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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/37662-8.txt b/37662-8.txt new file mode 100644 index 0000000..217fbf4 --- /dev/null +++ b/37662-8.txt @@ -0,0 +1,3220 @@ +Project Gutenberg's Seed Thoughts for Singers, by Frank Herbert Tubbs + +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: Seed Thoughts for Singers + +Author: Frank Herbert Tubbs + +Release Date: October 7, 2011 [EBook #37662] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK SEED THOUGHTS FOR SINGERS *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + + + +[Illustration: image of the book's cover] + + + + +SEED THOUGHTS FOR SINGERS. + +BY + +FRANK HERBERT TUBBS, + +_Musical Director, New York Vocal Institute_. + +[Illustration: colophon] + +NEW YORK, + +FRANK H. TUBBS, 121 WEST 42D STREET. +1897. + +_Copyright, 1897, Frank H. Tubbs._ + + + + +PREFACE. + + +There are times when one feels that he must turn from himself and +receive suggestion, if not direct instruction, from some one else. +Originating thought is more difficult than is the taking of other +thought. By delving below the thought received we learn to originate. It +is not necessarily an admission of weakness, that we turn to another, +for busy life uses up our mental energy and throws us into mental +inactivity. It is at such times that we turn to books and teachers. + +Thought is a substance which, as such, is only in our day being fully +investigated. It is the expression of an idea and is the direct cause of +all action. The slightest movement is made possible only through thought +on perceived or unconscious mental activity. The more thoroughly +directed actions are the expression of considered thought. Habit and +movement by intuition are expressions of undirected thought. Changing +from the latter condition to that of planned or considered action makes +all action stronger and more definite. The thinking man becomes the +leader of men. + +"Seed-thoughts" are such as produce other thoughts. Hardly have we +reached the realm of ideas. It is a step--not long, yet +well-defined--from thought to idea. This little volume does not propose +to take that step. It is content to stop, in all modesty, at that place. +Its suggestions are sent out to busy teachers and students to lodge in +mind as plantings in good mental soil. That they will take root, spring +up and bear fruit, is fondly hoped. What the harvest of thought in +others may be is idle to speculate upon, but the hope exists that there +may be two or three times the amount used in planting when all shall +have been gathered in. In this hope the "Seed-thought" is sent on its +mission. + +121 West 42d Street, +New York. + + + + +INDEX. + + +CHAPTER I.--Success. 11 + +CHAPTER II.--Desultory Voice Practice. 27 + +CHAPTER III.--Alere Flamman. 43 + +Every one Can Sing, 43; Sustain Perfectly, 44; Care of Body, 45; Friends +Can Help, 48; Renew Thought, 49; Speaking and Singing, 50; Associates, +51; Purity of Method, 52; Mental Recovery, 53; Profession or Trade, 53; +Heart and Intellect, 54; Time Ends Not, 55; Power of Thought, 56; Nature +Seldom Jumps, 58; Be Perfect, 59. + +CHAPTER IV.--Perfect Voice Method. 63 + +CHAPTER V.--A Paper of Seeds. 79 + +Analyze Songs, 79; Fault Finding, 80; Recover from Mistakes, 80; Songs +for Beginners, 81; Criticism, 82; Wait for Results, 83; All Things are +Good, 84; Little Things Affect, 85; Musical Library, 86; Change of +Opinions, 87; Reputation Comes Slowly, 88; Study Poetry, 89; Mannerisms +Show Character, 90; Provide for the Young, 91; There are no Mistakes, +93; Regularity, 94; Assert Individuality, 96; Educing, 97. + +CHAPTER VI.--Cuneus Cuneum Trudit. 101 + +Vocal Tone, 101; True Art is Delicate, 104; Words and Tone Should Agree, +105; Preparation for Teaching, 108; Experience, 111; Before an Audience, +112; Come Up Higher, 113; Crude Voices Express no Emotion, 114. + +CHAPTER VII.--Ambition. 119 + +CHAPTER VIII.--Music and Longevity. 137 + +CHAPTER IX.--Activity. 147 + + + + +CHAPTER I. + +SUCCESS. + + _"I am what I am because I was industrious; whoever is equally + sedulous will be equally successful."_ =Bach.= + + _"To steer steadily towards an ideal standard is the only means + of advancing in life, as in music."_ =Hiller.= + + + + +SEED-THOUGHTS FOR SINGERS. + + + + +I. + +SUCCESS. + + +A few decades ago a clumsy, lank, raw-boned boy roamed over the hills of +the State of Ohio. He was not marked with the talent of many, nor was he +noted for anything in particular except, perhaps, an aptness in "doing +sums." Bare-footed, and with scanty clothing, he appeared at a school in +a village near his home and begged admission. At first he was refused. +Persistence overcame the opposition and he entered, becoming in a short +time by his application, the leading spirit in the school. The course of +study there being completed, he went to an office across in Delaware as +a clerk. That year, the Representative to Congress from Delaware, when +about to appoint a youth to enter the Naval Academy at Annapolis, +announced a competitive examination. The country lad competed and +secured the prize. Friends whom he had made raised funds for the +necessary uniforms. At the end of his course a good appointment in the +navy followed. Visits to various countries gave him command of three +languages. A change to shore duty permitted him to study law. At a +recent courtmartial trial at Brooklyn he served as advocate for the +Government so acceptably that he has been offered and has accepted, +membership in one of the largest law firms in New York. The change from +the rough lad to the cultured advocate indicates success. + +On a bench in an old-fashioned shoe shop sat a young man working at his +trade. A singing teacher, passing along, noticed the rich voice of the +young man, singing as he worked. The teacher inquired where he sang in +church and if he sang in public. Learning that the young man sang +no-where, had had no instruction or education, and lacked even the +clothes necessary to a respectable appearance, he interested himself in +the youth and lived to see him become the leading oratorio basso of +America. Success! You will say these two had great natural gifts, all +their faculties, and had friends. Another case: A boy at six, was left +as a result of scarlet fever, stone blind. Nor has he since seen a ray +of light. A necessary faculty to success gone, is it? To-day that young +man is one of the best musicians and singers; getting $1,500 for his +choir singing. Success. + +There is within each and every one _that ability_ and _prime element_, +which, properly commanded and developed, COMPELS success. But few +understand themselves or realize the power within them. Without +comprehension of what is within, no start toward success can be made. A +reason for absence of comprehension lies in the fact that but one side +of self is ever seen, and that side is the grosser one. The body--a +head, a trunk, arms and legs. These we see with our physical eyes and +call the object, man. We incline to think if these parts are comely, +well shapen, strong, beautiful, the possessor may march on to success. +"Trust not to appearance." Were the body the root of all things, or of +especial worth, the race would be to the swift, the fight to the strong. +But that seen, felt, heard, is not the real self. Within the body, as a +dweller and a motive power, is the ego, the real self. It is that and +that only which can be developed and which possesses those attributes, +compelling, bye and bye, success. It is that which must, to some degree, +be understood. _Be the body what it may_, the real self has the power of +expression and improvement. That real self will be spoken of as the ego, +and its power considered. + +There enters into existence at birth or early in life an indefinable +something. We term it soul, spirit, mind. When we meet or associate +with a person, in a short time we recognise that mind. At first we may +notice the body or even the dress and be influenced by it. In time we +see back of that outward covering and see the mind behind it. After, we +forget the body in the acquaintance with the mind. A homely person +becomes illumined with new life. A beauty loses attraction. We have +learned to know the ego in our acquaintance. That ego we come to know as +all there is of the acquaintance. A dozen bodies in the dissecting room +of the medical college are almost exactly alike. More alike than are the +suits of clothes cast off last year by a dozen men. The ego from a dozen +men will have small point of resemblance. The ego has so many +characteristic elements that it makes possibility of development, +throughout the years allotted to man while passing over the earth's +crust, _into_ ANYTHING. The body is the home of the ego and the tool for +its development and action. Train the body to ability to respond to the +demands of the ego, and keep it healthful, and no more can be done with +it. For now nothing more need be said of the body. In speaking of the +cause of non-success, limited success or disaster, reference to it will +be made. + +Attributes of mind lead always in the direction of progress. Ego, mind, +real self, is God within us. "He breathed in his nostrils the breath of +life and man became a living soul." That "breath of life" is God. That +cannot tend downward. The attributes of God are the attributes of the +ego. Love, thought, sympathy, ambition, helpfulness, desire for +refinement, culture, expansion--these are such attributes. Is any mind +lacking these? If we say yes, look within ourselves and see if they are +lacking in us. Accord the same faculties or attributes of mind to each +of our fellow men. These attributes cultivated will cause growth of the +ego as surely as it is that God liveth and we are in Him. But this +growth makes the ego greater and by its reaching out after the things of +the world and taking them to itself, produces that which we term +success. Understand, then, the ego. Grow it. Reach and possess. These +attributes are the forces within each and these forces are the elements +of success. + +But, asks one, what is the bearing of this on our study and on our +singing. It has been plain to me as a teacher, and it grows stronger +every year, that all success in singing arises from a comprehension of +the ego within us, and the cultivation of these attributes bearing +directly upon singing and music. Three only of those attributes may be +considered now. + +First,--ambition. What would you become? Yes, a musician and singer. +Consult one who knows your body better than you and enough of your mind +to judge well, and if he says you may become one, plan your life work to +making your ambition gratified. Aim high. But few persons lack the +capacity of singing well. The goal of most is that, to sing well. At +home only, it may be. For friends, and for self-pleasure. Others would +become professional artists. Aim at the highest and best. No ambition is +too high and, provided we will cultivate the ego, no ambition will +remain ungratified. Do not be modest in expectancy. Nothing is too good +or too high, too great or too noble for the God within us. Therefore +plan large things. + +_Second_--thought. Having planned a broad campaign and having resolved +on faithfulness, bend the thought toward the result. Now, thought is not +the subtle nonentity we let ourselves consider it. The text of a book +recently examined is, "Thoughts are things." Thought is an emanation of +the ego; a messenger of the mind. We shoot thoughts out by the thousands +and millions. Generally we fly them at random. If they strike a mark we +gain a result. Stop shooting them at random, aim correctly, hit the mark +each time and each thought brings a result. Pure thought, the thought +from the ambitious ego, is upward, and when centered, concentrated on +the plan which ambition has prompted, it carries that plan +onward--upward--to the end, _success_. Concentration of thought, say +you? Do we not have it? Let me ask you to fix the thought on one object +five seconds. Tear this paper slowly from end to end and think of +nothing else while doing it. Probably the thought during the five +seconds will embrace a dozen things besides the act of tearing. Of what +paper is made, how far apart the lines are, be the texture fine, how +much does it cost, some other paper bought last week, where you bought +it, the salesman who served you, what a frightful rainy day that was, +how you caught cold and what a scolding you got at home for being out--a +long way from the act of tearing. The first thought is lost. +Concentrate. Acquire the habit of concentration. In nothing more than in +thinking should we say, "Do one thing at a time." Concentration of +thought makes steady growth of the plan of ambition's suggestion and +moves it on to success. + +_Third_--expression. Every growth produces another. Emerson says in +substance that the end of every act is but the beginning of another. It +used to be said that if a man made $5,000 he was sure to become +rich--meaning that the money invested and reinvested, and added to by +constant earning, would surely bring wealth. Every growth of attribute +of mind, be it of those mentioned or of others, develops possibilities +of further growth. Love, a powerful attribute of the ego, first circles +in the home, then expands into the circle of friends, then reaches the +business, society, the world. One begins by caring for the want of a +hurt bird or other pet. He ends by raising and healing mankind. One +quietly slips a few pennies into the hand of an unfortunate. He ends by +being a philanthropist. One speaks a kind word. He ends by raising the +fallen. These, you see, touch upon sympathy, helpfulness. Each attribute +expands. Have you followed? Isn't this true? How, then, about desire for +refinement? If the others expand, will not that? A noble thought, an +association with the pure in art, and beauty in poem, story, song, sky, +flower, but leads us to another even more beautiful. Each touch of +beauty, of docility, of refinement, expands that line of our ego, and we +feel ourselves raised, drawing nearer and nearer that great Mind, and +keeping us more and more in that grace which passeth all understanding. +The end _must_ be success in our plan. Mental growth means more power to +grasp and wrest from circumstances and the world itself, successful +prosecution of the plan which ambition framed. Successful prosecution +means ultimate success. + +In mind I hear some one say, this is good theory and a beautiful +picture. What of it is practical enough for my mind. Let us turn for a +few minutes to a darker side and then again to the brighter, and see if +a practical word does not exist for each. What prevents success, and is +there false success? + +A few minutes ago I spoke of the bodies which the ego inhabits. Those +bodies possess attributes and faculties. St. Paul said once that he +would be out of the body and be in the spirit; meaning, as I believe, +that he would rather live in the ego, and not be hindered by the body. +The body must be fed and clothed. It has appetites. Appetite grows, +requiring more delicacies, higher spiced and richer food, and perhaps +more food. Clothing takes much attention, and develops pride and vanity. +Has not each said many a time, "If I but had time to attend to study and +did not have to attend to my clothes, my food, and take the time to earn +money for them, I could do so much"? True, but the body is here and if +these things are not done, the ego would have no home in which to stay. +The care of the body is necessary. Cannot, however, even these necessary +demands be somewhat reduced for the sake of attending to the ego within, +more fully? If not, cannot the appetite and the pride, which, after all, +give no satisfaction when all is done, be so held in check by care and +reasonableness that the demands of body will not grow upon us? After +all, those necessary demands of body, grown abnormal, or into the +unnecessary, are not so bad as other attributes of body. Laziness! Light +gossip! Fretting! Uncleanness! Disease! These things _can't_ be part of +the ego, for the real man is the "breath of life"--God. They must be of +body. They are the things which play havoc with our time, our energy, +our thought. It is a commonly accepted belief that man must be now and +then on the sick bed. That commonly-accepted belief is slowly but surely +disappearing before the fact that the body only becomes diseased as it +is neglected, overfed or attacked by bacillę. If a plant dies we look +for the worm at its root, or the insect on the leaf. If it has had good +soil, earth and sun, we expect it to flourish. The body is the same +material--dust. Attend it, not abuse it, and except from contagion it +will serve us without disease. Solomon said, "Know thyself." Maybe he +meant know to care for the body. When this is done the ego is allowed +its chance to go to success. Without it, the body, full of appetite, +pride, hatred, laziness, envy, fretfulness and disease, weighs with +compelling force, the ego down to earth. Instead of success follows +failure. Emancipate the ego from the body before even planning. This +body and this alone can cause failure. A success arising from a pretty +face, a good figure, graceful dancing, agile singing and trifling speech +is false success and is worse than failure. How about circumstances and +their influences? Surroundings. They surely effect us. Yes, but just so +surely as the ego throws off the lower self, within the body, and +resolves to rise, just so quick will the circumstances and surroundings +begin to change. Just so fast as the ego develops its attributes just so +fast will appropriate circumstances and surroundings for its further +growth open. Like begets like. Water seeks its level. Seek low things on +bodily planes and low friends will surround you. Like is with like. +Raise yourself a peg and you will find those with whom you can follow. +Your old associates will not go with you, and some will call you mean +and cry, "Come back," and try to pull you back. Bid them adieu and go +higher. _New_ surroundings are there and will make a place for you in +them. The past becomes a stepping stone and if you have cleared the ego +of your own body, you will rise again. Like draws like. The new friends, +the new town, the new music, the new activity will lend you their aid to +go higher. Clear yourself at each step of the weight brought on by body +and circumstances will seem different. "God helps him who helps +himself." Those who would pull back are by our very inertia cast off. We +rise to success. + +The thousand things which might be well said in connection with the +subject must be left. Recapitulation and application to the individual +singing student show these: + +1st. Plan, and concentrate thought on its execution. + +2d. Cultivate the real self and not permit the shell or body to +dominate. + +3d. By that command of the self, win friends and compel success. That +which conduces most toward success is even disposition and geniality. +These grow into kindly independence which develops for us experience. + +How long, ask you, will it take to become an artist? No one knows. Two +minds differ--in fact, no two are alike. A few months suffice to make +the crudest student an adept singer; or rather, is time enough to make +him sing as well as his mind wishes. From that time on the voice grows +better only as the mind grows and comprehends how to further use the +voice. So, then, as soon as one can sing so as to acceptably please +friends, it is a duty which the pupil owes himself to sing for those +whom he pleases. The effort gives him experience and prepares him to +meet the next circle. As the ability grows, seek to sing before greater +artists, and with the best singers. The time will come--it may be one +year, two years, three years, or even more--when it is best to go before +the best artists of the world and secure their commendation and their +co-operation (silently it may be) to further for you the prosecution and +completion of your pre-arranged plan regarding your music. What matters +it how long this takes. Life is, if you are using it aright, a +perfection of a plan of existence which will end only when we pass over +the River. A portion, more or less long, used in making a musician and +an artist, is but a part of the whole, and a development of the talent +lent us by the good Father, and which we, by our effort, eventually +return to Him, added to, and made beautiful because of the Heavenborn +Art--music--which we have absorbed to ourselves. Nor is this all, for in +the development of our own talent we have carried the whole world +unconsciously upward nearest the pure, the beautiful and the true. + + + + +CHAPTER II. + +DESULTORY VOICE PRACTICE. + +"_Nothing should be done without a purpose._" + + =Aurelius.= + +"_Music is never stationary; successive forms and styles are only like +so many resting-places--like tents pitched and taken down again on the +road to the Ideal._" + + =Liszt.= + + + + +II. + +DESULTORY VOICE PRACTICE. + + +European schools and teachers stand aghast at what American pupils +demand and at their expectations. Accustomed to the years of attention +to detail and to seeing their own students willing to wait long years +before good results are achieved, they naturally think the American +students wild. These Americans want to do in one year what Europeans are +willing to use three or four years for. Those teachers say it cannot be +done and set down American students as conceited fools. While at first +glance the teachers appear right, may they not be wrong? America to-day +has more inventions in use, more quick ways of working in all lines of +life, and can show quicker results in all lines of activity than any +other nation. Methods and ways have been devised and adapted to American +speed in all branches. May such not apply to study? So this item is +prepared in the interest of American students, living under American +conditions. It is useless to say, "we live too fast." Take facts as +they are and adjust our custom to the day, place and situation. + +Until within comparatively few years the plan for cultivation of the +voice and preparation for song singing was to sing a few sustained tones +for warming up the voice, as the saying was, and then to sing vocalizes. +In the earlier stages of practice solfeggii and vocalizes of easy range +and light character were employed. As these were acquired, similar ones +of greater difficulty were used and as the singer gained confidence in +himself and ability to sing better, the exercises were still increased +in difficulty. The time employed in study extended over several years +and with the result that those who had patience and perseverance became +able to sing. Not one, however, in a thousand, who studied ever arrived +at a point which allowed him comfort in his singing or pleasure to his +hearers. That is, to the idea of a practical mind, desultory voice +study. It may be adapted to the contented plodding of an old world +civilization, but is not in keeping with the age of electricity or of +gigantic schemes. It must be kept in mind by every one that "old things +have passed away and all things have become new." The very association +about us makes mind keen to rapidity of action, speaking from incisive +thought. A plodder stands back while the brilliant man moves to the +front. By the plodder is meant he who is _willing_ to go slowly. By the +brilliant man, he, though he may not have more native talent than the +other, has by calling to his aid those commanding elements of success, +moved surely and therefore swiftly, through the perplexities of every +existence, to the front. Every thing which cuts off wastefulness of time +becomes a weapon with which to fight perplexities. In such an active +life, he who would cultivate the voice and become a musician must map +out for himself a course of study which will give him the best results +in the quickest possible time. + +It is patent to every one who intelligently teaches that the road +followed during the last few generations lacks these short roads to +success. One asks, and with justice, if we have now found the royal road +to learning which it has ever been said does not exist. If that means +the road by which, at one bound, we reach perfection, the answer must be +that no royal road has been found. There have been planned, however, +ways of procedure which must shorten the trip. I know not when man first +practised dentistry but this I do know, that the doctor of dental +science who works on lines of even one generation back is valueless. +To-day the terrors of the dentist's chair are reduced to a minimum, if +not entirely removed. Photography, a science of our day, has swiftly +grown to an art. I recall a photographer who in 1870 was noted for +perfect work. He was so satisfied with himself and his work that he +neglected to use the new ways which were being discovered. In 1880 his +work was considered so bad as to be condemned by all and his studio was +forsaken. Printing by the sun had not been discarded but how to use the +science had been carefully advanced--wasteful and slow method discarded, +and surer and better results obtained. Is a musician less keen of +perception and adjustment to circumstances than the dentist and +photographer? Pride rebels against an affirmative answer. Then the +natural deduction is that he has learned to apply new ways and methods, +by and through which he can produce surer and more beautiful results +than could his predecessor in his profession. As a first step toward +progress he recognised the faults of the old way and sought a change +from them. The chief of the faults lay in seeking to cultivate a sound. +He said in substance, then, that "since cultivating a sound is wrong I +consider that no such thing as sound exists. It cannot be perceived by +any of the senses. It cannot be seen, tasted, smelt, felt, or even +heard." (Parenthetically, it may be said if one takes exception to the +latter statement, that proof is given of the truth if one sings into a +phonograph. The singer cannot recognise what the instrument sounds back +as _his_ voice. Others may recognise it but he cannot. The hearing of +my voice by another, no matter how much _he_ may tell me about it, does +not show me how it sounds, and I must conclude that I cannot hear it.) +Since none of the five senses can bear upon sound, for cultivating it, +sound, or tone if you wish to call it so, is worthless. This then which +the old teachers watched for years, was intangible, and to watch it +to-day and to try to form singers by manipulating so subtle a thing, +produces wastefulness, and desultory practice. Go to the foundation. +What produces voice? Vibration of air reservoirs. What governs the air +and gives the vibration? Muscle. What are muscles, where are they, how +can they be managed? They are contained within the portion of the body +between the waist and the eyes, and form, while used in voice +production, about all of that portion of the body, and they can be +managed by the understanding and command of the mind. The general +understanding of vocal anatomy, and the positive control of that anatomy +that it may do just what the will demands is the foundation of voice +practice. Such positiveness makes possible the rapidity of vocal +development akin to the surety of the dentist's art and the certainty of +the photographer. The prime fault of old methods is, at one stroke, cut +away. A new growth on the foundation appears. + +Many musical journals discuss methods, Italian, French, German. Even +wonder if we will ever have an American method. Such discussion is +waste. There is _one_ method. _All_ schools build on it. He who +understands it best and is surest in teaching it, gives best result and +is the best teacher. He, the best teacher, is such only when he applies +his mind to each and every act of his pupil and banishes for the time +being every other thought from mind. In a proper lesson every minute is +used thoroughly. No sixty seconds can be thrown away. The mind of the +teacher alert to the necessity of his charge makes every minute tell. +With this as a preamble, turn to the pupil who is by himself to avoid +desultory practice. + +You have a voice. Every one has. Yours, you know, is a very good one. +You want (not, would like) in the quickest time to make it do just what +you conceive a fine singer should do. Then, know what is to be done, +understand how to do it, and do it. The boys say "One to make ready, two +to prepare, and three--." But you stand around making ready, preparing +so long. Why? Do you know what is to be done? Ask the teacher, and don't +let him evade positive instruction. Garcia, when asked the cause of +Jenny Lind's great success, replied "She never tried to do anything 'til +she knew how. More than once she has come to my house of an evening and +said 'I did not fully understand what you told me to-day. Will you +explain it again?' After that she never needed to be told again." At a +lesson understand what is taught. Don't pretend you do when you do not. +After going home from each lesson, write in a book kept for that purpose +what has been said at the lesson. Read that book often. This will fix in +mind, as well as preserve for reference, the instruction, and make sure +the understanding of it. Then it is for you to do it. Once the pianist +played scales by the hour to limber the hand; now he thinks only of the +muscle which causes each finger to strike, and makes that muscle work at +once. What formerly took months to do he now does in days. Desultory +practice is avoided. A teacher in a certain city complained that another +teacher got pupils by advertising quick method. Cut off desultory +practice, apply mind where brute force has formerly held sway, and quick +method is the result. + +One reference to complaint brings others to mind. The most precious +commodity known is time. Twenty-four hours only in a day. How little and +how valuable. Yet if all is conserved, how much and how great. Masonic +instruction divides the day into three portions; one for our usual +avocations, one for good of self and family, and one for refreshment and +sleep. So much for instruction. Can some wasteful acts of life be +reduced or eliminated, that we may economize time, and what is better, +form habit of utilizing all of the precious commodity? What a lesson one +can draw on these elevated trains. Each morn, a man (one man, or how +many think you?) enters and finds a seat. Immediately he is into his +newspaper. A half hour later he gets out, having arrived at his station. +What has happened? He has read the newspaper. No, he _hasn't_ read the +newspaper. Ask him what he has learned. He can't tell you. One item, +two, three, perhaps--and these of little value. That is not reading. It +is cursory glancing, desultory and wasteful. Stop it. Thirty precious +minutes gone. A glance at a paper (provided one knows the general +make-up of the paper he reads) tells him all in it of value. Six minutes +is enough, except when something of unusual moment is to be read, and +that doesn't happen once a month. The other twenty-four minutes should +go into some other purpose. A book, magazine, play, or even silent +thought will give value for the twenty-four. At night, on the way home, +the man skims through an evening paper. Almost one hour of the +twenty-four thrown away. Compute the amount of educational advancement +possible to this city were the hundreds of thousands of hours thrown +away daily to be used in progressive study or thought. You and I help to +waste, do we? + +The command of the mind is the underlying need of the student. It has +come into thought that should one apply himself every minute to some +work that he would fatigue and wear out. He could not stand it. Wrong. +The mind cannot wear out, even if it can fatigue. Rest is the opposite +of unrest, and unrest is equivalent to fatigue. The superficial reading +or skimming, shifting of thought through the thousand objects which come +before the mind gives the unrest and through it, the fatigue. Stop the +unrest, and let rest abound. Rest comes through definite change of work. +The man who leaves his office, rushes to mountain and farm, sees new +scenes, faces, customs, eats new food, rides, fishes, swims, climbs and +dances, is the one who comes back rested. There has been no unrest, but +radical change. The first assistant engineer of the New York aqueduct +was to me at one time an object of astonishment. It was said of him, +"When he works, he works; when he plays, he plays; whatever he does it +is for the time all in the world to him." At that time he held an +important engineering position, was an officer in a military +organization, secretary of a yacht club, active in church society, +leader in literary circles in classic Boston and never was rushed. The +change of work was the secret of it all. Rest came by turning out of +mind what did not pertain to the act then in hand. Every act was new. +Of a certain minister it is said "He can do more in ten minutes than +most men do in a day." His church has fifteen hundred members and his +Sunday school a larger number. Calls, sermons, the sick, weddings, +funerals, the poor (for he had four charity societies), his family, +young people's societies,--yet he has time for all and he sees callers, +more in one week than you and I do in a year. How does he do it? What +you and I waste time upon, he does not. No gossip, worry, standing +before a mirror, dozing over dinner, or unrest for him. Vary the +monotony a little and find rest. Don't fear doing too much. Wear out, if +need be, but don't rust. It is the busy man who has lots of time. Do you +want advice, a helping hand? Avoid the lazy man, for he has no time for +you. The busy man has. Why is it that the busy teacher draws the most +pupils? Were he to half teach ten pupils they would leave him and no +more would come. Because he can attend to forty, and that by making to +each a profitable half-hour, forty more come. The half supplied teacher +is less able to teach his small flock than the pushed teacher. He _must_ +turn quickly from act to act and thus keep rested, by change of scene, +pupil, music and vivacity. "Can you jump immediately from a lesson to +the desk and write one of your magazine articles?" asks one. Nothing +easier. Fix the mind on what is to be done that minute, and do it. It +makes a heaven of earth. + +Instruction which is not practical is little worth. You are interested +in improving yourselves vocally. To you let me plan a first step toward +preventing desultory voice practice. Under four headings. Practical +ones. + +_First._--Establish customs. The best one I know is to plan in advance +to accomplish certain things. Make up the mind what you would like to +do. Each night make out a little card of what is to be done next day. +Probably not half the things planned will be executed, at first. What of +it. Some have been done; but better, that unconscious growth which +carries custom into habit will be developed and the system which will +grow out of the custom of preparing the cards and attempting to work out +that which was planned, will cut off more wasteful minutes than you +admit are in your day. After a time it will come that all the items you +write on the card at evening will not be too much to do on the following +day. Compare the card of the thirtieth day with that of the first and +you will find you wrote quite as many (if not more) things to do and now +you can do them all, and feel no hurry and far less fatigue. Will you +try that? + +_Second._--Give certain times each day to certain things. You can't? You +can. I'll give proof you can. Having planned what is to be done the next +day and allowed that custom to become habit, will develop such +regularity that each hour will have its regular work and nothing will +crowd it out. The system produces it. Turn a kaleidoscope. Each jarring +makes new adjustment of figure. Your duty is a kaleidoscope. The proof +is that every one who _tries_ such adjustment, succeeds. The school boy +knows the time of bell ringing, the hour for arithmetic, geography, etc. +The train man knows the minute to be at each station. The clerk or +workman is ready to stop work at a certain time. Certain theatres +announce what scenes will be on at every minute of the evening. You +think and would say, "But these admit of no interruption, and I may have +interruptions." To which I say "These _permit_ no interruption, and if +you were as systematic, you would permit none." A friend calls at the +door to see you. You waste five minutes (only five?) talking to him. +Think it over. Was that necessary? Couldn't it have been said in +two--one, or less? Next time, kindly, but firmly excuse yourself. If the +friend thinks you snubbing, you can afford that, for the friend is a +wasteful one and better be dropped than allowed to spoil you. The fault +when we waste time is in us, not in the friend. A lady called recently. +"Your time is valuable. I'll say in one word what I want." 'Twas said, +and she went. Kind lady! To whom? Me? Not at all. She is one of the +busiest women in the city and couldn't afford to give much of her time +to the errand, but neatly complimented, in order to cover what some +might call selfishness. Be wise. That kindly habit comes from preventing +waste. + +_Third._--Banish every low or lowering thought. For now, for no reason +except to save time, and help form habit which prevents waste. Every +thought has its sure influence. Every thought of envy, hatred, jealousy, +of crimes, accidents, misfortunes, sorrows, our own or those of others, +is an evil. It takes time out of life and saps life-activity. Supplant +it with pure and good thought. Health, brightness, pleasure, art and +beauty are subjects which lift. Upward, upward, toward heaven! That must +be the student's mental attitude. Enough would drag down. Cast the down +view away. Look up and go up. You do not study for the purpose of going +downward. Upward again to the top--and _you_ must do it by having your +thought good and pure. + +_Fourth._--Interest friends in your practice. Only one word about that. +No one can long go in any mental work alone. Progress _is_ mental work. +Rising draws others to and with us. See a little whirlwind take up the +dust. It gathers more and more until a column twenty or thirty feet high +is before us. Tell father, mother, friends, those you can trust, what +you hope to do and what your efforts to accomplish that, are. Seeing +you in earnest they will help--with misgivings at first, may be, but +they will join the column and make one with you sure. + +Summary, briefly. By systematic utility, every minute contributes to +progress, forming habits which prevent wasteful thought and fatigue. The +customs of former years need not be followed because direct result will +come from direct application of thought to study. Old world ways and +past generation ideas do not belong to-day in either teacher or pupil, +and, therefore, are to drop out. The wastefulness of uncertainty and +evil in mind may be overcome by directness of effort until good habit +crowds out the evil. The first and all important step is the plan of +action. Acknowledge no limitation to growth. Love soundness, careful +thought, steadfast purpose. + + + + +CHAPTER III. + +ALERE FLAMMAN. + + "_His tongue was framed to music, + And his hand was armed to skill; + His face was the mould of beauty, + And his heart the throne of will._" + =Emerson.= + + "_Slow, indeed, at times, is the will of the gods, but in + the end not weak._" + + =Euripedes.