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+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: 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
+
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