your words perfectly and distinctly, letting +the palate, glottis and larynx take care of themselves. If your method +of singing is good, <b>nothing</b> can injure your voice.</p> + +<p>As this book voices the sentiment of some of the most brilliant lights +in the profession, and contains facts based on years of actual +experience, it is not egotistical for me to say that its careful, +thoughtful and conscientious perusal will give to the student of voice +culture assistance that will be of <b>inestimable value</b> in reaching his +goal.</p> + +<p>Start with ease and naturalness and the chances are excellent for your +pathway to be illumned with <b>success</b>.</p> + +<p class="r">THE AUTHOR.</p> + +<hr /> + + + + + + + +<pre> + + + + + +End of Project Gutenberg's What Every Singer Should Know, by Millie Ryan + +*** END OF THIS PROJECT GUTENBERG EBOOK WHAT EVERY SINGER SHOULD KNOW *** + +***** This file should be named 32602-h.htm or 32602-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/2/6/0/32602/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: What Every Singer Should Know + +Author: Millie Ryan + +Release Date: May 30, 2010 [EBook #32602] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK WHAT EVERY SINGER SHOULD KNOW *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + + + + + + + + +[Illustration: image of Millie Ryan] + +What +Every Singer +Should Know + +[Illustration: music-harp] + +Published by + +FRANKLIN PUBLISHING CO. + +OMAHA, NEBR. + +Copyrighted 1910 + +by + +MILLIE RYAN + +DEDICATION. + +I LOVINGLY DEDICATE THIS BOOK + +TO MY SON, + +EDWARD RYAN, JR. + + + + +TABLE OF CONTENTS. + + +"Is it Worth My While to Have My Voice Cultivated" 1 + +"Can I Become a Grand Opera Singer?" 8 + +"At What Age Shall I Take Up the Study of Voice Culture?" 12 + +Singing Lessons as a Health Culture 23 + +Advice to Parents 25 + +"Is it Necessary to go Abroad to Study?" 28 + +Chorus Singing 34 + +Stage Fright 36 + +The Accompanist 42 + +Selecting a Teacher 45 + +Art for Art's Sake 52 + +Educating the Masses 57 + +Hints and Helps 64 + +What and How to Practice 73 + +The Breath 83 + +A Few Practical Exercises and Illustrations 88 + + + + +INTRODUCTION. + + +This book is not for the purpose of instruction in singing, as singing +is an art which cannot be taught from book or correspondence. Neither is +it a technical treatise on the voice, but instead I aim through the +medium of my book to have a "heart-to-heart" talk with the beginner, and +with those who contemplate the study of voice culture. + +Books abounding in technical terms are valueless to a beginner, and the +finished artist does not need such a book. There are many valuable books +published, but very few which are written in a manner simple enough for +the beginner to grasp. I wish to give all the valuable "hints" and +"helps" that it has taken years of experience to gather, covering all +the questions that are absolutely necessary to know, making it brief, +simple and =understandable=. + +[Illustration: MADAME LILLIAN NORDICA + +Who is carrying out her plans of establishing a conservatory of music +and festival house for operatic performances, at Neal, N.J. Mme. Nordica +says: "I am confident that there is a crying need in this country for +this sort of musical establishment. Present conditions make it +impossible to enable the public to enjoy opera in English or to hear the +singing of that great host of talented Americans who are forced to +address their efforts to European audiences.] + + + + +"IS IT WORTH MY WHILE TO HAVE MY VOICE CULTIVATED?" + + +The first question which arises with all those who possess an average +singing voice is, "Will it pay me to study voice culture?" The answer +may be found in the following: + +"If you possess a good voice, do not hesitate a moment to cultivate it, +regarding it as the most beautiful gift granted you by +Heaven."--Schumann. + +"But," says the applicant, "I must make my own living. Have I enough +material to cultivate and be able to realize returns?" + +This depends entirely on yourself and what your ambitions are. + +There is a great field in music, and if you have ear, voice, and talent, +STUDY. And, if in addition to these you have ambition, determination and +application, you are sure of success. What your field of operation will +be, whether church, concert or opera, time will decide. + +The power to win is yours--determine to succeed and you cannot fail. + +In order to make a success of anything, you must give it your undivided +attention, and while doing so, your aim must be fixed constantly on the +goal which you desire to attain. Rome was not built in one day, neither +can the elementary training of a voice be accomplished in a year. + +If you are in good health, you must never allow the warm days of summer +to be an obstacle to your practice. Can you imagine the successful +banker, rising young doctor, lawyer or actor stopping their work because +of a warm day? There may be =some= who do, but they are not the ones who +are successful. When you hear a great singer, think of the obstacles she +must have overcome in reaching her position of excellence. Never doubt +yourself or your ability, but say "that what determination and +application have done for others can be done for me." + +You must have confidence in yourself if you want others to have +confidence in you. + +Never lose your temper. Adeline Patti was asked how she preserved her +charm long after the springtime of youth deserts the average woman. She +replied, "I keep my temper." Don't expect to grasp, assimilate and put +into practice in one lesson what it has taken years for your teacher to +accomplish. + +I remember one pupil who said her purse would not allow anything better +than a hall room in New York for a whole winter's study, and that she +really had no "chance" to practice, as her room was too small. This was +a very poor excuse, as that was merely one obstacle to be overcome. + +The artists who have reached the top are those who have had =innumerable= +obstacles to overcome. + +In Switzerland, over a little barber shop, in a room so small that there +was not room for two chairs in addition to the piano, Madame Nordica, +with Madame Cosima Wagner, and a coacher, practiced daily. The following +winter she won one of the successes of her career, as "Isolde." + +To reach the top in the profession, you must have more than voice and +application, for a singer may have the greatest of technique, yet lack +"soul" and "intelligence." The latter two you must possess, as these the +teacher is unable to give you. + +The beginner, in singing, needs a model to imitate, just as much as the +painter or sculptor. Everything is "imitation" until you develop in your +work; your individuality will assert itself as you become proficient. Do +not allow anyone to frighten you by telling you "never imitate or you +will simply be a parrot." Only the very poor teacher who knows her own +weakness as a model would make such an assertion. If the beginner is +fortunate enough to secure a teacher who can demonstrate a =perfect tone=, +do not be afraid to imitate. + +In order to fully interpret the emotions it is necessary to have +knowledge outside of the singing lesson. It is for this reason that +singers seldom reach the stage of "artist" until they are pretty well +advanced in years. It is not how many lessons you take, but the gradual +development, which you attain through experience. You must feel the +heartbeats of others, must know intimately "joy," "pain" and "sorrow" in +order to fully express these emotions. There is no rule of "right" and +"wrong" in the interpretation of a song, it being simply a matter of +opinion. That is where the individuality asserts itself. I remember +taking the old warhorse, "Una Voce Poco Fa," from Il Barbiere (Rossini) +to three of the greatest living singing masters in Italy. Each one +interpreted the aria a little differently, and I am positive each +thought he was the nearest to the composer's idea. Which one was +correct? + +"When you sing you are delivering a message, and you must make your +audience understand and feel it, as it is our 'feelings' above all that +are immediately affected by music."--Von Weber. + +Do not be too anxious to realize financially. Consider that Wagner's +salary as choir-master in the city of Warsaw was less than $12.00 a +month. The great drawback to many of the students in America is the +desire to work on the surface only--they don't seem willing to start at +the beginning and work their way up. The matter of studying voice +culture for a year does not make it possible for the singer to step +before an audience and attain immediate success without other +preparation. + +It takes more than the studio to make a "star." No artist ever began as +a master. In addition to being a singer, you must possess talent, +character and the ability to manage. If there is one of these qualities +lacking, you must remain only an "artist." It takes all three in accord +to produce a "STAR." + + + + +"CAN I BECOME A GRAND OPERA SINGER?" + + +The average teacher, in fact, most teachers, will say, "Yes, if you +study," but this is not true, as you have only about one chance in a +thousand. Have you any idea of the requirements necessary in order to +become a "star" of the Metropolitan Opera Company? + +You must have a fine voice, a "big" voice, a voice of great power and +endurance, fine enunciation, clear and correct pronunciation, knowledge +of the modern languages, have at least twenty-five operas committed to +memory, fine dramatic ability, good physique, size, personality and +"pull." And you must also be on the other side of the ocean to accept +the engagement; and then, your acceptance by a director to "star" is +about as difficult as an audience with a king. + +[Illustration: ALBERT MILDENBERG + +The well known composer who has enaugerated a plan to establish +Municipal Grand Opera in New York City. Mr. Mildenberg's experience as +conductor in the Municipal Opera Houses in France and Italy has fitted +him well for this laudable undertaking which will pave the way for the +training and placing of many talented pupils in this country, who have +heretofore been compelled to go abroad in order to secure positions on +the Grand Opera Stage.] + +There is no reason why a person with voice and talent who has to make +his own living, could not do so after several years of study. I have +over one hundred pupils who are making a good living by singing, and as +many more holding church positions