= + + + + +III. + +ALERE FLAMMAM. + +Everyone Can Sing. + + +The culture of the voice has come to be looked upon as a great and +serious undertaking, and of such magnitude that but few have time for +it, and those only should attempt it who have exceptionally fine voices. +This is a mistake. Nearly everyone can sing, and if all would attempt to +improve the voices they have by observing a few common-sense rules, it +would soon be apparent that there are many more good singers among the +masses than it is supposed exist, and these singers will learn how much +can be done to add to their own comfort, by a little outlay of thought. +Culture of the voice has been made a mystery by charlatan teachers and +for a purpose. Think out how the conversational voice works and then +consider what difference there should be between that and the singing +voice. Nature planned the speaking voice and in doing it, gave us the +line of development to follow in bringing into use the singing voice. +The change from speaking to singing voice is where the quack enters with +his mystery. There is no mystery. Use the voice as in speaking but pitch +it at higher and lower points than are used in speaking. This is the +foundation of the singing voice. Only one caution is needed. Never +strain the throat. If, after a little practice, fatigue is felt or the +tone is husky, stop practice. Do not try to do it all at once. A little +each day added, will, in a few months, do all that is wanted. Do not +expect, however, that any amount of study by one's self will make an +artist. One can sing, by self-study, so as to get much pleasure, and so +as to give pleasure to friends; but something more serious and extended +is needed to make the artist. + + +Sustain Perfectly. + +Sustaining perfectly the reservoir of air is the greatest _desideratum_ +in using the voice. Acquiring ability to do so is a puzzle often to +students. The reason is in the fact that no muscles which are directly +under the control of the will can be caused to act upon the air column. +The chief organ of respiration is the diaphragm, and as years of +teaching bring experience which is definite in results, we find that the +diaphragm is the only muscle which holds the air column in check. That +muscle situated within the body cannot be held by any visible power. The +_thought_ of holding it still will make us hold our breath. Trying to +assist such holding by muscles of the chest, abdomen or throat, only +defeats our purpose and makes the diaphragm give way. That large muscle +will do the whole work if we will let it. The thought, as said above, is +what will make it remain quiet. That thought may take various forms. +What assists one does not appeal to another. But here is an assisting +thought which does much good to the majority of students. Of course when +the breath is taken the diaphragm is down and the waist is spread. Then +the chest, bronchial tubes, windpipe and mouth are full of air. Now +allow that air to be as still as the air of the room. Practise +sustaining tone with any vowel, preceding each effort by taking position +suggested above, and with the thought of keeping the air in the body +just the same as, and a part of, the outer air. Then allow tone to float +in the air, permitting no force whatever. + + +Care of the Body. + +Singers seem to think but little of the tools with which they carry on +their life work. That is the rule. Now and then a singer takes the +opposite course and becomes unreasonably careful of his tools. In that +case he is worse off than the careless. The "happy medium" is in all +things the desirable state. + +Our tools as singers are enclosed within the body and are the body. To +have the body ready to respond to the musical demands it must be well +and strong. To keep it well should be our first care. Happily we are so +made that by following a few simple rules of living the body goes on +through a long term of years without getting seriously out of order. +Some persons can boast that they are never ill while many report but one +sickness during a decade. The needed attention to the bodily wants, has, +in these cases, been properly given. If all were as careful to do the +same and not overdo the matter, perfect health would be the rule and not +the exception. + +The body needs nourishing food, clothing to preserve nearly uniform +temperature, sufficient sleep, generous exercise, and thorough +cleansing. Nothing more. Neglect of these, or as is more often the case, +overdoing some of the first, is cause of disorder and disease. A singer +cannot afford to have the tools of his employment other than in +first-rate condition. If he does he enters his work, unnecessarily +handicapped. + +General advice regarding the eating and drinking is often given. Making +it more specific, we would say, eat only such food as is easily +digested and insist that it shall be thoroughly cooked. Supply the body +with enough such for its maintenance only. The singer, again, cannot +afford to eat what is not needed, be that of kind or amount. Most +persons in running a furnace will feed fuel twice a day, at night and +morning. In specially cold weather giving the fire a little extra fuel +at noon. This is a good rule for feeding the body. Avoid over-feeding. +The object of eating is to nourish the body and not to gratify appetite. +It makes little difference whether the palate is pleased or not. The +body could be nourished on food which does not taste so good as some +other. Eating, to most people, is more palate gratification than +anything else. In doing so, the body is overfed and clogged. Singers +cannot afford that. + +Sleep. To recover the waste of body at each days' work, quiet restful +sleep is needed. Eight hours, or better nine, out of each twenty-four. +In a cool room where possible and with plenty of fresh air. People who +eat rationally need not fear taking cold by sleeping in a room with a +draught of air through it. Fresh air, fresh, good food and cleanliness +are necessary to the best results in singing study. + +No rule can be given about bathing. Some students can stand a thorough +bath every day. Others, only once in ten days. A sponge bath, if no +other, should be had daily, that the pores of the body may be kept open +and clear. + +Clothing should be sufficient to keep the temperature of the body even. +No need of wrapping the throat even when going into the open air, if the +temperature of the body generally is even. We do pamper our bodies and +think we are uncomfortable. In one sweeping sentence, be vigorous and +good-natured and the body will the better serve us. A long walk each day +in the fresh air adds to that vigor, and also to our good-nature. + + +Friends Can Help. + +Advice of friends is a source of value or injury to the singing student. +Advice has its influence. Every word spoken about one's voice and +singing helps or injures. If placed in a circle which condemns every +effort we make we are held back by that very influence from doing our +best. Every judicious word of praise helps us upward. A pupil who is +struggling by himself, without a word of cheer in his own home circle +has a hard fight of it. For that reason it is very necessary that pupils +whose desires are similar, and whose aims are toward the highest, should +be gathered together. They help by their words, and often by their +looks, the anxious student. "Forsake not the assembling of yourselves +together," applies. After a pupil's recital, a judicious teacher will +tell his pupils the kind things which the others have said. If unkind +things should be said (but a teacher who is himself kind will not hear +unkind things) he will keep those to himself, guiding himself, however, +by those comments in the future treatment of that criticized pupil. In +this connection, a word to the members of the family of the student. A +mother, who steps into the practice-room occasionally when she hears +good singing and says, "That was good. I see you are improving," aids +the student as much as a half-dozen lessons will aid. A brother who +banters his sister about her singing when he really enjoys it, knows +not, oftentimes, that his banter hurts and harms. To be sure, the +partiality of the home circle may foster false hopes, but since nearly +every one can learn to sing well if rightly trained, that will do less +harm than cold indifference and cruel banter. + + +Renew Thought. + +The teacher who does not live in high thought, and who does not attempt +to attain a high ideal, does poorer work than he thinks he does. It is +an easy matter to settle into a rut and to follow certain lines. These +wear themselves out. New ways of imparting time-honored teaching, +although they may not change the principles of teaching, must be +constantly sought. They will only come to mind by keeping the thought in +the highest realm of intellectual possibility to that teacher. One who +contemplates with restful care, in that higher realm, the beautiful in +music, the way of influencing mind, and the most direct way of causing +students to attain that which they need, will ever renew his method of +teaching. Such renewal will contain something better than he had before. +Unless constant renewal, or at least frequent renewal, takes place, the +rut will be entered upon. The longer one follows it, the deeper he +becomes settled in it, and the harder is it to get out from it. + + +Speaking and Singing. + +The basis of good singing is good speaking. The speaking voice in common +use during conversation covers a range of five or six notes. Frequently +lower and higher notes are called into use, but the high and low notes +of the singing voice are seldom used in conversation. The organs which +produce voice, from their constant use respond involuntarily to the +will. They also do correct work. It is seldom that a person, unless he +has deformity, has trouble to pronounce any word or syllable, while +talking. Would this were true of singers. The student would greatly +lessen the amount of his labor and also reduce the cost of his musical +education if he were able to speak the words as correctly and as easily +while singing as while speaking. It is toward this imitation of the +speaking voice that one must constantly strive if he would make rapid +progress in voice development. When he has reached the point where he +can sing every vowel and consonant perfectly, and with as little effort +as when speaking, on every tone of his singing voice, and then have that +voice loud enough to be well heard in any hall, the voice is completely +and well cultivated. + + +Associates. + +Singers cannot afford to miss the chance to be among great men. As a +class, musicians are narrow and that arises from the necessity of giving +so much time to technical study. When the chance to meet and associate +with men of broad minds comes, take advantage of it. Even if the contact +be not close some of the light shining from the great mind will illumine +us, and will make us brighter. The great mind is drawing from inspired +source, maybe, and the light which comes from that mind drives out +darkness from whatever it covers. Light and darkness cannot remain +together. Let the mind be thrown open to receptivity when one is in the +presence of the acknowledged leader and good clear light, it may be from +heaven, will flood the mind and illumine it. + + +Purity of Method. + +Purity of vocal method must not be departed from by teachers. The +introduction of new ideas is at best a hazardous undertaking. In the +routine of teaching week after week and month after month the teacher +finds himself casting about for a new idea. He finds something which +pleases him and tries it on his pupils. Most teachers can look back at +experiments which have failed. Better decide on a few basic principles +and cling to them. The desire to try something new is very liable to be +the result of fatigue from overwork. Better take a holiday; go away from +the classroom and rest. Come back to first principles again and go to +work. The result at the end of the year will be better. Every teacher as +he grows older resolves his ways of cultivating the voice into something +very simple but which, as it condenses, becomes more powerful. There is +only one right way and deep thinkers settle on that alike in time. + + +Mental Recovery. + +A teacher cannot do better for himself and his work than to occasionally +close the office door and sit quietly by himself for a half-hour. At +such time crowd out the thought of all work, all planning, all worries, +and all demands. Bring the mind as nearly as can be into inactivity. One +will find in the hour when work is resumed that more of value will flood +into the mind, he knows not from whence, than he can catch and apply in +a great many hours. How many of us have times of refreshing. It is work, +work, hour after hour and the wonder is that we do so much and yet do so +little. Leave out some of the work and call activity of mind to our aid +and we will do more work with much less effort. + + +Profession or Trade. + +An item recently seen reads, "we would rather be a music teacher in an +obscure town than be a prosperous tradesman in a large city." That has +the sound of enthusiasm, and is the feeling of one who has the good of +his fellowmen at heart. Every man who enters a profession gives up his +life to do good. But few men in any professional life ever make more +than a good living. Some can, indeed, save enough to make occasional +investments, and these (if judgment has been good) secure a moderate +fortune. But no man ever became wealthy from his profession alone. A +professional man, however, gratifies his better nature and satisfies +cultivated tastes. A man in trade becomes so engrossed in business that +his better nature (his refined taste) is dwarfed. That comfort of mind +which the professional man has is more to him than the bags of gold of +the merchant would be. Probably the writer who made the remark quoted, +had in mind the opportunity which the music teacher has to do good. It +is a grand field of work, and one who has been engaged in it for several +years wants no other. To lead the public by teaching and by public +performance into the knowledge of the highest art, is a privilege which +should be prized. The music teacher, (even if not so placed by common +opinion) stands with the minister and the physician in the good which he +does the community. + + +Heart and Intellect. + +Let not the heart be the ruling power all the time. If it is, art sinks +into sentimentality. Allow the head to rule alternately with the heart. +Intellect must be applied if any satisfying musical result is to be +obtained. Emotion is good, but it needs curbing, shaping and +restraining. Emotion, long sustained and unbridled, becomes nauseating. +Emotion in itself is beautiful, but like fire and water, if it once +becomes the master, wastes and destroys. Emotion, aroused by imagination +and directed by intelligence, serves to give taste to all musical +rendition. One without heart is non-satisfying as a singer. Be he ever +so intellectual, his singing is cold. Intellect alone, unaided by heart, +is like polished steel--cold, brilliant and dazzling. Intellect and +heart combined are like the same surface engraved and enamelled in +artistic design--chaste, delicate and finished. + + +Time Ends Not. + +We may say with Emerson that "Time has his own work to do and we have +ours," and with Wood, "Labor is normal; idleness, abnormal," but in +music there must be times of cessation from labor. Call it change of +work, if you choose rather than admit that labor has ceased, but +experience shows that no musician can safely follow his calling year in +and year out, with no regular period of rest, and save his mind and +body. Sooner or later comes a collapse. The human machine breaks down. +Then we shall think of Emerson and Wood as unsafe leaders. Time has his +work, but he works in such deliberation and in such ever-changing form +that were he one who could feel fatigue, he need not feel it. Time is +from eternity to eternity. Time does not occupy a human machine. The +music teacher does. Many a teacher has toiled beyond his strength this +year. Many will next year. Who will take thought for himself and break +loose, if but for a few weeks, and postpone the time of breaking down? +One might say, that with Time, the human soul is from eternity to +eternity and there is no breakdown. True, but the residence of that soul +while it is in this period of existence, demands much of its attention. +That cannot properly be given when the exacting duties of the class-room +drag on week after week, till they number fifty-two, and then begin at +once another weary round. Admit that there are limitations, and, in +cordial co-operation with existing laws, select and use the days of +idleness, even if one has said that idleness is abnormal. + + +Power of Thought. + +The power of thought to exert influence is only in our day being +understood. How to utilize it is not yet in such degree of comprehension +that it can be told so that all are able to use the force which they +contain. Thought is a tangible essence passing from the human mind and +lodging upon the object toward which it is sent. Definite thought is +more powerful than is illy defined thought. Speech enables us to +crystalize thought and to empower it with added force. The time given to +framing sentences enables us to put thought into definite form. A step +beyond speech is obtained in singing. When learning our songs we revolve +the thought to be expressed in mind. The measure of the music gives time +to concentrate the thought contained into its most powerful form. The +rhythm and vibration which accompany music and singing, enhance the +power of thought. Whenever we sing in the true spirit of the sentiment +uttered we send out shafts, so to speak, of pure thought. Not one of +those is lost. It lodges somewhere, and as all good can never do harm, +our good thought, sent in song, must do good to those who come within +our influence to receive our good shafts. A singer who uses music for +vain display loses the opportunity for good. There is no good thought in +such singing. If there is any thought at all it is of the lower order. +It lodges also, but it appeals to that which is vain and low in our +hearers. What wonder is it, then, that ofttimes our hearers make unkind +remarks about us and our singing! It is our fault that we have stirred +up in them the spirit of vanity and criticism. Our thought has often +challenged such spirit in them. Let our thought be changed, and only the +good which is contained in poetic art sent out to them and their +attitude toward us will change. There is no unpleasant thing which comes +to us but that we stimulated it and created it. We can make our musical +surroundings by sending out powerful shafts of pure thought. + + +Nature Seldom Jumps. + +Nature seldom moves by jumps, and a student who reaches the best use of +his voice learns that he must do that through natural laws. In other +words, that he must acquire all things through naturalness. What wrongs +have been done to students under the shield of so-called naturalness! +Many teachers who claim that they are cultivating the voice by natural +laws, know nothing of what it means to be natural. Naturalness means the +expression of our own nature. If a teacher uses the natural method he +but points out to his pupils their true natures and holds them to that +correct use of such that they return to their normal condition. The +necessities of our modern living have made most of us feel that we must +put a side of ourselves outward which shows off well. In singing we +develop abnormally something which we fancy will please our hearers and +bring us applause. We try to hide our defects and admit that we do. +Aside from the question of honesty, is it policy to do so. Most firmly, +should be the answer, No! It destroys the naturalness of the singer and +substitutes artifice. Any spurious issue will be detected sooner or +later. Besides, is it not much more comfortable to have the real than +the counterfeit? Be natural, then. Many students are impulsive. It was +to these that the remark that "Nature seldom jumps," was made. In +natural action everything is deliberate and restful; controlled and +sure. Nature makes but few angles, but moves in graceful curves. Good +quality of tone on one note and poor quality on the next, is not +natural. Nature does not jump from one voice into another. Nature +demands symmetric cultivation of the whole voice, and not the display of +a favored part. + + +Be Perfect. + +Do not be content to merely make progress. (If one feels that he is at a +standstill, or worse, going backward, he should stop all study till he +can go forward). Merely making progress means that to reach great +result, a long time must elapse. To make a great artist requires years +of musical and intellectual training; to be able to sing as perfectly +as the body is capable of acting, requires but a few weeks, or at most, +a few months. Why will students take lessons year after year and not +sing any better than they did soon after they began? It is not necessary +if the student is willing to go rapidly. "Be ye perfect," applies to +singing as well as to anything else in life. If the injunction to be +perfect has any meaning at all, and no one has any right to doubt but +that it meant, when it was spoken, just what the words contain, that +applies very thoroughly to singing. The very essence of life itself is +more fully operative in singing than it is in anything else. If so, to +be perfect in singing is to be perfect also in the essence of life. The +injunction was not to become perfect by a long course of training. The +present tense was used and it meant just what was said. "Be ye perfect," +_now_. By proper mental conception of the true principle which underlies +voice culture and by demonstration with concentrated thought, the +possibility of any individual body can be at once brought out. On this +account, the long years of wasteful practice which people use in +cultivating the voice is not only unnecessary, but foolish and wicked. + + + + +CHAPTER IV. + +PERFECT VOICE METHOD. + + "_Observe how all passionate language does of itself become + musical,--with a finer music than the mere accent; the speech of + man even in jealous anger becomes a chant--a song. All deep + things are song._" =Carlisle=. + + + + +IV. + +PERFECT VOICE METHOD. + + +A teacher of voice and singing who does not believe his way is the best +in the world is in one of two positions:--either he is a scamp, passing +off spurious goods for real worth, or he is doing the best he can in his +knowledge and present situation, waiting for the time when he can obtain +instruction in a better method. If a teacher believes he has the best +way of teaching he has a perfect right to so express himself, and to use +that method in his teaching. He may be wrong in his opinion but that +does not effect his right to work on the lines of his opinion. Some day +something may show him he is mistaken and such a man will be very liable +to correct his error and, taking the newly found way, progress in that. + +A teacher who knows he is far from right and still works on, is not +worthy of consideration as a teacher. One who uses the profession of +voice teaching merely for livelihood and who cares not whether he does +good or harm is little better than criminal. Such there be and such +there will be until a time arrives in which teachers will be granted +authority to teach from some recognized institution, without whose +permission to teach, it would violate a law of the land to advertise as +a teacher. Just such control as is kept over medical practice will some +day be had, but not in our generation. + +Hundreds of teachers of the voice in all parts of our land are teaching +up to their light, hoping the time may come, and to most it does come +sometime, when they may get away from the office and study still farther +into voice and music, thus making better their ability. That class has +already done much for singing and music. It might be said that all that +has been done has come from that class, for no teacher feels that +nothing remains for him to learn. Singing, too, is a subtle thing. A +teacher feels every little while as if his good way were slipping from +him, and if he cannot get out of his work and brush up with a master, he +will lose all the ability he has. The best teachers do leave their work, +go to some other teacher, may be not better than they are, and have +their work inspected and made better. A salesman from a furniture house +once put the matter tersely:--"When I go out from the house on a long +trip, I start with a plan of what I will say and how I will make my +sales. In a little while I get rusty, and saying the same things over +and over again makes me hate them. Then my business falls off. I go into +the warerooms again for a time, hear the firm talk up goods in a new +way, meet other salesmen and hear how they talk, and off I go again on +my trip fresh and bright." + +No work gets into a groove more easily than teaching. When working in a +rut the teacher produces small results. The successful teacher tries +every expedient in his power to get all the result he can. Sometimes, it +may be remarked incidentally, he is called by a pupil lacking in +appreciation and discernment, an experimenter, because he changes his +plan of working. But he can endure that provided he gets definite +results from his teaching. The best way for the teacher who must plod on +by himself through long years is that he should once in every few months +sit quietly alone and think over what his voice method is, how he is +applying it, and what the result is. Below is the thought of such an +hour condensed into comparatively few words. The heading of this article +indicates that this is the opinion of the writer at the present time. +The thinking which may come in the next ten years may show he could have +thought better now, but this is to him now, a perfect voice method. + +The voice is produced by the body; it was originally planned for speech +and not for singing; attributes of the voice are range, power, quality, +and flexibility; into the voice can be injected, language; the action of +all physical portions are under the command of the mind. + +There are four portions of the body which are brought actively into use +for the production and management of the voice, and these permit voice +culture to be divided into four departments. These must first be brought +into correct action. Natural action is correct action. What the world +has considered as correct action may be wrong, for on most matters the +opinion of the world is incorrect. A few clear-headed men have again and +again appeared in various affairs and shown the world the mistake into +which it had fallen. May be this is true of voice culture. It is safe to +follow nature. The first department of voice culture is, as most persons +admit, the respiratory department. Breathing. That goes on from the time +we are born till we die. Generally as children we breathe well and +correctly. When manhood arrives most of us have interfered with nature's +way of breathing and have interposed something quite different from that +we used earlier. This has come largely from faulty civilized eating, so +that the organs of digestion are constantly troubling us. The stomach, +liver, etc., exert decided influence on the diaphragm which is the chief +organ of respiration. We, also, have grown nervous as years have come, +because of the demands of active life upon us. That nervousness keeps +all the muscles of the body in a state of unnatural strain, and this +strain has even caused us to breathe differently from what nature +planned. The very first step toward good voice method is to bring the +breathing apparatus back to working order. As said above, the chief +organ of respiration is the diaphragm, and that is a large muscle which +cuts across the body at the edge of the ribs. Its centre, right in the +middle of the body is constantly moving downward and upward. When it +goes down the breath enters the body; when it comes up the breath comes +out. Stop that muscle and breath is held. Stripped of all confusion that +is all the description needed of inhalation, exhalation and +breathing-holding. If some who read this would not say that this is too +simple, and that they knew more than this article says, the subject +would be dropped there. At most, all that can directly be added is to +prolong the lowering and raising the diaphragm so that it is done by +long strokes. Some one says we have been taught about spreading the +sides, expanding the abdomen, filling the back, keeping the chest still, +and a dozen more things. Examine the above, and if opposing effort to +the free movement of the diaphragm in its upward and downward journey is +avoided it will be found that all which is of good in inspiration and +expiration is contained in the above. A most useful exercise for the +development of strength in this organ of respiration is to slowly +perform the act of panting in the same way that a dog pants. + +But about holding the breath. That is the most important thing about +breathing. It says above that if the movement of the diaphragm is +stopped, the breath will be held. Sure enough. Then why can't we all +hold the breath? We can. Holding the breath in that way a little while +every day and caring to keep it so whenever using the voice will so +complete the strength of the diaphragm that it will stay still a very +long time, much longer than it takes to sing any phrase in music which +is written. The majority of pupils--yes, all of us, teachers and pupils, +when they seek to let the diaphragm stay still try to assist it to do +so. We try to hold the breath by the muscles of the chest, by those of +abdomen, or by shutting off the throat. Now these do not assist the +diaphragm to stay still, and on the other hand, they prevent the +diaphragm from staying still. They make it move. Some one says, or +thinks if he doesn't say it, that unless the diaphragm moves when we +begin to sing that no tone can be made. That is one of the mistakes of +the world. Some teachers have even said that we must press the air +upward as we sing, so that the vocal bands may make it into tone. That +is absurd. Keep back all pressure from the vocal bands. If the slightest +air pressure is put upon them they are over-worked. Hold still the +diaphragm and the air is held loosely suspended throughout the chest, +the bronchial tubes, the windpipe and the mouth. Then in this air the +vocal bands work. They will help themselves to just the right amount of +breath, to make into tone without any assistance from you. You can't +make nature work. You can permit her to work in her own way. + +When we speak of the vocal bands we are talking of something which +pertains to the second department of voice culture--the throat. There +can be, and need be, very little said to the pupil about the throat in +its action during singing. Teachers do say many things. One thinks the +larynx--the protuberance known as the Adam's apple--ought to be pressed +down, and kept so. Another thinks it ought to be forced upward. Still +another says it should be allowed to be low at one time and high at +another. There is just one way of settling the matter. How is the action +when we act naturally? Nature built the throat for conversational voice. +If we are to use it for singing we can't do better than to follow the +suggestions of nature as to the way the throat moves while speaking. +Then on those ways let the throat act while singing. Sound several notes +with the same vowel in the conversational voice and see what the larynx +does. Some one suggests that this ceases to be conversation and becomes +singing. But it doesn't. Conversation runs easily through an octave of +tones. Generally we use three or four tones. When we are very quiet or +are sad the voice lowers a few notes. If we are very merry or are angry +the voice ascends. We talk at the "top of the voice," literally. If we +do so in speaking, surely we may lop off the many vowels and the +consonants and speak, conversationally--on several tones. It will be +found that the larynx moves freely. That being the case, he is a very +foolish man who could make the larynx go down and stay there. Again, +with the tip of the finger on the larynx say the different vowels. It +will be seen that the larynx changes position at each change of vowel. +Let it so change when we sing. The great opponent of such action is the +stiffening of the cords of the neck--the muscles on the sides of the +neck. In connection with the work to be looked after in the third +department, yet to come, the way of removing that stiffness will have +mention. Within the larynx there are many delicate muscles which are +performing their various functions. What they do, and how they do them +has been the subject of study through several generations and the +question is not solved. An eminent physician has for several years been +photographing throats while producing tone. About four hundred +different throats have been photographed. In an article published by him +in January of this year, he says: "I have not yet permitted myself to +formulate a theory of the action of the larynx during singing, for even +now, after a large number of studies have been made, the camera is +constantly revealing new surprises in the action of the vocal bands in +every part of the scale." With that true, the only way open for us is to +seek ease and comfort of action and never force any part of the throat +to overwork. + +The third department in voice culture relates to the pharynx, or back of +the throat. It seems as if any thinking student would realize that in +order to acquire a rich tone, resonant with pure sound, the pharynx must +be allowed plenty of room, yet many shut it off making a very small +chamber. Well, it is the teacher's work to find some way to open a roomy +space. One of the best ways is to draw a picture of a cross-section of +the mouth from the lips to the back wall of the throat, showing a large +arch at the top of the section. Convey to the pupil's mind the idea of +room and he will be most liable to produce the room. Sometimes, although +it is of doubtful propriety to make any local application for special +purpose, the use of the word oh, as an exercise, will permit the pupil +to enlarge the pharyngeal chamber sufficiently for any need. This will +come up later in connection with another thought. A very important +branch of voice culture, the quality of tone, has to do with the +pharynx. Not much can be said of it now but just a little in connection +with a perfect voice method. When singing, we should express something. +The emotion in mind must have its appropriate setting. That setting +comes chiefly from the quality, and the quality arises from the shape of +the pharyngeal cavity. As in all nature's plan we must not try to _make_ +the pharynx do anything. We may _permit_ it, and if we do, nature will +have her way and will do just right. The emotion of the mind expresses +itself upon the face. A face plastic and delicate, changes expression a +hundred times a minute, maybe. Just so, if we permit it, the emotion of +mind expresses itself on the pharynx. We cannot see the expression of +the throat as we can that of the face, but we can hear it. That the +pharynx may be able to receive the expression of the mind it must be +plastic and delicate. If so, just the right form will be assumed for the +idea we would express, and the proper quality would be given the tone. +We--many of us--don't permit this. We try to shape the pharynx. Stop +trying and let the muscles of the back of the throat come to a state of +rest. Then willing them to remain so, sing. Sing anything. Don't change +the feeling, and good quality will fill the tone wherever the voice +moves--whether it be high or low, loud or soft. So by this restful way +of singing the stiffness of the cords of the neck will be removed and +the larynx will move easily and flexibly. In fact, all rapid singing +grows out of the restful singing. The use of all embellishments, too, +comes through this restful singing. It is to be kept in mind that so +long as we employ artificial methods of holding the air column, and so +long as we force tones through rigid vocal bands, just so long will we +be prevented from obtaining restful action of the pharynx. Each part +must act correctly and no part must interfere with another. + +The articulatory department is all which remains to be described. +Singing employs words, and words are made up of letters. Letters are +made up of consonant and vowel sounds. Consonant and vowel sounds, save +one alone, are made by changing the tongue or lips, or moving the jaw. +There are but few changes which may be made--less than a dozen. Six of +those pertain to the tongue, one to the jaw and three to combination of +tongue and lips. What these are need not be detailed now. Sufficient to +say that any action made during conversation may be made while singing +and must be made in the same way as in conversation. Two ideas advanced +by some teachers which are very wrong should be noted. One is that the +singer should practice with a spoon in the mouth to hold the tongue in +place. As if nature didn't know what the tongue ought to do! The other +is that the mouth should be widely opened, "to let out the tone," as old +singing school teachers used to say. The tone doesn't come out of the +mouth any more than out of the cheeks, chest or head. Allow the tone to +be made properly, then given quality and resonance by a well arched +pharynx and it will come out, no matter where or how. Someone asks if +there is any real objection to widely opened mouth. Certainly, there is. +Were it merely that the facial expression were destroyed, that would be +enough, but that is not the worst of it. Opening widely the mouth +destroys the shape of the pharynx and all richness is lost. Notice a +bell. So long as it remains bell-shaped, it has resonant ring. Bend its +shape so it resembles a pan and the ring is gone. + +One thought more in connection with articulation. It used to be said +that all attention should be given to vowels. Not so, in the light of +to-day. Attend to the consonants and the vowels will take care of +themselves. Correct speech in song, only, will make good singing. While +watching the resonance of the tone as made in the pharynx note the +delays made by thoroughly (not violently) sounding the consonants. Those +delays, prolonged greatly, permit expansion of the pharynx, and perform +the work mentioned before which was given the vocal sound, _oh_, to do. + +To sum perfect voice method up into a sentence it is that by which we +command with no apparent effort the column of air, keeping it away from +the vocal bands, and, therefore, permitting the quality of tone in the +pharynx to be pure; that by which the larynx acts freely, with no strain +upon it; that by which thought may instinctively make its impression on +the pharynx to give quality to the tone; and that by which we can make +consonants and vowels in that pure tone, so that words conveying the +thought of the mind may go out to our hearers. + + + + +CHAPTER V. + +A PAPER OF SEEDS. + + + "_He who is a true master, let him undertake what he will, is sure + to accomplish something_." =Schumann=. + + "_To engender and diffuse faith, and to promote our spiritual + well-being, are among the noblest aims of music_." + + =Bach=. + + + + +V. + +A PAPER OF SEEDS. + +ANALYZE SONGS. + + +Every song or other vocal composition should be analyzed as the first +step in its study. The first theme noted, and the second also, if such +there be; the connecting bars; the points which are descriptive or which +contain contrasts; the phrases which may present difficulties of +vocalization; the climax; and, as well, what relation the prelude and +other parts of the accompaniment bear to the song. It is probable that +before the pupil is capable of doing this by himself, the teacher must +do it for him, not on one song merely, but on a dozen or twenty. A wise +teacher will gather his pupils to hear him analyze music now and then. +It saves time at individual lessons, for the analysis will be understood +by a group as easily as by an individual. It matters not so much that +the pupils are not to sing those particular songs, for at the gathering, +the way to do the thing will be learned. Then as other songs are taught +at private lessons, the pupils will be prepared to receive quickly, the +instruction. + + +FAULT FINDING. + +Pupils may be sure that teachers do not find fault with them merely for +the purpose of finding fault. If the teacher is worthy [of] that respect +which leads pupils to study with him, he doesn't find fault except when +it is necessary, and then he does it with dignity. If the teacher is +constantly fault-finding, and does it in an irritable manner, you would +better leave him at once. Now and then we learn of a teacher who gets +his pupils so nervous that they burst out crying. It is not well to +remain long with such a teacher. The pupil goes to him with fear which +spoils the first of the lesson, and surely after the cry, the lesson is +spoiled, for no good vocal tone can then be made. At a lesson all should +be restful and dignified. + + +RECOVER FROM MISTAKES. + +Next to him who makes no mistakes, is he who recovers from and disguises +the errors. At best a performance full of errors of pitch, word, tone +and quality is but a patched garment. Apply the mind to eradicating +every error. Perhaps the most common thing for students to do is to try +over again, while at practice, the music in which the error has been +made, but doing it without thought. It is far better to think what the +error is, what caused it, how it should be removed, and then begin the +practice which will remove it. Oh, if the hours of wasteful practice +could only be gathered up into useful hours, how much better off the +whole would be! The least wasteful thing is to stop practice and +_think_. + + +SONGS FOR BEGINNERS. + +When selecting songs for study for beginners, only those which have +smooth and well defined melodies should be selected. Modern composers +seek by the strangest harmonies, following each other without coming to +points of definite rest, to do things different from what has been in +use so long that it is looked upon as common. The pupils in their early +study cannot understand such music, and while bewildered by it, they +misapply what they know to be correct use of the voice. The first +selections should be simple, melodious, and of easy range. The songs of +Mozart and Mendelssohn are much better for early use than are those +which are being published now. As the pupil advances in the knowledge +of songs add in any quantity the latest and most weird music, providing +it has merit. + + +CRITICISM. + +The phraseology of newspaper criticism often disturbs musicians, +especially those who are very sensitive, and sometimes arouses their ire +so that they make reply. In doing so they make a mistake. They place a +weapon for further attack in the hands of the critic and add to the +force of his remarks by showing that they have hit the mark. One does +not prize a shot which goes wide of the point at which it was aimed but +is quite proud if, by chance, he hits the bull's-eye. The sensitive man +in his reply shows how fortunate the critic is in his shooting. It is +not easy to bear the remarks of a harsh critic and it is much harder to +draw from them any good lesson. (Whether one may draw a lesson from +criticism is not open for remark at this writing.) Yet, when one gives +serious thought to the criticism which seems so cruel he will learn that +no one has been hurt by it except the critic himself. He has lowered his +thought from a high plain and has made his nature, thereby, coarse and +uncomfortable. That cannot come to anyone, even for a few minutes +without making him less manly. Out of the fullness of his heart at that +moment the critic has written and sent out into the world that which +lowers. What he sows, that shall he also reap, and in due time his +unkindness will come home to him. If he can bear his own act the +musician can endure it for the brief time that the "smart" is there. +None should ever forget that a man can injure himself but no one else on +earth can injure him. + + +WAIT FOR RESULTS. + +Some of us are slow to learn the lesson, waiting for results. We feel +that at one bound we must and will achieve the great success which is +our ideal. Youth is enthusiastic and believes in itself. Nothing daunts +it, save the realization of limited success and that realization comes +not quickly. There are circumstances which cannot be forced; there are +laws which prevent our reaching too far or going too quickly. Under them +we chafe but in time we come to know that those laws place boundaries of +limitation about us. We then begin to inspect the laws just as one bound +with cords might be supposed to study his binding after having tried in +vain to tear himself free. Then is when he discovers that by knowing +natural law he can shape his course so that he is not antagonized but +aided by his environments and curbings. He then discovers that he can +even use the laws which seemed to restrain as his power. But it takes +long to learn that lesson. Stripes, which cut and burn, must have been +received before one can know that he must not fret and be impatient for +quick results. "Patience overcometh all things." "Seek and ye shall +find." Remember that the early fruit decays quickest. The rosy apple, +when all of its fellows are green, has the worm at the core. If you are +worthy of results they will come to you, but not in your way or time +perhaps. You can afford to wait. + + +ALL THINGS ARE GOOD. + +Certain quotations and sayings, through familiarity, lose their point to +us. We not only are not impressed by them but forget that they are +truths. Do you recall "All things work together for good?" Does that +mean anything? Does it mean what it says? Does it mean nothing? It means +nothing or else exactly what it says, and you may be sure that the +latter is the true meaning. What are "all things?" The few which seem +bright, maybe; and those which to most of us seem evil, do not belong to +"all things." But may we not be at fault in our idea? We are, _we are_. +Whatever appears to happen to us (although nothing ever happens in the +common meaning of that word) belongs to "all things" and at some time we +will be able to look back and say from the heart that all was well with +us. + + +LITTLE THINGS EFFECT. + +Every shade of tone has a meaning which is either artistic or inartistic +and one who has developed his appreciation of artistic rendition can so +use his tone that just the right effect will be produced with his tone. +A noted cartoonist recently showed by two little dots the ability which +he possessed to change the character of his picture. He had drawn a +sketch of a sweet young girl; rosy cheeks and cherry lips; big sleeves +and a Gainsborough hat; the