paying them enough to enable them to +continue their studies. + +Show me a pupil who has to make his own living, and who has studied with +one teacher for eight or nine years and is not making his living by +singing, and you are showing me one who =never will=. + +There is, of course, no end to the study of voice culture. I have +studied more or less for over twenty years and am still studying, but if +you have to make your own living, secure whatever position may be open +to you. The church or concert position is =equally= valuable as the opera. + +In Europe, where you hear grand opera all the year around, it becomes a +second nature, but here in our western cities, until recently, grand +opera was almost unknown; two or three performances a year was about all +we could hope for. This was not enough to thoroughly acquaint the people +with the operas, and not enough to create a demand. + +In a western city of 200,000 inhabitants where five years ago it was +impossible to draw an audience of a hundred persons unless heralded by +spectacular advertising, I had the pleasure of witnessing this year +"Standing Room Only" during the performance of the dear old operas, Il +Trovatore, Faust and Carmen. The operas that the people have become +acquainted with through the phonographs, the orchestras and the grand +opera study clubs, organized by the more up-to-date teachers. Mr. Albert +Mildenberg is taking up a most commendable work, that of establishing +the municipal grand opera in New York City; he will eventually succeed, +and, with Herr Andreas Dippel organizing permanent grand opera in the +larger cities west of New York, it will not be long before the grand +opera positions will be plentiful. Within the next year, through the +efforts of Victor Maurel, the grand opera sung in English will also gain +ground, and divide honors with the French, German and Italian, giving +those who have not studied the foreign languages, but who are otherwise +prepared, a chance for positions on the grand opera stage. + +Some cranks insist that the days of the old Italian opera, with its +arias and glorious coloratura work, are passing in order to give place +for the new =music drama=. This is not correct, and will not be possible +as long as there are excellent singers who can sing these operas. We +have room for both the grand opera and the music drama. + +To be an "artist" is the aim the student has in view, and "study" is the +means to that end. + + + + +"AT WHAT AGE SHALL I TAKE UP THE STUDY OF VOICE CULTURE?" + + +Mrs. L. and her 15-year-old daughter called at my studio. The mother +explained that her little girl had been "leading the singing" in school +ever since she was eleven years old, but that her voice was not as good +as it used to be, and that she would like to have her study, but thought +she was too young. I tried the girl's voice and found two registers used +so differently that a person sitting in the next room would think they +were listening to two persons singing. She had a terrible break between +the chest and head tones, and for =four= years had been developing in this +bad way of singing. Now, this child should either have taken up voice +culture at eleven years of age or not "lead the singing" in school. +Children, with very few exceptions, in going from chest to head tones, +will sing =with= the throat, not understanding how to make the change, or +rather how to place the tone; in this way producing a break, which later +in life, when they take up voice culture, will cause endless, and in +some cases, permanent trouble. + +I know of many children who sing at entertainments, school, church, +etc., and you will hear their parents say, "Scarcely a week passes that +my daughter does not sing at some entertainment. If she were a little +older, we would have her take up voice culture." Now, if your daughter +is old enough to sing at entertainments, she is old enough to study. +Either do not let her sing, or put her under the care of a good teacher. + +"How shall I know if she is under proper instruction?" + +A good teacher will, first of all, not allow her to sing at the top of +her voice, which all children seem to delight in doing. A good teacher +will not develop on the extreme =high= or extreme =low= tones. A good +teacher will even up the =medium= register, teach her how to use the +=breath on the tone=, how to =place= the tone, overcoming all seeming change +from chest to head, will give her perfect pronunciation and enunciation. +This can be done at any age from eleven years, depending on the +individual. A girl who has good ear, and who does not lead the singing +in school at eleven and sing at entertainments, can begin at sixteen or +seventeen and develop into a very fine singer. + +"Should my son take up voice culture before his voice has changed?" + +This case is just the same as with the girl, =if he sings=. In fact, I +have found in my twenty years' experience as singer and teacher that the +boy who studies voice culture before his voice changes has an easy road +to travel =after= his voice has changed. Many boys' voices have not +finished changing until they are eighteen or nineteen years of age. The +boy who studied before his voice began changing understands the breath +control, the placing of the tone, and the pronunciation and enunciation. +These four fundamentals are absolutely necessary in order to sing well; +and whether his voice, after the change, develops into tenor or bass, +these fundamentals remain the same, and enable him to continue, instead +of merely begin. The boy, who has studied, or is under a good +instructor, will know =when= to stop singing. I have known many boys with +promising voices, who have ruined them entirely by singing or trying to +sing =during= the change. But they were not boys who were under +instruction, or they would have known better. I do =not= claim that it is +necessary to begin the study of voice culture as a child, as this is +entirely a matter of the individual, but I =do= claim that you can count +on one hand the singers who have reached distinction and whose voices +have lasted any length of time, who started their singing lessons after +they were out of their teens. + +I have pupils who are making a good living as church soloists and on the +concert stage, who commenced their study after they were twenty years +old, but they are the =exception=, and not the =rule=. + +I think a woman has the greatest success in teaching children. This may +be partly due to her maternal instincts. Her illustrations and +demonstrations are more simple than a man's. Her patience with children +also fits her wonderfully well to teach the child. + +You can accomplish nothing with the voice through fear. If the young boy +or girl loves the work, looks forward to the lessons, they cannot fail +in whatever they undertake. + +To satisfy those who disagree with me in regard to the value of early +study, I would ask them to read the lives of the great singers, and they +will find that with very few exceptions they took up the study of voice +culture before and during their early teens. Space forbids me to give a +complete list. However, for the benefit of those who have no access to +the biographies of the singers, I will select the names that I am sure +you are familiar with, beginning at 1740, and down to the present time: + +Malibran, one of the world's most famous singers, at the age of seven +was studying Solfeggio with Panseron at Naples, Italy, and made her +debut in grand opera in her fifteenth year. + +Pesaroni made her grand opera debut at sixteen, and twenty-five years +later we find her still one of the leading grand opera singers. + +Teresa Titjens made her debut in grand opera at the age of fifteen. + +Pauline Lucca was singing at thirteen, and made her debut at the age of +sixteen. + +Kellog made her debut as Gilda in "Rigoletto" at the age of eighteen. + +Minnie Hauk took up voice study at the age of twelve, and was singing in +grand opera during her seventeenth year. + +Christine Nilson, as a child, sang on the streets, was placed under an +instructor, and six months later sang at Court. + +Albini, during her twenty-second year, was engaged by the Royal Italian +Grand Opera at Covent Garden, to sing the leading roles of the grand +opera. + +Scalchi studied while a mere child, and made her grand opera debut at +the age of sixteen. + +Melba made her debut in grand opera when she was twenty-two years of +age. + +Nevada sang in public at the age of six, and has been singing ever +since. + +Patti made a three-year concert tour under the direction of Strakosh, +between the ages of eight and eleven, and made her grand opera debut at +nineteen. + +Nordica made her debut at fifteen, and is still one of the greatest and +loveliest of our singers. + +Sembrich sang solos in church when she could scarcely see over the +railing, and was in grand opera at the age of twenty. + +You may have doubts as to the art of singing of those whom you have read +about, but I am sure you have heard at least Scalchi, Melba, Patti, +Nordica and Sembrich, and you can have no doubt as to their being +classed both as singers and artists. + +It is needless to say that these people must have studied these operas +in order to sing them, and when you take into consideration that they +were not "music dramas" that require really more proficiency in acting +than in singing, but the Italian operas, requiring most perfect +=coloratura= work, and the Wagner operas, demanding heavy =dramatic= +singing, I think you must be convinced that if early study were +injurious to the voice, these great "songsters" would not be living +examples of my assertion. + +Someone will say, "This may be the case with women, but what of the +men?" + +We find the great German tenor, Albert Nieman, singing the grand opera +roles at eighteen. + +Heinrich Vogl, styled the "Interpreter of Wagner," sang these opera +roles at the age of twenty. + +Italo Campanini was singing in grand opera at twenty-one. + +Guilliam Ibos, the grand French tenor, and Van Dyck, were both singing +the grand opera roles at the age of twenty-two. + +Jean de Reszke was soloist at the cathedral at Warsaw at the age of +=twelve=, and was singing in grand opera at twenty-two. I am sure many of +you have heard him sing after his forty-fifth year, and will not deny +that he is both singer and artist. + +Then I hear someone say, "Perhaps their voices did not change, as they +were tenors." There is =some= change at maturity in =all voices=. Very well, +what about