most demure and modest little girl ever +imagined. Then to carry out a joke he changed the position of the eyes, +just rubbing on two dots. The character of the whole picture now +changed. The demure little girl became the sauciest Miss that could be +imagined and one could almost imagine a shrug to the shoulders. Are +singers less able to portray in art than is the cartoonist? If we know +the resources at our command and how to use them we can give expression +just as well as any other artist can. We do not always know how small a +thing can change all expression. The bright face, the warmer tone, the +more elastic delivery of voice, quicker attack, all have their value in +expressing something. + +Not enough attention is paid to personal appearance before an audience. +There are a few things which can be prepared before our appearance which +can make the whole performance more artistic. The way of walking across +the stage, taking position before the audience, manner of holding the +music, of turning its leaves, way of looking up while singing, way of +leaving the stage; all these have to do with artistic rendition. They +should be taught to pupils by the teacher and should become part of the +pupils' instruction. We give all attention to tone and that is only part +of the instruction which the student needs. The other matters must not +be left to chance. The little things point out the difference between +the singer and the artist. + + +MUSICAL LIBRARY. + +A musical library should be a possession of every singer. There are less +than two hundred books on music printed in English, on subjects directly +connected with music and singing. These contain all which has been +printed which has any great value. Many are books for reference and a +few contain direct practical instruction. Each teacher and all earnest +students should see how many of these they now possess and plan to +develop the library. All the books need not be purchased at once, nor is +it wise to obtain books and put them away on the shelves just for mere +ownership. Get one book at a time, one a month perhaps, and read it +carefully enough to allow you to know what is in it. Then put it away +for reference. It takes but a few minutes to refresh the mind on what is +read. A dozen books a year added in this way will, in a dozen years, +give a valuable library. What is more valuable to the owner is that he +has lodged in his own mind for every day use more than a hundred good +ideas. Books taken from the public library and returned to it do not +have the lasting value that one's own books have. The sense of ownership +is worth something. + + +CHANGE OPINIONS. + +In these days of invention, discovery and progress, no one need be +ashamed of changing his opinions. In vocal music the ideas most commonly +held twenty years ago are being exchanged for something new. The man who +has made a change is often sneered at as "having a method." He may have +that, but he may only have advanced to new ground which is to be +occupied by common opinion a dozen years from now. The man who changed +early was in advance of his fellows and would attract attention. Who +thought, outside of a very small circle, only forty years ago, that the +music of Wagner would become the most popular of any age? It is to-day +the music of the present and we are already looking for a "music of the +future." The present time is, in the manner of dealing with the singing +and speaking voice, a transition age. Ideas which are being taken up now +were scouted as nonsense twenty years ago. They will be commonly +accepted ten years from now. It is better to join the army of progress, +and change early, even if it does raise a laugh. + + +REPUTATION COMES SLOWLY. + +Reputation which will last comes only by slow degrees. Man may spring +into notoriety at a bound because of some fortuitous circumstance and he +may hold the prominence which he gains by his strength of manhood, but +the cases of this kind are rare. It is by "pegging away" at something +which one knows to be good until by the merit of the "something" and the +worth of the labor put into it, attracts the attention of a few judges +of its worth, that a reputation is begun. It is begun then, only. Some +more of the same work must follow but those who have seen the worth now +assist in thought as well as in word and the circle which appreciates +the worth grows. When good reputation has begun nothing can stop its +growth except some unwise or unmanly act of the person himself. For this +reason no man need strive after reputation. Do well what is good and the +result will take care of itself. The reputation will not come because of +striving. It will come to any man who is doing good work and living a +right life. It takes time to make the lasting reputation and that +impatience which so often influences Americans, prevents the growth of +many a reputation. + + +STUDY POETRY. + +Every singer should be an earnest student of poetry. There are minds to +which poetry does not appeal as does the practical prose. But in all +minds there is enough of latent love of poetry which can be developed +until poetry appeals with even stronger force than does prose. Can your +heart glow with the beautiful sunset? Do you joy over the song of the +bird? Has the spring blossom a message of delicacy to you? Then have you +that love of nature which can give you understanding of the poet. A +faculty of mind exercised grows with its use. A singer _must_ have +imagination. Without it, the best vocalization lacks the spark of true +life. Without it, coldness displaces warmth, and darkness, light. The +very essence of poetry is imagination. One word in poetry often suggests +that which practical prose uses ten words to express. The study of +poetry, that is, making poetry a study so that one knows what is in it, +helps make good singers. He who has not yet thus used poetry may well +plan something new for his winter evenings. + + +MANNERISMS SHOW CHARACTER. + +Mannerisms give knowledge to the observing person of our character and +intellectuality, and, on that account, are to be studied and used to our +advantage. Such as would prepossess our hearers in our favor should be +retained and such as would be unpleasant to the majority of people +should be trained out of our unconscious use. But few think long enough +about a singer to be able to tell their reason for liking or disliking +him. The voice and art may be good and yet the audience may not like +him. On the other hand, the voice may be meagre and the music faulty, +yet there will be personal charm which is captivating. The manners +which express the better side of our individuality will be those +retained. Certain it is, that manners are the expression of +individuality and there are no two persons whose action is just the +same, any more than that there are two faces or two voices alike. + +It is doubtful whether one can judge the good and bad in mannerisms in +himself. We are so liable to accept our intention for actual performance +that we deceive ourselves. Then, too, mannerisms which would be +permitted in one place are not admissible in another. The ways of a +German dialect comedian would not serve the Shakesperian comedian nor +would the physical accompaniment of the songs of the London Music Hall +be proper for the _lieder_ of Schubert. The teacher enters at this place +and by judicious physical drill, based upon the knowledge of what is +wanted in true art, shows the singer what to cure and eradicate and what +to make more prominent, wisely retaining those mannerisms which show the +higher, nobler and more pleasing part of the singer's individuality. + + +PROVIDE FOR THE YOUNG. + +Parents see the necessity of providing the means for their children to +learn to take care of themselves. A fortune left to a son frequently, +if not generally, proves a curse. A "good match" may turn out badly for +a daughter. A few hundred, or even one or two thousand, dollars invested +in musical education is sure to permit the son or daughter to earn a +comfortable living. It will be more than a generation before the field +for musical activity is supplied. More than that, in music, every +further elevation of the public increases their desire for better and +more expensive things in music. There is no prospect that the musical +field will be over supplied with artists and teachers. Happily, the +profession is open to women as well as to men. Our daughters can, then, +receive preparation for independence in it. The necessity for marriage +for mere living has gone by. Daughters are as independent of marriage as +are sons. The time was when boys were held in greater esteem and value +than were girls because they could take business positions and acquire +wealth. The new openings for women have changed this. Woman is making a +place for herself, not through the ballot and because of political +influence, but because she is taking position in the business and +professional world. Everyone, man or woman, should be prepared to take +some position which permits a living income to be made. Parents are +using music as the means of independence to their children. It is better +to spend the hundreds of dollars in education in music than to invest +that sum in any way to provide a fortune for the children. The +life-income from the investment is better for the children. + + +THERE ARE NO MISTAKES. + +How often does every one of us make the "mistake of a lifetime?" +Probably everyone has made that remark many times regarding himself. The +circumstances of life have seemed to point out a certain path. We have +followed it. Later we felt it to be wrong. It was a mistake. Did it do +us any good? No. Did we learn any lesson? No. Will we not make another +"mistake of a lifetime" to-morrow, if we have the chance? Yes. Such is +human nature. So we go on. But there is another side to the shield. +There are no "mistakes of a lifetime," if we sum up the whole life. None +of us can do that yet, but we can put a number of years together and see +a result in them. How about that mistake over which you have been +mourning? Was it a mistake? Is it not possible that if you had what you +think would have been yours had you taken a different course, you would +be worse off than you are now? A young man who is making his mark +recently said, "I am glad my father lost his property. Had I been +supplied with a lot of money while at college, I would have been a +profligate." When the father lost his money he probably thought he had +made the "mistake of a lifetime." Which would any father prefer, poverty +or a wrecked family? + +Many pupils rue a supposed mistake in the selection of a teacher. There +is no mistake. Every teacher who can attract pupils can teach something +and every pupil can learn something of him. The mistake, if one was +made, was by the pupil, in not learning what that teacher could teach, +and when he had gotten that, in remaining longer with him. + +Don't talk about the mistakes but so shape circumstances that all events +may be used for good. There is something which can be utilized in +everything which happens to us. The bee finds honey in every +flower--more in some than in others, to be sure, but none are without +sweetness. + + +REGULARITY. + +"It is the regularity of the laws of nature which leads us to put +confidence in them and enables us to use them." Thus writes Dr. McCosh +and he was a keen observer of men and things. His remark suggests that +teachers can and will be trusted and used who, by their regularity, +awaken confidence. He who attracts and enthuses can for a time command +attention. His work will only be lasting and his hold upon the musical +public be good when there is something of permanent value behind the +enthusiasm. Slowly but surely we are reaching the knowledge that in +music there is all of life, and that only as we make music part of +ourselves is our life rounded. We have reached the place when we can +feel that he who has no love of music suffers an infirmity akin to the +loss of sight or hearing. We have also reached the belief that everyone +must cultivate the musical faculty. We are passing through this life to +one beyond and he who raises himself nearest the perfect man, best uses +the span from birth to death. In and through music, especially on its +side of education, more can be done than can be in any other way. +General culture, college education, mental development are, in their +proper place, to be used but neither will do so much for man as will +music. In thus developing that faculty we acquire something also, which, +as executant musicians, gives us delightful influence over our fellows. +Such is the possibility of a teacher to so make mankind better that he +becomes a noble instrument of service in God's hand. But he who knows +his position best and by regularity of mind, body and estate, by system, +certainty and reliability, obtains the confidence of the musical +public, can best be used as an instrument in that service. + + +ASSERT INDIVIDUALITY. + +Personal freedom of action must for a time be surrendered by pupil to +teacher but it should be for limited time only. The impress of the +teacher's mind can be made upon the pupil in two seasons of study if it +can be at all. Perhaps most pupils receive all that the teacher can give +them in six months. As soon as they have that should they leave that +teacher? Not at all. They should then begin the use of their own +individuality--letting it, little by little, assert itself. The +practical application of individuality should be as carefully attended +to as is any part of the pupil's education. Perhaps it should have more +attention. More than one, more than a thousand, every year wrecks her +good and great future by what we term wilfulness or waywardness. The +name is misapplied. The individuality is then asserting itself and it is +then that the pupil needs the skillful and firm hand of the master. The +keen clear judgment which comes from experience is worth to the pupil +more than the cost of many lessons. The life is planned then. It is a +time of bending the twig; the tree grows that way. The wrecking which is +so often seen arises because the pupil changes to a teacher who does +not understand the case. The new teacher must study it all over. Before +that can be done the pupil is spoiled and disappears, disappointed and +disgusted. Receive the personality of the teacher, pupils, but then +allow him to lead you onward as you bring out your own individuality. + + +EDUCING. + +Educing is bringing out or causing to appear. Teachers impart and call +that educating. The reverse of the common way is best. Instead of +imparting all the time to the pupil seek to draw out from the pupil that +which is in him. Cause it to appear. In this way will one's teaching +faculty be improved and he will become the better teacher. Often the +education must be against counter influences and, it seems frequently, +as if it were against the wish of the student himself. Yet the skillful +teacher can overcome the prejudice of the pupil and the adverse +influences, and reach his results. A help in thus using one's skill lies +in the fact that what is to be drawn out lies divided into two distinct +classes. One is that which pertains to execution and the other to +knowledge. They are widely separated. The first is to be trained so that +it cares for itself without the thought of the student or singer and +the other so that it is always ready to respond to the quickest thought. +There is in the two classes variety enough to keep the most active +teacher on the alert and to make for him the highest kind of +ministration to mankind which is open to anyone. Later may come the +comfort of joining the two classes, synthetically, thereby making the +rounded and completed artist. + +It occurs to one's thought at once that he who would draw out what there +is in another, must know something of the machinery which he would cause +to act and also of the mind which is in command of that machinery. This +is the basis of the teacher's education, without which he cannot be a +good teacher. As a young teacher he has the right to teach those who +know less than he does. He imparts then. As an educator he must be more +than what he was at first. He must keep his own education above that of +his fellows and he must become able to educe. + + + + +CHAPTER VI. + +CUNEUS CUNEUM TRUDIT. + + + "_Art! who can say that he fathoms it! Who is there capable of + discussing the nature of this great goddess?_" =Beethoven=. + + "_Whatever the relations of music, it will never cease to be the + noblest and purest of arts_." =Wagner=. + + + + +VI. + +"CUNEUS CUNEUM TRUDIT." + +VOCAL TONE. + + +All vocal tone used in singing when produced at the vocal bands is small +and probably always about alike. The tone which we hear is "colored", +"re-inforced" etc., on the way from the vocal bands to the outer air. In +order that the tone shall carry well and be heard in purity throughout a +hall, the initial tone must be added to. This is done by its +reverberation in cavities where there is confined air. By confined, is +meant, air which is not being greatly disturbed. There are four such +cavities, or chambers, in connection with the production of voice. The +chest, the ventricles, the inner mouth and the nose. To have the tone +resonant the air in these chambers must be held in confinement. The way +they can be utilized is best illustrated by the drum. A blow on the +drum-head sets the air in the drum into vibration and that air +re-inforces the tone caused by the original blow. Tone made by the +vocal bands is re-inforced by vibration in the chambers of the body, and +the connection of these chambers with the outer air sets into vibration +the air of the room. + +Something might be said about the thickness of clothing to be worn over +the chest while singing. It is certain that thick woolens worn during +singing, absorb much of the vibration of the tone and lessen the amount +of voice. Tone comes from the whole body and chiefly from the chambers +in which air is confined. Our singing tone does not come out of the +mouth alone. It comes from shoulders, back and chest without going near +the mouth. + +The stillness with which the air is held in the chambers of vibration +has much influence upon the volume of tone, and upon the quality. Just +now we will consider the chamber within the mouth. The space between the +back of the throat (as seen in a mirror) and the teeth is this chamber. +The air in this must be held as still as it can be. The practical way of +doing it, and the way of telling pupils how to use themselves so that +they can do it, tax the ingenuity of the teacher. A picture, or an +image, is the best way perhaps. The air in the mouth should be like the +water of a still lake. Into it, at one end, a gentle stream may flow. It +does not disturb the lake. It causes a ripple where it enters. It may +raise the elevation of the water in the lake, and the superfluous water +may flow off at the other end of the lake. Now, suppose a mountain +stream comes rushing into the lake. It stirs everything up, and rushes +out at the outlet in the same rough way. In the still chamber of air in +the mouth there must be no "mountain streams." The quiet lake must be +imitated. A little air, which has been vibrated at the vocal bands may +enter it, and not disturb it. That initial tone, always a quiet one, +will be re-inforced by vibration in the mouth and will issue forth large +and round. The amplitude of vibration will determine its volume. The +shape and size of the cavity of reverberation can constantly and +instantly change and by such change the tone can be regulated. + +The chamber of still air cannot be utilized unless the organs of +respiration are working correctly and strongly. A forceful blast of air +sent through the mouth will dissipate all vibrating waves. It is useless +to try to the initial tone until after the diaphragm is in good working +order. When that is all right then employ the re-inforcing chamber in +the way given above and resonance of tone will be obtained. It is by so +using the respiratory column and re-inforcing the tone made by the vocal +bands that a person can be made a good vocalist in a few weeks. It is +not necessary to take years to cultivate the voice. (It _is_ to make a +good singer.) From five to eight weeks, if the student does right, will +perfectly cultivate a voice. + + +TRUE ART IS DELICATE. + +All true art is delicate. Music is the most delicate of all arts. Music +is expressed through thought and emotion. In this, music has much the +advantage over sister arts. The sculptor can chisel his thoughts into +marble, and there they can imperishably remain. To what small extent can +he express human emotion! The painter also places his thought on canvas. +As his art is more easily within his grasp, to change at will, he is +enabled more fully to express emotion than is the sculptor. His finished +work remains. While at work upon it he may change here and there to suit +himself. That line and that shade of color, if not satisfactory, can be +changed. Not so in music. At one stroke--in one tone even--the musician +must express his emotion--and that expression, once uttered, is all that +he can use of his art. It is a delicate thing and requires sure thought, +complete mastery of emotion, and perfect ability in execution. Each and +every stroke must be perfect. + +Voice culture is the preparation of the body and its +expression--voice--for use in this delicate art. Voice culture is that +through which we approach art. It cannot be roughly handled. If art is +to be delicately used, it must be delicately approached. He whose vocal +practice is forceful and rough will never know the delicacy of true art. +He may become a vocalist after whom the ignorant public will clamor, but +he can never be an artist. Seek the delicacy of true art, or decide to +be forever a rough mechanic. One may hew wood or quarry rocks, or he may +be a worker among jewels and precious stones. It is a time to say +"Decide this day which you will serve." The two masters do not belong to +the same firm and both cannot be served at the same time. + + +WORDS AND TONE SHOULD AGREE. + +While singing, words and tone should agree. What does that mean, asks +one. It can be well stated when we consider how they do not agree. If +one sings "Sing ye aloud, with gladness," with a sombre tone the words +and tone belie each other. This result invariably follows the attempt to +cultivate the voice on vowels only, or on one single vowel. He who +watches tone while cultivating his voice reaches this result. We express +our thought while singing in words. Words are made by the organs of +speech, the chief of which are the tongue and lips. The tone receives +its expression from the pharyngeal cavity. If tone and words agree, the +tongue, lips and pharynx will work harmoniously in accord. It is when +one or the other does not work correctly that one belies the other. + +Training of the organs of speech has been written upon so extensively +that for now more need not be said. Suffice it to say, that the organs +of speech can be trained upon a few enunciatory syllables in a short +time, so that every word can be distinctly understood. There is no +excuse whatever for our singers remaining so indistinct in their +singing. The way of getting the tone to agree with the words, is what +may be considered now. As said above, tone is regulated, so far as +quality goes, in the pharynx. That organ can be put into working order +and kept so through the expression of the face. The same thought is +expressed on the throat which is expressed on the face. The same set of +nerves operates the two organs. To show what is meant, recall that if +you hear someone utter a cry, you know from its sound whether it is a +cry of fright, of happiness, of fear, of greeting, of anger, or whatever +it may be. The position and shape of the pharynx has made the cry what +it is. One standing near the person would see on his face the look which +corresponds with the cry uttered. In this case the word and the tone +correspond. It is not easy to reach the pharynx for voice culture, +except through the face. It can be reached in that way. The tone for +general use in voice culture should be the bright one. Then the +expression during vocal practice should be a bright one. All vocal +exercises should be, on this account, practised with the face pleasant +and expressing happiness. This fact led many teachers, years ago, to +have their pupils smile while singing. It led to most ludicrous results. +The teachers said, "Draw back the corners of the mouth, as if smiling." +Very well. That may be good, but it has no particular beneficial +influence on the pharynx, or upon the tone produced. The mouth is not +the seat of expression in the face. Not that there is no expression to +the mouth, but its changes are limited. The eyes are much more +thoroughly the seat of expression, and through them the pharynx can be +reached. Let the eyes smile. Let the whole face take position as if one +saw something irresistibly funny, at which he must laugh. Practice with +the eyes in this way will brighten the whole voice. It will relieve +strain upon all the facial muscles and will render the organs of speech +more pliable, too. Having obtained such control of the eyes that one +expression can be placed in them, the student can attempt other +desirable expressions. He will find that whatever is used in and about +the eyes will affect the kind and quality of tone. He may arouse his +interest in some particular thought and hold that in mind as he sings; +the voice will then have warmth of tone and will readily receive +meanings. He may express varying degrees of surprise in the face and he +will find varying degrees, to correspond, of fulness and roundness go +into the voice. The use of expression in the face as a means of giving +character and quality to tone opens a field of experiment and experience +which will lead any teacher to practical and beneficial result. It is +not a new idea. Salvini, the great actor, has given some very useful +thought on that subject. Little of such instruction, important as it is, +has gone into print. Yet it is so important. + + +PREPARATION FOR TEACHING. + +There are many who become teachers of singing without knowing what they +are doing. No one who wishes to enter the profession should be kept out +of it. There is room in it for many times the number engaged. It is to +be earnestly recommended, however, that he who intends to become a +teacher should decide beforehand what kind of work he intends to do, and +after he has begun, he should bend his energy to make that branch +successful. There are, at least, three distinct specialties of the +singing teacher. First, rudimental music; second, voice culture; third, +artistic singing. He who thinks he can excel in all has very great +confidence in his own ability. Perhaps most of those who become teachers +have no adequate knowledge of what the profession is, but enter into it +for the purpose of making a living. After becoming a teacher he +discovers that something is wrong, and the last person whom he thinks +wrong is himself. Probably he has never decided on a specialty and +properly prepared himself for that. Thus we see men who know something +about music, teaching singing. They know nothing of practical voice +culture, but attempt to teach singing. They ruin voices and wreck their +own happiness. The first duty of a singing teacher is to study enough of +anatomy and physiology to enable him to know exactly what parts of the +body enter into voice culture, where they are and how they work. The +dentist makes his specialty, filling teeth. But he would not be given +his diploma if he did not know anatomy. His course in the medical +college is the same as that of the physician. It differs in degree, but +not in kind. Such should be the education, to a certain extent, of the +vocal teacher. This education cannot be had from any books now +published. Plain anatomy can be given in books, but the student should +also see the parts described in the subject. He should then examine, so +far as may be, the action of these parts in the living body. He must +then make his own deductions. It may seem strange that that is +necessary, but such is the subtlety of voice culture, that hardly two +theorists agree in their deductions. Until some recognized body of men +decides on definite things in voice culture, reducing one's theoretical +study to practical uses must stand. + +As important as such study, too, is the preparation of the artist mind. +One can teach voice culture mechanically and obtain good result, but be +very deficient in the art of music. It is often said that "Artists are +born, not made." That is a mistake. No man was ever an artist by birth. +Some men may be more appreciative of beauty than others but all men have +enough within them to serve as the basis of artistic education. That +education should be carried to a considerable distance before teaching +is commenced. Almost as soon as the voice is capable of making any tone, +music must be put into study. Appreciation of music itself as an art, +must be a part of the good teacher's preparation. Knowledge of greater +and better music comes from that appreciation with the years of +experience in teaching. If the artist mind has not begun to assert +itself before business is attempted, business will be likely to absorb +the teacher, and he stands the chance of never being an artist. One who +combines scientific knowledge of voice culture and an understanding of +the art of music is well equipped for entering the profession of +teaching vocal music. Only such should enter it. With that as +foundation, the experience of each year will make him a better teacher. +Without that as foundation he will probably remain, vocally and +musically, about where he was when he began. Financial success may come, +but musical success never can. + + +EXPERIENCE. + +A very good reason, but one which individuals can attend to, why we have +so few artists among singers, is that so few take time to gain +experience. There must be many appearances before audiences before the +_amateurishness_ is worn off. Singers often think, when they hear a +noted singer, that they could do just as well as that and perhaps +better, and yet they cannot get professional engagements. It may all be +true, that they can do just as well as the artist, but in appearance and +self-command they may be deficient. Experience cannot come in a day or a +season. If it could what a crowd of singers would become noted. It takes +much time--years of time. One cannot safely feel that he has had +experience enough to place himself among the professional singers until +he has appeared at least fifty times. How many of our readers have done +that? Many visit the large cities and seek engagements who have great +talent and have the probability of complete success in them, but who +have had so little proper experience that their first appearance in the +large city, would be a failure. Managers of experience perceive this +state of affairs and refuse to give engagements on that account. Gain +that appearance necessary to the artist by singing before public +audiences everywhere, at church festivals, benefit concerts, parlor +receptions, college recitals, anywhere where an audience can be +entertained. Study your influence over your audience and learn how to so +express your art in your voice and singing that your audiences are your +subjects. Concert after concert must pass before you know your own power +in song. Year after year will go bye, before it is safe to approach the +critical audiences of large cities. + + +BEFORE AN AUDIENCE. + +When singing before an audience in a hall, do not look on the music. A +glance at it may be made from time to time but keep the eyes off. A +singer appears very ridiculous if he looks on the page. A song is a +story told by the singer in the singing voice. It is not a lesson read +from a book. The story cannot be well told if the singer has only half +learned it. If he is confined to his notes he attracts attention to +himself and that spoils art and the artist. It is best to learn by rote +the music to be sung, and when it can be done, to leave the music in +some place out of the hands. If it must be carried, have it as much out +of the way as possible. A singer of much fame, spoiled his evening's +work recently by fixing his eyes on his music all the time while +singing. This may have been an exceptional evening, but if he does that +all the time, he is no artist, in spite of his repute, and ought not to +receive engagements even if he has a fine bass voice. + + +COME UP HIGHER. + +The man makes the musician as does the musician make the man. The rules +of life which make men better make the musician better. There is a +constant call in life to "Come up higher!" He who has lost the sound of +that call is at a standstill, or rather, since there can be no stopping, +he is sinking from the place once gained. Get within the sound of that +call and heed it. There are no heights so great, but that they form the +base to heights beyond. Music is so rich and full that no man can +understand it all and no man has reached the highest place in it. The +call ever sounds "Come up higher!" Music fills all which contains life, +and uses all materials for its transmittance. The air, a subtle ether, +is filled with a still finer ether, on which sound travels. That ether +is filled with vibration. It is ever present. The connection with it can +be made at any moment and the musical thought can be sent off into +unlimited space, to influence all within that space. To be able to use +this at its best the thought which is musical must be raised to divine +thought. The possibilities in that are boundless. + +Musicians cannot stop. The year may roll around and one may feel himself +doing a great and good work, doing a work which seems to be well +rounded; a work which leaves the musician, as the end of a season rolls +around, exhausted from labor, and ready to say that the end of his work +is reached, that he has gone to his greatest height. Not so, however. +Next year is a height to be ascended, and that of the present moment is +but the base of that greater height. Music calls "Come up higher." + + +CRUDE VOICES EXPRESS NO EMOTION. + +An untrained voice can never have correct emotion expressed in it. The +voice responds as truly to the thought which passes in the mind as does +the leaf bend before the breeze. The singing voice is an extension of +the speaking voice, and since nature planned only for speaking purposes, +in order to have the organs which produce voice in proper condition for +singing, there must be that degree of physical drill which makes the +vocal apparatus able to convey in proper pitch and quality, the thought +of the mind. The untrained voice will not do this. The throat becomes +rigid, the pharynx strained and in-elastic. Emotion cannot be expressed +when the vocal apparatus is thus held. One may have a beautiful natural +voice and he may arouse the enthusiasm of certain of his hearers, but he +cannot, without careful training do a tithe of what he is able to do. +That is sufficient reason for teachers to urge all who sing at all to +place themselves under the best of tuition. All who talk pleasantly have +the power to sing. The exceptions to the rule are so few that they +amount to but a very small percentage. But all who do sing, if they +would rightly use their gift should train themselves to do whatever they +do, well. + + + + +CHAPTER VII. + +AMBITION. + + "Character is the internal life of a piece, engendered by the + composer; sentiment is the external expression, given to the work + by the interpreter. Character is an intrinsic positive part of a + composition; sentiment an extrinsic, personal matter only." + + =Christiani.= + + + + + +VII. + +AMBITION. + + +The very first question to ask of an applicant for vocal lessons is +"what is your ambition?" By that, I mean, the teacher should know at the +very start what purpose the pupil has in study, or if he has any +purpose. The intention of the pupil should make a difference in the +consideration given to the pupil in the matter of voice trial. If an +applicant says he wishes to sing in Opera and the teacher sees that he +lacks all capacity for such high position, he should frankly say so; if +the applicant says that he wishes to learn to sing well that he may have +pleasure in his own singing and give pleasure to his friends, that +should be taken into account. Such person, provided he has any voice and +musical instinct, can reach the height of his ambition and his study +should be encouraged. + +The first visit of an applicant to a teacher is a most important event +in the life of the pupil. The importance of it is not appreciated. To +very many persons it marks a change--a veritable conversion--in their +lives. A mistake made by the teacher with regard to the future of the +pupil is a serious matter. That visit gives the teacher his chance to +plan his treatment and is akin to the diagnosis of the physician. The +pupil places himself in the hands of the teacher as thoroughly as does +the patient give himself over to the physician. The case assumes +importance from this fact. Responsibility by the teacher is assumed. The +musical future of the pupil is in his hands. It may be for the good of +the pupil that he found his particular teacher and it may not be. + +"What is your ambition regarding your music?" is the safeguard of the +teacher. Knowing that, he can have a basis for examination and a ground +for promises to the student. In the large cities, teachers are troubled +with that which would be very amusing were it not for the sad part of +it. Students of music come from the smaller cities and from the country +and begin a series of visits to the different studios for the purpose of +selecting a teacher. Everyone seems to recommend a new teacher and the +student calls upon all. The result is surely disastrous to the pupil. He +or she is left in doubt as to whom to go for study. The different +promises made, the compliments paid, the hopes of ambition raised, are +all enough to unbalance the judgment of older heads than those who +usually seek the music studio. When a teacher is finally selected, it +takes a long time to settle down into confidence in him so that the best +result can be obtained. I said it would be amusing to the teacher were +it not sad. I have known persons to boast that they had had "as good as +a lesson" from the different teachers visited. I even know men who are +teaching voice culture and singing in this city who claim to teach +certain methods, and all they know of those methods is what they picked +up in the interviews which they pretended were to see about arranging +for study. As if any man of experience would give (or could give) his +instruction in a talk of ten or fifteen minutes! The men who have ways +of teaching which are so good that they bring valuable renown are too +shrewd to be caught in any such way as that. What shall be done about +such persons? Nothing. Let them alone. They die out after a time. Were +there any way to prevent other people from following their example it +would be a most excellent thing. But as society is made up, as long as +the flash of a piece of glass passes for the sparkle of a diamond just +so long will the cheater spring up, flourish and disappear. + +A question more to the point is "How can the racing from studio to +studio be stopped?" I frankly say that I do not know. Generally I avoid +bringing up a subject which has not in my own mind reached solution. I +can suggest remedies if not cures. + +By writing about it some little help may be given the student. The +remedy--nearly all city teachers have some special branch, a branch in +which they obtain satisfactory results. One succeeds in Italian Opera, +another in Voice Culture; one in Rudimental Study, another in Oratorio; +one has many pupils in church choirs, another forms delightful classes +of society pupils. "What is your ambition?" Find that teacher whose +general reputation is in that which you want to do and be, and commence +study with him. A very few lessons with that teacher--say ten +lessons--will tell the student whether he is the right teacher or not. +Probably the teacher will prove satisfactory. If not, by that +time--acquaintance with the teachers of the city will permit more +certain selection, the second time. "But," say you, "those ten lessons +have cost something." True, but they have not cost half as much as it +costs to settle an unbalanced mind. + +To return to the first question, what is your ambition? Has it ever +occurred to you to wonder what becomes of all the music students--how +many are there? Who can tell? One teacher boasts of having given four +hundred vocal lessons last month; another caps that by claiming five +hundred. Allow for all exaggeration, and say that these teachers (and +thirty or forty others had as many students at work) had all they could +do. They had from thirty to fifty pupils under study. What is to become +of them, and how many ever amount to anything? The teacher has +responsibility. He who receives every person who applies, especially if +he tells him what a good voice he has and how well he can sing after a +term or two, borders very nearly upon the scoundrel, or else the fool. +If he thinks he can make a singer out of every person who comes to him +he is the fool; if he flatters a person whom he knows can never become a +singer, he is a scoundrel. He who is wise will find out the desire of +the applicant and tell him frankly whether or not he can reach the +desired goal. If he thinks it cannot be done there is no objection to +his pointing out some other channel of musical usefulness and advising +him to enter that. If the applicant has no aptitude for the desired +study the only honest course is to tell him not to waste time and money +on his voice. Any conscientious teacher feels a shudder sometimes over +the responsibility of his position when the thought comes up "what +becomes of all the music students?" We can ask "what becomes of the +pins?" and have the question answered. The material of which they are +made can be supplied anew. "So," say you, "will new pupils come." But +those who are now studying must be made something of. The day they begin +study a new world opens to them. Is it for good or ill? That remains for +the teacher to solve. Every true teacher improves every pupil who +studies with him. Some of them will become good singers and fine +musicians. These are the ones most talked about and the teacher finds +pleasure in the added reputation which they bring, but the others have +the right to demand that they shall be raised to a higher plain of life +because of their music lessons. + +What becomes of all the ambitious youths and maidens who study singing? +Only one or two now and then amount to very much in professional life. +Thousands attempt to be "Patties," but who has reached her height? Some +one is at fault that this is so. Whatever belongs to the singing +teacher, let him assume, but let him keep in mind that there is +something to guard in the future. Over in Milan, ten years or more ago, +while a student there, I met a great many Americans who like myself were +there for study. I was told that at least two thousand American young +ladies were there. Probably more than half of them expected to become +successful singers in grand opera. How many successful singers in grand +opera have appeared during the last ten years? A very few surely. What +has become of the "ninety and nine?" Of that, say nothing. I saw the +wretched lives they were leading at Milan--most of them--and advised, +nay, begged, that they would go home to America and do anything for a +living if they must work, rather than to stay there. Taking in washing +would be much more ennobling than what some of them were doing. Whose +fault was it that so many were there, and that so many are there all the +time? Teachers of singing here at home must sooner or later realize that +they did it. How, when, or for what purpose? Well, much might be said +which will not be. Had an honest expression of the belief regarding the +possibility of gratifying the original ambition been given, very much of +the wrong done could have been avoided. + +One of the reasons why many people try to learn to sing is because some +one has urged them to do so. The person who arouses the interest in +another does a necessary act, and yet there should be a good degree of +caution used in the matter. This article will be read by thousands who +are now students, and as the aim of the magazine is to educate, let us +see what word can be formed in the idea of this paragraph, which will +make students better able to use judgment in inducing others to study. +Do not cease in the efforts to bring others into musical work, but let +your effort be tempered with discretion. When you hear a person sing who +evidently enjoys it, whose face beams with pleasure, and whose voice +pleases her hearers; when, in a word, you hear one who has a voice, and +has intelligence enough to understand himself and his music, then learn +if he has given serious study to music. If not, urge him to see a master +at once. Do not, however, when you hear a person labor through a song, +with act painful to himself and everybody else, urge him to go a +teacher, "and learn how." + +Well, reader, "What is _your_ ambition?" Have you any? If not, get one +pretty soon. I would say that before another sun sets, you should have a +settled purpose in your vocal study and follow that purpose to a +definite end. That matter settled you will do more than ever before. It +is a matter which _you_ must settle. Others may suggest and advise, but +you must decide it, yourself. I would not continue study without a fixed +purpose. A poor purpose is better than none. Shall I tell you of some of +the ambitions which students have, and say a word about them? Perhaps +you will get a useful idea from that. The best use of lessons in music +is that you may know music and how to use it for pleasure wherever you +may be placed. This means that the study should be for education itself +and not for the financial return which the study may bring. Study for +the culture of a beautiful art--for the improvement of the mind, for the +refinement which comes with associating with that which is pure. When +one tells a teacher that this is his ambition, he will in many cases +find that the teacher wishes him to work for something besides. A church +choir is something of that sort. There is no reason why one should not +have other ambitions, but the highest ambition which one can have is to +make himself a musician of the highest and best kind. The whole journey +toward becoming such is pleasant. Whoever goes but one mile along the +road has his reward, and each additional mile brings its additional +reward. Anyone can have this ambition in his study, and he who is most +faithful and has the most intelligence will make the most progress and +do the best in a given time. People who have little or none of that +which is called musical genius can so develop that talent which they +possess that they will be accounted musical. Those who have more can do +almost anything. The class of persons who study with this ambition is +larger, proportionately, in small cities than it is in the large ones. +It is a fact that people are, in many small cities, better educated in +music in which they can participate individually, than are the people of +large cities. The students enter for long periods of study and follow +those studies which do them the most good. With them the ambition to be +musical and to have a good musical education is upper-most in mind. It +is the best ambition to have. Even if no other use is made of the +study, that education well repays one for all the time and money devoted +to it. The choicest moments of life are while directly participating in +music, or while engaged in that of which music is the accompaniment. Our +association with friends in their homes and in our own is sweetened by +music; our tired brains are rested at the concert, the opera, and the +theatre; our seasons of deepest devotion and greatest spiritual delight, +when we are at the house of worship are made more holy because the +sacred words are beautified by music. Every act which can be looked back +upon even to the child days, when the little songs of the school +children were ours, has its embellishment of music. Whatever we do to +increase our appreciation of music, to make us better able to make +music, and to add to the charm of life of our own circle, is profitable. +The good of it comes to us every day, and in addition it prepares us the +better for that higher life to which we are all hastening, because it +makes more beautiful the soul. The ambition to study for music itself +is, then, the best ambition to have. + +The majority of those who present themselves to the city teacher wish to +sing in church choirs. The reason is plain. There is some chance for +financial return. There is also on the part of many a certain sense of +duty to the church which they wish to fulfil by participating in its +services. There are many things to be said on this whole subject and +when such things are spoken it should be with no uncertain tone. The +ambition to become a church singer should be held within certain bounds. +The path to become such and the gratification which comes from the work +accomplished are not such as most persons think they are. Of course the +study to become able to sing in a church choir is altogether delightful. +To prepare the voice so that it can be used as a means of interpreting +the best church music is the best part of voice culture. Tones of good +power, pure quality, evenness, and fair range, are absolutely necessary. +No greater pleasure comes into voice culture than the training to be +able to do just such work. Then the music of the church is satisfying. +There is more to it than the light music of the parlor or light opera, +more that appeals to deep feeling, more with which we can arouse our +hearers. + +With regard to the wish to serve the church by our vocal powers, it may +be said that while that is laudable, it is one that disappears very soon +after one has the chance to put it into practical use. The wish is a bit +of sentiment, and there is nothing like the practical to dispel +sentiment. This brings us to a consideration of the choir and whether +the ambition to become a choir singer is worth anything or not. + +In small places the choir singer is at once a person of some note. That +note which the position gives has a value. The country choir becomes a +sociable club (although composed of only four persons) and the +friendship which each has for the other is a thing to be prized. Country +choirs generally practise enough to have the voices blend and to have +the singing good. There is some pleasure in singing in such a choir. But +does it pay, financially? In some places it does, and he who is in a +paying position in a country choir has the best place of any one in +choir work. How many, though, of those who go to the teacher with the +ambition to study for the choir would feel contented to take such a +place as that? No, they want a place in the city choir, and at large +salary. Have they ability enough to fill such position, and could they +hold the position if they obtained it? The competition for choir +positions in a city like New York is very great indeed. Let it be known +that a vacancy is to occur in any church choir and hundreds if not +thousands of applications are made. Only one person can have the place. +The work of selecting one person out of the many applicants begins. It +is at this point that the student feels the sentiment regarding singing +in church begin to disappear. She feels that she is not being given a +fair chance. She supposes that that which would give her the position is +good voice, good singing and a good character. As sad as it may seem, +she is decidedly wrong. + +That which is wanted in most city churches is "style" in body and dress, +a comely face and vivacious manner. If the applicant lacks these she may +as well not try, no matter what her musical acquirements may be. In +fact, there are many singers in church choirs of New York and Brooklyn +who haven't the least claim to be singers at all. Then regarding pay for +choir singers in these cities. There is very little money in it. +Salaries have been reduced and there are always those content to take +the places at the lower figure. The majority of singers in these cities +get less than $300 a year. Deduct from that the cost of car-fares, extra +clothing, and the little incidentals which count up, and not one half of +that amount remains as income. That does not pay to work for. The time +and labor used in earning it could be better used in something else. A +better money return could be had from that time in a dozen different +things by any person who has ability enough to become a singer in a city +church on salary. Nor is the possibility of obtaining a greater salary +in later years to be taken into account. If an increased salary does +come increased expenses come with it. Even if, after years of waiting, +the student makes herself a fine singer and is competent to take a high +place, she finds herself set one side for a fresh face and a new voice. +That is a picture which is not pleasant; but which is true to life. + +One may ask if there is no work in choir or church for which one can +prepare himself and which will be pleasant and desirable. Yes, in two +directions;--first, when one is so trained that she is very desirable as +a solo singer--one who can sing sacred songs well--she can find a +position in which she has this and no other work to do. She then avoids +competition, because her fame attracts the church to her. She has no +long and trying rehearsals and she can be an artist as well as a church +singer. But how many years of study this takes! Is your ambition equal +to it? The second line of pleasureable work is, that of the +choir-leader. Unhappily for singers, in most of the city churches the +organist is made choir-leader; even in the vested choirs of the +Episcopal church. This is not well for the choir or the church, but we +must take things as we find them. When one is competent to superintend +the music of the church and can find a choir to take charge of he is a +happy singer. These two positions--of professional choir soloist and of +choir-director--are the only satisfactory ones in the large cities. + +In connection with this it may be said that if one wishes to take a +prominent position as concert singer it is almost necessary that he +should hold a church choir position. At least he needs that until his +fame as a concert singer is great. Managers of concerts in various +sections of the country ask the very first thing, "Where does he sing?" +If he is connected with a city choir he is placed. The choir gives him +position. + +Concert singing is the field most widely opened and most easily filled +of any to which a singer can aspire. Every year the concert field +broadens. The so-called "grand" concerts of the last generation have +disappeared, and that is better for the singer. Concert singing is more +thoroughly a business and it is one worthy the ambition of any vocal +student. Not that it is always pleasant business--what is, for that +matter?--but it is something which can be entered upon on business +lines, and one can make a place for himself in it. His first work is, of +course, vocal and musical preparation. He should begin as soon as he can +sing well enough to appear before an audience at all, to sing whenever +and wherever he can get the chance. This is for practice and not for +pay. No one ought to expect pay before he has sung at fifty or sixty +entertainments without pay. He must have that amount of practice on his +audiences. If he has improved his opportunities his name will be known +by the time that period of experience is over and he can then begin to +demand a small fee. The smaller the better for him. He can then begin +to send his name abroad as an applicant for more remuneration. Step by +step he can improve in ability and increase his income. It is a work to +which all can be directed. It takes years to make any goodly success at +it. Three years are needed to make a good beginning, but when one looks +back over a life, three years of preparation do not seem long. + +With regard to singing in opera and theatre a word can be given at +another time. An outline of what might be said is this:--grand opera is +very limited, and only few can become opera singers in grand opera; +light opera presents a good field for the gratification of ambition, +under certain conditions; the theatre presents a good field for +vocalists to those who feel inclined to enter theatrical life. + + + + +CHAPTER VIII. + + +MUSIC AND LONGEVITY. + + "_Were it not for music, we might, in these days, say the beautiful + is dead._" + + =D'Israeli.= + + "_I verily think, and I am not ashamed to say that, next to + Divinity, no art is comparable to music._" + + =Luther.= + + + + +VIII. + +MUSIC AND LONGEVITY. + + +Perhaps no one chooses to question the statement that length of human +life is greater in our generation than it was in the last, and much +greater than it was one or two centuries ago, in the face of statistics +which the medical profession puts forth. Question of such statement +implies a hidden motive in the medical profession. Possibly that +profession might have a motive in leading people to believe that life +lasts longer. If there is such motive it is for the good of men. It also +recognises the influence of mind over matter as a preserving force. +Doctors are anxious more than can be imagined to do all they can for the +benefit of mankind. No class of men (or of women, since we have women in +the profession) strives harder to do good. Their very code of ethics is +based on self-sacrifice. The inventions, the discoveries, the devices +which that profession now uses are such as bewilder and astonish one who +only now and then has a chance to see their work. But a generation ago, +and the sick man was loaded with charge after charge of drugs. It was +only the generation before, that the sick man was bled in great +quantities for every ailment. That was a change from generation to +generation. But a little while ago a new school of medicine sprung up in +which drugs were almost wholly discarded. Attenuation to the thousandth +or even the five-thousandth part, was used, and when drugs are so +attenuated, there is not much left to them. Such success has attended +the homeopathist that he must be recognised. Who shall say but that +another step may be taken or has been taken, in dropping the use of +drugs and medicines entirely? + +All these schools and schemes have borne their part in prolonging human +life, or more properly speaking, prolonging life in the human body. + +It is but recently that the influence of music in the cure of disease +has been given professional thought. Its influence has been known for a +long time but has not been properly placed and appreciated. This +discussion may be the one thing to bring it before the world. + +Metaphysics--That is a word which we hear from mouth to mouth, nowadays. +What does it mean? Briefly "the scientific knowledge of mental +phenomena." We have almost come to think that it is something mythical, +or even relating to the supernatural. But it is "_scientific +knowledge_." Even our magazines which talk upon "Psychical Research" +drift off into spiritualism and hallucinations. The writers do not keep +to the text. Metaphysics is a science--and that science which deals with +the most real and tangible. It deals with phenomena. It deals with mind +itself. Now, mind is tangible and real. It is that part of us which came +from the Creator--was from the beginning--has no end--and is in these +bodies of ours for a time only. Which from this definition, is more +tangible? Mind or body? There is no longevity to mind. From eternity it +came--to eternity it goes. No measure can be applied to it. Body, that +which we see and handle and in which we believe mind to reside, is quite +another thing. It begins--it lasts for a time, ever struggling against +forces which tend to destroy it--and drops at last into Mother Earth or +the elements. That which we try to prolong is the existence in living +condition, of the body. The keeper of that body is the mind, and +whatever is done successfully to that body is done through the mind. +Medical treatment is well enough in its place, and I am not to quarrel +with the man who wants to use that, but mental treatment, (and I do not +choose to be classed with the various isms now before the public which +have grasped one corner of the subject and are tugging away at that) is +the one thing by which and through which the body is to be affected. By +that is human life to be prolonged. + +Music affects the mind. If it affects the body it does it through the +mind. We say, when the dance begins that we can't keep still. What is +the "we?" Our bodies. Not at all. Our mental perception is alert, and it +recognises the vivacity of the dance and responds to it. In a moment the +body answers the mind and whirls out over the floor in rhythm and in +sympathy with the musical action. Again music seeks the minor thought +and we are subdued into seriousness, or maybe, worship of the beautiful, +the good, and God. Was it the body, fighting against disease and death +which thus responded? Not at all. The mind, in which there ever rests +the appreciation of all that there is in God, (and that includes beauty, +bounty and truth) felt itself influenced by the music. That influence +was extended to the body. You cannot enter good without getting good, +mental and physical. + +There is nothing which has the tendency to reduce the average of human +life as much as debauchery. That causes early decay. That wears out the +body. That nourishes the seeds of disease. But, say you, if mind is the +controlling force over the body, metaphysics over physics, why cannot +one engage in any wildness which he chooses to fancy, and enjoy life. A +gay life and a merry one. Are we to come down into soberness and +somberness to preserve these bodies of ours? Can't we look back into the +days of a jolly good dinner with a draught, deep from the pewter pot, of +nut-brown ale, can't we joke with every pretty face we see, whether +under a bonnet or not, can't we even become Falstaffs, if we feel like +it, and yet keep ourselves alive to the full of days, if mind can +control body? Yes, yes! But can mind stand such things--can mind keep +itself in touch with the source of what is Good, in such conditions? If +it can, enjoy all debauchery. If not, for the preservation of self, keep +out of it. Now there are various kinds of debauchery, and not the least +of these is music itself, wrongly used. And herein lies the point which +I would make. Herein lies the point of the practical, or you may say if +you choose, the didactical, side of the question; the point where our +music touches our longevity. Music of the intellectual kind is the only +music which can have ennobling influence upon the human mind and keep it +in equipoise. The dance, the sentimental, the pleasing, has its place I +admit. But to the musician that which lacks the scientific, lacks +everything. How many of us care to attend a concert, an opera of the +light vein, or that of a brass band, as perhaps we once did? That +pretty, catchy song, let it be sung ever so well, has lost an awakening +influence upon us. Even a Patti is gone by to us. We call a pianist +old-fashioned. Is he really so? Are not we becoming new-fashioned? Are +not we becoming so keenly alive to the intellectual that, unless we +watch phrases and periods, theses and antitheses, sequences and +cadences, melody against melody, we have no satisfaction in music. Then +we run from music to music trying to hear some new thing, until we +become almost unbalanced in mind. We become hyper-critical, sensitive to +faults, irritable over remissnesses, until those conditions become a +part of our disposition, and the musician becomes the crank. That is +musical debauchery and I contend that that will shorten the life of any +man. Which leads me to ask the question, can there not be such a thing +as an overdose of music, just as there is an overdose of drug? And does +it not behoove us, now that we have started a medico-musical-mental +treatment of this poor body of ours, to beware lest we shorten its +existence rather than prolong it. + +But _Art_--that which calls for the highest in man--must surely be a +benefit to man. Mrs. Rogers says "Those who approach art because art +first reached out its arms to them, and who approach it on their knees, +with faith, with hope, with love, with religion, thinking not of self, +nor of aught that shall result to them from their devotion to it, but +that only through art, they may utter truth, and so fulfill art's real +purpose, and with it the highest purpose of their own life--those shall +indeed know the blessedness of power, of growth, of inspiration, of +love." Such art as that carries the mind down to the centre of all +things from which all good springs. That centre is Life. That life has +for its great attribute the re-cuperation--the re-creation of all which +it touches. The dwelling of that life--the body--is, by art such as that +which that noble writer just quoted describes, made young every day and +its days are prolonged on the face of the earth. This may be ideal +to-day, but so many times has it been true, that "the ideal of to-day is +the real of to-morrow," that even this may be the tangible medicine of +the next generation. + + + + +CHAPTER IX. + + +ACTIVITY. + + "_Life is a series of surprises. We do not guess to-day the work, + the pleasure, the power of to-morrow, when we are building up our + being._" + + =Emerson.= + + "_Chase back the shadows, grey and old,_ + _Of the dead ages, from his way,_ + _And let his hopeful eyes behold_ + _The dawn of Thy millenial day._ " + + =Whittier= + + + + + +IX. + +ACTIVITY. + + +Fortunately, no two persons are exactly alike. If they were, the result +would be the same and the everyday acts leading to a result would be the +same. Nature, acquiescing in the Divine plan, has a different line of +action and result for every individual which she creates. We find +unlimited variety in man. The seat of activity is the mind and the first +portion of the body to be acted upon by the mind is the brain. One man +possesses more convolutions of brain than does another, and the fibre +which extends from the gray matter to manipulate the many organs of the +body which we constantly use is finer in one organism than in another. +We recognize differences in classes of people and call one class +nervous, and another, phlegmatic. So strongly are we influenced by +public opinion that we honestly believe that a "slow" man cannot reach +so great result in a lifetime as can a "quick" man. General opinion is +usually wrong and it most certainly is in this case. Nature has a work +for each kind and each individual to do, the summing up of which, is the +result of that life, and if the gifts of each individual have been +properly used the result is success in life. It may be believed that the +usefulness of each individual, if the life of each is perfectly carried +out, will be equal to that of all others. The _apparent_ success may not +be _real_ success. + +The active brain directs a responsive body. The more active the brain, +the more active can the body be made. To make the body useful at all, +the motion of its members must be well understood and perfectly +commanded. Herein lies the secret of success or failure. All want--not +wish--success. (A wish may be a whim.) The saying "One thing at a time, +etc.," has become obnoxious to us years ago, but in the idea contained +in that lies the path to greatest activity. The active mind spreads +itself. It schemes. All the plans which it suggests seem possible. Why +not carry them all out? Merely because life is not long enough, nor +mental and physical endurance strong enough, to do even the preliminary +work of one tenth of the schemes which can come to an active mind in one +day. Cut them all off. It might be well to say "First come, first +served," and take the first which comes and carry that to success, +concentrating all thought and force upon its accomplishment. It may be +a Higher Power which put the thought of that plan _first_ into mind. + +Yet more narrowly would we draw the line which surrounds our activity. +One must make the most of his force and strength. In the case of every +man, woman and child living there is enormous waste of power. Much more +is wasted than is used. We have in years past stood beside Niagara and +thought if that power, apparently going to waste, could be used for +moving machinery it could run the mills of the world, forgetting, or not +knowing, that, in getting to the Falls, we wasted enough mental and +physical force to run our human machinery for a week. The thought flew, +changing probably twice a second, to how many different things in the +hour before. Computation is easy. In the sixteen working hours of a day, +perhaps, we think of 2000 things. Isn't that wasteful? Before the true +plan of nature is carried out some (if not three-quarters) of this waste +must be prevented. What has the body done in the hour before reaching +Niagara? The hands have wandered aimlessly, the feet have tapped the +floor, the watch has been looked at a dozen times, the hat taken off and +put on again, the card-case opened, half-looked at, and shut, and each +act, with twenty more, has been repeated again and again. It was waste +activity. It must be overcome. Nature never intended you and me to be +wasteful. These actions of mind, brain and body, are useful in their +places, but we misuse them, using up strength and power. Night comes and +we are tired out, or think we are, which amounts to the same thing. Who +said "One thing at a time" was obnoxious to him? To gain our greatest +power we must bring ourselves down to "one thing at a time." Put your +mind on that one thing. Are you sharpening a pencil just now? Don't read +a book at the same time. Are you placing your hat on your head? Don't +brush dust off the coat. Are these things trivial? Nothing is trivial in +nature's plan. Do not, in impatience, without trial, cast aside these +suggestions. Even give one hour each day for one week as a trial to +doing what you do, perfectly, and think of it as a trial. The increased +result in mental and physical activity will demonstrate the wisdom of +the advice. + +Strength is essential to successful labor. Wildly beating the air in +undirected effort is the element of greatest weakness. We smile at the +antics of two chickens in their fight in the farmyard. In a few minutes +they wear themselves out and go off to rest. Are not we much like them? +Do we not use up our strength in useless effort? Then, how often we rush +off to the gymnasium or to the drug-store in the vain hope of regaining +our strength. New strength is not to be found in either place. It is +within ourselves all the time. Stop the expenditure and permit +re-cuperation through concentration. Don't go lie down. Don't take a +nap. Stop right where you are and bring the thought down to one thing, +_strength_. For the moment allow the body to remain still. Think +strength, desire strength, command strength! It is yours. It belongs to +you. It is all around you. It will take possession of you if you permit +it. What say you? That it will not come at your bidding? Are you sure? +Have you cleared the mind of the cobwebs--the two different things per +second which can come into it? Have you? Until you have, don't give up +the test. Concentrate the thought upon strength, if that is what you +want, and it will come. + +Impatience is waste. You cannot afford it. It is too expensive. We are +all children. We see a toy and we must have it instantly, even if it is, +as it often is, a sharp tool, which cuts our hands. If that which we +wish belongs to us, or is to be given to us, it will come in its time. +We wish to do something _now_. We haven't the means, or we don't see our +way clearly to do it. We bemoan our hard luck, and can't see why we +can't have it. Just so does the child about the toy. Wait patiently, and +if, in nature's plan, the thing is to come to us, it will come, and we +can't prevent it. It will seem as if it came itself. Impatience merely +wears us out and uses up strength which nature wishes us to use in some +other way. Obey nature and carry out her purposes. + +Activity which is useful, comes through directed effort. There may be +_seeming_ activity which is worse than sluggishness, and which is +certainly not desirable. Directed effort comes best through calm mind +and responsive body. Silence and quietness, self-imposed, prepare the +way to directed effort. Cease everything, even thinking, so far as it +can be stopped, and remain passive thirty seconds. Then another thirty +seconds. Who cannot take one minute out of each hour in the day for +preparing the mind and body for greater strength and activity? When +night has come and we lay the body down to rest there are a few minutes +when it can have the best preparation for the activity of the next day. +The few minutes before sleep carries us into unconsciousness are dear +and sweet minutes, if rightly used. Then can the thought, which has been +sent to thousands of things during the day, be brought back to its +proper place. It should be centred upon one thing. The estimate is that +the mind cannot be kept on one thing more than six seconds; but it can +be returned to that one thing for several periods of six seconds each. +We do not have the chance to return it many times, for sleep seizes us. +Let the thought selected be a pleasant one; of some happy spot or view; +a sunset or refreshing shower. It is better to select something from +nature rather than man, for such thought is likely to be unalloyed. The +last thing at night, if pleasant, tends to give us the calmest rest and +best prepares us for the next day. The well and strong body can be +active and the temperament of the individual makes comparatively little +difference. In this we may all take courage. Every thoughtful person has +had an occasional sad thought over his apparent impotence. No one need +use less than his normal strength and activity. + + * * * * * + +Corrections made by the etext transcriber: + +There has, however, ways of procedure been planned which must shorten +the trip.=>There have been planned, however, ways of procedure which +must shorten the trip. + +Fortunately, no two persons are exactly alike. If there +were=>Fortunately, no two persons are exactly alike. If they were + + + + + +End of Project Gutenberg's Seed Thoughts for Singers, by Frank Herbert Tubbs + +*** END OF THIS PROJECT GUTENBERG EBOOK SEED THOUGHTS FOR SINGERS *** + +***** This file should be named 37662-8.txt or 37662-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/6/6/37662/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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: Seed Thoughts for Singers + +Author: Frank Herbert Tubbs + +Release Date: October 7, 2011 [EBook #37662] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK SEED THOUGHTS FOR SINGERS *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + +<hr class="full" /> + +<h1><a name="page_001" id="page_001"></a></h1> + +<p class="figcenter"> +<a href="images/cover_lg.jpg"> +<img src="images/cover.jpg" width="366" height="550" alt="image of the book's cover" +title="image of the book's cover" /></a> +</p> + +<h1>SEED THOUGHTS FOR SINGERS.</h1> + +<p> +<br /> +<br /> +</p> + +<p class="cb">BY<br /> +<br /> +<br /> +<b>FRANK HERBERT TUBBS,</b><br /> +<br /> +<i>Musical Director, New York Vocal Institute</i>.</p> + +<p> +<br /> +<br /> +</p> + +<p class="figcenter"> +<img src="images/colophon.png" width="150" height="56" alt="colophon" title="" /> +</p> + +<p> +<br /> +<br /> +</p> + +<p class="cb">NEW YORK,<br /> +FRANK H. TUBBS, 121 WEST 42D STREET.<br /> +1897.</p> + +<p><a name="page_002" id="page_002"></a></p> + +<p><a name="page_003" id="page_003"></a></p> + +<p> +<br /> +<br /> +</p> + +<p class="c"><i>Copyright, 1897, Frank H. Tubbs.</i></p> + +<p> +<br /> +<br /> +</p> + +<p><a name="page_004" id="page_004"></a></p> + +<p><a name="page_005" id="page_005"></a></p> + +<h3><a name="PREFACE" id="PREFACE"></a>PREFACE.</h3> + +<p>There are times when one feels that he must turn from himself and +receive suggestion, if not direct instruction, from some one else. +Originating thought is more difficult than is the taking of other +thought. By delving below the thought received we learn to originate. It +is not necessarily an admission of weakness, that we turn to another, +for busy life uses up our mental energy and throws us into mental +inactivity. It is at such times that we turn to books and teachers.</p> + +<p>Thought is a substance which, as such, is only in our day being fully +investigated. It is the expression of an idea and is the direct cause of +all action. The slightest movement is made possible only through thought +on perceived or unconscious mental activity. The more thoroughly +directed actions are the expression of considered thought. Habit and +movement by intuition are expressions of undirected thought. Changing +from the latter condition to that of planned or considered action makes +all action stronger and more definite. The thinking man becomes the +leader of men.</p> + +<p>"Seed-thoughts" are such as produce other thoughts. Hardly have we +reached the realm of ideas. It is a step—not long, yet +well-defined<a name="page_006" id="page_006"></a>—from thought to idea. This little volume does not propose +to take that step. It is content to stop, in all modesty, at that place. +Its suggestions are sent out to busy teachers and students to lodge in +mind as plantings in good mental soil. That they will take root, spring +up and bear fruit, is fondly hoped. What the harvest of thought in +others may be is idle to speculate upon, but the hope exists that there +may be two or three times the amount used in planting when all shall +have been gathered in. In this hope the "Seed-thought" is sent on its +mission.</p> + +<p class="hang"> +121 West 42d Street,<br /> +New York.</p> + +<p><a name="page_007" id="page_007"></a></p> + +<p> +<br /> +<br /> +</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="INDEX" +style="max-width:70%;"> +<tr><th colspan="3" align="center"><a name="INDEX" id="INDEX"></a><big>INDEX.</big></th></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_I">I.</a></td><td>—Success.</td><td align="right"><a href="#page_011">11</a></td></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_II">II.</a></td><td>—Desultory Voice Practice.</td><td align="right"> <a href="#page_027">27</a></td></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_III">III.</a></td><td>—Alere Flamman.</td><td align="right"> <a href="#page_043">43</a></td></tr> + +<tr><td> </td><td>Every one Can Sing, <a href="#page_043">43</a>; Sustain Perfectly, <a href="#page_044">44</a>; Care of Body, <a href="#page_045">45</a>; Friends +Can Help, <a href="#page_048">48</a>; Renew Thought, <a href="#page_049">49</a>; Speaking and Singing, <a href="#page_050">50</a>; Associates, +<a href="#page_051">51</a>; Purity of Method, <a href="#page_052">52</a>; Mental Recovery, <a href="#page_053">53</a>; Profession or Trade, <a href="#page_053">53</a>; +Heart and Intellect, <a href="#page_054">54</a>; Time Ends Not, <a href="#page_055">55</a>; Power of Thought, <a href="#page_056">56</a>; Nature +Seldom Jumps, <a href="#page_058">58</a>; Be Perfect, 5<a href="#page_009">9.</a></td><td> </td></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_IV">IV.</a></td><td>—Perfect Voice Method. </td><td align="right"><a href="#page_063">63</a></td></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_V">V.</a></td><td>—A Paper of Seeds. </td><td align="right"><a href="#page_079">79</a></td></tr> + +<tr><td> </td><td>Analyze Songs, <a href="#page_079">79</a>; Fault Finding, <a href="#page_080">80</a>; Recover from Mistakes, <a href="#page_080">80</a>; Songs +for Beginners, <a href="#page_081">81</a>; Criticism, <a href="#page_082">82</a>; Wait for Results, <a href="#page_083">83</a>; All Things are +Good, <a href="#page_084">84</a>; Little Things Affect, <a href="#page_085">85</a>; Musical Library, <a href="#page_086">86</a>; Change of +Opinions, <a href="#page_087">87</a>; Reputation Comes Slowly, <a href="#page_088">88</a>; Study Poetry, <a href="#page_089">89</a>; Mannerisms +Show Character, <a href="#page_090">90</a>; Provide for the Young, <a href="#page_091">91</a>; There are no Mistakes, +<a href="#page_093">93</a>; Regularity, <a href="#page_094">94</a>; Assert Individuality, <a href="#page_096">96</a>; Educing, <a href="#page_097">97</a>.<a name="page_008" id="page_008"></a></td><td> </td></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_VI">VI.</a></td><td>—Cuneus Cuneum Trudit.</td><td align="right"> <a href="#page_101">101</a></td></tr> + +<tr><td> </td><td>Vocal Tone, <a href="#page_101">101</a>; True Art is Delicate, <a href="#page_104">104</a>; Words and Tone Should Agree, +<a href="#page_105">105</a>; Preparation for Teaching, <a href="#page_108">108</a>; Experience, <a href="#page_111">111</a>; Before an Audience, +<a href="#page_112">112</a>; Come Up Higher, <a href="#page_113">113</a>; Crude Voices Express no Emotion, <a href="#page_114">114.</a></td><td> </td></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_VII">VII.</a></td><td>—Ambition.</td><td align="right"> <a href="#page_119">119</a></td></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_VIII">VIII.</a></td><td>—Music and Longevity.</td><td align="right"> <a href="#page_137">137</a></td></tr> + +<tr><td><b>C<small>HAPTER</small></b> <a href="#CHAPTER_IX">IX.</a></td><td>—Activity.</td><td align="right"> <a href="#page_147">147</a></td></tr> + +</table> + +<p><a name="page_009" id="page_009"></a></p> + +<h3><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.<br /><br /> +SUCCESS</h3> + +<div class="blockquot"><p><i>"I am what I am because I was industrious; whoever is equally +sedulous will be equally successful."</i> <b>Bach.</b></p> + +<p><br /> +<i>"To steer steadily towards an ideal standard is the only +<a name="page_010" id="page_010"></a> +<a name="page_011" id="page_011"></a>means +of advancing in life, as in music."</i> <b>Hiller.</b></p></div> + +<p> +<br /> +<br /> +</p> + +<p class="cb">SEED-THOUGHTS<br /> +FOR SINGERS.</p> + +<h3>I.<br /><br /> +SUCCESS.</h3> + +<p>A few decades ago a clumsy, lank, raw-boned boy roamed over the hills of +the State of Ohio. He was not marked with the talent of many, nor was he +noted for anything in particular except, perhaps, an aptness in "doing +sums." Bare-footed, and with scanty clothing, he appeared at a school in +a village near his home and begged admission. At first he was refused. +Persistence overcame the opposition and he entered, becoming in a short +time by his application, the leading spirit in the school. The course of +study there being completed, he went to an office across in Delaware as +a clerk. That year, the Representative to Congress from Delaware, when +about to appoint a youth to enter the Naval Academy at Annapolis, +announced a competitive examination.<a name="page_012" id="page_012"></a> The country lad competed and +secured the prize. Friends whom he had made raised funds for the +necessary uniforms. At the end of his course a good appointment in the +navy followed. Visits to various countries gave him command of three +languages. A change to shore duty permitted him to study law. At a +recent courtmartial trial at Brooklyn he served as advocate for the +Government so acceptably that he has been offered and has accepted, +membership in one of the largest law firms in New York. The change from +the rough lad to the cultured advocate indicates success.</p> + +<p>On a bench in an old-fashioned shoe shop sat a young man working at his +trade. A singing teacher, passing along, noticed the rich voice of the +young man, singing as he worked. The teacher inquired where he sang in +church and if he sang in public. Learning that the young man sang +no-where, had had no instruction or education, and lacked even the +clothes necessary to a respectable appearance, he interested himself in +the youth and lived to see him become the leading oratorio basso of +America. Success! You will say these two had great natural gifts, all +their faculties, and had friends. Another case: A boy at six, was left +as a result of scarlet fever, stone blind. Nor has he since seen a ray +of light. A necessary faculty to success gone, is it? To-day that young +man is one of the<a name="page_013" id="page_013"></a> best musicians and singers; getting $1,500 for his +choir singing. Success.</p> + +<p>There is within each and every one <i>that ability</i> and <i>prime element</i>, +which, properly commanded and developed, <small>COMPELS</small> success. But few +understand themselves or realize the power within them. Without +comprehension of what is within, no start toward success can be made. A +reason for absence of comprehension lies in the fact that but one side +of self is ever seen, and that side is the grosser one. The body—a +head, a trunk, arms and legs. These we see with our physical eyes and +call the object, man. We incline to think if these parts are comely, +well shapen, strong, beautiful, the possessor may march on to success. +"Trust not to appearance." Were the body the root of all things, or of +especial worth, the race would be to the swift, the fight to the strong. +But that seen, felt, heard, is not the real self. Within the body, as a +dweller and a motive power, is the ego, the real self. It is that and +that only which can be developed and which possesses those attributes, +compelling, bye and bye, success. It is that which must, to some degree, +be understood. <i>Be the body what it may</i>, the real self has the power of +expression and improvement. That real self will be spoken of as the ego, +and its power considered.