Victor Maurel? He was singing the grand opera roles at +twenty-one. Jean Baptiste Faure took up the study of the voice at +thirteen, and at twenty-two =created= the part of Mephistopheles in Faust. + +These men and women, whose names stand out as brilliant stars in the +firmament of music, studied and sang before and in their early teens, +and these are the voices that have been everlasting. + +Within the past six or eight years some beautiful singers have appeared +in the grand opera--one tenor who claims to have studied less than six +months before he appeared in grand opera, and a soprano, making the same +claim, and this study is supposed to have taken place after they were +out of their teens. It will be of interest to wait and watch these +voices to see if they will withstand the wear of twenty-five years' +service, and still be beautiful, or like the fire-fly, radiate their +beautiful light but for a moment and then disappear. + + + + +SINGING LESSONS AS A HEALTH CULTURE. + + +"I should like to take up the study of voice culture, but am not very +strong." + +That is the very reason you should take up singing. I have seen anaemic +girls take up the study of voice culture, and at the end of one year's +study develop perfect breathing, a fine full chest, rosy lips, warm +hands, an elegant digestion, and a good disposition. + +There is no tonic for the =nerves= equal to voice culture. At one of the +large sanitariums where eight hundred and five patients were suffering +from tuberculosis, there was but one who had been a singer. The nasal +breathing prevents adenoids from developing. The deep respiration +oxygenates the blood and gives us power to resist diseases. We stand and +walk better. We derive unusual pleasure for ourselves, with the power +to entertain others. As the study is unlimited, our interest cannot fail +to increase with each year. It fills our lives as nothing else can do. + +"Though everything else may appear shallow and repulsive, even the +smallest task in music is so absorbing and carries us so far away from +town, country and earth, and all earthly things that it is truly a +blessed gift of God."--Mendelsohn. + +It is a fact that more people become patients through "boredom" than +through fever. It is the monotony of the daily routine and lack of +interest which is the root of most of the "illness" and "nerves" of our +present day young women. + +Try the study of voice culture as an interesting and permanent remedy. + +The cause of "musical indigestion" is the attending of concerts where +one is compelled to listen to singing or playing, which is poorly +executed or too far beyond one to be properly understood. + + + + +ADVICE TO PARENTS. + + +Parents should encourage their children who are taking up the study of +voice culture, as home encouragement is necessary to children. I know +that parents are inclined to think that when they pay for the music +lessons, nothing further should be expected of them. But this is +positively a wrong idea. + +Do not make the great mistake of forcing your children too soon upon the +public. Many excellent young voices have been ruined in this manner. A +child eleven years of age was brought to my studio. She had ear, voice +and talent, but was almost "sung out." She had a bad break in her voice, +and performed the most unusual contortions in taking a tone, produced by +pushing the throat. The mother assured me that everybody thought she +sang "just grand." She was to sing at an entertainment in a month, and +they thought a few lessons in voice culture would be of great value. It +took an hour of my valuable time to convince them that she must not sing +at present, as it was positively necessary to overcome the break in her +voice, keep her from singing too much, and cure her audible breathing. +They finally arranged for her instruction, but made semi-monthly trips +during three months to ascertain if she was ready to sing in public, and +left with the remark that "they knew of many teachers who would be glad +to have her sing for them as an advertisement." Even the child was +disappointed, as undoubtedly she heard nothing but this at home. + +Parents should be sensible enough to remember that their little girl +cannot finish school in three months, that their son cannot go through +college in three months, and that they cannot learn to play the piano in +three months. + +"That she is young and people will not expect much" is not an excuse. +The public judge by what they see and hear and not by what she may be +able to accomplish if she is given time. How often we have heard father +say, "Johnny, go and play a piece for the company." Poor Johnny would +rather take a licking. =He= knows he is not ready to play for company, but +father says, "Here I have been paying for Johnny's piano lessons and +Mary's singing lessons for nearly three months, and I haven't heard a +song or piece yet. If they are not learning anything, they had better +quit taking lessons." And poor Johnny and Mary inflict on the company +what might be expected after only three months of training. + +Parents, select a reputable teacher--the highest priced is often the +cheapest in the end. When you know that they are under perfect +instruction, leave it to the teacher as to when they should play or sing +in public, and you will find that just as soon as they are able, the +teacher will be as anxious and pleased as yourself to have them appear. + + + + +"IS IT NECESSARY TO GO ABROAD TO STUDY?" + + +This, of course, depends entirely upon your ambition. There are very few +American singers who have reached positions on the grand opera stage +without having previously studied abroad. + +It is well in any case to get your preliminary training at home. For +tone placing and singing you can do equally as well in this country as +abroad, as we have excellent teachers here from all parts of the globe. + +I would advise the boy or girl who has a good home and lives in a +community where it is possible to get proper instruction to take their +first two or three years of work in this country. Take up the study of +languages and if your progress warrants your making a life work of +music, then I would suggest that you go to Europe in order to get the +broadening and the finishing touches that are necessary in order to +become an artist. + +[Illustration: VICTOR MAUREL + +The noted baritone for whom Verdi composed Otello and Falstaff, thinks +that Americans are as much entitled to hear their language at the Opera +Houses as the German, French and Italians. To further this project he +will include opera in English during his present Grand Opera season in +New York City. Mr. Maurel also believes strongly in giving young +American artists of real promise, an occasion to make their debut in +this country and under favorable artistic patronage and he is going to +give them a chance to do so.] + +For your German songs and operas you should go to Germany. For the +Italian operas to Italy, where it is possible for you to live in the +atmosphere of the opera and hear the language every day. The same also +applies to the French, who, of all people insist emphatically on perfect +diction. + +You can, of course, take up and to some extent learn the languages here, +but you are liable to meet with the same disappointment as a young lady +from the west who studied French in school for several years and thought +herself proficient in that language. She went to Paris to study music +and it was fully six months before she was able to either understand or +to be understood in common, every-day conversation. + +I am in favor of the class lessons so popular in Europe, and hope some +day we will be able to make them universal. Ten or twelve pupils +assemble at one time and each takes his lesson in turn. In this way each +gets the benefit of the other lessons. This also enables the pupils to +become accustomed to singing before each other, which is invaluable in +overcoming nervousness. Some pupils desire to take their lessons in +private, as they do not care to sing before a class. This feeling will +gradually disappear and it is much better to have it over with in the +beginning, than later when you are expected to go before a critic or +manager to sing. + +The expense of studying abroad may be adjusted entirely according to +your pocketbook. When anyone tells you it is cheaper to study on the +other side, they display their ignorance of the subject. I have studied +in this country, Germany, France and Italy, and I have found that, +including everything, it costs about the same everywhere. You can +secure board and room from five dollars a week up to any price you wish +to pay. It is also possible to live cheaper than this if necessary, but +for the student of singing it is of great importance to eat good, +nourishing food, as it is impossible to sing well unless you are in +excellent condition physically. + +Several of the old Italian music masters do not hesitate to say that it +is the American with the large purse who has forced them to raise their +prices, when they were perfectly satisfied to charge much less. + +Miss Moneybag arrives in Italy to take up voice culture. She calls on +one of the old masters; he asks her seventeen lire (about $3.00) per +lesson. This sounds cheap to her as she has been paying $5.00 a lesson +at home, so she starts out again looking for a higher-priced teacher. +She finds one who has had a little more experience with the Americans, +he sizes her up and asks her thirty-five lira; this sounds more in +accordance with her pocketbook, and she lists for the season. This +sizing up of the American pocketbook has been going on for some time and +the old "Maestro" who was perfectly satisfied with $3.00 is waking to +the fact that if he wants these Americans he must raise his prices. And +so we find at present, lessons costing about the same the world over. +However, when Miss Small Pocketbook and real talent arrives, she can +always arrange terms in accordance with her pocketbook, when she proves +she is there to accomplish results. This is not merely hearsay, but +facts gathered in my interviews with some of the most noted +singing-masters. + +If you intend to go into the grand opera it is advisable to go abroad, +as it gives you the prestige which is necessary at present, in order to +secure these positions of which we have a fair illustration in the case +of a beautiful mezzo soprano who had been singing with the English +Grand Opera Company, and though in every way qualified to sing with the +Metropolitan Grand Opera Company, was unable to secure an engagement +with them. She went abroad, changed her name, and returned the following +season as one of the Metropolitan Grand Opera stars, and is still one of +the favorites in that company. + +This seems rather inconsistent, but is nevertheless true. + +If you are fortunate enough to make your debut abroad you will have +practically no trouble in securing a position with any manager on this +side of the ocean. + + + + +CHORUS SINGING. + + +It is of great value to the singer to belong to a good chorus, provided +you know enough not to attempt to be the whole chorus yourself, and are +willing to give the others a chance. + +To be a success in the chorus you must observe the following rules: + +Be punctual. + +Stand erect, and on both feet. Let your chest lead. + +Make yourself a part of the chorus. This is not a solo. + +Don't annoy those around you by "wiggling" or "fidgeting." + +Rise and sit down in unison with the others. + +Do not look all over the place, but keep your eyes on the conductor. + +Do not cover your face with your music. + +Remember it is the conductor's duty to beat time. Keep head, arms and +feet still. + +Do not try to sing louder than the others. You will not be heard any +better and will strain your voice. + +Remember to hold the long note for its full count. + +Time and rhythm are the two great factors in chorus singing. + +Remember that "rests" are of as great importance as "notes" in music. + +Do not start before or hang on after the others have ceased to sing. + +Do not fail to slightly accentuate the first beat of each measure except +where accents are especially marked on other beats. + +Don't look bored because you must stand up to sing. Determine whether +you are going to be =too tired= to do your part before becoming a member +of a chorus. + +Keep your eyes on the conductor. + + + + +STAGE FRIGHT. + + +I have never met a singer, amateur or professional, who does not or has +not at some time suffered from this dreadful malady. There is no +positive cure but constantly appearing before an audience, and then some +of the singers never overcome this form of nervousness. + +The only consolation is in knowing that a person entirely void of this +feeling will never make an artist, as they are lacking in temperament. +Emotion is the flesh and blood of music and the condition is one in +which self-consciousness, nervous energy and emotion play a large part. +However, as you gain confidence in yourself and your work, and feel that +you are in "rapport" with your audience, this sensation will wear off to +a great extent. + +Very few children before their teens are troubled with stage fright. In +fact, they seem to glory in appearing before an audience. This is the +best time to continue the work that will be of inestimable value the +balance of their lives. Let them appear before the classes in the studio +until they are prepared to appear in public. + +When one begins to discuss nervousness, suggestion takes it up and it +spreads like wildfire. A young singer who had appeared several times in +the same solo and done excellent work was stepping on the stage to sing +when one of her friends thoughtlessly remarked: "Aren't you nervous +about that high 'C?'" The suggestion immediately lodged in her brain and +she could think of nothing but that high "C." Her fear increased and she +sang it with an almost heroic physical effort, a tone that had never +given her the least trouble before. + +It is the confident friend who helps you to win your audience by the +encouraging remark, "I know you will be a success," while the one who +asks, + +"Aren't you afraid you are going to break down?" in reality will assist +you in doing so. Always try and have the confident friends around you, +especially in the earlier stage of your career. + +There is an erroneous idea about not eating before singing. If you are +nervous there is nothing so dangerous as trying to sing on an empty +stomach. I know of singers who eat nothing on the day they are going to +sing, the result being increased nervousness caused from weakness. + +I would not advise a big meal before singing, but I would advise taking +something, depending entirely on the individual. A cup of black coffee, +a glass of water, a glass of claret, an orange, a raw egg, or anything +that agrees with you. Give the stomach some work to do and that "giddy +feeling" will entirely disappear. I always take a raw egg before +singing. + +One of our noted tenors, before walking out on the stage, lights a +cigarette, takes three puffs and throws it away. Three puffs could be of +very little value, but he imagines he sings better. Judging from his age +and voice, and its endurance, it has evidently not injured him, though I +would not advise singers to use tobacco. + +Those suffering from phlegm in the throat will find almost instant +relief in eating a dry prune. I acquired this habit in Italy, where it +is very popular with the singers. Dried prunes are beneficial for the +general health as well as the throat. Find what agrees with you, for +what might be agreeable to one may be disagreeable to another. + +When you step out on the stage take time to fully relax, get your mind +on the introduction your accompanist is playing. This prepares you for +your song. Look =beyond= your audience, not =at= them. + +By this time you will have fairly good control of yourself. Think of +=what you are going to sing=, and not of how you are feeling. Sing to your +audience as if you were telling them a story. Speak distinctly and make +them understand and feel what you are saying. Don't wear anything that +binds you, such as tight shoes, tight corsets or tight collars, as they +all tend to contract instead of relax. It is through nervousness that +singers have "wobbled" off the stage after their solo, before the +accompanist has finished. Remember in the interval between the end of +your solo and the last note of the accompaniment you should stand +perfectly still. Say to your audience (mentally), "Don't move until the +accompaniment is finished." You will be surprised to see how well you +can hold them. All these little thoughts will help make you forget +yourself. + +I once read an article on stage fright. The author advised the singer to +look at his audience as though they were so many cabbage heads. I +cannot agree with him. You, no doubt, have heard people sing as though +they were inspired. I have felt that way many times when singing, and I +am sure my audience inspired me. It would have been impossible to sing +like that to empty chairs or a field of cabbage heads. + +Analyze yourself and your work as much as you please at home, but when +you go before an audience, forget yourself and let your aim be to win +them. + + + + +THE ACCOMPANIST. + + +I find that only about one in every hundred, who study voice culture, +are able to accompany themselves on the piano. Nearly all know the +keyboard and can get along after a fashion, therefore it is necessary +that the student of voice culture should secure a first-class +accompanist. + +Your voice teacher here, or abroad, is always in a position to furnish +you with one. You must arrange for his services at least twice a week. +You can have no idea of the progress this will mean in your work. If you +are asked to sing at an entertainment, do not take anyone's word that +"there will be a good accompanist on hand," but see to it yourself. If +it is not possible for you to have your own accompanist, be sure that +you have ample time for rehearsal, and if the accompanist present is not +a good one, =do not sing=. + +A poor accompanist has been the cause of the failure of many young +singers who are anxious to get before the public. + +The young and inexperienced singer cannot be too particular on this +point, and I would suggest that amateurs during their first few +appearances before the public sing only with an accompanist with whom +they have become accustomed to sing. All young singers are more or less +nervous; in fact, I know very few old ones who are not, and this is +where your own accompanist proves of the greatest value. + +One of my pupils who made her debut said, "I had a sensation as of a +lump in my throat, and felt that at the end of the pause I =must= swallow +or choke. My accompanist had played for me before and seemed to +anticipate my predicament, so gave me a little more time on that 'pause' +and I was saved. With a strange accompanist, I would have gone to +pieces." + +Because a singer is an amateur, their parents and friends seem to think +that anyone can play their accompaniments. The truth of the matter is, +the less experienced the singer, the better the accompanist must be. +Good accompanists are born, not made. + +To be sure, practice makes perfect, but I know of many fine pianists who +read well, have time, rhythm, technique, execution, and yet who will +never make good accompanists. It takes all of these and more. + +Nothing makes failure more certain than the blundering of an +inexperienced and unskilled accompanist. + + + + +SELECTING A TEACHER. + + +It is not always that the best read man on voice culture makes the best +teacher; in fact, we find that teachers, who have not been singers +themselves, but who have devoted years to the study of the physical and +technical side of the question have turned out very few good singers. + +In order to make a good teacher, one must first have command of his own +voice in order to make perfect demonstrations which are essential to the +beginner. Further, a teacher in order to be successful must have +practical experience with the world and singers. No two voices can be +treated in the same manner. Therefore, the teacher with the practical +experience is naturally far better equipped to teach than the one who +has merely studied the mechanism of the throat. + +It is positively harmful for a teacher to make any attempt to explain +the technical side of the voice to a =beginner=. Better develop the ear +and memory. A teacher must have patience and tact in order to be able to +deal with the different natures, dispositions and moods that are +encountered in the studio. One word of kindness and encouragement will +invariably do more toward putting a pupil at his ease and secure the +best results from his work than any number of severe sermons and +sarcastic criticisms. + +The pupils are paying for their lessons and are entitled to courteous +treatment. Avoid the nervous, irritable teacher. The teacher who