</p> + +<p>There enters into existence at birth or early in life an indefinable +something. We term it<a name="page_014" id="page_014"></a> soul, spirit, mind. When we meet or associate +with a person, in a short time we recognise that mind. At first we may +notice the body or even the dress and be influenced by it. In time we +see back of that outward covering and see the mind behind it. After, we +forget the body in the acquaintance with the mind. A homely person +becomes illumined with new life. A beauty loses attraction. We have +learned to know the ego in our acquaintance. That ego we come to know as +all there is of the acquaintance. A dozen bodies in the dissecting room +of the medical college are almost exactly alike. More alike than are the +suits of clothes cast off last year by a dozen men. The ego from a dozen +men will have small point of resemblance. The ego has so many +characteristic elements that it makes possibility of development, +throughout the years allotted to man while passing over the earth's +crust, <i>into</i> <small>ANYTHING</small>. The body is the home of the ego and the tool for +its development and action. Train the body to ability to respond to the +demands of the ego, and keep it healthful, and no more can be done with +it. For now nothing more need be said of the body. In speaking of the +cause of non-success, limited success or disaster, reference to it will +be made.</p> + +<p>Attributes of mind lead always in the direction of progress. Ego, mind, +real self, is God within us. "He breathed in his nostrils the breath of<a name="page_015" id="page_015"></a> +life and man became a living soul." That "breath of life" is God. That +cannot tend downward. The attributes of God are the attributes of the +ego. Love, thought, sympathy, ambition, helpfulness, desire for +refinement, culture, expansion—these are such attributes. Is any mind +lacking these? If we say yes, look within ourselves and see if they are +lacking in us. Accord the same faculties or attributes of mind to each +of our fellow men. These attributes cultivated will cause growth of the +ego as surely as it is that God liveth and we are in Him. But this +growth makes the ego greater and by its reaching out after the things of +the world and taking them to itself, produces that which we term +success. Understand, then, the ego. Grow it. Reach and possess. These +attributes are the forces within each and these forces are the elements +of success.</p> + +<p>But, asks one, what is the bearing of this on our study and on our +singing. It has been plain to me as a teacher, and it grows stronger +every year, that all success in singing arises from a comprehension of +the ego within us, and the cultivation of these attributes bearing +directly upon singing and music. Three only of those attributes may be +considered now.</p> + +<p>First,—ambition. What would you become? Yes, a musician and singer. +Consult one who knows your body better than you and enough of<a name="page_016" id="page_016"></a> your mind +to judge well, and if he says you may become one, plan your life work to +making your ambition gratified. Aim high. But few persons lack the +capacity of singing well. The goal of most is that, to sing well. At +home only, it may be. For friends, and for self-pleasure. Others would +become professional artists. Aim at the highest and best. No ambition is +too high and, provided we will cultivate the ego, no ambition will +remain ungratified. Do not be modest in expectancy. Nothing is too good +or too high, too great or too noble for the God within us. Therefore +plan large things.</p> + +<p><i>Second</i>—thought. Having planned a broad campaign and having resolved +on faithfulness, bend the thought toward the result. Now, thought is not +the subtle nonentity we let ourselves consider it. The text of a book +recently examined is, "Thoughts are things." Thought is an emanation of +the ego; a messenger of the mind. We shoot thoughts out by the thousands +and millions. Generally we fly them at random. If they strike a mark we +gain a result. Stop shooting them at random, aim correctly, hit the mark +each time and each thought brings a result. Pure thought, the thought +from the ambitious ego, is upward, and when centered, concentrated on +the plan which ambition has prompted, it carries that plan +onward—upward—to the end, <i>success</i>. Concentration of thought,<a name="page_017" id="page_017"></a> say +you? Do we not have it? Let me ask you to fix the thought on one object +five seconds. Tear this paper slowly from end to end and think of +nothing else while doing it. Probably the thought during the five +seconds will embrace a dozen things besides the act of tearing. Of what +paper is made, how far apart the lines are, be the texture fine, how +much does it cost, some other paper bought last week, where you bought +it, the salesman who served you, what a frightful rainy day that was, +how you caught cold and what a scolding you got at home for being out—a +long way from the act of tearing. The first thought is lost. +Concentrate. Acquire the habit of concentration. In nothing more than in +thinking should we say, "Do one thing at a time." Concentration of +thought makes steady growth of the plan of ambition's suggestion and +moves it on to success.</p> + +<p><i>Third</i>—expression. Every growth produces another. Emerson says in +substance that the end of every act is but the beginning of another. It +used to be said that if a man made $5,000 he was sure to become +rich—meaning that the money invested and reinvested, and added to by +constant earning, would surely bring wealth. Every growth of attribute +of mind, be it of those mentioned or of others, develops possibilities +of further growth. Love, a powerful attribute of the ego, first circles +in the home, then expands<a name="page_018" id="page_018"></a> into the circle of friends, then reaches the +business, society, the world. One begins by caring for the want of a +hurt bird or other pet. He ends by raising and healing mankind. One +quietly slips a few pennies into the hand of an unfortunate. He ends by +being a philanthropist. One speaks a kind word. He ends by raising the +fallen. These, you see, touch upon sympathy, helpfulness. Each attribute +expands. Have you followed? Isn't this true? How, then, about desire for +refinement? If the others expand, will not that? A noble thought, an +association with the pure in art, and beauty in poem, story, song, sky, +flower, but leads us to another even more beautiful. Each touch of +beauty, of docility, of refinement, expands that line of our ego, and we +feel ourselves raised, drawing nearer and nearer that great Mind, and +keeping us more and more in that grace which passeth all understanding. +The end <i>must</i> be success in our plan. Mental growth means more power to +grasp and wrest from circumstances and the world itself, successful +prosecution of the plan which ambition framed. Successful prosecution +means ultimate success.</p> + +<p>In mind I hear some one say, this is good theory and a beautiful +picture. What of it is practical enough for my mind. Let us turn for a +few minutes to a darker side and then again to the brighter, and see if +a practical word does not<a name="page_019" id="page_019"></a> exist for each. What prevents success, and is +there false success?</p> + +<p>A few minutes ago I spoke of the bodies which the ego inhabits. Those +bodies possess attributes and faculties. St. Paul said once that he +would be out of the body and be in the spirit; meaning, as I believe, +that he would rather live in the ego, and not be hindered by the body. +The body must be fed and clothed. It has appetites. Appetite grows, +requiring more delicacies, higher spiced and richer food, and perhaps +more food. Clothing takes much attention, and develops pride and vanity. +Has not each said many a time, "If I but had time to attend to study and +did not have to attend to my clothes, my food, and take the time to earn +money for them, I could do so much"? True, but the body is here and if +these things are not done, the ego would have no home in which to stay. +The care of the body is necessary. Cannot, however, even these necessary +demands be somewhat reduced for the sake of attending to the ego within, +more fully? If not, cannot the appetite and the pride, which, after all, +give no satisfaction when all is done, be so held in check by care and +reasonableness that the demands of body will not grow upon us? After +all, those necessary demands of body, grown abnormal, or into the +unnecessary, are not so bad as other attributes of body. Laziness! Light +gossip! Fretting! Uncleanness! Disease!<a name="page_020" id="page_020"></a> These things <i>can't</i> be part of +the ego, for the real man is the "breath of life"—God. They must be of +body. They are the things which play havoc with our time, our energy, +our thought. It is a commonly accepted belief that man must be now and +then on the sick bed. That commonly-accepted belief is slowly but surely +disappearing before the fact that the body only becomes diseased as it +is neglected, overfed or attacked by bacillę. If a plant dies we look +for the worm at its root, or the insect on the leaf. If it has had good +soil, earth and sun, we expect it to flourish. The body is the same +material—dust. Attend it, not abuse it, and except from contagion it +will serve us without disease. Solomon said, "Know thyself." Maybe he +meant know to care for the body. When this is done the ego is allowed +its chance to go to success. Without it, the body, full of appetite, +pride, hatred, laziness, envy, fretfulness and disease, weighs with +compelling force, the ego down to earth. Instead of success follows +failure. Emancipate the ego from the body before even planning. This +body and this alone can cause failure. A success arising from a pretty +face, a good figure, graceful dancing, agile singing and trifling speech +is false success and is worse than failure. How about circumstances and +their influences? Surroundings. They surely effect us. Yes, but just so +surely as the ego throws<a name="page_021" id="page_021"></a> off the lower self, within the body, and +resolves to rise, just so quick will the circumstances and surroundings +begin to change. Just so fast as the ego develops its attributes just so +fast will appropriate circumstances and surroundings for its further +growth open. Like begets like. Water seeks its level. Seek low things on +bodily planes and low friends will surround you. Like is with like. +Raise yourself a peg and you will find those with whom you can follow. +Your old associates will not go with you, and some will call you mean +and cry, "Come back," and try to pull you back. Bid them adieu and go +higher. <i>New</i> surroundings are there and will make a place for you in +them. The past becomes a stepping stone and if you have cleared the ego +of your own body, you will rise again. Like draws like. The new friends, +the new town, the new music, the new activity will lend you their aid to +go higher. Clear yourself at each step of the weight brought on by body +and circumstances will seem different. "God helps him who helps +himself." Those who would pull back are by our very inertia cast off. We +rise to success.</p> + +<p>The thousand things which might be well said in connection with the +subject must be left. Recapitulation and application to the individual +singing student show these:</p> + +<p>1st. Plan, and concentrate thought on its execution.<a name="page_022" id="page_022"></a></p> + +<p>2d. Cultivate the real self and not permit the shell or body to +dominate.</p> + +<p>3d. By that command of the self, win friends and compel success. That +which conduces most toward success is even disposition and geniality. +These grow into kindly independence which develops for us experience.</p> + +<p>How long, ask you, will it take to become an artist? No one knows. Two +minds differ—in fact, no two are alike. A few months suffice to make +the crudest student an adept singer; or rather, is time enough to make +him sing as well as his mind wishes. From that time on the voice grows +better only as the mind grows and comprehends how to further use the +voice. So, then, as soon as one can sing so as to acceptably please +friends, it is a duty which the pupil owes himself to sing for those +whom he pleases. The effort gives him experience and prepares him to +meet the next circle. As the ability grows, seek to sing before greater +artists, and with the best singers. The time will come—it may be one +year, two years, three years, or even more—when it is best to go before +the best artists of the world and secure their commendation and their +co-operation (silently it may be) to further for you the prosecution and +completion of your pre-arranged plan regarding your music. What matters +it how long this takes. Life is, if you are using it aright, a +perfection of a plan of existence<a name="page_023" id="page_023"></a> which will end only when we pass over +the River. A portion, more or less long, used in making a musician and +an artist, is but a part of the whole, and a development of the talent +lent us by the good Father, and which we, by our effort, eventually +return to Him, added to, and made beautiful because of the Heavenborn +Art—music—which we have absorbed to ourselves. Nor is this all, for in +the development of our own talent we have carried the whole world +unconsciously upward nearest the pure, the beautiful and the true.</p> + +<p><a name="page_024" id="page_024"></a></p> + +<p><a name="page_025" id="page_025"></a></p> + +<h3><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.<br /><br /> +DESULTORY VOICE PRACTICE.</h3> + +<div class="blockquot"> +<p>"<i>Nothing should be done without a purpose.</i>"</p> + +<p class="r"><b>Aurelius.</b></p> + +<p>"<i>Music is never stationary; successive forms and styles are only like +so many resting-places—like tents pitched and taken down again on the +road to the Ideal.</i>"</p> + +<p class="r"><b>Liszt.</b></p></div> + +<p><a name="page_026" id="page_026"></a></p> + +<p><a name="page_027" id="page_027"></a></p> + +<h3>II.<br /><br /> +DESULTORY VOICE PRACTICE.</h3> + +<p>European schools and teachers stand aghast at what American pupils +demand and at their expectations. Accustomed to the years of attention +to detail and to seeing their own students willing to wait long years +before good results are achieved, they naturally think the American +students wild. These Americans want to do in one year what Europeans are +willing to use three or four years for. Those teachers say it cannot be +done and set down American students as conceited fools. While at first +glance the teachers appear right, may they not be wrong? America to-day +has more inventions in use, more quick ways of working in all lines of +life, and can show quicker results in all lines of activity than any +other nation. Methods and ways have been devised and adapted to American +speed in all branches. May such not apply to study? So this item is +prepared in the interest of American students, living under American +conditions. It<a name="page_028" id="page_028"></a> is useless to say, "we live too fast." Take facts as +they are and adjust our custom to the day, place and situation.</p> + +<p>Until within comparatively few years the plan for cultivation of the +voice and preparation for song singing was to sing a few sustained tones +for warming up the voice, as the saying was, and then to sing vocalizes. +In the earlier stages of practice solfeggii and vocalizes of easy range +and light character were employed. As these were acquired, similar ones +of greater difficulty were used and as the singer gained confidence in +himself and ability to sing better, the exercises were still increased +in difficulty. The time employed in study extended over several years +and with the result that those who had patience and perseverance became +able to sing. Not one, however, in a thousand, who studied ever arrived +at a point which allowed him comfort in his singing or pleasure to his +hearers. That is, to the idea of a practical mind, desultory voice +study. It may be adapted to the contented plodding of an old world +civilization, but is not in keeping with the age of electricity or of +gigantic schemes. It must be kept in mind by every one that "old things +have passed away and all things have become new." The very association +about us makes mind keen to rapidity of action, speaking from incisive +thought. A plodder stands back while the brilliant man moves to the +front. By<a name="page_029" id="page_029"></a> the plodder is meant he who is <i>willing</i> to go slowly. By the +brilliant man, he, though he may not have more native talent than the +other, has by calling to his aid those commanding elements of success, +moved surely and therefore swiftly, through the perplexities of every +existence, to the front. Every thing which cuts off wastefulness of time +becomes a weapon with which to fight perplexities. In such an active +life, he who would cultivate the voice and become a musician must map +out for himself a course of study which will give him the best results +in the quickest possible time.</p> + +<p>It is patent to every one who intelligently teaches that the road +followed during the last few generations lacks these short roads to +success. One asks, and with justice, if we have now found the royal road +to learning which it has ever been said does not exist. If that means +the road by which, at one bound, we reach perfection, the answer must be +that no royal road has been found. There have been planned, however, +ways of procedure which must shorten the trip. I know not when man first +practised dentistry but this I do know, that the doctor of dental +science who works on lines of even one generation back is valueless. +To-day the terrors of the dentist's chair are reduced to a minimum, if +not entirely removed. Photography, a science of our day, has swiftly +grown to an art. I recall<a name="page_030" id="page_030"></a> a photographer who in 1870 was noted for +perfect work. He was so satisfied with himself and his work that he +neglected to use the new ways which were being discovered. In 1880 his +work was considered so bad as to be condemned by all and his studio was +forsaken. Printing by the sun had not been discarded but how to use the +science had been carefully advanced—wasteful and slow method discarded, +and surer and better results obtained. Is a musician less keen of +perception and adjustment to circumstances than the dentist and +photographer? Pride rebels against an affirmative answer. Then the +natural deduction is that he has learned to apply new ways and methods, +by and through which he can produce surer and more beautiful results +than could his predecessor in his profession. As a first step toward +progress he recognised the faults of the old way and sought a change +from them. The chief of the faults lay in seeking to cultivate a sound. +He said in substance, then, that "since cultivating a sound is wrong I +consider that no such thing as sound exists. It cannot be perceived by +any of the senses. It cannot be seen, tasted, smelt, felt, or even +heard." (Parenthetically, it may be said if one takes exception to the +latter statement, that proof is given of the truth if one sings into a +phonograph. The singer cannot recognise what the instrument sounds back +as <i>his</i> voice.<a name="page_031" id="page_031"></a> Others may recognise it but he cannot. The hearing of +my voice by another, no matter how much <i>he</i> may tell me about it, does +not show me how it sounds, and I must conclude that I cannot hear it.) +Since none of the five senses can bear upon sound, for cultivating it, +sound, or tone if you wish to call it so, is worthless. This then which +the old teachers watched for years, was intangible, and to watch it +to-day and to try to form singers by manipulating so subtle a thing, +produces wastefulness, and desultory practice. Go to the foundation. +What produces voice? Vibration of air reservoirs. What governs the air +and gives the vibration? Muscle. What are muscles, where are they, how +can they be managed? They are contained within the portion of the body +between the waist and the eyes, and form, while used in voice +production, about all of that portion of the body, and they can be +managed by the understanding and command of the mind. The general +understanding of vocal anatomy, and the positive control of that anatomy +that it may do just what the will demands is the foundation of voice +practice. Such positiveness makes possible the rapidity of vocal +development akin to the surety of the dentist's art and the certainty of +the photographer. The prime fault of old methods is, at one stroke, cut +away. A new growth on the foundation appears.<a name="page_032" id="page_032"></a></p> + +<p>Many musical journals discuss methods, Italian, French, German. Even +wonder if we will ever have an American method. Such discussion is +waste. There is <i>one</i> method. <i>All</i> schools build on it. He who +understands it best and is surest in teaching it, gives best result and +is the best teacher. He, the best teacher, is such only when he applies +his mind to each and every act of his pupil and banishes for the time +being every other thought from mind. In a proper lesson every minute is +used thoroughly. No sixty seconds can be thrown away. The mind of the +teacher alert to the necessity of his charge makes every minute tell. +With this as a preamble, turn to the pupil who is by himself to avoid +desultory practice.</p> + +<p>You have a voice. Every one has. Yours, you know, is a very good one. +You want (not, would like) in the quickest time to make it do just what +you conceive a fine singer should do. Then, know what is to be done, +understand how to do it, and do it. The boys say "One to make ready, two +to prepare, and three—." But you stand around making ready, preparing +so long. Why? Do you know what is to be done? Ask the teacher, and don't +let him evade positive instruction. Garcia, when asked the cause of +Jenny Lind's great success, replied "She never tried to do anything 'til +she knew how. More than once she has come to my house of an evening and +said<a name="page_033" id="page_033"></a> 'I did not fully understand what you told me to-day. Will you +explain it again?' After that she never needed to be told again." At a +lesson understand what is taught. Don't pretend you do when you do not. +After going home from each lesson, write in a book kept for that purpose +what has been said at the lesson. Read that book often. This will fix in +mind, as well as preserve for reference, the instruction, and make sure +the understanding of it. Then it is for you to do it. Once the pianist +played scales by the hour to limber the hand; now he thinks only of the +muscle which causes each finger to strike, and makes that muscle work at +once. What formerly took months to do he now does in days. Desultory +practice is avoided. A teacher in a certain city complained that another +teacher got pupils by advertising quick method. Cut off desultory +practice, apply mind where brute force has formerly held sway, and quick +method is the result.</p> + +<p>One reference to complaint brings others to mind. The most precious +commodity known is time. Twenty-four hours only in a day. How little and +how valuable. Yet if all is conserved, how much and how great. Masonic +instruction divides the day into three portions; one for our usual +avocations, one for good of self and family, and one for refreshment and +sleep. So much for instruction. Can some wasteful acts of life be<a name="page_034" id="page_034"></a> +reduced or eliminated, that we may economize time, and what is better, +form habit of utilizing all of the precious commodity? What a lesson one +can draw on these elevated trains. Each morn, a man (one man, or how +many think you?) enters and finds a seat. Immediately he is into his +newspaper. A half hour later he gets out, having arrived at his station. +What has happened? He has read the newspaper. No, he <i>hasn't</i> read the +newspaper. Ask him what he has learned. He can't tell you. One item, +two, three, perhaps—and these of little value. That is not reading. It +is cursory glancing, desultory and wasteful. Stop it. Thirty precious +minutes gone. A glance at a paper (provided one knows the general +make-up of the paper he reads) tells him all in it of value. Six minutes +is enough, except when something of unusual moment is to be read, and +that doesn't happen once a month. The other twenty-four minutes should +go into some other purpose. A book, magazine, play, or even silent +thought will give value for the twenty-four. At night, on the way home, +the man skims through an evening paper. Almost one hour of the +twenty-four thrown away. Compute the amount of educational advancement +possible to this city were the hundreds of thousands of hours thrown +away daily to be used in progressive study or thought. You and I help to +waste, do we?<a name="page_035" id="page_035"></a></p> + +<p>The command of the mind is the underlying need of the student. It has +come into thought that should one apply himself every minute to some +work that he would fatigue and wear out. He could not stand it. Wrong. +The mind cannot wear out, even if it can fatigue. Rest is the opposite +of unrest, and unrest is equivalent to fatigue. The superficial reading +or skimming, shifting of thought through the thousand objects which come +before the mind gives the unrest and through it, the fatigue. Stop the +unrest, and let rest abound. Rest comes through definite change of work. +The man who leaves his office, rushes to mountain and farm, sees new +scenes, faces, customs, eats new food, rides, fishes, swims, climbs and +dances, is the one who comes back rested. There has been no unrest, but +radical change. The first assistant engineer of the New York aqueduct +was to me at one time an object of astonishment. It was said of him, +"When he works, he works; when he plays, he plays; whatever he does it +is for the time all in the world to him." At that time he held an +important engineering position, was an officer in a military +organization, secretary of a yacht club, active in church society, +leader in literary circles in classic Boston and never was rushed. The +change of work was the secret of it all. Rest came by turning out of +mind what did not pertain to the act then in hand. Every act was<a name="page_036" id="page_036"></a> new. +Of a certain minister it is said "He can do more in ten minutes than +most men do in a day." His church has fifteen hundred members and his +Sunday school a larger number. Calls, sermons, the sick, weddings, +funerals, the poor (for he had four charity societies), his family, +young people's societies,—yet he has time for all and he sees callers, +more in one week than you and I do in a year. How does he do it? What +you and I waste time upon, he does not. No gossip, worry, standing +before a mirror, dozing over dinner, or unrest for him. Vary the +monotony a little and find rest. Don't fear doing too much. Wear out, if +need be, but don't rust. It is the busy man who has lots of time. Do you +want advice, a helping hand? Avoid the lazy man, for he has no time for +you. The busy man has. Why is it that the busy teacher draws the most +pupils? Were he to half teach ten pupils they would leave him and no +more would come. Because he can attend to forty, and that by making to +each a profitable half-hour, forty more come. The half supplied teacher +is less able to teach his small flock than the pushed teacher. He <i>must</i> +turn quickly from act to act and thus keep rested, by change of scene, +pupil, music and vivacity. "Can you jump immediately from a lesson to +the desk and write one of your magazine articles?" asks one. Nothing +easier. Fix the mind on what is to be done that minute, and<a name="page_037" id="page_037"></a> do it. It +makes a heaven of earth.</p> + +<p>Instruction which is not practical is little worth. You are interested +in improving yourselves vocally. To you let me plan a first step toward +preventing desultory voice practice. Under four headings. Practical +ones.</p> + +<p><i>First.</i>—Establish customs. The best one I know is to plan in advance +to accomplish certain things. Make up the mind what you would like to +do. Each night make out a little card of what is to be done next day. +Probably not half the things planned will be executed, at first. What of +it. Some have been done; but better, that unconscious growth which +carries custom into habit will be developed and the system which will +grow out of the custom of preparing the cards and attempting to work out +that which was planned, will cut off more wasteful minutes than you +admit are in your day. After a time it will come that all the items you +write on the card at evening will not be too much to do on the following +day. Compare the card of the thirtieth day with that of the first and +you will find you wrote quite as many (if not more) things to do and now +you can do them all, and feel no hurry and far less fatigue. Will you +try that?</p> + +<p><i>Second.</i>—Give certain times each day to certain things. You can't? You +can. I'll give proof you can. Having planned what is to be done the next +day and allowed that custom to become<a name="page_038" id="page_038"></a> habit, will develop such +regularity that each hour will have its regular work and nothing will +crowd it out. The system produces it. Turn a kaleidoscope. Each jarring +makes new adjustment of figure. Your duty is a kaleidoscope. The proof +is that every one who <i>tries</i> such adjustment, succeeds. The school boy +knows the time of bell ringing, the hour for arithmetic, geography, etc. +The train man knows the minute to be at each station. The clerk or +workman is ready to stop work at a certain time. Certain theatres +announce what scenes will be on at every minute of the evening. You +think and would say, "But these admit of no interruption, and I may have +interruptions." To which I say "These <i>permit</i> no interruption, and if +you were as systematic, you would permit none." A friend calls at the +door to see you. You waste five minutes (only five?) talking to him. +Think it over. Was that necessary? Couldn't it have been said in +two—one, or less? Next time, kindly, but firmly excuse yourself. If the +friend thinks you snubbing, you can afford that, for the friend is a +wasteful one and better be dropped than allowed to spoil you. The fault +when we waste time is in us, not in the friend. A lady called recently. +"Your time is valuable. I'll say in one word what I want." 'Twas said, +and she went. Kind lady! To whom? Me? Not at all. She is one of the +busiest women in<a name="page_039" id="page_039"></a> the city and couldn't afford to give much of her time +to the errand, but neatly complimented, in order to cover what some +might call selfishness. Be wise. That kindly habit comes from preventing +waste.</p> + +<p><i>Third.</i>—Banish every low or lowering thought. For now, for no reason +except to save time, and help form habit which prevents waste. Every +thought has its sure influence. Every thought of envy, hatred, jealousy, +of crimes, accidents, misfortunes, sorrows, our own or those of others, +is an evil. It takes time out of life and saps life-activity. Supplant +it with pure and good thought. Health, brightness, pleasure, art and +beauty are subjects which lift. Upward, upward, toward heaven! That must +be the student's mental attitude. Enough would drag down. Cast the down +view away. Look up and go up. You do not study for the purpose of going +downward. Upward again to the top—and <i>you</i> must do it by having your +thought good and pure.</p> + +<p><i>Fourth.</i>—Interest friends in your practice. Only one word about that. +No one can long go in any mental work alone. Progress <i>is</i> mental work. +Rising draws others to and with us. See a little whirlwind take up the +dust. It gathers more and more until a column twenty or thirty feet high +is before us. Tell father, mother, friends, those you can trust, what +you hope to do and what your efforts to accomplish that, are.<a name="page_040" id="page_040"></a> Seeing +you in earnest they will help—with misgivings at first, may be, but +they will join the column and make one with you sure.</p> + +<p>Summary, briefly. By systematic utility, every minute contributes to +progress, forming habits which prevent wasteful thought and fatigue. The +customs of former years need not be followed because direct result will +come from direct application of thought to study. Old world ways and +past generation ideas do not belong to-day in either teacher or pupil, +and, therefore, are to drop out. The wastefulness of uncertainty and +evil in mind may be overcome by directness of effort until good habit +crowds out the evil. The first and all important step is the plan of +action. Acknowledge no limitation to growth. Love soundness, careful +thought, steadfast purpose.<a name="page_041" id="page_041"></a></p> + +<h3><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.<br /><br /> +ALERE FLAMMAN.</h3> + +<div class="blockquot"> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td align="left">"<i>His tongue was framed to music,</i></td></tr> +<tr><td align="left"> <i>And his hand was armed to skill;</i></td></tr> +<tr><td align="left"><i>His face was the mould of beauty,</i></td></tr> +<tr><td align="left"> <i>And his heart the throne of will.</i>"</td></tr> +<tr><td align="right"><b>Emerson.</b></td></tr> +</table> + +<p> +"<i>Slow, indeed, at times, is the will of the gods, but in +the end not weak.</i>" s<b>Euripedes.</b></p></div> + +<p><a name="page_042" id="page_042"></a></p> + +<p><a name="page_043" id="page_043"></a></p> + +<h3>III.<br /><br /> +ALERE FLAMMAM.<br /> +<small>Everyone Can Sing.</small></h3> + +<p>The culture of the voice has come to be looked upon as a great and +serious undertaking, and of such magnitude that but few have time for +it, and those only should attempt it who have exceptionally fine voices. +This is a mistake. Nearly everyone can sing, and if all would attempt to +improve the voices they have by observing a few common-sense rules, it +would soon be apparent that there are many more good singers among the +masses than it is supposed exist, and these singers will learn how much +can be done to add to their own comfort, by a little outlay of thought. +Culture of the voice has been made a mystery by charlatan teachers and +for a purpose. Think out how the conversational voice works and then +consider what difference there should be between that and the singing +voice. Nature planned the speaking voice and in doing it, gave us the +line of development<a name="page_044" id="page_044"></a> to follow in bringing into use the singing voice. +The change from speaking to singing voice is where the quack enters with +his mystery. There is no mystery. Use the voice as in speaking but pitch +it at higher and lower points than are used in speaking. This is the +foundation of the singing voice. Only one caution is needed. Never +strain the throat. If, after a little practice, fatigue is felt or the +tone is husky, stop practice. Do not try to do it all at once. A little +each day added, will, in a few months, do all that is wanted. Do not +expect, however, that any amount of study by one's self will make an +artist. One can sing, by self-study, so as to get much pleasure, and so +as to give pleasure to friends; but something more serious and extended +is needed to make the artist.</p> + +<p class="head">Sustain Perfectly.</p> + +<p>Sustaining perfectly the reservoir of air is the greatest <i>desideratum</i> +in using the voice. Acquiring ability to do so is a puzzle often to +students. The reason is in the fact that no muscles which are directly +under the control of the will can be caused to act upon the air column. +The chief organ of respiration is the diaphragm, and as years of +teaching bring experience which is definite in results, we find that the +diaphragm is<a name="page_045" id="page_045"></a> the only muscle which holds the air column in check. That +muscle situated within the body cannot be held by any visible power. The +<i>thought</i> of holding it still will make us hold our breath. Trying to +assist such holding by muscles of the chest, abdomen or throat, only +defeats our purpose and makes the diaphragm give way. That large muscle +will do the whole work if we will let it. The thought, as said above, is +what will make it remain quiet. That thought may take various forms. +What assists one does not appeal to another. But here is an assisting +thought which does much good to the majority of students. Of course when +the breath is taken the diaphragm is down and the waist is spread. Then +the chest, bronchial tubes, windpipe and mouth are full of air. Now +allow that air to be as still as the air of the room. Practise +sustaining tone with any vowel, preceding each effort by taking position +suggested above, and with the thought of keeping the air in the body +just the same as, and a part of, the outer air. Then allow tone to float +in the air, permitting no force whatever.</p> + +<p class="head">Care of the Body.</p> + +<p>Singers seem to think but little of the tools with which they carry on +their life work. That<a name="page_046" id="page_046"></a> is the rule. Now and then a singer takes the +opposite course and becomes unreasonably careful of his tools. In that +case he is worse off than the careless. The "happy medium" is in all +things the desirable state.</p> + +<p>Our tools as singers are enclosed within the body and are the body. To +have the body ready to respond to the musical demands it must be well +and strong. To keep it well should be our first care. Happily we are so +made that by following a few simple rules of living the body goes on +through a long term of years without getting seriously out of order. +Some persons can boast that they are never ill while many report but one +sickness during a decade. The needed attention to the bodily wants, has, +in these cases, been properly given. If all were as careful to do the +same and not overdo the matter, perfect health would be the rule and not +the exception.</p> + +<p>The body needs nourishing food, clothing to preserve nearly uniform +temperature, sufficient sleep, generous exercise, and thorough +cleansing. Nothing more. Neglect of these, or as is more often the case, +overdoing some of the first, is cause of disorder and disease. A singer +cannot afford to have the tools of his employment other than in +first-rate condition. If he does he enters his work, unnecessarily +handicapped.</p> + +<p>General advice regarding the eating and drinking is often given. Making +it more specific, we<a name="page_047" id="page_047"></a> would say, eat only such food as is easily +digested and insist that it shall be thoroughly cooked. Supply the body +with enough such for its maintenance only. The singer, again, cannot +afford to eat what is not needed, be that of kind or amount. Most +persons in running a furnace will feed fuel twice a day, at night and +morning. In specially cold weather giving the fire a little extra fuel +at noon. This is a good rule for feeding the body. Avoid over-feeding. +The object of eating is to nourish the body and not to gratify appetite. +It makes little difference whether the palate is pleased or not. The +body could be nourished on food which does not taste so good as some +other. Eating, to most people, is more palate gratification than +anything else. In doing so, the body is overfed and clogged. Singers +cannot afford that.</p> + +<p>Sleep. To recover the waste of body at each days' work, quiet restful +sleep is needed. Eight hours, or better nine, out of each twenty-four. +In a cool room where possible and with plenty of fresh air. People who +eat rationally need not fear taking cold by sleeping in a room with a +draught of air through it. Fresh air, fresh, good food and cleanliness +are necessary to the best results in singing study.</p> + +<p>No rule can be given about bathing. Some students can stand a thorough +bath every day. Others, only once in ten days. A sponge bath,<a name="page_048" id="page_048"></a> if no +other, should be had daily, that the pores of the body may be kept open +and clear.</p> + +<p>Clothing should be sufficient to keep the temperature of the body even. +No need of wrapping the throat even when going into the open air, if the +temperature of the body generally is even. We do pamper our bodies and +think we are uncomfortable. In one sweeping sentence, be vigorous and +good-natured and the body will the better serve us. A long walk each day +in the fresh air adds to that vigor, and also to our good-nature.</p> + +<p class="head">Friends Can Help.</p> + +<p>Advice of friends is a source of value or injury to the singing student. +Advice has its influence. Every word spoken about one's voice and +singing helps or injures. If placed in a circle which condemns every +effort we make we are held back by that very influence from doing our +best. Every judicious word of praise helps us upward. A pupil who is +struggling by himself, without a word of cheer in his own home circle +has a hard fight of it. For that reason it is very necessary that pupils +whose desires are similar, and whose aims are toward the highest, should +be gathered together. They help by their words, and often by their +looks, the anxious student. "Forsake not<a name="page_049" id="page_049"></a> the assembling of yourselves +together," applies. After a pupil's recital, a judicious teacher will +tell his pupils the kind things which the others have said. If unkind +things should be said (but a teacher who is himself kind will not hear +unkind things) he will keep those to himself, guiding himself, however, +by those comments in the future treatment of that criticized pupil. In +this connection, a word to the members of the family of the student. A +mother, who steps into the practice-room occasionally when she hears +good singing and says, "That was good. I see you are improving," aids +the student as much as a half-dozen lessons will aid. A brother who +banters his sister about her singing when he really enjoys it, knows +not, oftentimes, that his banter hurts and harms. To be sure, the +partiality of the home circle may foster false hopes, but since nearly +every one can learn to sing well if rightly trained, that will do less +harm than cold indifference and cruel banter.</p> + +<p class="head">Renew Thought.</p> + +<p>The teacher who does not live in high thought, and who does not attempt +to attain a high ideal, does poorer work than he thinks he does. It is +an easy matter to settle into a rut and to follow certain lines. These +wear themselves out.<a name="page_050" id="page_050"></a> New ways of imparting time-honored teaching, +although they may not change the principles of teaching, must be +constantly sought. They will only come to mind by keeping the thought in +the highest realm of intellectual possibility to that teacher. One who +contemplates with restful care, in that higher realm, the beautiful in +music, the way of influencing mind, and the most direct way of causing +students to attain that which they need, will ever renew his method of +teaching. Such renewal will contain something better than he had before. +Unless constant renewal, or at least frequent renewal, takes place, the +rut will be entered upon. The longer one follows it, the deeper he +becomes settled in it, and the harder is it to get out from it.</p> + +<p class="head">Speaking and Singing.