becomes +impatient or ruffled because a pupil cannot instantly grasp his meaning, +walking up and down the floor with clenched fists chastising the air, +and in every way displaying his own nerves and lack of self-control, is +not a =teacher=, but a =fool=. Such a person has either forgotten his own +earlier struggles or had never studied. + +Avoid the teacher with a hobby. There is nothing so barren in the world +as one idea, spring from one idea, nourished by one idea and aiming at +one idea. This includes the teacher who believes in keeping the pupil on +one tone for six months. While your tone needs more than six months to +become perfect, dwelling on that one tone alone for that length of time +would be decidedly wrong. + +We frequently accept students who have acquired numerous bad habits in +breathing or singing. They often know their trouble and ask how long it +will take to undo this work and get back into the right way. They seem +to think it is a matter of a certain time working back to the beginning +and then starting over again. This is not true. It is a matter of +beginning =now= and beginning right. The thoughts of a pupil should be +=advance=, not =retreat=. You must not think of what you =have done=, but +what you =must do=. + +Avoid the teacher who advances theories and mechanical contrivances. A +laryngoscope in the hands of a physician might save many lives, but in +the hands of a singing teacher may ruin many voices. The perfect teacher +uses the simplest demonstrations, realizing that technical terms go +entirely over the heads of the beginner. The following suggestions are +entirely useless: + +Sing the tone forward. + +Sing the tone on the teeth. + +Sing over your larynx. + +Sing that tone with the epiglottis lowered, the palate raised, and on +the end of the breath. + +I have personally heard these instructions given to pupils, and I assure +you the pupil did not gain anything by it. + +It is positively absurd to insist on a beginner knowing the structures +of the vocal chords, neither will the patting, pinching or massaging of +the neck and facial muscles, that some teachers advocate, make you sing +any better. It is undoubtedly of some benefit to "wrinkles," but not to +the voice. + +Garcia, admitted to be one of the greatest singing masters of his time, +said, regarding the position of larynx being higher or lower or the more +or less raising of the palate, that the singer need only follow natural +effects, and larynx, palate and the rest will take care of themselves. +Do not complicate it with theories. + +A new pupil went into the studio of a well-known teacher for a hearing. +She took with her a popular song--the only song which she knew. The +teacher cried "Trash," and would not even talk the matter over. This was +foolish, selfish and unreasonable. + +Every voice which comes under our care includes the personality behind +the voice, and is of distinct and special interest. This pupil's +=environment= had undoubtedly been such that she was not further developed +and could hardly be expected to love and understand the music, which the +teacher was accustomed to perform or teach. However, many a singer, who +first brought the popular song, has developed into a successful church +and concert singer. This was not brought about by reprimands and unkind +criticisms of their short-comings, but by patient consideration and +gradual development. Give the pupil a chance to learn to perform good +music before you demand that they should appreciate it. A good teacher +will encourage questions. If there are any questions pertaining to the +study of voice culture that he cannot answer it is time he should know. + +Unless a teacher is a perfect accompanist, so that he can keep his eyes +away from the keyboard, he should employ an accompanist, for the +teacher should =see= as well as =hear= the pupil sing the finished numbers. + +And last, but not least, select a teacher who tries to understand you, +who makes you feel at ease, and who shows as much interest in your voice +as in your pocketbook. + + + + +ART FOR ART'S SAKE. + + +How many musicians live up to this much-abused term? In my travels here +and abroad I have found just two whose lives were entirely devoted to +"art for art's sake". They both reminded me of the last act of Beau +Brummell, and certainly did not suggest happiness. To fully live up to +"art for art's sake," one must necessarily have means, and you would be +surprised to know how few of those who are in position to live up to it, +do so. Singers, in whom you would expect to find a demonstration,--real +musicians, to whom the whole world has bent its knee,--will stand up +before an audience and sing a little popular waltz song, a la "After the +Ball,"--a song we would consider too inferior to allow one of our pupils +to sing. Is this "art for art's sake?" Where then should we look for a +demonstration, if not in the finished singer or artist? + +Do not these singers know better? Certainly, but they study their +audience, give the few their best, and the masses what they want. In +search for "art for art's sake," we turn to the "artist," and we find +him trying to please the audience. + +We are living in a very material age. If you can afford to do so, live +art for art's sake in your home, but if you have to make your living, +and cope with the world to make a success, you must study your audience; +they paid their money and want to be entertained. You can strike a happy +medium, where you will not lower your dignity, as a singer and an +artist. + +I notice that those who "rant" and "storm" on the subject of "art for +art's sake" seldom live it, of which we were given a fair demonstration +when one of our disciples of "art for art's sake" went on a "concert" +tour and was so anxious to "please" his audience, that the program was a +perfect vaudeville performance. It is needless to say that the "artist" +was severely criticised. Don't bill yourself as a concert singer and +then give a vaudeville performance. Use judgment. Watch the teacher who +is constantly talking "art for art's sake." Note to how many struggling +musicians he holds out a helping hand and how much of his time and life +he devotes to "art for art's sake." + +We teachers charge enough for our lessons to make it possible for us to +devote an evening a week "to art for art's sake"; invite our pupils, +talk, sing, take up the biographies of the old masters, do ensemble +work; study the oratories and operas. I am sure this would help create a +greater love and understanding of the better things in music, for the +more we hear it, the more we love it. This would go further in helping +to create a love and understanding of "art for art's sake," and would be +a greater test of our sincerity. + +Debussy, the well-known composer of Peleas and Melisande, says in an +article on "Art for Art's Sake": "Don't talk to me about elevating +public taste. That is the greatest 'bluff' one can din into your ears. +Just think for a moment what the public is composed of. How many in the +audience understand music? How many devote themselves to music during +the day? An infinitesimal number. The rest, where do they come from? +From offices, stores, business houses of some kind, or they come from +teas and gossip, and then they go to hear the opera. Most of them are +tired after a day's work or idleness, and such people you expect to take +an interest in serious music. Impossible! No; the only thing you can do +for the public is to lift it, for one moment, out of its daily thoughts, +and with that we have to be content. Under such conditions, what +difference does it make whether you have German, Italian or French +opera? There is no immovable truth in art. You cannot say this is so or +so, and what difference do the means make as long as the end is +accomplished? If Italian opera is more effective than German opera, what +does it matter? All art is untruth. You may have been told that art is +eternal because it is true, but there you are mistaken." + +[Illustration: ANDREAS DIPPEL + +Of the Metropolitan Grand Opera and General Manager of the Chicago Grand +Opera, who through his tireless and skillful service is meeting with +great success in the establishing of permanent Grand Opera in the larger +cities west of New York, is an enthusiastic supporter of the Grand Opera +in the vernacular, giving the many excellent American singers an +opportunity to make their debut in this country and in their own +language. Mr. Dippel predicts the time is not far distant when New York +will establish the home of the National Grand Opera.] + + + + +EDUCATING THE MASSES. + + +The musician who refuses to make certain concessions to the public gives +proof of courage, but not of wisdom. One cannot expect to go before an +audience and sing over their heads, and by so doing educate them up to +one's own standard of music. + +You must reach down from your lofty ideals and meet the public on its +own ground. + +For example, in creating a love for the grand opera (which the people, +especially of the west, up to a few years ago have had no chance of +hearing), you must proceed gradually, carefully and with tact. + +Teachers of voice culture should organize grand opera study clubs, give +concerts, using selections from the popular grand opera--I mean by +popular grand opera "Il Trovatore," "Carmen," "Faust," etc. These +operas contain airs that are attractive, and can be followed by the +masses. + +It would not be long before the grand opera would share honors with the +now flourishing musical comedy in the affections of the music-loving +public, and the term "grand opera" would not sound to them like a +"bugaboo." + +In Brooklyn one afternoon I passed a number of boys coming from school, +and was astonished to hear them whistling "Tannhauser." While this would +be quite natural in Europe it is rather unusual here, where the popular +song has the upper hand with the young folks. I made inquiries and found +that a phonograph had been installed in the school and that every +morning the pupils listened to selections from the grand operas. My +already good opinion of the value of the phonograph was strengthened, as +I fully realize what effect hearing good music in the public schools +would have on the coming generation. + +In order to fully appreciate a difficult composition one must have made +a study of music, same as a doctor, in order to appreciate a lecture on +some intricate subject about his profession, must have made a study of +that profession. + +The