</p> + +<p>The basis of good singing is good speaking. The speaking voice in common +use during conversation covers a range of five or six notes. Frequently +lower and higher notes are called into use, but the high and low notes +of the singing voice are seldom used in conversation. The organs which +produce voice, from their constant use respond involuntarily to the +will. They also do correct work. It is seldom that a person, unless he +has deformity, has trouble to pronounce<a name="page_051" id="page_051"></a> any word or syllable, while +talking. Would this were true of singers. The student would greatly +lessen the amount of his labor and also reduce the cost of his musical +education if he were able to speak the words as correctly and as easily +while singing as while speaking. It is toward this imitation of the +speaking voice that one must constantly strive if he would make rapid +progress in voice development. When he has reached the point where he +can sing every vowel and consonant perfectly, and with as little effort +as when speaking, on every tone of his singing voice, and then have that +voice loud enough to be well heard in any hall, the voice is completely +and well cultivated.</p> + +<p class="head">Associates.</p> + +<p>Singers cannot afford to miss the chance to be among great men. As a +class, musicians are narrow and that arises from the necessity of giving +so much time to technical study. When the chance to meet and associate +with men of broad minds comes, take advantage of it. Even if the contact +be not close some of the light shining from the great mind will illumine +us, and will make us brighter. The great mind is drawing from inspired +source, maybe, and the light which comes from that mind drives out<a name="page_052" id="page_052"></a> +darkness from whatever it covers. Light and darkness cannot remain +together. Let the mind be thrown open to receptivity when one is in the +presence of the acknowledged leader and good clear light, it may be from +heaven, will flood the mind and illumine it.</p> + +<p class="head">Purity of Method.</p> + +<p>Purity of vocal method must not be departed from by teachers. The +introduction of new ideas is at best a hazardous undertaking. In the +routine of teaching week after week and month after month the teacher +finds himself casting about for a new idea. He finds something which +pleases him and tries it on his pupils. Most teachers can look back at +experiments which have failed. Better decide on a few basic principles +and cling to them. The desire to try something new is very liable to be +the result of fatigue from overwork. Better take a holiday; go away from +the classroom and rest. Come back to first principles again and go to +work. The result at the end of the year will be better. Every teacher as +he grows older resolves his ways of cultivating the voice into something +very simple but which, as it condenses, becomes more powerful. There is +only one right way and deep thinkers settle on that alike in time.<a name="page_053" id="page_053"></a></p> + +<p class="head">Mental Recovery.</p> + +<p>A teacher cannot do better for himself and his work than to occasionally +close the office door and sit quietly by himself for a half-hour. At +such time crowd out the thought of all work, all planning, all worries, +and all demands. Bring the mind as nearly as can be into inactivity. One +will find in the hour when work is resumed that more of value will flood +into the mind, he knows not from whence, than he can catch and apply in +a great many hours. How many of us have times of refreshing. It is work, +work, hour after hour and the wonder is that we do so much and yet do so +little. Leave out some of the work and call activity of mind to our aid +and we will do more work with much less effort.</p> + +<p class="head">Profession or Trade.</p> + +<p>An item recently seen reads, "we would rather be a music teacher in an +obscure town than be a prosperous tradesman in a large city." That has +the sound of enthusiasm, and is the feeling of one who has the good of +his fellowmen at heart. Every man who enters a profession gives up his +life to do good. But few men in any professional life ever make more +than a good living. Some can, indeed, save enough to make occasional +investments, and these (if judgment has been<a name="page_054" id="page_054"></a> good) secure a moderate +fortune. But no man ever became wealthy from his profession alone. A +professional man, however, gratifies his better nature and satisfies +cultivated tastes. A man in trade becomes so engrossed in business that +his better nature (his refined taste) is dwarfed. That comfort of mind +which the professional man has is more to him than the bags of gold of +the merchant would be. Probably the writer who made the remark quoted, +had in mind the opportunity which the music teacher has to do good. It +is a grand field of work, and one who has been engaged in it for several +years wants no other. To lead the public by teaching and by public +performance into the knowledge of the highest art, is a privilege which +should be prized. The music teacher, (even if not so placed by common +opinion) stands with the minister and the physician in the good which he +does the community.</p> + +<p class="head">Heart and Intellect.</p> + +<p>Let not the heart be the ruling power all the time. If it is, art sinks +into sentimentality. Allow the head to rule alternately with the heart. +Intellect must be applied if any satisfying musical result is to be +obtained. Emotion is good, but it needs curbing, shaping and +restraining.<a name="page_055" id="page_055"></a> Emotion, long sustained and unbridled, becomes nauseating. +Emotion in itself is beautiful, but like fire and water, if it once +becomes the master, wastes and destroys. Emotion, aroused by imagination +and directed by intelligence, serves to give taste to all musical +rendition. One without heart is non-satisfying as a singer. Be he ever +so intellectual, his singing is cold. Intellect alone, unaided by heart, +is like polished steel—cold, brilliant and dazzling. Intellect and +heart combined are like the same surface engraved and enamelled in +artistic design—chaste, delicate and finished.</p> + +<p class="head">Time Ends Not.</p> + +<p>We may say with Emerson that "Time has his own work to do and we have +ours," and with Wood, "Labor is normal; idleness, abnormal," but in +music there must be times of cessation from labor. Call it change of +work, if you choose rather than admit that labor has ceased, but +experience shows that no musician can safely follow his calling year in +and year out, with no regular period of rest, and save his mind and +body. Sooner or later comes a collapse. The human machine breaks down. +Then we shall think of Emerson and Wood as unsafe leaders. Time has his +work, but he works in such deliberation<a name="page_056" id="page_056"></a> and in such ever-changing form +that were he one who could feel fatigue, he need not feel it. Time is +from eternity to eternity. Time does not occupy a human machine. The +music teacher does. Many a teacher has toiled beyond his strength this +year. Many will next year. Who will take thought for himself and break +loose, if but for a few weeks, and postpone the time of breaking down? +One might say, that with Time, the human soul is from eternity to +eternity and there is no breakdown. True, but the residence of that soul +while it is in this period of existence, demands much of its attention. +That cannot properly be given when the exacting duties of the class-room +drag on week after week, till they number fifty-two, and then begin at +once another weary round. Admit that there are limitations, and, in +cordial co-operation with existing laws, select and use the days of +idleness, even if one has said that idleness is abnormal.</p> + +<p class="head">Power of Thought.</p> + +<p>The power of thought to exert influence is only in our day being +understood. How to utilize it is not yet in such degree of comprehension +that it can be told so that all are able to use the force which they +contain. Thought is a<a name="page_057" id="page_057"></a> tangible essence passing from the human mind and +lodging upon the object toward which it is sent. Definite thought is +more powerful than is illy defined thought. Speech enables us to +crystalize thought and to empower it with added force. The time given to +framing sentences enables us to put thought into definite form. A step +beyond speech is obtained in singing. When learning our songs we revolve +the thought to be expressed in mind. The measure of the music gives time +to concentrate the thought contained into its most powerful form. The +rhythm and vibration which accompany music and singing, enhance the +power of thought. Whenever we sing in the true spirit of the sentiment +uttered we send out shafts, so to speak, of pure thought. Not one of +those is lost. It lodges somewhere, and as all good can never do harm, +our good thought, sent in song, must do good to those who come within +our influence to receive our good shafts. A singer who uses music for +vain display loses the opportunity for good. There is no good thought in +such singing. If there is any thought at all it is of the lower order. +It lodges also, but it appeals to that which is vain and low in our +hearers. What wonder is it, then, that ofttimes our hearers make unkind +remarks about us and our singing! It is our fault that we have stirred +up in them the spirit of vanity and criticism. Our thought<a name="page_058" id="page_058"></a> has often +challenged such spirit in them. Let our thought be changed, and only the +good which is contained in poetic art sent out to them and their +attitude toward us will change. There is no unpleasant thing which comes +to us but that we stimulated it and created it. We can make our musical +surroundings by sending out powerful shafts of pure thought.</p> + +<p class="head">Nature Seldom Jumps.</p> + +<p>Nature seldom moves by jumps, and a student who reaches the best use of +his voice learns that he must do that through natural laws. In other +words, that he must acquire all things through naturalness. What wrongs +have been done to students under the shield of so-called naturalness! +Many teachers who claim that they are cultivating the voice by natural +laws, know nothing of what it means to be natural. Naturalness means the +expression of our own nature. If a teacher uses the natural method he +but points out to his pupils their true natures and holds them to that +correct use of such that they return to their normal condition. The +necessities of our modern living have made most of us feel that we must +put a side of ourselves outward which shows off well. In singing we +develop abnormally something which we fancy<a name="page_059" id="page_059"></a> will please our hearers and +bring us applause. We try to hide our defects and admit that we do. +Aside from the question of honesty, is it policy to do so. Most firmly, +should be the answer, No! It destroys the naturalness of the singer and +substitutes artifice. Any spurious issue will be detected sooner or +later. Besides, is it not much more comfortable to have the real than +the counterfeit? Be natural, then. Many students are impulsive. It was +to these that the remark that "Nature seldom jumps," was made. In +natural action everything is deliberate and restful; controlled and +sure. Nature makes but few angles, but moves in graceful curves. Good +quality of tone on one note and poor quality on the next, is not +natural. Nature does not jump from one voice into another. Nature +demands symmetric cultivation of the whole voice, and not the display of +a favored part.</p> + +<p class="head">Be Perfect.</p> + +<p>Do not be content to merely make progress. (If one feels that he is at a +standstill, or worse, going backward, he should stop all study till he +can go forward). Merely making progress means that to reach great +result, a long time must elapse. To make a great artist requires years +of musical and intellectual training; to be<a name="page_060" id="page_060"></a> able to sing as perfectly +as the body is capable of acting, requires but a few weeks, or at most, +a few months. Why will students take lessons year after year and not +sing any better than they did soon after they began? It is not necessary +if the student is willing to go rapidly. "Be ye perfect," applies to +singing as well as to anything else in life. If the injunction to be +perfect has any meaning at all, and no one has any right to doubt but +that it meant, when it was spoken, just what the words contain, that +applies very thoroughly to singing. The very essence of life itself is +more fully operative in singing than it is in anything else. If so, to +be perfect in singing is to be perfect also in the essence of life. The +injunction was not to become perfect by a long course of training. The +present tense was used and it meant just what was said. "Be ye perfect," +<i>now</i>. By proper mental conception of the true principle which underlies +voice culture and by demonstration with concentrated thought, the +possibility of any individual body can be at once brought out. On this +account, the long years of wasteful practice which people use in +cultivating the voice is not only unnecessary, but foolish and wicked.<a name="page_061" id="page_061"></a></p> + +<h3><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.<br /><br /> +PERFECT VOICE METHOD.</h3> + +<div class="blockquot"><p>"<i>Observe how all passionate language does of itself become +musical,—with a finer music than the mere accent; the speech of +man even in jealous anger becomes a chant—a +<a name="page_062" id="page_062"></a><a name="page_063" id="page_063"></a>song. All deep +things are song.</i>" <b>Carlisle</b>.</p></div> + +<h3>IV.<br /><br /> +PERFECT VOICE METHOD.</h3> + +<p>A teacher of voice and singing who does not believe his way is the best +in the world is in one of two positions:—either he is a scamp, passing +off spurious goods for real worth, or he is doing the best he can in his +knowledge and present situation, waiting for the time when he can obtain +instruction in a better method. If a teacher believes he has the best +way of teaching he has a perfect right to so express himself, and to use +that method in his teaching. He may be wrong in his opinion but that +does not effect his right to work on the lines of his opinion. Some day +something may show him he is mistaken and such a man will be very liable +to correct his error and, taking the newly found way, progress in that.</p> + +<p>A teacher who knows he is far from right and still works on, is not +worthy of consideration as a teacher. One who uses the profession of +voice teaching merely for livelihood and who cares not<a name="page_064" id="page_064"></a> whether he does +good or harm is little better than criminal. Such there be and such +there will be until a time arrives in which teachers will be granted +authority to teach from some recognized institution, without whose +permission to teach, it would violate a law of the land to advertise as +a teacher. Just such control as is kept over medical practice will some +day be had, but not in our generation.</p> + +<p>Hundreds of teachers of the voice in all parts of our land are teaching +up to their light, hoping the time may come, and to most it does come +sometime, when they may get away from the office and study still farther +into voice and music, thus making better their ability. That class has +already done much for singing and music. It might be said that all that +has been done has come from that class, for no teacher feels that +nothing remains for him to learn. Singing, too, is a subtle thing. A +teacher feels every little while as if his good way were slipping from +him, and if he cannot get out of his work and brush up with a master, he +will lose all the ability he has. The best teachers do leave their work, +go to some other teacher, may be not better than they are, and have +their work inspected and made better. A salesman from a furniture house +once put the matter tersely:—"When I go out from the house on a long +trip, I start with a plan of what I will say and how I<a name="page_065" id="page_065"></a> will make my +sales. In a little while I get rusty, and saying the same things over +and over again makes me hate them. Then my business falls off. I go into +the warerooms again for a time, hear the firm talk up goods in a new +way, meet other salesmen and hear how they talk, and off I go again on +my trip fresh and bright."</p> + +<p>No work gets into a groove more easily than teaching. When working in a +rut the teacher produces small results. The successful teacher tries +every expedient in his power to get all the result he can. Sometimes, it +may be remarked incidentally, he is called by a pupil lacking in +appreciation and discernment, an experimenter, because he changes his +plan of working. But he can endure that provided he gets definite +results from his teaching. The best way for the teacher who must plod on +by himself through long years is that he should once in every few months +sit quietly alone and think over what his voice method is, how he is +applying it, and what the result is. Below is the thought of such an +hour condensed into comparatively few words. The heading of this article +indicates that this is the opinion of the writer at the present time. +The thinking which may come in the next ten years may show he could have +thought better now, but this is to him now, a perfect voice method.</p> + +<p>The voice is produced by the body; it was<a name="page_066" id="page_066"></a> originally planned for speech +and not for singing; attributes of the voice are range, power, quality, +and flexibility; into the voice can be injected, language; the action of +all physical portions are under the command of the mind.</p> + +<p>There are four portions of the body which are brought actively into use +for the production and management of the voice, and these permit voice +culture to be divided into four departments. These must first be brought +into correct action. Natural action is correct action. What the world +has considered as correct action may be wrong, for on most matters the +opinion of the world is incorrect. A few clear-headed men have again and +again appeared in various affairs and shown the world the mistake into +which it had fallen. May be this is true of voice culture. It is safe to +follow nature. The first department of voice culture is, as most persons +admit, the respiratory department. Breathing. That goes on from the time +we are born till we die. Generally as children we breathe well and +correctly. When manhood arrives most of us have interfered with nature's +way of breathing and have interposed something quite different from that +we used earlier. This has come largely from faulty civilized eating, so +that the organs of digestion are constantly troubling us. The stomach, +liver, etc., exert decided influence on the diaphragm which is the chief +organ of respiration. We,<a name="page_067" id="page_067"></a> also, have grown nervous as years have come, +because of the demands of active life upon us. That nervousness keeps +all the muscles of the body in a state of unnatural strain, and this +strain has even caused us to breathe differently from what nature +planned. The very first step toward good voice method is to bring the +breathing apparatus back to working order. As said above, the chief +organ of respiration is the diaphragm, and that is a large muscle which +cuts across the body at the edge of the ribs. Its centre, right in the +middle of the body is constantly moving downward and upward. When it +goes down the breath enters the body; when it comes up the breath comes +out. Stop that muscle and breath is held. Stripped of all confusion that +is all the description needed of inhalation, exhalation and +breathing-holding. If some who read this would not say that this is too +simple, and that they knew more than this article says, the subject +would be dropped there. At most, all that can directly be added is to +prolong the lowering and raising the diaphragm so that it is done by +long strokes. Some one says we have been taught about spreading the +sides, expanding the abdomen, filling the back, keeping the chest still, +and a dozen more things. Examine the above, and if opposing effort to +the free movement of the diaphragm in its upward and downward journey is +avoided it will be found<a name="page_068" id="page_068"></a> that all which is of good in inspiration and +expiration is contained in the above. A most useful exercise for the +development of strength in this organ of respiration is to slowly +perform the act of panting in the same way that a dog pants.</p> + +<p>But about holding the breath. That is the most important thing about +breathing. It says above that if the movement of the diaphragm is +stopped, the breath will be held. Sure enough. Then why can't we all +hold the breath? We can. Holding the breath in that way a little while +every day and caring to keep it so whenever using the voice will so +complete the strength of the diaphragm that it will stay still a very +long time, much longer than it takes to sing any phrase in music which +is written. The majority of pupils—yes, all of us, teachers and pupils, +when they seek to let the diaphragm stay still try to assist it to do +so. We try to hold the breath by the muscles of the chest, by those of +abdomen, or by shutting off the throat. Now these do not assist the +diaphragm to stay still, and on the other hand, they prevent the +diaphragm from staying still. They make it move. Some one says, or +thinks if he doesn't say it, that unless the diaphragm moves when we +begin to sing that no tone can be made. That is one of the mistakes of +the world. Some teachers have even said that we must press the air +upward as we sing, so that the vocal bands may make it<a name="page_069" id="page_069"></a> into tone. That +is absurd. Keep back all pressure from the vocal bands. If the slightest +air pressure is put upon them they are over-worked. Hold still the +diaphragm and the air is held loosely suspended throughout the chest, +the bronchial tubes, the windpipe and the mouth. Then in this air the +vocal bands work. They will help themselves to just the right amount of +breath, to make into tone without any assistance from you. You can't +make nature work. You can permit her to work in her own way.</p> + +<p>When we speak of the vocal bands we are talking of something which +pertains to the second department of voice culture—the throat. There +can be, and need be, very little said to the pupil about the throat in +its action during singing. Teachers do say many things. One thinks the +larynx—the protuberance known as the Adam's apple—ought to be pressed +down, and kept so. Another thinks it ought to be forced upward. Still +another says it should be allowed to be low at one time and high at +another. There is just one way of settling the matter. How is the action +when we act naturally? Nature built the throat for conversational voice. +If we are to use it for singing we can't do better than to follow the +suggestions of nature as to the way the throat moves while speaking. +Then on those ways let the throat act while singing. Sound several notes +with the same vowel in<a name="page_070" id="page_070"></a> the conversational voice and see what the larynx +does. Some one suggests that this ceases to be conversation and becomes +singing. But it doesn't. Conversation runs easily through an octave of +tones. Generally we use three or four tones. When we are very quiet or +are sad the voice lowers a few notes. If we are very merry or are angry +the voice ascends. We talk at the "top of the voice," literally. If we +do so in speaking, surely we may lop off the many vowels and the +consonants and speak, conversationally—on several tones. It will be +found that the larynx moves freely. That being the case, he is a very +foolish man who could make the larynx go down and stay there. Again, +with the tip of the finger on the larynx say the different vowels. It +will be seen that the larynx changes position at each change of vowel. +Let it so change when we sing. The great opponent of such action is the +stiffening of the cords of the neck—the muscles on the sides of the +neck. In connection with the work to be looked after in the third +department, yet to come, the way of removing that stiffness will have +mention. Within the larynx there are many delicate muscles which are +performing their various functions. What they do, and how they do them +has been the subject of study through several generations and the +question is not solved. An eminent physician has for several years been +photographing<a name="page_071" id="page_071"></a> throats while producing tone. About four hundred +different throats have been photographed. In an article published by him +in January of this year, he says: "I have not yet permitted myself to +formulate a theory of the action of the larynx during singing, for even +now, after a large number of studies have been made, the camera is +constantly revealing new surprises in the action of the vocal bands in +every part of the scale." With that true, the only way open for us is to +seek ease and comfort of action and never force any part of the throat +to overwork.</p> + +<p>The third department in voice culture relates to the pharynx, or back of +the throat. It seems as if any thinking student would realize that in +order to acquire a rich tone, resonant with pure sound, the pharynx must +be allowed plenty of room, yet many shut it off making a very small +chamber. Well, it is the teacher's work to find some way to open a roomy +space. One of the best ways is to draw a picture of a cross-section of +the mouth from the lips to the back wall of the throat, showing a large +arch at the top of the section. Convey to the pupil's mind the idea of +room and he will be most liable to produce the room. Sometimes, although +it is of doubtful propriety to make any local application for special +purpose, the use of the word oh, as an exercise, will permit the pupil +to enlarge the pharyngeal chamber sufficiently for any<a name="page_072" id="page_072"></a> need. This will +come up later in connection with another thought. A very important +branch of voice culture, the quality of tone, has to do with the +pharynx. Not much can be said of it now but just a little in connection +with a perfect voice method. When singing, we should express something. +The emotion in mind must have its appropriate setting. That setting +comes chiefly from the quality, and the quality arises from the shape of +the pharyngeal cavity. As in all nature's plan we must not try to <i>make</i> +the pharynx do anything. We may <i>permit</i> it, and if we do, nature will +have her way and will do just right. The emotion of the mind expresses +itself upon the face. A face plastic and delicate, changes expression a +hundred times a minute, maybe. Just so, if we permit it, the emotion of +mind expresses itself on the pharynx. We cannot see the expression of +the throat as we can that of the face, but we can hear it. That the +pharynx may be able to receive the expression of the mind it must be +plastic and delicate. If so, just the right form will be assumed for the +idea we would express, and the proper quality would be given the tone. +We—many of us—don't permit this. We try to shape the pharynx. Stop +trying and let the muscles of the back of the throat come to a state of +rest. Then willing them to remain so, sing. Sing anything. Don't change +the feeling, and good<a name="page_073" id="page_073"></a> quality will fill the tone wherever the voice +moves—whether it be high or low, loud or soft. So by this restful way +of singing the stiffness of the cords of the neck will be removed and +the larynx will move easily and flexibly. In fact, all rapid singing +grows out of the restful singing. The use of all embellishments, too, +comes through this restful singing. It is to be kept in mind that so +long as we employ artificial methods of holding the air column, and so +long as we force tones through rigid vocal bands, just so long will we +be prevented from obtaining restful action of the pharynx. Each part +must act correctly and no part must interfere with another.</p> + +<p>The articulatory department is all which remains to be described. +Singing employs words, and words are made up of letters. Letters are +made up of consonant and vowel sounds. Consonant and vowel sounds, save +one alone, are made by changing the tongue or lips, or moving the jaw. +There are but few changes which may be made—less than a dozen. Six of +those pertain to the tongue, one to the jaw and three to combination of +tongue and lips. What these are need not be detailed now. Sufficient to +say that any action made during conversation may be made while singing +and must be made in the same way as in conversation. Two ideas advanced +by some teachers which are very wrong should be noted. One is that the<a name="page_074" id="page_074"></a> +singer should practice with a spoon in the mouth to hold the tongue in +place. As if nature didn't know what the tongue ought to do! The other +is that the mouth should be widely opened, "to let out the tone," as old +singing school teachers used to say. The tone doesn't come out of the +mouth any more than out of the cheeks, chest or head. Allow the tone to +be made properly, then given quality and resonance by a well arched +pharynx and it will come out, no matter where or how. Someone asks if +there is any real objection to widely opened mouth. Certainly, there is. +Were it merely that the facial expression were destroyed, that would be +enough, but that is not the worst of it. Opening widely the mouth +destroys the shape of the pharynx and all richness is lost. Notice a +bell. So long as it remains bell-shaped, it has resonant ring. Bend its +shape so it resembles a pan and the ring is gone.</p> + +<p>One thought more in connection with articulation. It used to be said +that all attention should be given to vowels. Not so, in the light of +to-day. Attend to the consonants and the vowels will take care of +themselves. Correct speech in song, only, will make good singing. While +watching the resonance of the tone as made in the pharynx note the +delays made by thoroughly (not violently) sounding the consonants. Those +delays, prolonged greatly, permit expansion of<a name="page_075" id="page_075"></a> the pharynx, and perform +the work mentioned before which was given the vocal sound, <i>oh</i>, to do.</p> + +<p>To sum perfect voice method up into a sentence it is that by which we +command with no apparent effort the column of air, keeping it away from +the vocal bands, and, therefore, permitting the quality of tone in the +pharynx to be pure; that by which the larynx acts freely, with no strain +upon it; that by which thought may instinctively make its impression on +the pharynx to give quality to the tone; and that by which we can make +consonants and vowels in that pure tone, so that words conveying the +thought of the mind may go out to our hearers.</p> + +<p><a name="page_076" id="page_076"></a></p> + +<p><a name="page_077" id="page_077"></a></p> + +<h3><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.<br /><br /> +A PAPER OF SEEDS.</h3> + +<div class="blockquot"><p>"<i>He who is a true master, let him undertake what he will, is sure +to accomplish something</i>." <b>Schumann</b>.</p></div> + +<div class="blockquot"><p>"<i>To engender and diffuse faith, and to promote our spiritual +well-being, are among the noblest aims of music</i>." <b>Bach</b>.</p></div> + +<p><a name="page_078" id="page_078"></a></p> + +<p><a name="page_079" id="page_079"></a></p> + +<h3>V.<br /><br /> +A PAPER OF SEEDS.<br /><br /> +ANALYZE SONGS.</h3> + +<p>Every song or other vocal composition should be analyzed as the first +step in its study. The first theme noted, and the second also, if such +there be; the connecting bars; the points which are descriptive or which +contain contrasts; the phrases which may present difficulties of +vocalization; the climax; and, as well, what relation the prelude and +other parts of the accompaniment bear to the song. It is probable that +before the pupil is capable of doing this by himself, the teacher must +do it for him, not on one song merely, but on a dozen or twenty. A wise +teacher will gather his pupils to hear him analyze music now and then. +It saves time at individual lessons, for the analysis will be understood +by a group as easily as by an individual. It matters not so much that +the pupils are not to sing those particular songs, for at the gathering, +the way to do the thing will be learned. Then<a name="page_080" id="page_080"></a> as other songs are taught +at private lessons, the pupils will be prepared to receive quickly, the +instruction.</p> + +<p class="head">FAULT FINDING.</p> + +<p>Pupils may be sure that teachers do not find fault with them merely for +the purpose of finding fault. If the teacher is worthy [of] that respect +which leads pupils to study with him, he doesn't find fault except when +it is necessary, and then he does it with dignity. If the teacher is +constantly fault-finding, and does it in an irritable manner, you would +better leave him at once. Now and then we learn of a teacher who gets +his pupils so nervous that they burst out crying. It is not well to +remain long with such a teacher. The pupil goes to him with fear which +spoils the first of the lesson, and surely after the cry, the lesson is +spoiled, for no good vocal tone can then be made. At a lesson all should +be restful and dignified.</p> + +<p class="head">RECOVER FROM MISTAKES.</p> + +<p>Next to him who makes no mistakes, is he who recovers from and disguises +the errors. At best a performance full of errors of pitch, word,<a name="page_081" id="page_081"></a> tone +and quality is but a patched garment. Apply the mind to eradicating +every error. Perhaps the most common thing for students to do is to try +over again, while at practice, the music in which the error has been +made, but doing it without thought. It is far better to think what the +error is, what caused it, how it should be removed, and then begin the +practice which will remove it. Oh, if the hours of wasteful practice +could only be gathered up into useful hours, how much better off the +whole would be! The least wasteful thing is to stop practice and +<i>think</i>.</p> + +<p class="head">SONGS FOR BEGINNERS.</p> + +<p>When selecting songs for study for beginners, only those which have +smooth and well defined melodies should be selected. Modern composers +seek by the strangest harmonies, following each other without coming to +points of definite rest, to do things different from what has been in +use so long that it is looked upon as common. The pupils in their early +study cannot understand such music, and while bewildered by it, they +misapply what they know to be correct use of the voice. The first +selections should be simple, melodious, and of easy range. The songs of +Mozart and Mendelssohn are much better for early use than are those +which are being published<a name="page_082" id="page_082"></a> now. As the pupil advances in the knowledge +of songs add in any quantity the latest and most weird music, providing +it has merit.</p> + +<p class="head">CRITICISM.</p> + +<p>The phraseology of newspaper criticism often disturbs musicians, +especially those who are very sensitive, and sometimes arouses their ire +so that they make reply. In doing so they make a mistake. They place a +weapon for further attack in the hands of the critic and add to the +force of his remarks by showing that they have hit the mark. One does +not prize a shot which goes wide of the point at which it was aimed but +is quite proud if, by chance, he hits the bull's-eye. The sensitive man +in his reply shows how fortunate the critic is in his shooting. It is +not easy to bear the remarks of a harsh critic and it is much harder to +draw from them any good lesson. (Whether one may draw a lesson from +criticism is not open for remark at this writing.) Yet, when one gives +serious thought to the criticism which seems so cruel he will learn that +no one has been hurt by it except the critic himself. He has lowered his +thought from a high plain and has made his nature, thereby, coarse and +uncomfortable. That cannot come to anyone,<a name="page_083" id="page_083"></a> even for a few minutes +without making him less manly. Out of the fullness of his heart at that +moment the critic has written and sent out into the world that which +lowers. What he sows, that shall he also reap, and in due time his +unkindness will come home to him. If he can bear his own act the +musician can endure it for the brief time that the "smart" is there. +None should ever forget that a man can injure himself but no one else on +earth can injure him.</p> + +<p class="head">WAIT FOR RESULTS.</p> + +<p>Some of us are slow to learn the lesson, waiting for results. We feel +that at one bound we must and will achieve the great success which is +our ideal. Youth is enthusiastic and believes in itself. Nothing daunts +it, save the realization of limited success and that realization comes +not quickly. There are circumstances which cannot be forced; there are +laws which prevent our reaching too far or going too quickly. Under them +we chafe but in time we come to know that those laws place boundaries of +limitation about us. We then begin to inspect the laws just as one bound +with cords might be supposed to study his binding after having tried in +vain to tear himself free. Then is when he discovers that by knowing +natural law he can shape his course so<a name="page_084" id="page_084"></a> that he is not antagonized but +aided by his environments and curbings. He then discovers that he can +even use the laws which seemed to restrain as his power. But it takes +long to learn that lesson. Stripes, which cut and burn, must have been +received before one can know that he must not fret and be impatient for +quick results. "Patience overcometh all things." "Seek and ye shall +find." Remember that the early fruit decays quickest. The rosy apple, +when all of its fellows are green, has the worm at the core. If you are +worthy of results they will come to you, but not in your way or time +perhaps. You can afford to wait.</p> + +<p class="head">ALL THINGS ARE GOOD.</p> + +<p>Certain quotations and sayings, through familiarity, lose their point to +us. We not only are not impressed by them but forget that they are +truths. Do you recall "All things work together for good?" Does that +mean anything? Does it mean what it says? Does it mean nothing? It means +nothing or else exactly what it says, and you may be sure that the +latter is the true meaning. What are "all things?" The few which seem +bright, maybe; and those which to most of us seem evil, do not belong to +"all things." But may we not be at fault in our<a name="page_085" id="page_085"></a> idea? We are, <i>we are</i>. +Whatever appears to happen to us (although nothing ever happens in the +common meaning of that word) belongs to "all things" and at some time we +will be able to look back and say from the heart that all was well with +us.</p> + +<p class="head">LITTLE THINGS EFFECT.</p> + +<p>Every shade of tone has a meaning which is either artistic or inartistic +and one who has developed his appreciation of artistic rendition can so +use his tone that just the right effect will be produced with his tone. +A noted cartoonist recently showed by two little dots the ability which +he possessed to change the character of his picture. He had drawn a +sketch of a sweet young girl; rosy cheeks and cherry lips; big sleeves +and a Gainsborough hat; the most demure and modest little girl ever +imagined. Then to carry out a joke he changed the position of the eyes, +just rubbing on two dots. The character of the whole picture now +changed. The demure little girl became the sauciest Miss that could be +imagined and one could almost imagine a shrug to the shoulders. Are +singers less able to portray in art than is the cartoonist? If we know +the resources at our command and how to use them we can give expression +just as well as any<a name="page_086" id="page_086"></a> other artist can. We do not always know how small a +thing can change all expression. The bright face, the warmer tone, the +more elastic delivery of voice, quicker attack, all have their value in +expressing something.</p> + +<p>Not enough attention is paid to personal appearance before an audience. +There are a few things which can be prepared before our appearance which +can make the whole performance more artistic. The way of walking across +the stage, taking position before the audience, manner of holding the +music, of turning its leaves, way of looking up while singing, way of +leaving the stage; all these have to do with artistic rendition. They +should be taught to pupils by the teacher and should become part of the +pupils' instruction. We give all attention to tone and that is only part +of the instruction which the student needs. The other matters must not +be left to chance. The little things point out the difference between +the singer and the artist.</p> + +<p class="head">MUSICAL LIBRARY.</p> + +<p>A musical library should be a possession of every singer. There are less +than two hundred books on music printed in English, on subjects directly +connected with music and singing. These contain all which has been +printed which<a name="page_087" id="page_087"></a> has any great value. Many are books for reference and a +few contain direct practical instruction. Each teacher and all earnest +students should see how many of these they now possess and plan to +develop the library. All the books need not be purchased at once, nor is +it wise to obtain books and put them away on the shelves just for mere +ownership. Get one book at a time, one a month perhaps, and read it +carefully enough to allow you to know what is in it. Then put it away +for reference. It takes but a few minutes to refresh the mind on what is +read. A dozen books a year added in this way will, in a dozen years, +give a valuable library. What is more valuable to the owner is that he +has lodged in his own mind for every day use more than a hundred good +ideas. Books taken from the public library and returned to it do not +have the lasting value that one's own books have. The sense of ownership +is worth something.</p> + +<p class="head">CHANGE OPINIONS.</p> + +<p>In these days of invention, discovery and progress, no one need be +ashamed of changing his opinions. In vocal music the ideas most commonly +held twenty years ago are being exchanged for something new. The man who +has made a change is often sneered at as "having a<a name="page_088" id="page_088"></a> method." He may have +that, but he may only have advanced to new ground which is to be +occupied by common opinion a dozen years from now. The man who changed +early was in advance of his fellows and would attract attention. Who +thought, outside of a very small circle, only forty years ago, that the +music of Wagner would become the most popular of any age? It is to-day +the music of the present and we are already looking for a "music of the +future." The present time is, in the manner of dealing with the singing +and speaking voice, a transition age. Ideas which are being taken up now +were scouted as nonsense twenty years ago. They will be commonly +accepted ten years from now. It is better to join the army of progress, +and change early, even if it does raise a laugh.</p> + +<p class="head">REPUTATION COMES SLOWLY.</p> + +<p>Reputation which will last comes only by slow degrees. Man may spring +into notoriety at a bound because of some fortuitous circumstance and he +may hold the prominence which he gains by his strength of manhood, but +the cases of this kind are rare. It is by "pegging away" at something +which one knows to be good until by the merit of the "something" and the +worth of the labor put into it, attracts the attention of<a name="page_089" id="page_089"></a> a few judges +of its worth, that a reputation is begun. It is begun then, only. Some +more of the same work must follow but those who have seen the worth now +assist in thought as well as in word and the circle which appreciates +the worth grows. When good reputation has begun nothing can stop its +growth except some unwise or unmanly act of the person himself. For this +reason no man need strive after reputation. Do well what is good and the +result will take care of itself. The reputation will not come because of +striving. It will come to any man who is doing good work and living a +right life. It takes time to make the lasting reputation and that +impatience which so often influences Americans, prevents the growth of +many a reputation.</p> + +<p class="head">STUDY POETRY.</p> + +<p>Every singer should be an earnest student of poetry. There are minds to +which poetry does not appeal as does the practical prose. But in all +minds there is enough of latent love of poetry which can be developed +until poetry appeals with even stronger force than does prose. Can your +heart glow with the beautiful sunset? Do you joy over the song of the +bird? Has the spring blossom a message of delicacy to you? Then have you +that love of nature which can<a name="page_090" id="page_090"></a> give you understanding of the poet. A +faculty of mind exercised grows with its use. A singer <i>must</i> have +imagination. Without it, the best vocalization lacks the spark of true +life. Without it, coldness displaces warmth, and darkness, light. The +very essence of poetry is imagination. One word in poetry often suggests +that which practical prose uses ten words to express. The study of +poetry, that is, making poetry a study so that one knows what is in it, +helps make good singers. He who has not yet thus used poetry may well +plan something new for his winter evenings.</p> + +<p class="head">MANNERISMS SHOW CHARACTER.</p> + +<p>Mannerisms give knowledge to the observing person of our character and +intellectuality, and, on that account, are to be studied and used to our +advantage. Such as would prepossess our hearers in our favor should be +retained and such as would be unpleasant to the majority of people +should be trained out of our unconscious use. But few think long enough +about a singer to be able to tell their reason for liking or disliking +him. The voice and art may be good and yet the audience may not like +him. On the other hand, the voice may be meagre and the music faulty, +yet there will be personal charm which is<a name="page_091" id="page_091"></a> captivating. The manners +which express the better side of our individuality will be those +retained. Certain it is, that manners are the expression of +individuality and there are no two persons whose action is just the +same, any more than that there are two faces or two voices alike.</p> + +<p>It is doubtful whether one can judge the good and bad in mannerisms in +himself. We are so liable to accept our intention for actual performance +that we deceive ourselves. Then, too, mannerisms which would be +permitted in one place are not admissible in another. The ways of a +German dialect comedian would not serve the Shakesperian comedian nor +would the physical accompaniment of the songs of the London Music Hall +be proper for the <i>lieder</i> of Schubert. The teacher enters at this place +and by judicious physical drill, based upon the knowledge of what is +wanted in true art, shows the singer what to cure and eradicate and what +to make more prominent, wisely retaining those mannerisms which show the +higher, nobler and more pleasing part of the singer's individuality.</p> + +<p class="head">PROVIDE FOR THE YOUNG.</p> + +<p>Parents see the necessity of providing the means for their children to +learn to take care of themselves. A fortune left to a son frequently,<a name="page_092" id="page_092"></a> +if not generally, proves a curse. A "good match" may turn out badly for +a daughter. A few hundred, or even one or two thousand, dollars invested +in musical education is sure to permit the son or daughter to earn a +comfortable living. It will be more than a generation before the field +for musical activity is supplied. More than that, in music, every +further elevation of the public increases their desire for better and +more expensive things in music. There is no prospect that the musical +field will be over supplied with artists and teachers. Happily, the +profession is open to women as well as to men. Our daughters can, then, +receive preparation for independence in it. The necessity for marriage +for mere living has gone by. Daughters are as independent of marriage as +are sons. The time was when boys were held in greater esteem and value +than were girls because they could take business positions and acquire +wealth. The new openings for women have changed this. Woman is making a +place for herself, not through the ballot and because of political +influence, but because she is taking position in the business and +professional world. Everyone, man or woman, should be prepared to take +some position which permits a living income to be made. Parents are +using music as the means of independence to their children. It is better +to spend the hundreds of dollars in education in music than to invest<a name="page_093" id="page_093"></a> +that sum in any way to provide a fortune for the children. The +life-income from the investment is better for the children.</p> + +<p class="head">THERE ARE NO MISTAKES.</p> + +<p>How often does every one of us make the "mistake of a lifetime?" +Probably everyone has made that remark many times regarding himself. The +circumstances of life have seemed to point out a certain path. We have +followed it. Later we felt it to be wrong. It was a mistake. Did it do +us any good? No. Did we learn any lesson? No. Will we not make another +"mistake of a lifetime" to-morrow, if we have the chance? Yes. Such is +human nature. So we go on. But there is another side to the shield. +There are no "mistakes of a lifetime," if we sum up the whole life. None +of us can do that yet, but we can put a number of years together and see +a result in them. How about that mistake over which you have been +mourning? Was it a mistake? Is it not possible that if you had what you +think would have been yours had you taken a different course, you would +be worse off than you are now? A young man who is making his mark +recently said, "I am glad my father lost his property. Had I been +supplied with a lot of money while at college,<a name="page_094" id="page_094"></a> I would have been a +profligate." When the father lost his money he probably thought he had +made the "mistake of a lifetime." Which would any father prefer, poverty +or a wrecked family?</p> + +<p>Many pupils rue a supposed mistake in the selection of a teacher. There +is no mistake. Every teacher who can attract pupils can teach something +and every pupil can learn something of him. The mistake, if one was +made, was by the pupil, in not learning what that teacher could teach, +and when he had gotten that, in remaining longer with him.</p> + +<p>Don't talk about the mistakes but so shape circumstances that all events +may be used for good. There is something which can be utilized in +everything which happens to us. The bee finds honey in every +flower—more in some than in others, to be sure, but none are without +sweetness.</p> + +<p class="head">REGULARITY.</p> + +<p>"It is the regularity of the laws of nature which leads us to put +confidence in them and enables us to use them." Thus writes Dr. McCosh +and he was a keen observer of men and things. His remark suggests that +teachers can and will be trusted and used who, by their regularity,<a name="page_095" id="page_095"></a> +awaken confidence. He who attracts and enthuses can for a time command +attention. His work will only be lasting and his hold upon the musical +public be good when there is something of permanent value behind the +enthusiasm. Slowly but surely we are reaching the knowledge that in +music there is all of life, and that only as we make music part of +ourselves is our life rounded. We have reached the place when we can +feel that he who has no love of music suffers an infirmity akin to the +loss of sight or hearing. We have also reached the belief that everyone +must cultivate the musical faculty. We are passing through this life to +one beyond and he who raises himself nearest the perfect man, best uses +the span from birth to death. In and through music, especially on its +side of education, more can be done than can be in any other way. +General culture, college education, mental development are, in their +proper place, to be used but neither will do so much for man as will +music. In thus developing that faculty we acquire something also, which, +as executant musicians, gives us delightful influence over our fellows. +Such is the possibility of a teacher to so make mankind better that he +becomes a noble instrument of service in God's hand. But he who knows +his position best and by regularity of mind, body and estate, by system, +certainty and reliability, obtains the confidence of the musical<a name="page_096" id="page_096"></a> +public, can best be used as an instrument in that service.</p> + +<p class="head">ASSERT INDIVIDUALITY.</p> + +<p>Personal freedom of action must for a time be surrendered by pupil to +teacher but it should be for limited time only. The impress of the +teacher's mind can be made upon the pupil in two seasons of study if it +can be at all. Perhaps most pupils receive all that the teacher can give +them in six months. As soon as they have that should they leave that +teacher? Not at all. They should then begin the use of their own +individuality—letting it, little by little, assert itself. The +practical application of individuality should be as carefully attended +to as is any part of the pupil's education. Perhaps it should have more +attention. More than one, more than a thousand, every year wrecks her +good and great future by what we term wilfulness or waywardness. The +name is misapplied. The individuality is then asserting itself and it is +then that the pupil needs the skillful and firm hand of the master. The +keen clear judgment which comes from experience is worth to the pupil +more than the cost of many lessons. The life is planned then. It is a +time of bending the twig; the tree grows that way. The wrecking which is +so<a name="page_097" id="page_097"></a> often seen arises because the pupil changes to a teacher who does +not understand the case. The new teacher must study it all over. Before +that can be done the pupil is spoiled and disappears, disappointed and +disgusted. Receive the personality of the teacher, pupils, but then +allow him to lead you onward as you bring out your own individuality.</p> + +<p class="head">EDUCING.</p> + +<p>Educing is bringing out or causing to appear. Teachers impart and call +that educating. The reverse of the common way is best. Instead of +imparting all the time to the pupil seek to draw out from the pupil that +which is in him. Cause it to appear. In this way will one's teaching +faculty be improved and he will become the better teacher. Often the +education must be against counter influences and, it seems frequently, +as if it were against the wish of the student himself. Yet the skillful +teacher can overcome the prejudice of the pupil and the adverse +influences, and reach his results. A help in thus using one's skill lies +in the fact that what is to be drawn out lies divided into two distinct +classes. One is that which pertains to execution and the other to +knowledge. They are widely separated. The first is to be trained so that +it cares for itself<a name="page_098" id="page_098"></a> without the thought of the student or singer and +the other so that it is always ready to respond to the quickest thought. +There is in the two classes variety enough to keep the most active +teacher on the alert and to make for him the highest kind of +ministration to mankind which is open to anyone. Later may come the +comfort of joining the two classes, synthetically, thereby making the +rounded and completed artist.</p> + +<p>It occurs to one's thought at once that he who would draw out what there +is in another, must know something of the machinery which he would cause +to act and also of the mind which is in command of that machinery. This +is the basis of the teacher's education, without which he cannot be a +good teacher. As a young teacher he has the right to teach those who +know less than he does. He imparts then. As an educator he must be more +than what he was at first. He must keep his own education above that of +his fellows and he must become able to educe.<a name="page_099" id="page_099"></a></p> + +<h3><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.<br /><br /> +CUNEUS CUNEUM TRUDIT.</h3> + +<div class="blockquot"><p>"<i>Art! who can say that he fathoms it! Who is there capable of +discussing the nature of this great goddess?</i>" <b>Beethoven</b>.</p> + +<p>"<i>Whatever the relations of music, it will never cease to be the +noblest and purest of arts</i>." <b>Wagner</b>.</p></div> + +<p><a name="page_100" id="page_100"></a></p> + +<p><a name="page_101" id="page_101"></a></p> + +<h3>VI.<br /><br /> +"CUNEUS CUNEUM TRUDIT."<br /><br /> +VOCAL TONE.</h3> + +<p>All vocal tone used in singing when produced at the vocal bands is small +and probably always about alike. The tone which we hear is "colored", +"re-inforced" etc., on the way from the vocal bands to the outer air. In +order that the tone shall carry well and be heard in purity throughout a +hall, the initial tone must be added to. This is done by its +reverberation in cavities where there is confined air. By confined, is +meant, air which is not being greatly disturbed. There are four such +cavities, or chambers, in connection with the production of voice. The +chest, the ventricles, the inner mouth and the nose. To have the tone +resonant the air in these chambers must be held in confinement. The way +they can be utilized is best illustrated by the drum. A blow on the +drum-head sets the air in the drum into vibration and that air +re-inforces the tone caused by the original blow.<a name="page_102" id="page_102"></a> Tone made by the +vocal bands is re-inforced by vibration in the chambers of the body, and +the connection of these chambers with the outer air sets into vibration +the air of the room.</p> + +<p>Something might be said about the thickness of clothing to be worn over +the chest while singing. It is certain that thick woolens worn during +singing, absorb much of the vibration of the tone and lessen the amount +of voice. Tone comes from the whole body and chiefly from the chambers +in which air is confined. Our singing tone does not come out of the +mouth alone. It comes from shoulders, back and chest without going near +the mouth.</p> + +<p>The stillness with which the air is held in the chambers of vibration +has much influence upon the volume of tone, and upon the quality. Just +now we will consider the chamber within the mouth. The space between the +back of the throat (as seen in a mirror) and the teeth is this chamber. +The air in this must be held as still as it can be. The practical way of +doing it, and the way of telling pupils how to use themselves so that +they can do it, tax the ingenuity of the teacher. A picture, or an +image, is the best way perhaps. The air in the mouth should be like the +water of a still lake. Into it, at one end, a gentle stream may flow. It +does not disturb the lake. It causes a ripple where it enters. It may +raise the elevation of the water in the lake,<a name="page_103" id="page_103"></a> and the superfluous water +may flow off at the other end of the lake. Now, suppose a mountain +stream comes rushing into the lake. It stirs everything up, and rushes +out at the outlet in the same rough way. In the still chamber of air in +the mouth there must be no "mountain streams." The quiet lake must be +imitated. A little air, which has been vibrated at the vocal bands may +enter it, and not disturb it. That initial tone, always a quiet one, +will be re-inforced by vibration in the mouth and will issue forth large +and round. The amplitude of vibration will determine its volume. The +shape and size of the cavity of reverberation can constantly and +instantly change and by such change the tone can be regulated.</p> + +<p>The chamber of still air cannot be utilized unless the organs of +respiration are working correctly and strongly. A forceful blast of air +sent through the mouth will dissipate all vibrating waves. It is useless +to try to the initial tone until after the diaphragm is in good working +order. When that is all right then employ the re-inforcing chamber in +the way given above and resonance of tone will be obtained. It is by so +using the respiratory column and re-inforcing the tone made by the vocal +bands that a person can be made a good vocalist in a few weeks. It is +not necessary to take years to cultivate the voice. (It <i>is</i> to make a +good singer.<a name="page_104" id="page_104"></a>) From five to eight weeks, if the student does right, will +perfectly cultivate a voice.</p> + +<p class="head">TRUE ART IS DELICATE.</p> + +<p>All true art is delicate. Music is the most delicate of all arts. Music +is expressed through thought and emotion. In this, music has much the +advantage over sister arts. The sculptor can chisel his thoughts into +marble, and there they can imperishably remain. To what small extent can +he express human emotion! The painter also places his thought on canvas. +As his art is more easily within his grasp, to change at will, he is +enabled more fully to express emotion than is the sculptor. His finished +work remains. While at work upon it he may change here and there to suit +himself. That line and that shade of color, if not satisfactory, can be +changed. Not so in music. At one stroke—in one tone even—the musician +must express his emotion—and that expression, once uttered, is all that +he can use of his art. It is a delicate thing and requires sure thought, +complete mastery of emotion, and perfect ability in execution. Each and +every stroke must be perfect.</p> + +<p>Voice culture is the preparation of the body and its +expression—voice—for use in this delicate art. Voice culture is that +through which<a name="page_105" id="page_105"></a> we approach art. It cannot be roughly handled. If art is +to be delicately used, it must be delicately approached. He whose vocal +practice is forceful and rough will never know the delicacy of true art. +He may become a vocalist after whom the ignorant public will clamor, but +he can never be an artist. Seek the delicacy of true art, or decide to +be forever a rough mechanic. One may hew wood or quarry rocks, or he may +be a worker among jewels and precious stones. It is a time to say +"Decide this day which you will serve." The two masters do not belong to +the same firm and both cannot be served at the same time.</p> + +<p class="head">WORDS AND TONE SHOULD AGREE.</p> + +<p>While singing, words and tone should agree. What does that mean, asks +one. It can be well stated when we consider how they do not agree. If +one sings "Sing ye aloud, with gladness," with a sombre tone the words +and tone belie each other. This result invariably follows the attempt to +cultivate the voice on vowels only, or on one single vowel. He who +watches tone while cultivating his voice reaches this result. We express +our thought while singing in words. Words are made by the organs of +speech, the chief of which are the tongue and lips. The tone receives<a name="page_106" id="page_106"></a> +its expression from the pharyngeal cavity. If tone and words agree, the +tongue, lips and pharynx will work harmoniously in accord. It is when +one or the other does not work correctly that one belies the other.</p> + +<p>Training of the organs of speech has been written upon so extensively +that for now more need not be said. Suffice it to say, that the organs +of speech can be trained upon a few enunciatory syllables in a short +time, so that every word can be distinctly understood. There is no +excuse whatever for our singers remaining so indistinct in their +singing. The way of getting the tone to agree with the words, is what +may be considered now. As said above, tone is regulated, so far as +quality goes, in the pharynx. That organ can be put into working order +and kept so through the expression of the face. The same thought is +expressed on the throat which is expressed on the face. The same set of +nerves operates the two organs. To show what is meant, recall that if +you hear someone utter a cry, you know from its sound whether it is a +cry of fright, of happiness, of fear, of greeting, of anger, or whatever +it may be. The position and shape of the pharynx has made the cry what +it is. One standing near the person would see on his face the look which +corresponds with the cry uttered. In this case the word and the tone +correspond. It is not easy to reach the pharynx<a name="page_107" id="page_107"></a> for voice culture, +except through the face. It can be reached in that way. The tone for +general use in voice culture should be the bright one. Then the +expression during vocal practice should be a bright one. All vocal +exercises should be, on this account, practised with the face pleasant +and expressing happiness. This fact led many teachers, years ago, to +have their pupils smile while singing. It led to most ludicrous results. +The teachers said, "Draw back the corners of the mouth, as if smiling." +Very well. That may be good, but it has no particular beneficial +influence on the pharynx, or upon the tone produced. The mouth is not +the seat of expression in the face. Not that there is no expression to +the mouth, but its changes are limited. The eyes are much more +thoroughly the seat of expression, and through them the pharynx can be +reached. Let the eyes smile. Let the whole face take position as if one +saw something irresistibly funny, at which he must laugh. Practice with +the eyes in this way will brighten the whole voice. It will relieve +strain upon all the facial muscles and will render the organs of speech +more pliable, too. Having obtained such control of the eyes that one +expression can be placed in them, the student can attempt other +desirable expressions. He will find that whatever is used in and about +the eyes will affect the kind and quality of tone. He<a name="page_108" id="page_108"></a> may arouse his +interest in some particular thought and hold that in mind as he sings; +the voice will then have warmth of tone and will readily receive +meanings. He may express varying degrees of surprise in the face and he +will find varying degrees, to correspond, of fulness and roundness go +into the voice. The use of expression in the face as a means of giving +character and quality to tone opens a field of experiment and experience +which will lead any teacher to practical and beneficial result. It is +not a new idea. Salvini, the great actor, has given some very useful +thought on that subject. Little of such instruction, important as it is, +has gone into print. Yet it is so important.</p> + +<p class="head">PREPARATION FOR TEACHING.</p> + +<p>There are many who become teachers of singing without knowing what they +are doing. No one who wishes to enter the profession should be kept out +of it. There is room in it for many times the number engaged. It is to +be earnestly recommended, however, that he who intends to become a +teacher should decide beforehand what kind of work he intends to do, and +after he has begun, he should bend his energy to make that branch +successful. There are, at least, three distinct specialties of the +singing teacher.<a name="page_109" id="page_109"></a> First, rudimental music; second, voice culture; third, +artistic singing. He who thinks he can excel in all has very great +confidence in his own ability. Perhaps most of those who become teachers +have no adequate knowledge of what the profession is, but enter into it +for the purpose of making a living. After becoming a teacher he +discovers that something is wrong, and the last person whom he thinks +wrong is himself. Probably he has never decided on a specialty and +properly prepared himself for that. Thus we see men who know something +about music, teaching singing. They know nothing of practical voice +culture, but attempt to teach singing. They ruin voices and wreck their +own happiness. The first duty of a singing teacher is to study enough of +anatomy and physiology to enable him to know exactly what parts of the +body enter into voice culture, where they are and how they work. The +dentist makes his specialty, filling teeth. But he would not be given +his diploma if he did not know anatomy. His course in the medical +college is the same as that of the physician. It differs in degree, but +not in kind. Such should be the education, to a certain extent, of the +vocal teacher. This education cannot be had from any books now +published. Plain anatomy can be given in books, but the student should +also see the parts described in the subject. He should then examine, so<a name="page_110" id="page_110"></a> +far as may be, the action of these parts in the living body. He must +then make his own deductions. It may seem strange that that is +necessary, but such is the subtlety of voice culture, that hardly two +theorists agree in their deductions. Until some recognized body of men +decides on definite things in voice culture, reducing one's theoretical +study to practical uses must stand.</p> + +<p>As important as such study, too, is the preparation of the artist mind. +One can teach voice culture mechanically and obtain good result, but be +very deficient in the art of music. It is often said that "Artists are +born, not made." That is a mistake. No man was ever an artist by birth. +Some men may be more appreciative of beauty than others but all men have +enough within them to serve as the basis of artistic education. That +education should be carried to a considerable distance before teaching +is commenced. Almost as soon as the voice is capable of making any tone, +music must be put into study. Appreciation of music itself as an art, +must be a part of the good teacher's preparation. Knowledge of greater +and better music comes from that appreciation with the years of +experience in teaching. If the artist mind has not begun to assert +itself before business is attempted, business will be likely to absorb +the teacher, and he stands the chance of never being an artist.<a name="page_111" id="page_111"></a> One who +combines scientific knowledge of voice culture and an understanding of +the art of music is well equipped for entering the profession of +teaching vocal music. Only such should enter it. With that as +foundation, the experience of each year will make him a better teacher. +Without that as foundation he will probably remain, vocally and +musically, about where he was when he began. Financial success may come, +but musical success never can.</p> + +<p class="head">EXPERIENCE.</p> + +<p>A very good reason, but one which individuals can attend to, why we have +so few artists among singers, is that so few take time to gain +experience. There must be many appearances before audiences before the +<i>amateurishness</i> is worn off. Singers often think, when they hear a +noted singer, that they could do just as well as that and perhaps +better, and yet they cannot get professional engagements. It may all be +true, that they can do just as well as the artist, but in appearance and +self-command they may be deficient. Experience cannot come in a day or a +season. If it could what a crowd of singers would become noted. It takes +much time—years of time. One cannot safely feel that he has had +experience enough to place himself<a name="page_112" id="page_112"></a> among the professional singers until +he has appeared at least fifty times. How many of our readers have done +that? Many visit the large cities and seek engagements who have great +talent and have the probability of complete success in them, but who +have had so little proper experience that their first appearance in the +large city, would be a failure. Managers of experience perceive this +state of affairs and refuse to give engagements on that account. Gain +that appearance necessary to the artist by singing before public +audiences everywhere, at church festivals, benefit concerts, parlor +receptions, college recitals, anywhere where an audience can be +entertained. Study your influence over your audience and learn how to so +express your art in your voice and singing that your audiences are your +subjects. Concert after concert must pass before you know your own power +in song. Year after year will go bye, before it is safe to approach the +critical audiences of large cities.</p> + +<p class="head">BEFORE AN AUDIENCE.</p> + +<p>When singing before an audience in a hall, do not look on the music. A +glance at it may be made from time to time but keep the eyes off. A +singer appears very ridiculous if he looks on the page. A song is a +story told by the<a name="page_113" id="page_113"></a> singer in the singing voice. It is not a lesson read +from a book. The story cannot be well told if the singer has only half +learned it. If he is confined to his notes he attracts attention to +himself and that spoils art and the artist. It is best to learn by rote +the music to be sung, and when it can be done, to leave the music in +some place out of the hands. If it must be carried, have it as much out +of the way as possible. A singer of much fame, spoiled his evening's +work recently by fixing his eyes on his music all the time while +singing. This may have been an exceptional evening, but if he does that +all the time, he is no artist, in spite of his repute, and ought not to +receive engagements even if he has a fine bass voice.</p> + +<p class="head">COME UP HIGHER.</p> + +<p>The man makes the musician as does the musician make the man. The rules +of life which make men better make the musician better. There is a +constant call in life to "Come up higher!" He who has lost the sound of +that call is at a standstill, or rather, since there can be no stopping, +he is sinking from the place once gained. Get within the sound of that +call and heed it. There are no heights so great, but that they form the +base to heights beyond. Music<a name="page_114" id="page_114"></a> is so rich and full that no man can +understand it all and no man has reached the highest place in it. The +call ever sounds "Come up higher!" Music fills all which contains life, +and uses all materials for its transmittance. The air, a subtle ether, +is filled with a still finer ether, on which sound travels. That ether +is filled with vibration. It is ever present. The connection with it can +be made at any moment and the musical thought can be sent off into +unlimited space, to influence all within that space. To be able to use +this at its best the thought which is musical must be raised to divine +thought. The possibilities in that are boundless.</p> + +<p>Musicians cannot stop. The year may roll around and one may feel himself +doing a great and good work, doing a work which seems to be well +rounded; a work which leaves the musician, as the end of a season rolls +around, exhausted from labor, and ready to say that the end of his work +is reached, that he has gone to his greatest height. Not so, however. +Next year is a height to be ascended, and that of the present moment is +but the base of that greater height. Music calls "Come up higher."</p> + +<p class="head">CRUDE VOICES EXPRESS NO EMOTION.</p> + +<p>An untrained voice can never have correct<a name="page_115" id="page_115"></a> emotion expressed in it. The +voice responds as truly to the thought which passes in the mind as does +the leaf bend before the breeze. The singing voice is an extension of +the speaking voice, and since nature planned only for speaking purposes, +in order to have the organs which produce voice in proper condition for +singing, there must be that degree of physical drill which makes the +vocal apparatus able to convey in proper pitch and quality, the thought +of the mind. The untrained voice will not do this. The throat becomes +rigid, the pharynx strained and in-elastic. Emotion cannot be expressed +when the vocal apparatus is thus held. One may have a beautiful natural +voice and he may arouse the enthusiasm of certain of his hearers, but he +cannot, without careful training do a tithe of what he is able to do. +That is sufficient reason for teachers to urge all who sing at all to +place themselves under the best of tuition. All who talk pleasantly have +the power to sing. The exceptions to the rule are so few that they +amount to but a very small percentage. But all who do sing, if they +would rightly use their gift should train themselves to do whatever they +do, well.</p> + +<p><a name="page_116" id="page_116"></a></p> + +<p><a name="page_117" id="page_117"></a></p> + +<h3><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.<br /><br /> +AMBITION.</h3> + +<div class="blockquot"><p>"Character is the internal life of a piece, engendered by the +composer; sentiment is the external expression, given to the work +by the interpreter. Character is an intrinsic positive part of a +composition; sentiment an extrinsic, personal matter only." <b>Christiani.</b></p></div> + +<p><a name="page_118" id="page_118"></a></p> + +<p><a name="page_119" id="page_119"></a></p> + +<h3>VII.<br /><br /> +AMBITION.</h3> + +<p>The very first question to ask of an applicant for vocal lessons is +"what is your ambition?" By that, I mean, the teacher should know at the +very start what purpose the pupil has in study, or if he has any +purpose. The intention of the pupil should make a difference in the +consideration given to the pupil in the matter of voice trial. If an +applicant says he wishes to sing in Opera and the teacher sees that he +lacks all capacity for such high position, he should frankly say so; if +the applicant says that he wishes to learn to sing well that he may have +pleasure in his own singing and give pleasure to his friends, that +should be taken into account. Such person, provided he has any voice and +musical instinct, can reach the height of his ambition and his study +should be encouraged.</p> + +<p>The first visit of an applicant to a teacher is a most important event +in the life of the pupil. The importance of it is not appreciated. To<a name="page_120" id="page_120"></a> +very many persons it marks a change—a veritable conversion—in their +lives. A mistake made by the teacher with regard to the future of the +pupil is a serious matter. That visit gives the teacher his chance to +plan his treatment and is akin to the diagnosis of the physician. The +pupil places himself in the hands of the teacher as thoroughly as does +the patient give himself over to the physician. The case assumes +importance from this fact. Responsibility by the teacher is assumed. The +musical future of the pupil is in his hands. It may be for the good of +the pupil that he found his particular teacher and it may not be.</p> + +<p>"What is your ambition regarding your music?" is the safeguard of the +teacher. Knowing that, he can have a basis for examination and a ground +for promises to the student. In the large cities, teachers are troubled +with that which would be very amusing were it not for the sad part of +it. Students of music come from the smaller cities and from the country +and begin a series of visits to the different studios for the purpose of +selecting a teacher. Everyone seems to recommend a new teacher and the +student calls upon all. The result is surely disastrous to the pupil. He +or she is left in doubt as to whom to go for study. The different +promises made, the compliments paid, the hopes of ambition raised, are +all enough to unbalance the judgment<a name="page_121" id="page_121"></a> of older heads than those who +usually seek the music studio. When a teacher is finally selected, it +takes a long time to settle down into confidence in him so that the best +result can be obtained. I said it would be amusing to the teacher were +it not sad. I have known persons to boast that they had had "as good as +a lesson" from the different teachers visited. I even know men who are +teaching voice culture and singing in this city who claim to teach +certain methods, and all they know of those methods is what they picked +up in the interviews which they pretended were to see about arranging +for study. As if any man of experience would give (or could give) his +instruction in a talk of ten or fifteen minutes! The men who have ways +of teaching which are so good that they bring valuable renown are too +shrewd to be caught in any such way as that. What shall be done about +such persons? Nothing. Let them alone. They die out after a time. Were +there any way to prevent other people from following their example it +would be a most excellent thing. But as society is made up, as long as +the flash of a piece of glass passes for the sparkle of a diamond just +so long will the cheater spring up, flourish and disappear.</p> + +<p>A question more to the point is "How can the racing from studio to +studio be stopped?" I frankly say that I do not know. Generally I<a name="page_122" id="page_122"></a> avoid +bringing up a subject which has not in my own mind reached solution. I +can suggest remedies if not cures.</p> + +<p>By writing about it some little help may be given the student. The +remedy—nearly all city teachers have some special branch, a branch in +which they obtain satisfactory results. One succeeds in Italian Opera, +another in Voice Culture; one in Rudimental Study, another in Oratorio; +one has many pupils in church choirs, another forms delightful classes +of society pupils. "What is your ambition?" Find that teacher whose +general reputation is in that which you want to do and be, and commence +study with him. A very few lessons with that teacher—say ten +lessons—will tell the student whether he is the right teacher or not. +Probably the teacher will prove satisfactory. If not, by that +time—acquaintance with the teachers of the city will permit more +certain selection, the second time. "But," say you, "those ten lessons +have cost something." True, but they have not cost half as much as it +costs to settle an unbalanced mind.</p> + +<p>To return to the first question, what is your ambition? Has it ever +occurred to you to wonder what becomes of all the music students—how +many are there? Who can tell? One teacher boasts of having given four +hundred vocal lessons last month; another caps that by<a name="page_123" id="page_123"></a> claiming five +hundred. Allow for all exaggeration, and say that these teachers (and +thirty or forty others had as many students at work) had all they could +do. They had from thirty to fifty pupils under study. What is to become +of them, and how many ever amount to anything? The teacher has +responsibility. He who receives every person who applies, especially if +he tells him what a good voice he has and how well he can sing after a +term or two, borders very nearly upon the scoundrel, or else the fool. +If he thinks he can make a singer out of every person who comes to him +he is the fool; if he flatters a person whom he knows can never become a +singer, he is a scoundrel. He who is wise will find out the desire of +the applicant and tell him frankly whether or not he can reach the +desired goal. If he thinks it cannot be done there is no objection to +his pointing out some other channel of musical usefulness and advising +him to enter that. If the applicant has no aptitude for the desired +study the only honest course is to tell him not to waste time and money +on his voice. Any conscientious teacher feels a shudder sometimes over +the responsibility of his position when the thought comes up "what +becomes of all the music students?" We can ask "what becomes of the +pins?" and have the question answered. The material of which they are +made can be supplied anew. "So," say you, "will<a name="page_124" id="page_124"></a> new pupils come." But +those who are now studying must be made something of. The day they begin +study a new world opens to them. Is it for good or ill? That remains for +the teacher to solve. Every true teacher improves every pupil who +studies with him. Some of them will become good singers and fine +musicians. These are the ones most talked about and the teacher finds +pleasure in the added reputation which they bring, but the others have +the right to demand that they shall be raised to a higher plain of life +because of their music lessons.</p> + +<p>What becomes of all the ambitious youths and maidens who study singing? +Only one or two now and then amount to very much in professional life. +Thousands attempt to be "Patties," but who has reached her height? Some +one is at fault that this is so. Whatever belongs to the singing +teacher, let him assume, but let him keep in mind that there is +something to guard in the future. Over in Milan, ten years or more ago, +while a student there, I met a great many Americans who like myself were +there for study. I was told that at least two thousand American young +ladies were there. Probably more than half of them expected to become +successful singers in grand opera. How many successful singers in grand +opera have appeared during the last ten years? A very few surely. What +has become of the "ninety and nine?" Of that,<a name="page_125" id="page_125"></a> say nothing. I saw the +wretched lives they were leading at Milan—most of them—and advised, +nay, begged, that they would go home to America and do anything for a +living if they must work, rather than to stay there. Taking in washing +would be much more ennobling than what some of them were doing. Whose +fault was it that so many were there, and that so many are there all the +time? Teachers of singing here at home must sooner or later realize that +they did it. How, when, or for what purpose? Well, much might be said +which will not be. Had an honest expression of the belief regarding the +possibility of gratifying the original ambition been given, very much of +the wrong done could have been avoided.