painter sees in a great painting the beauties of execution that +entirely escape the eyes of the uninitiated; yet the musician will go +before an audience of whom two-thirds have probably never studied music +at all, and expect them to appreciate the classical music, and because +they do not, he would brand them as unappreciative, absurd; he expects +the impossible. + +The average audience does not care for the name of a composition as long +as the music appeals to them, and this is generally a matter of how it +is interpreted. + +The power of a beautiful interpretation does not make itself felt in +singing classics alone. Many persons harbor the notion that +interpretation relates to the work of the dead masters only. This is not +true. The simplest song needs interpretation, as well as the oratorio or +opera and the difference between good and bad artists is largely a +matter of interpretation. A simple song that emanates from the heart and +soul, will have a reciprocal effect on others and will outlive all +sermons in the memory. + +The average audience goes to the concert, not to be educated, but to be +entertained. Entertain them, interest them, win them and they will come +again. + +After you have endeared yourself to them, you can begin to sing more +pretentious music, and before they realize it, they are listening to and +enjoying the works of the great masters. + +I have seen a vast audience go to hear Patti sing "Home, Sweet Home," +and while listening they became acquainted with other songs, that by +hearing again and again, have helped to educate them to appreciate the +better music. + +I love the "oratorios" and "grand operas" particularly. They are part of +my life. But I do not expect all with whom I come in contact to feel the +same. + +I have seen more people asleep at a piano recital than I have at church, +and I did not blame them, when some amateur would be wrestling with a +twenty-page selection of which he had not the slightest conception, with +the exception of being able to read the notes and find them on the +instrument. + +Let us not become so blinded that we can see only one way--our way. + +In educating the masses let us not begin by driving them away with +compositions which they cannot understand. + +Art has no fatherland, and all that is beautiful should be prized by us, +no matter how simple or what clime or region produced it. + +When you hear someone dwelling on the fact that Mansfield did not ask +his audience what play they wanted, neither did Patti ask them what she +should sing, the argument is ridiculous. Bear this in mind: The audience +did not go to hear "Il Barbiere" or "Peer Gynt," they went to hear Patti +and see Mansfield, and what they rendered was only incidental to the +fact that they were Patti and Mansfield, people in whom the public was +interested. But while they were listening to these artists they became +acquainted with the better works. + +So leave it to the "finished artist" to produce the great works. You are +an amateur and have your little share to do in educating the masses. +Don't begin by giving a difficult program. Sing something simple, that +you are perfectly familiar with, and don't be afraid of the new +compositions. It is surprising that even old singers fear a new song. +Select something with pretty melody and rhythm and you are perfectly +safe. + +Always be on the lookout for something you can identify with yourself, +just as the artists all have some favorite song. + + + + +HINTS AND HELPS. + + +Get out in the fresh air at least once a day, summer and winter. + +If you are in good health, =walk= in preference to riding. + +Get plenty of sleep. It is better than all other tonics. + +If you are "out of sorts," try a little "new thought," or "mental +science." It may be all you need. + +Sponge your neck, chest and back with cold water every morning. + +Girls, accustom yourselves to wearing your waists minus collars. + +Boys, wear your collars loose. The artists all do. + +Never bundle your neck in winter. A light covering will do. + +Eat what agrees with you, and avoid going on diets, if possible. + +If you desire to gain weight or put on more flesh, you must eat plenty +of nourishing food at least three times a day, drink plenty of pure +fresh water, good rich milk, ale, malt extracts, and everything that +agrees with you. + +Should you desire to reduce your weight, eat sparingly--a shredded wheat +biscuit, some dry toast with a cup of coffee in the morning. At noon eat +one or more oranges, and nothing else. For dinner take only one kind of +meat or fish, a vegetable, a fruit, a salad, some dried toast, with a +cup of black coffee or tea. Use no potatoes, butter or cream. + +There is no special diet for singers. It is only necessary to keep in +good health, take plenty of exercise, and eat and drink only those +things which agree with you. + +Pose your speaking voice low, as it not only benefits the voice, but it +denotes refinement. + +Robusto tenors are high baritones with the head tones developed. + +Saddle riding, walking, physical culture, fencing, dancing, elocution, +the study of any instrument will all be of some value in helping you to +become an artist. + +Use your brains more than your throat. + +Don't be impatient because things do not come your way at once. Rome was +not built in one day. + +Let your study of music cultivate within you a sympathy and love for all +that is artistic. + +Do not be unjustly prejudiced against good music because you do not +understand it. Hear that class of music more, and it will overcome your +prejudice. + +Acquaint yourself with the old masters and works before you take up the +novelties. + +Keep young in mind and thought, and the body will not grow old. + +Think for yourself and =think=. + +Don't worry, for worry is born largely of misdirected ambition. + +When someone is singing, do not shrug your shoulders and assume a pained +expression, so as to impress those who may be sitting near you that you +are a great critic. + +Have you ever thought what a desolate place this world would be without +music? + +Never neglect an opportunity to hear a great singer. If your means are +limited, subdue your pride, for it is far better to sit in the gallery +and be able to hear ten "artist concerts" than to sit in the orchestra +and be able to hear only one. + +Be willing to sacrifice much for your music. + +Associate as much as possible with people who =know more= about music than +you do. Read everything you can find on the subject. You will find =some= +truth in all of it. + +When you attend a concert look forward for the best only--don't be a +pessimist, be an optimist, and you will derive much more benefit. Don't +criticize audibly when someone is singing. =An artist never does.= + +Before going to hear an artist sing, acquaint yourself as much as +possible with the program. + +While under one instructor, do not run around to other studios to have +your voice tried. It is undignified, and reflects on your teacher, as +well as upon yourself. + +Become a sight reader by reading at sight. + +You can break yourself from clearing your throat by not clearing it. You +will be surprised to find it was only a habit. + +Punctuality at the studio is essential. Ten minutes early for your +lesson is better than two minutes late. + +If there is anything about your lesson that you do not understand, ask +questions. You are paying for information. + +Practice systematically if you expect to make a success. + +Beginners should practice only fifteen minutes at a time. + +The scales are the backbone of music study. + +Remember your consonants are of as great value as your vowels. + +In singing, you must use both your nose and mouth for breathing. + +Always stand up when practicing your exercises. + +Memorize all your songs. + +When asked to sing, sing songs with which you are perfectly familiar. + +Stand on both feet and let your chest, not your stomach lead. + +If you expect to sing well, leave the tight collar, the tight corset and +the tight shoes at home. + +It is better to stand too near the footlights than too far back. + +If you are not an expert at handling a train on the stage, don't wear +one. + +While waiting for the introduction to be played, don't count the +footlights or the stars, but look out beyond the audience, rather in +with your eyes and nose. + +When holding music, never hold it high enough to cover your face from +the audience. + +Sing =to= your audience, not =at= it. + +Try and look pleasant, even if you don't feel that way. The audience +can't help it. + +Never fail to give a smile or word of encouragement to other beginners +who may be on the same program with you. + +It is certainly appalling to know how many good singers have bad stage +manners. + +A man must never put either one or both hands in his trouser pockets, +nor stand with his feet spread far apart while singing. Both of these +faults denote improper training. + +If you are ever so warm, use your handkerchief only before or after you +leave the stage. + +Correct dress is essential. + +For a man, for informal entertainments, black suit, black shoes, white +shirt, collar and cuffs, with either a black or white tie. For concert, +only evening dress is appropriate. + +For girls, the nicest thing to wear is a gown; if you do not wear one, +try to have your waist and skirt correspond in shade. The so-called +shirtwaist effect, which is produced by waist and skirt of different +colors, is not effective on the stage. + +Wear hose and slippers of the same color if possible. + +Amateurs when on the stage frequently rearrange a tie or smooth back a +stray curl, etc.; this is but a form of nervousness and looks bad. +Finish your toilet at home. + +For ease and grace take dancing lessons. + +The graduate from dancing and dramatic schools never appear ill at ease +before company. + + + + +WHAT AND HOW TO PRACTICE. + + +It is not so much =what=, but =how= you practice. The average beginner takes +up his practice in an aimless sort of way. Every action should have some +result in view. After taking your lesson, if you find you are not +positive as to the proper course to be pursued at home, you must ask +your teacher the questions necessary to put you on the right path. You +should have all your work laid out for you and go about it in a +systematic manner. Only in this way can you hope to achieve any degree +of success. + +A beginner should not practice much more than five minutes at a time on +each construction, neither would much less than that be sufficient to +accustom that set of muscles to that one construction. Never practice +your limit tones at either end of your range as much as you do your +middle register. What I mean by middle register is low enough to +produce chest and high enough to produce head tones. If you can produce +a fine middle register, the high tones will naturally follow in time. +Melba says, "On days when my high tones do not come easily in practice, +I do not sing them." Do not show or cover your teeth because you have +seen some singers do so; individual construction differs. + +Pronounce your words naturally and distinctly, never forgetting the +consonants at the end of the words. Don't think because you are singing +from a Marchesi book that you are studying her method. You are getting +the method of the teacher with whom you are studying. There are but two +ways of singing--"right" and "wrong"--and it makes little difference +from what instruction book you are taking your lesson, they are all good +and all constructed on the same principles. The main thing is knowing +=what= you are trying to do. + +Many pupils who are poor readers worry through several exercise books, +and at the end of that time have only memorized the notes and made no +progress whatever on the main point--tone. + +The pupil should learn to use the ear, mind and memory, and a great deal +of time would be gained in tone placing which should be taken up before +using an exercise book. If you are not a sight reader, take up this +study at once, preferably in class work, as it is absolutely necessary +that you should be able to read music at sight. + +Antiquated and complicated systems of sight reading are responsible for +many poor readers. We need more ear =training= and ability to =think=. Avoid +the use of the do-re-me syllables unless you are already proficient in +that system. Practice with the pitch names, A, B, C, D, and with the +scale numbers, 1, 2, 3, 4, in order to acquire a relationship of the +tones of the scale, otherwise the syllable "la" or any other syllable +will do. + +If you have an "off day," when all the work seems to go wrong, don't +practice. Mechanical work is of no value whatever in singing. Even the +artists have their "off days," but don't allow these days to become too +frequent. + +The best position for practice is to stand naturally, clasp your hands +in front or let them hang carelessly and naturally at your sides. +Clasping your hands behind your back or resting them on your hips, are +both bad positions for singing. + +When you practice do not simply kill fifteen minutes' time. Mere +practice makes a mechanical gymnast, while study produces a musician. + +In taking up your exercises use the instrument as little as possible. +For illustration we will take the arpeggio. + +Play the arpeggio until you are perfectly familiar with the +construction, then =sing= it once =with= the piano, then play only the chord +or keynote and sing the arpeggio =without= the piano; continue in this way +in all the keys within your range, getting your pitch from the chord or +keynote; this manner of practice is of the greatest value, as you can +stand in a natural singing position and as you do not have to give part +of your thought to the music or instrument, you pay more attention to +the pitch and tone, so that when you come to arias with recitatives +=without= accompaniment, you will not have as much difficulty staying on +pitch as those who invariably depend on the support of the instrument. + +In songs you should pursue the same course, play the most difficult +passages, "memorize them" before you attempt to sing them; in this way +you do not unnecessarily tire the voice. Memorize all your songs; it is +only after you get away from the reading that you are capable of doing +your best work. Always practice before a mirror and you will not be so +liable to acquire facial contortions and would soon overcome the very +bad habit of lifting the shoulders when you "see yourself as others see +you." + +Pupils frequently ask why it is so much easier to sing an exercise on +"ah" than to sing a sentence. In the "ah" you only have one vowel, while +in the sentence there are both vowels and consonants. By diligent +practice you will soon find that the tone helps the word, and the words +help the tone. + +Another complaint frequently heard in the studio is this: "I sang this +exercise perfectly at home, and can't see why I am unable to sing it +now." How many times did you sing this exercise perfectly at home. Don't +consider an exercise learned until you can sing it ten times in +succession =without an error=. + +Lillie Lehmann says: "I expended ten years in perfecting the trill which +every voice must master," and yet some pupils become discouraged +because they can not master the art of singing in a few months! + +Many singers complain of a contraction (hardness under the chin). This +is frequently found where they have been taught to place the tip of the +tongue against the back of the lower teeth to keep the tongue down. +Leave the tongue limp and speak your vowels and consonants perfect and +distinct, and the tongue will take care of itself. + +Those who are working to produce low tones will find that in the +morning, immediately after rising, the lower tones respond most readily +and may help you to find a way of increasing the lower range. + +Don't neglect the scales. Many years ago Madame Patti, while on a +concert tour, was awakened from her early morning sleep by the sound of +a piano in a room close to hers. It was slow scale practicing and was +maddening to the singer. She rang the bell, and demanded that the +practice be at once discontinued. What was her astonishment to learn +that the player was not some beginner as she had supposed, but the great +artist, Hans Von Bulow. + +Why is the so-called Italian method supposed to be the correct method of +singing? Partly because the Italian "a" (as you would pronounce "ae") is +the most natural sound that can be sung, and as the "ae" is the sound +used in two-thirds of the words in the song you sing, it plays an +important part in singing. + +Very few beginners realize that it is not only the words "law," "raw," +"saw," "tall," "hall," etc., that contain the Italian "ae," but also the +words "light," "bright," "might." + +In the word "night," the beginner usually dwells on the "ee," making it +"na-=ee=t," while it =should be= pronounced "n=aw=-eet," dwelling on the "ae." + +The Italian vowels cover the sound, tone color and pronunciation of the +Latin, English, Italian and German, with the exception of the German "o" +and "ue." + +With the French it is quite different. The sound and production stands +by itself. A French singer does not so readily sing the other languages, +neither does an American in the same length of time master the French as +well as the other languages. The French insist on =perfect diction=, and +one of our grand opera singers who delights the New York opera goers by +her singing of "Faust," "Carmen," etc., in the French, would not be +tolerated at the opera in Paris on account of her diction. + +As the French is the diplomatic language of the world, it would be well +to take up this language first. Then study your Italian for your singing +and you will find the Spanish, Latin and German can be easily mastered. + +Study only those songs which have merit. "After the Ball" was composed +within the past twenty years, and over 3,000,000 copies have been sold, +yet this song is both dead and buried, while the "Earl King," by +Schubert, composed in 1798, is today found upon practically all the +programs of our noted singers. + +When taking up a new song read the words over carefully and get an idea +what you are going to sing about before you try to sing it. Never +breathe in the middle of a word, or break a sentence by taking a +breath. + + + + +THE BREATH. + + +The foundation upon which you have to build your voice is the =breath=, +and like all other foundations, it must be properly laid, or the +structure will be a failure. It is imperative that you have absolute and +perfect =control= of the breath. An athlete once said to me, "If breath is +the foundation of good singing, I certainly should make a fine singer, +as I have the largest chest expansion and can hold my breath the longest +time of anyone in the college." The truth is, a small girl, weighing +ninety-six pounds, who had less than one-fifth of his chest expansion, +had twice the volume of sound-carrying power in tone, and could sustain +a tone three times as long as he. + +To practice breathing is not practicing singing, and the teacher who +keeps a pupil indefinitely on "breathing lessons" is either "killing +time" or is not a proficient instructor of voice culture. + +It should be taken for granted that all healthy persons breathe +properly. + +It is not the breathing, but the power of control, which is of vital +importance. It may be that after taking "breathing lessons" for a period +of six months that you will still be far from able to control the breath +=on the tone=. It is the way you practice, rather than the length of time +which brings proficient results. + +You will find by referring to the chapter on "Practical Exercises" that +I demonstrate the matter thoroughly. + +A good tone should have =resonance=, or what we call "vibration," but not +"tremolo." Many young singers confuse these two. Undoubtedly it is just +as bad to sing with a straight, cold, unmusical tone as it is to produce +an exaggerated "vibrato" or "tremolo." + +If you are unable to make the distinction between these two, do not fail +to consult someone who can do so, that you may not enter the pitfalls, +which it takes months to overcome. + +You cannot realize =how little breath= is necessary =on the tone=; we sing +with a great amount of =pressure=, but with =very little breath=. Have you +ever taken a covered head tone without scarcely taking any breath, and +found that you could sustain it for a practically unlimited period? + +I found one of my pupils who had elsewhere taken a course in =breathing=, +in taking a tone, would push her breath out so hard that you heard more +=breath= than =tone=. In singing a tone or short sentence, her chest would +collapse and she would become, as she termed it, "All out of breath." +She would give me all kinds of wonderful breath demonstrations, but +could not connect the =breath= and =tone=. + +I requested her to speak in a natural way the sentence, "This is a very +beautiful day." I asked her if she could hear a lot of escaping breath? +She answered, "No." I then asked her to place one hand across the ribs +and one across the chest and center her thoughts directly at these two +points to see if she could ascertain what was taking place there, while +once again in a natural speaking voice she repeated the sentence. She +did so, and found she was =not= "out of breath," and that her chest did +=not= collapse and she did not feel any discomfort. I then asked her to +repeat the sentence on the medium tone "E" above middle "C," then on +"F," then on "G," directing her each time to think she was merely +=speaking= the sentence, and then for the first time in her life she was +able to understand =control of breath=. During the next lesson we were +able to begin "tone placing" without the least trouble in connecting the +breath and tone. =Try it yourself.= + +All kinds of athletics, breathing lessons or exercises in moderation +are beneficial, but they are not voice culture. As your breath plays a +most important part in =tone placing=, the breath and tone should start +together, hand in hand, from the very beginning. In the following +chapter I shall give some practical exercises that will give the BREATH +and =tone= a chance to become acquainted with each other. + + + + +A FEW PRACTICAL EXERCISES AND ILLUSTRATIONS. + + +Stand erect, but not in a strained position. Place the palm of your +hands over your ribs, pointing the fingers forward. (See Figure 1.) + +=Exhale= by blowing slowly through the closed lips, very much as though +you were blowing on embers to make them burn. In doing this, you will +find that your finger tips will almost meet in front. (See Figure 2.) + +Keep your hands in the same position and =inhale= through the nose. You +will notice a large space in front between your hands. (See Figure 3.) + +Keeping your hands in the same position, repeat this exercise five +times; then drop your arms to your sides, relax and rest a few moments, +repeating this exercise several times until it comes easy. + +[Illustration: five images of the rib-cage doing breath exercises.] + +Go before an open window every morning, place your hands as in figure 4, +inhale through the nose, (don't raise the shoulders) see that the +expansion is as great under the left hand as under the right hand (as in +figure 5) while holding the breath count 5 (aloud) then exhale while +holding the hands in same position, repeat this exercise 5 times in +succession. A positive cure for all forms of nervousness.] + +Be sure when =inhaling= you do not use enough muscular exertion to take +enough breath to cause lifting of the shoulders, which is decidedly +wrong. + +Place your hands as in the first position, exhale, then inhale and, +while you keep the ribs extended against your hands, which is done by +holding the breath and by muscular tension, speak the sentence, "This is +a beautiful day," then exhale, inhale again, holding the breath while +you repeat the sentence. Repeat this several times, then drop your arms +to the sides and rest. + +It is better at the beginning to take =too little= breath than to take =too +much=. Most beginners take too much breath, which makes it impossible to +control it. Until you understand control of the breath, it is better to +only take enough to extend your ribs against your hand as far as they +will go =without discomfort=. + +Don't let anyone tell you that "diaphragmatic," "intercostal" or +"abdominal" breathing =alone= is the only safe course; perfect breathing +is a =combination= of these and more. + +By practicing the above exercises you will find in a short time all the +organs that nature intended to be used for breathing will be in play. + +The reason the beginner is instructed to place the hands on the ribs is +to work from the =central= point, and as the student progresses, by +continuation of the exercises it will be found that the costal, +intercostal, dorsal, diaphragmatic and abdominal muscles are all doing +their share. + +Place your hands as in the first position. =Exhale--inhale.= Sustain the +syllable "saw" on an easy medium tone. As you attack the tone do not let +the ribs collapse, but as you sustain it, let the ribs very slowly +collapse under the palm of your hands. Try to resist so as to not let +too much breath escape. Don't let your chest collapse any more than is +absolutely necessary. The lower the tones you sing the =less= resistance +you need, while the higher tones you sing the =more= resistance you need. +In order to sustain a high tone, =draw in= slightly under the ribs, +leaving the chest extended. Singing the tone, now takes the place of the +=exhaling= exercise. + +[Illustration: musical notation, saw ...saw ...saw ...] + +The word "saw," besides giving you the vowel "ae," also gives you the +correct sound of the Italian "ah" and what the "ah" should be in +singing. + +The average beginner sings too much on the tone color of "a" as in =hat=, +which, as you ascend the scale, would finally land the tone in the +region of the back of your neck. + +In learning to sing the "ah" or Italian "ae," always use words like +"saw," "raw," "law," "paw," "daw," "gnaw," sustaining the tone. + +THE VOWELS + +a e i o u + +Pronounced: a as ae in saw + +e as a in fate + +i as ee in meet + +o as o in note + +u as oo in moon + +Example-- + +[Illustration: musical notation demonstrating pronounciation ae [=a] ee o oo] + +In ascending the scale, you should cover the tone. To cover the tone +simply put a little more "o" in your "ah," so that by the time you are +up near your high limit tone you should almost be singing "so," "lo," +"dough." This enables you to find your head tone. It will not be "low" +or "dough" but a good "ah." If you do =not gradually curve the "ah" into +an "o"= toward your high tones, you will find them turning into the "a" +as in hat. + +In producing head tones there are two valuable exercises I would +suggest. + +[Illustration: THE VOWELS, images of faces pronouncing the vowels: + +a as ae in saw. e as [=a] in fate. + +i as ee in meet. + +o as o in note. u as oo in moon.] + + +Positions of the mouth in pronouncing the vowels.] Drop your jaw as in +singing "saw"; leave the jaw dropped singing "saw," but curving your +lips into an "o." You will find an "oh" with fine head resonance and an +open relaxed throat. + +Example-- + +[Illustration: musical notation, ae o ae o ae o ae o ae o ae o ae o ae o ae o] + +Sing this exercise in all the keys within your range. + +Some find their head tones first by humming through the nose, while to +some this suggestion would be of no value. + +If you have a break or any trouble going from your high to low tones, +practice the exercise from the high tone down instead of from the low +tone up. + +Example-- + +[Illustration: musical notation, + +o a o a o a + +saw saw saw +] + +If you have trouble rolling your "r's", which is absolutely necessary, +practice the following words in two syllables, not, however, dropping +the tone. + +Example-- + +Tree as tau-ree. + +Trust as tau-rust. + +True as tau-rue + +Breeze as b-reeze. + +Train as tau-rain. + +Bright as b-right. + +Brown as b-rown. + +=After= you have mastered the rolled "r" through the above exercises, +pronounce them in one syllable as they should be. + +Next, take up your consonants before the vowel + +[Illustration: + +musical notation, + +Baw, bay, bee, bo, boo Baw, bay, bee, bo, boo Baw, bay, bee, bo, boo + +Daw, day, dee, do, doo Daw, day, dee, do, doo Daw, day, dee, do, doo + +Faw, fay, etc. Faw, fay, etc. Faw, fay, etc. + +Gaw, gay, etc. Gaw, gay, etc. Gaw, gay, etc. + +Haw, hay, etc. Haw, hay, etc. Haw, hay, etc. + +J, k, l, m, n, p, q, r, s, t, v, w, y, z.] + +until you have covered all the consonants. + +Then your final consonants, as in "late," "date," "light," "bright." + +In the word "date," make your "d" and your "a" distinct and =on the tone=, +but as you pronounce your "t," which must also be distinct, drop the +tone so as not to leave an "after-tone." This must be done in all words +except those ending with "m" and "n." + +Next build sentences from words which seem most difficult to you and +sing the entire sentence on one sustained tone. + +Example-- + +[Illustration: musical notation repeating Now the day is over. Now the +day is over. Now the day is over.] + +In a song where some particular phrase or sentence seems difficult to +you, sing the entire phrase or sentence on one sustained tone, +pronouncing the words distinctly until you have gone down several tones +=below= and several tones =above= the pitch in which it is written, singing +it over and over on the one sustained tone in all the keys of your +range. I cannot tell you of the benefit you will derive from mastering a +difficult phrase or sentence in this manner. + +For the hardness and muscular contraction under the chin, which has +undoubtedly been brought about by "methods" advocating the placing of +the tip of the tongue against the back of the lower teeth, put your +thumb well up under your chin and see that there is no contraction +(hardness). Leave your tongue perfectly limp, and hum first through the +nose, gradually turning the humming into an "aeo," "aeo," "aeo," then to +"oae," "oae," "oae," sustaining the tone and keeping the thumb pushed well +up under the chin to feel that there is no contraction. By using this +exercise you will be able to overcome this common fault in a very short +time, but you must go at it systematically. + +In singing songs pronounce your words perfectly and distinctly, letting +the palate, glottis and larynx take care of themselves. If your method +of singing is good, =nothing= can injure your voice. + +As this book voices the sentiment of some of the most brilliant lights +in the profession, and contains facts based on years of actual +experience, it is not egotistical for me to say that its careful, +thoughtful and conscientious perusal will give to the student of voice +culture assistance that will be of =inestimable value= in reaching his +goal. + +Start with ease and naturalness and the chances are excellent for your +pathway to be illumned with =success=. + +THE AUTHOR. + + + + + +End of Project Gutenberg's What Every Singer Should Know, by Millie Ryan + +*** END OF THIS PROJECT GUTENBERG EBOOK WHAT EVERY SINGER SHOULD KNOW *** + +***** This file should be named 32602.txt or 32602.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/2/6/0/32602/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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