</p> + +<p>One of the reasons why many people try to learn to sing is because some +one has urged them to do so. The person who arouses the interest in +another does a necessary act, and yet there should be a good degree of +caution used in the matter. This article will be read by thousands who +are now students, and as the aim of the magazine is to educate, let us +see what word can be formed in the idea of this paragraph, which will +make students better able to use judgment in inducing others to study. +Do not cease in the efforts to bring others into musical work, but let +your effort be tempered with discretion. When you hear a person sing who +evidently enjoys it,<a name="page_126" id="page_126"></a> whose face beams with pleasure, and whose voice +pleases her hearers; when, in a word, you hear one who has a voice, and +has intelligence enough to understand himself and his music, then learn +if he has given serious study to music. If not, urge him to see a master +at once. Do not, however, when you hear a person labor through a song, +with act painful to himself and everybody else, urge him to go a +teacher, "and learn how."</p> + +<p>Well, reader, "What is <i>your</i> ambition?" Have you any? If not, get one +pretty soon. I would say that before another sun sets, you should have a +settled purpose in your vocal study and follow that purpose to a +definite end. That matter settled you will do more than ever before. It +is a matter which <i>you</i> must settle. Others may suggest and advise, but +you must decide it, yourself. I would not continue study without a fixed +purpose. A poor purpose is better than none. Shall I tell you of some of +the ambitions which students have, and say a word about them? Perhaps +you will get a useful idea from that. The best use of lessons in music +is that you may know music and how to use it for pleasure wherever you +may be placed. This means that the study should be for education itself +and not for the financial return which the study may bring. Study for +the culture of a beautiful art—for the improvement of the mind, for the +refinement which comes with associating<a name="page_127" id="page_127"></a> with that which is pure. When +one tells a teacher that this is his ambition, he will in many cases +find that the teacher wishes him to work for something besides. A church +choir is something of that sort. There is no reason why one should not +have other ambitions, but the highest ambition which one can have is to +make himself a musician of the highest and best kind. The whole journey +toward becoming such is pleasant. Whoever goes but one mile along the +road has his reward, and each additional mile brings its additional +reward. Anyone can have this ambition in his study, and he who is most +faithful and has the most intelligence will make the most progress and +do the best in a given time. People who have little or none of that +which is called musical genius can so develop that talent which they +possess that they will be accounted musical. Those who have more can do +almost anything. The class of persons who study with this ambition is +larger, proportionately, in small cities than it is in the large ones. +It is a fact that people are, in many small cities, better educated in +music in which they can participate individually, than are the people of +large cities. The students enter for long periods of study and follow +those studies which do them the most good. With them the ambition to be +musical and to have a good musical education is upper-most in mind. It +is the best ambition to have.<a name="page_128" id="page_128"></a> Even if no other use is made of the +study, that education well repays one for all the time and money devoted +to it. The choicest moments of life are while directly participating in +music, or while engaged in that of which music is the accompaniment. Our +association with friends in their homes and in our own is sweetened by +music; our tired brains are rested at the concert, the opera, and the +theatre; our seasons of deepest devotion and greatest spiritual delight, +when we are at the house of worship are made more holy because the +sacred words are beautified by music. Every act which can be looked back +upon even to the child days, when the little songs of the school +children were ours, has its embellishment of music. Whatever we do to +increase our appreciation of music, to make us better able to make +music, and to add to the charm of life of our own circle, is profitable. +The good of it comes to us every day, and in addition it prepares us the +better for that higher life to which we are all hastening, because it +makes more beautiful the soul. The ambition to study for music itself +is, then, the best ambition to have.</p> + +<p>The majority of those who present themselves to the city teacher wish to +sing in church choirs. The reason is plain. There is some chance for +financial return. There is also on the part of many a certain sense of +duty to the church<a name="page_129" id="page_129"></a> which they wish to fulfil by participating in its +services. There are many things to be said on this whole subject and +when such things are spoken it should be with no uncertain tone. The +ambition to become a church singer should be held within certain bounds. +The path to become such and the gratification which comes from the work +accomplished are not such as most persons think they are. Of course the +study to become able to sing in a church choir is altogether delightful. +To prepare the voice so that it can be used as a means of interpreting +the best church music is the best part of voice culture. Tones of good +power, pure quality, evenness, and fair range, are absolutely necessary. +No greater pleasure comes into voice culture than the training to be +able to do just such work. Then the music of the church is satisfying. +There is more to it than the light music of the parlor or light opera, +more that appeals to deep feeling, more with which we can arouse our +hearers.</p> + +<p>With regard to the wish to serve the church by our vocal powers, it may +be said that while that is laudable, it is one that disappears very soon +after one has the chance to put it into practical use. The wish is a bit +of sentiment, and there is nothing like the practical to dispel +sentiment. This brings us to a consideration of the choir and whether +the ambition to become a choir singer is worth anything or not.<a name="page_130" id="page_130"></a></p> + +<p>In small places the choir singer is at once a person of some note. That +note which the position gives has a value. The country choir becomes a +sociable club (although composed of only four persons) and the +friendship which each has for the other is a thing to be prized. Country +choirs generally practise enough to have the voices blend and to have +the singing good. There is some pleasure in singing in such a choir. But +does it pay, financially? In some places it does, and he who is in a +paying position in a country choir has the best place of any one in +choir work. How many, though, of those who go to the teacher with the +ambition to study for the choir would feel contented to take such a +place as that? No, they want a place in the city choir, and at large +salary. Have they ability enough to fill such position, and could they +hold the position if they obtained it? The competition for choir +positions in a city like New York is very great indeed. Let it be known +that a vacancy is to occur in any church choir and hundreds if not +thousands of applications are made. Only one person can have the place. +The work of selecting one person out of the many applicants begins. It +is at this point that the student feels the sentiment regarding singing +in church begin to disappear. She feels that she is not being given a +fair chance. She supposes that that which would give her the position is +good<a name="page_131" id="page_131"></a> voice, good singing and a good character. As sad as it may seem, +she is decidedly wrong.</p> + +<p>That which is wanted in most city churches is "style" in body and dress, +a comely face and vivacious manner. If the applicant lacks these she may +as well not try, no matter what her musical acquirements may be. In +fact, there are many singers in church choirs of New York and Brooklyn +who haven't the least claim to be singers at all. Then regarding pay for +choir singers in these cities. There is very little money in it. +Salaries have been reduced and there are always those content to take +the places at the lower figure. The majority of singers in these cities +get less than $300 a year. Deduct from that the cost of car-fares, extra +clothing, and the little incidentals which count up, and not one half of +that amount remains as income. That does not pay to work for. The time +and labor used in earning it could be better used in something else. A +better money return could be had from that time in a dozen different +things by any person who has ability enough to become a singer in a city +church on salary. Nor is the possibility of obtaining a greater salary +in later years to be taken into account. If an increased salary does +come increased expenses come with it. Even if, after years of waiting, +the student makes herself a fine singer and is competent to take a high +place, she finds herself set one side<a name="page_132" id="page_132"></a> for a fresh face and a new voice. +That is a picture which is not pleasant; but which is true to life.</p> + +<p>One may ask if there is no work in choir or church for which one can +prepare himself and which will be pleasant and desirable. Yes, in two +directions;—first, when one is so trained that she is very desirable as +a solo singer—one who can sing sacred songs well—she can find a +position in which she has this and no other work to do. She then avoids +competition, because her fame attracts the church to her. She has no +long and trying rehearsals and she can be an artist as well as a church +singer. But how many years of study this takes! Is your ambition equal +to it? The second line of pleasureable work is, that of the +choir-leader. Unhappily for singers, in most of the city churches the +organist is made choir-leader; even in the vested choirs of the +Episcopal church. This is not well for the choir or the church, but we +must take things as we find them. When one is competent to superintend +the music of the church and can find a choir to take charge of he is a +happy singer. These two positions—of professional choir soloist and of +choir-director—are the only satisfactory ones in the large cities.</p> + +<p>In connection with this it may be said that if one wishes to take a +prominent position as concert singer it is almost necessary that he +should<a name="page_133" id="page_133"></a> hold a church choir position. At least he needs that until his +fame as a concert singer is great. Managers of concerts in various +sections of the country ask the very first thing, "Where does he sing?" +If he is connected with a city choir he is placed. The choir gives him +position.</p> + +<p>Concert singing is the field most widely opened and most easily filled +of any to which a singer can aspire. Every year the concert field +broadens. The so-called "grand" concerts of the last generation have +disappeared, and that is better for the singer. Concert singing is more +thoroughly a business and it is one worthy the ambition of any vocal +student. Not that it is always pleasant business—what is, for that +matter?—but it is something which can be entered upon on business +lines, and one can make a place for himself in it. His first work is, of +course, vocal and musical preparation. He should begin as soon as he can +sing well enough to appear before an audience at all, to sing whenever +and wherever he can get the chance. This is for practice and not for +pay. No one ought to expect pay before he has sung at fifty or sixty +entertainments without pay. He must have that amount of practice on his +audiences. If he has improved his opportunities his name will be known +by the time that period of experience is over and he can then begin to +demand a small<a name="page_134" id="page_134"></a> fee. The smaller the better for him. He can then begin +to send his name abroad as an applicant for more remuneration. Step by +step he can improve in ability and increase his income. It is a work to +which all can be directed. It takes years to make any goodly success at +it. Three years are needed to make a good beginning, but when one looks +back over a life, three years of preparation do not seem long.</p> + +<p>With regard to singing in opera and theatre a word can be given at +another time. An outline of what might be said is this:—grand opera is +very limited, and only few can become opera singers in grand opera; +light opera presents a good field for the gratification of ambition, +under certain conditions; the theatre presents a good field for +vocalists to those who feel inclined to enter theatrical life.<a name="page_135" id="page_135"></a></p> + +<h3><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.<br /><br /> +MUSIC AND LONGEVITY.</h3> + +<div class="blockquot"><p>"<i>Were it not for music, we might, in these days, say the beautiful +is dead.</i>" <b>D'Israeli.</b></p> + +<p>"<i>I verily think, and I am not ashamed to say that, next to +Divinity, no art is comparable to music.</i>" <b>Luther.</b></p></div> + +<p><a name="page_136" id="page_136"></a></p> + +<p><a name="page_137" id="page_137"></a></p> + +<h3>VIII.<br /><br /> +MUSIC AND LONGEVITY.</h3> + +<p>Perhaps no one chooses to question the statement that length of human +life is greater in our generation than it was in the last, and much +greater than it was one or two centuries ago, in the face of statistics +which the medical profession puts forth. Question of such statement +implies a hidden motive in the medical profession. Possibly that +profession might have a motive in leading people to believe that life +lasts longer. If there is such motive it is for the good of men. It also +recognises the influence of mind over matter as a preserving force. +Doctors are anxious more than can be imagined to do all they can for the +benefit of mankind. No class of men (or of women, since we have women in +the profession) strives harder to do good. Their very code of ethics is +based on self-sacrifice. The inventions, the discoveries, the devices +which that profession now uses are such as bewilder and astonish one who +only now and then has a chance<a name="page_138" id="page_138"></a> to see their work. But a generation ago, +and the sick man was loaded with charge after charge of drugs. It was +only the generation before, that the sick man was bled in great +quantities for every ailment. That was a change from generation to +generation. But a little while ago a new school of medicine sprung up in +which drugs were almost wholly discarded. Attenuation to the thousandth +or even the five-thousandth part, was used, and when drugs are so +attenuated, there is not much left to them. Such success has attended +the homeopathist that he must be recognised. Who shall say but that +another step may be taken or has been taken, in dropping the use of +drugs and medicines entirely?</p> + +<p>All these schools and schemes have borne their part in prolonging human +life, or more properly speaking, prolonging life in the human body.</p> + +<p>It is but recently that the influence of music in the cure of disease +has been given professional thought. Its influence has been known for a +long time but has not been properly placed and appreciated. This +discussion may be the one thing to bring it before the world.</p> + +<p>Metaphysics—That is a word which we hear from mouth to mouth, nowadays. +What does it mean? Briefly "the scientific knowledge of mental +phenomena." We have almost come to think that it is something mythical, +or even relating to the supernatural. But it is "<i>scientific<a name="page_139" id="page_139"></a> +knowledge</i>." Even our magazines which talk upon "Psychical Research" +drift off into spiritualism and hallucinations. The writers do not keep +to the text. Metaphysics is a science—and that science which deals with +the most real and tangible. It deals with phenomena. It deals with mind +itself. Now, mind is tangible and real. It is that part of us which came +from the Creator—was from the beginning—has no end—and is in these +bodies of ours for a time only. Which from this definition, is more +tangible? Mind or body? There is no longevity to mind. From eternity it +came—to eternity it goes. No measure can be applied to it. Body, that +which we see and handle and in which we believe mind to reside, is quite +another thing. It begins—it lasts for a time, ever struggling against +forces which tend to destroy it—and drops at last into Mother Earth or +the elements. That which we try to prolong is the existence in living +condition, of the body. The keeper of that body is the mind, and +whatever is done successfully to that body is done through the mind. +Medical treatment is well enough in its place, and I am not to quarrel +with the man who wants to use that, but mental treatment, (and I do not +choose to be classed with the various isms now before the public which +have grasped one corner of the subject and are tugging away at that) is +the one thing by which and through which the body is<a name="page_140" id="page_140"></a> to be affected. By +that is human life to be prolonged.</p> + +<p>Music affects the mind. If it affects the body it does it through the +mind. We say, when the dance begins that we can't keep still. What is +the "we?" Our bodies. Not at all. Our mental perception is alert, and it +recognises the vivacity of the dance and responds to it. In a moment the +body answers the mind and whirls out over the floor in rhythm and in +sympathy with the musical action. Again music seeks the minor thought +and we are subdued into seriousness, or maybe, worship of the beautiful, +the good, and God. Was it the body, fighting against disease and death +which thus responded? Not at all. The mind, in which there ever rests +the appreciation of all that there is in God, (and that includes beauty, +bounty and truth) felt itself influenced by the music. That influence +was extended to the body. You cannot enter good without getting good, +mental and physical.</p> + +<p>There is nothing which has the tendency to reduce the average of human +life as much as debauchery. That causes early decay. That wears out the +body. That nourishes the seeds of disease. But, say you, if mind is the +controlling force over the body, metaphysics over physics, why cannot +one engage in any wildness which he chooses to fancy, and enjoy life. A<a name="page_141" id="page_141"></a> +gay life and a merry one. Are we to come down into soberness and +somberness to preserve these bodies of ours? Can't we look back into the +days of a jolly good dinner with a draught, deep from the pewter pot, of +nut-brown ale, can't we joke with every pretty face we see, whether +under a bonnet or not, can't we even become Falstaffs, if we feel like +it, and yet keep ourselves alive to the full of days, if mind can +control body? Yes, yes! But can mind stand such things—can mind keep +itself in touch with the source of what is Good, in such conditions? If +it can, enjoy all debauchery. If not, for the preservation of self, keep +out of it. Now there are various kinds of debauchery, and not the least +of these is music itself, wrongly used. And herein lies the point which +I would make. Herein lies the point of the practical, or you may say if +you choose, the didactical, side of the question; the point where our +music touches our longevity. Music of the intellectual kind is the only +music which can have ennobling influence upon the human mind and keep it +in equipoise. The dance, the sentimental, the pleasing, has its place I +admit. But to the musician that which lacks the scientific, lacks +everything. How many of us care to attend a concert, an opera of the +light vein, or that of a brass band, as perhaps we once did? That +pretty, catchy song, let it be sung ever so well, has lost an awakening +influence<a name="page_142" id="page_142"></a> upon us. Even a Patti is gone by to us. We call a pianist +old-fashioned. Is he really so? Are not we becoming new-fashioned? Are +not we becoming so keenly alive to the intellectual that, unless we +watch phrases and periods, theses and antitheses, sequences and +cadences, melody against melody, we have no satisfaction in music. Then +we run from music to music trying to hear some new thing, until we +become almost unbalanced in mind. We become hyper-critical, sensitive to +faults, irritable over remissnesses, until those conditions become a +part of our disposition, and the musician becomes the crank. That is +musical debauchery and I contend that that will shorten the life of any +man. Which leads me to ask the question, can there not be such a thing +as an overdose of music, just as there is an overdose of drug? And does +it not behoove us, now that we have started a medico-musical-mental +treatment of this poor body of ours, to beware lest we shorten its +existence rather than prolong it.</p> + +<p>But <i>Art</i>—that which calls for the highest in man—must surely be a +benefit to man. Mrs. Rogers says "Those who approach art because art +first reached out its arms to them, and who approach it on their knees, +with faith, with hope, with love, with religion, thinking not of self, +nor of aught that shall result to them from their devotion to it, but +that only through art, they<a name="page_143" id="page_143"></a> may utter truth, and so fulfill art's real +purpose, and with it the highest purpose of their own life—those shall +indeed know the blessedness of power, of growth, of inspiration, of +love." Such art as that carries the mind down to the centre of all +things from which all good springs. That centre is Life. That life has +for its great attribute the re-cuperation—the re-creation of all which +it touches. The dwelling of that life—the body—is, by art such as that +which that noble writer just quoted describes, made young every day and +its days are prolonged on the face of the earth. This may be ideal +to-day, but so many times has it been true, that "the ideal of to-day is +the real of to-morrow," that even this may be the tangible medicine of +the next generation.</p> + +<p><a name="page_144" id="page_144"></a></p> + +<p><a name="page_145" id="page_145"></a></p> + +<h3><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.<br /><br /> +ACTIVITY.</h3> + +<div class="blockquot"><p>"<i>Life is a series of surprises. We do not guess to-day the work, +the pleasure, the power of to-morrow, when we are building up our +being.</i>" <b>Emerson.</b></p> + +<p> +<br /> +</p> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td align="left">"<i>Chase back the shadows, grey and old,</i></td></tr> +<tr><td align="left"> <i>Of the dead ages, from his way,</i></td></tr> +<tr><td align="left"><i>And let his hopeful eyes behold</i></td></tr> +<tr><td align="left"> <i>The dawn of Thy millenial day.</i>"</td></tr> +<tr><td align="right"><b>Whittier</b></td></tr> +</table> + +<p><a name="page_146" id="page_146"></a></p> + +<p><a name="page_147" id="page_147"></a> +</p></div> + +<h3>IX.<br /><br /> +ACTIVITY.</h3> + +<p>Fortunately, no two persons are exactly alike. If they were, the result +would be the same and the everyday acts leading to a result would be the +same. Nature, acquiescing in the Divine plan, has a different line of +action and result for every individual which she creates. We find +unlimited variety in man. The seat of activity is the mind and the first +portion of the body to be acted upon by the mind is the brain. One man +possesses more convolutions of brain than does another, and the fibre +which extends from the gray matter to manipulate the many organs of the +body which we constantly use is finer in one organism than in another. +We recognize differences in classes of people and call one class +nervous, and another, phlegmatic. So strongly are we influenced by +public opinion that we honestly believe that a "slow" man cannot reach +so great result in a lifetime as can a "quick" man. General opinion is +usually wrong and it most certainly<a name="page_148" id="page_148"></a> is in this case. Nature has a work +for each kind and each individual to do, the summing up of which, is the +result of that life, and if the gifts of each individual have been +properly used the result is success in life. It may be believed that the +usefulness of each individual, if the life of each is perfectly carried +out, will be equal to that of all others. The <i>apparent</i> success may not +be <i>real</i> success.</p> + +<p>The active brain directs a responsive body. The more active the brain, +the more active can the body be made. To make the body useful at all, +the motion of its members must be well understood and perfectly +commanded. Herein lies the secret of success or failure. All want—not +wish—success. (A wish may be a whim.) The saying "One thing at a time, +etc.," has become obnoxious to us years ago, but in the idea contained +in that lies the path to greatest activity. The active mind spreads +itself. It schemes. All the plans which it suggests seem possible. Why +not carry them all out? Merely because life is not long enough, nor +mental and physical endurance strong enough, to do even the preliminary +work of one tenth of the schemes which can come to an active mind in one +day. Cut them all off. It might be well to say "First come, first +served," and take the first which comes and carry that to success, +concentrating all thought and force upon its accomplishment.<a name="page_149" id="page_149"></a> It may be +a Higher Power which put the thought of that plan <i>first</i> into mind.</p> + +<p>Yet more narrowly would we draw the line which surrounds our activity. +One must make the most of his force and strength. In the case of every +man, woman and child living there is enormous waste of power. Much more +is wasted than is used. We have in years past stood beside Niagara and +thought if that power, apparently going to waste, could be used for +moving machinery it could run the mills of the world, forgetting, or not +knowing, that, in getting to the Falls, we wasted enough mental and +physical force to run our human machinery for a week. The thought flew, +changing probably twice a second, to how many different things in the +hour before. Computation is easy. In the sixteen working hours of a day, +perhaps, we think of 2000 things. Isn't that wasteful? Before the true +plan of nature is carried out some (if not three-quarters) of this waste +must be prevented. What has the body done in the hour before reaching +Niagara? The hands have wandered aimlessly, the feet have tapped the +floor, the watch has been looked at a dozen times, the hat taken off and +put on again, the card-case opened, half-looked at, and shut, and each +act, with twenty more, has been repeated again and again. It was waste +activity. It must be overcome. Nature never intended you and me to be +wasteful.<a name="page_150" id="page_150"></a> These actions of mind, brain and body, are useful in their +places, but we misuse them, using up strength and power. Night comes and +we are tired out, or think we are, which amounts to the same thing. Who +said "One thing at a time" was obnoxious to him? To gain our greatest +power we must bring ourselves down to "one thing at a time." Put your +mind on that one thing. Are you sharpening a pencil just now? Don't read +a book at the same time. Are you placing your hat on your head? Don't +brush dust off the coat. Are these things trivial? Nothing is trivial in +nature's plan. Do not, in impatience, without trial, cast aside these +suggestions. Even give one hour each day for one week as a trial to +doing what you do, perfectly, and think of it as a trial. The increased +result in mental and physical activity will demonstrate the wisdom of +the advice.</p> + +<p>Strength is essential to successful labor. Wildly beating the air in +undirected effort is the element of greatest weakness. We smile at the +antics of two chickens in their fight in the farmyard. In a few minutes +they wear themselves out and go off to rest. Are not we much like them? +Do we not use up our strength in useless effort? Then, how often we rush +off to the gymnasium or to the drug-store in the vain hope of regaining +our strength. New strength is not to be found in either place. It is +within ourselves<a name="page_151" id="page_151"></a> all the time. Stop the expenditure and permit +re-cuperation through concentration. Don't go lie down. Don't take a +nap. Stop right where you are and bring the thought down to one thing, +<i>strength</i>. For the moment allow the body to remain still. Think +strength, desire strength, command strength! It is yours. It belongs to +you. It is all around you. It will take possession of you if you permit +it. What say you? That it will not come at your bidding? Are you sure? +Have you cleared the mind of the cobwebs—the two different things per +second which can come into it? Have you? Until you have, don't give up +the test. Concentrate the thought upon strength, if that is what you +want, and it will come.</p> + +<p>Impatience is waste. You cannot afford it. It is too expensive. We are +all children. We see a toy and we must have it instantly, even if it is, +as it often is, a sharp tool, which cuts our hands. If that which we +wish belongs to us, or is to be given to us, it will come in its time. +We wish to do something <i>now</i>. We haven't the means, or we don't see our +way clearly to do it. We bemoan our hard luck, and can't see why we +can't have it. Just so does the child about the toy. Wait patiently, and +if, in nature's plan, the thing is to come to us, it will come, and we +can't prevent it. It will seem as if it came itself. Impatience merely +wears us out and uses<a name="page_152" id="page_152"></a> up strength which nature wishes us to use in some +other way. Obey nature and carry out her purposes.</p> + +<p>Activity which is useful, comes through directed effort. There may be +<i>seeming</i> activity which is worse than sluggishness, and which is +certainly not desirable. Directed effort comes best through calm mind +and responsive body. Silence and quietness, self-imposed, prepare the +way to directed effort. Cease everything, even thinking, so far as it +can be stopped, and remain passive thirty seconds. Then another thirty +seconds. Who cannot take one minute out of each hour in the day for +preparing the mind and body for greater strength and activity? When +night has come and we lay the body down to rest there are a few minutes +when it can have the best preparation for the activity of the next day. +The few minutes before sleep carries us into unconsciousness are dear +and sweet minutes, if rightly used. Then can the thought, which has been +sent to thousands of things during the day, be brought back to its +proper place. It should be centred upon one thing. The estimate is that +the mind cannot be kept on one thing more than six seconds; but it can +be returned to that one thing for several periods of six seconds each. +We do not have the chance to return it many times, for sleep seizes us. +Let the thought selected be a pleasant one; of some<a name="page_153" id="page_153"></a> happy spot or view; +a sunset or refreshing shower. It is better to select something from +nature rather than man, for such thought is likely to be unalloyed. The +last thing at night, if pleasant, tends to give us the calmest rest and +best prepares us for the next day. The well and strong body can be +active and the temperament of the individual makes comparatively little +difference. In this we may all take courage. Every thoughtful person has +had an occasional sad thought over his apparent impotence. No one need +use less than his normal strength and activity.</p> + +<hr /> + +<p class="c">Corrections made by etext transcriber:</p> + +<p>There has, however, ways of procedure been planned which must shorten +the trip.=>There have been planned, however, ways of procedure which +must shorten the trip.</p> + +<p>Fortunately, no two persons are exactly alike. If there +were=>Fortunately, no two persons are exactly alike. If they were</p> + +<hr class="full" /> + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Seed Thoughts for Singers, by Frank Herbert Tubbs + +*** END OF THIS PROJECT GUTENBERG EBOOK SEED THOUGHTS FOR SINGERS *** + +***** This file should be named 37662-h.htm or 37662-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/6/6/37662/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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: Seed Thoughts for Singers + +Author: Frank Herbert Tubbs + +Release Date: October 7, 2011 [EBook #37662] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK SEED THOUGHTS FOR SINGERS *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + + + +[Illustration: image of the book's cover] + + + + +SEED THOUGHTS FOR SINGERS. + +BY + +FRANK HERBERT TUBBS, + +_Musical Director, New York Vocal Institute_. + +[Illustration: colophon] + +NEW YORK, + +FRANK H. TUBBS, 121 WEST 42D STREET. +1897. + +_Copyright, 1897, Frank H. Tubbs._ + + + + +PREFACE. + + +There are times when one feels that he must turn from himself and +receive suggestion, if not direct instruction, from some one else. +Originating thought is more difficult than is the taking of other +thought. By delving below the thought received we learn to originate. It +is not necessarily an admission of weakness, that we turn to another, +for busy life uses up our mental energy and throws us into mental +inactivity. It is at such times that we turn to books and teachers. + +Thought is a substance which, as such, is only in our day being fully +investigated. It is the expression of an idea and is the direct cause of +all action. The slightest movement is made possible only through thought +on perceived or unconscious mental activity. The more thoroughly +directed actions are the expression of considered thought. Habit and +movement by intuition are expressions of undirected thought. Changing +from the latter condition to that of planned or considered action makes +all action stronger and more definite. The thinking man becomes the +leader of men. + +"Seed-thoughts" are such as produce other thoughts. Hardly have we +reached the realm of ideas. It is a step--not long, yet +well-defined--from thought to idea. This little volume does not propose +to take that step. It is content to stop, in all modesty, at that place. +Its suggestions are sent out to busy teachers and students to lodge in +mind as plantings in good mental soil. That they will take root, spring +up and bear fruit, is fondly hoped. What the harvest of thought in +others may be is idle to speculate upon, but the hope exists that there +may be two or three times the amount used in planting when all shall +have been gathered in. In this hope the "Seed-thought" is sent on its +mission. + +121 West 42d Street, +New York. + + + + +INDEX. + + +CHAPTER I.--Success. 11 + +CHAPTER II.--Desultory Voice Practice. 27 + +CHAPTER III.--Alere Flamman. 43 + +Every one Can Sing, 43; Sustain Perfectly, 44; Care of Body, 45; Friends +Can Help, 48; Renew Thought, 49; Speaking and Singing, 50; Associates, +51; Purity of Method, 52; Mental Recovery, 53; Profession or Trade, 53; +Heart and Intellect, 54; Time Ends Not, 55; Power of Thought, 56; Nature +Seldom Jumps, 58; Be Perfect, 59. + +CHAPTER IV.--Perfect Voice Method. 63 + +CHAPTER V.--A Paper of Seeds. 79 + +Analyze Songs, 79; Fault Finding, 80; Recover from Mistakes, 80; Songs +for Beginners, 81; Criticism, 82; Wait for Results, 83; All Things are +Good, 84; Little Things Affect, 85; Musical Library, 86; Change of +Opinions, 87; Reputation Comes Slowly, 88; Study Poetry, 89; Mannerisms +Show Character, 90; Provide for the Young, 91; There are no Mistakes, +93; Regularity, 94; Assert Individuality, 96; Educing, 97. + +CHAPTER VI.--Cuneus Cuneum Trudit. 101 + +Vocal Tone, 101; True Art is Delicate, 104; Words and Tone Should Agree, +105; Preparation for Teaching, 108; Experience, 111; Before an Audience, +112; Come Up Higher, 113; Crude Voices Express no Emotion, 114. + +CHAPTER VII.--Ambition. 119 + +CHAPTER VIII.--Music and Longevity. 137 + +CHAPTER IX.--Activity. 147 + + + + +CHAPTER I. + +SUCCESS. + + _"I am what I am because I was industrious; whoever is equally + sedulous will be equally successful."_ =Bach.= + + _"To steer steadily towards an ideal standard is the only means + of advancing in life, as in music."_ =Hiller.= + + + + +SEED-THOUGHTS FOR SINGERS. + + + + +I. + +SUCCESS. + + +A few decades ago a clumsy, lank, raw-boned boy roamed over the hills of +the State of Ohio. He was not marked with the talent of many, nor was he +noted for anything in particular except, perhaps, an aptness in "doing +sums." Bare-footed, and with scanty clothing, he appeared at a school in +a village near his home and begged admission. At first he was refused. +Persistence overcame the opposition and he entered, becoming in a short +time by his application, the leading spirit in the school. The course of +study there being completed, he went to an office across in Delaware as +a clerk. That year, the Representative to Congress from Delaware, when +about to appoint a youth to enter the Naval Academy at Annapolis, +announced a competitive examination. The country lad competed and +secured the prize. Friends whom he had made raised funds for the +necessary uniforms. At the end of his course a good appointment in the +navy followed. Visits to various countries gave him command of three +languages. A change to shore duty permitted him to study law. At a +recent courtmartial trial at Brooklyn he served as advocate for the +Government so acceptably that he has been offered and has accepted, +membership in one of the largest law firms in New York. The change from +the rough lad to the cultured advocate indicates success. + +On a bench in an old-fashioned shoe shop sat a young man working at his +trade. A singing teacher, passing along, noticed the rich voice of the +young man, singing as he worked. The teacher inquired where he sang in +church and if he sang in public. Learning that the young man sang +no-where, had had no instruction or education, and lacked even the +clothes necessary to a respectable appearance, he interested himself in +the youth and lived to see him become the leading oratorio basso of +America. Success! You will say these two had great natural gifts, all +their faculties, and had friends. Another case: A boy at six, was left +as a result of scarlet fever, stone blind. Nor has he since seen a ray +of light. A necessary faculty to success gone, is it? To-day that young +man is one of the best musicians and singers; getting $1,500 for his +choir singing. Success. + +There is within each and every one _that ability_ and _prime element_, +which, properly commanded and developed, COMPELS success. But few +understand themselves or realize the power within them. Without +comprehension of what is within, no start toward success can be made. A +reason for absence of comprehension lies in the fact that but one side +of self is ever seen, and that side is the grosser one. The body--a +head, a trunk, arms and legs. These we see with our physical eyes and +call the object, man. We incline to think if these parts are comely, +well shapen, strong, beautiful, the possessor may march on to success. +"Trust not to appearance." Were the body the root of all things, or of +especial worth, the race would be to the swift, the fight to the strong. +But that seen, felt, heard, is not the real self. Within the body, as a +dweller and a motive power, is the ego, the real self. It is that and +that only which can be developed and which possesses those attributes, +compelling, bye and bye, success. It is that which must, to some degree, +be understood. _Be the body what it may_, the real self has the power of +expression and improvement. That real self will be spoken of as the ego, +and its power considered. + +There enters into existence at birth or early in life an indefinable +something. We term it soul, spirit, mind. When we meet or associate +with a person, in a short time we recognise that mind. At first we may +notice the body or even the dress and be influenced by it. In time we +see back of that outward covering and see the mind behind it. After, we +forget the body in the acquaintance with the mind. A homely person +becomes illumined with new life. A beauty loses attraction. We have +learned to know the ego in our acquaintance. That ego we come to know as +all there is of the acquaintance. A dozen bodies in the dissecting room +of the medical college are almost exactly alike. More alike than are the +suits of clothes cast off last year by a dozen men. The ego from a dozen +men will have small point of resemblance. The ego has so many +characteristic elements that it makes possibility of development, +throughout the years allotted to man while passing over the earth's +crust, _into_ ANYTHING. The body is the home of the ego and the tool for +its development and action. Train the body to ability to respond to the +demands of the ego, and keep it healthful, and no more can be done with +it. For now nothing more need be said of the body. In speaking of the +cause of non-success, limited success or disaster, reference to it will +be made. + +Attributes of mind lead always in the direction of progress. Ego, mind, +real self, is God within us. "He breathed in his nostrils the breath of +life and man became a living soul." That "breath of life" is God. That +cannot tend downward. The attributes of God are the attributes of the +ego. Love, thought, sympathy, ambition, helpfulness, desire for +refinement, culture, expansion--these are such attributes. Is any mind +lacking these? If we say yes, look within ourselves and see if they are +lacking in us. Accord the same faculties or attributes of mind to each +of our fellow men. These attributes cultivated will cause growth of the +ego as surely as it is that God liveth and we are in Him. But this +growth makes the ego greater and by its reaching out after the things of +the world and taking them to itself, produces that which we term +success. Understand, then, the ego. Grow it. Reach and possess. These +attributes are the forces within each and these forces are the elements +of success. + +But, asks one, what is the bearing of this on our study and on our +singing. It has been plain to me as a teacher, and it grows stronger +every year, that all success in singing arises from a comprehension of +the ego within us, and the cultivation of these attributes bearing +directly upon singing and music. Three only of those attributes may be +considered now. + +First,--ambition. What would you become? Yes, a musician and singer. +Consult one who knows your body better than you and enough of your mind +to judge well, and if he says you may become one, plan your life work to +making your ambition gratified. Aim high. But few persons lack the +capacity of singing well. The goal of most is that, to sing well. At +home only, it may be. For friends, and for self-pleasure. Others would +become professional artists. Aim at the highest and best. No ambition is +too high and, provided we will cultivate the ego, no ambition will +remain ungratified. Do not be modest in expectancy. Nothing is too good +or too high, too great or too noble for the God within us. Therefore +plan large things. + +_Second_--thought. Having planned a broad campaign and having resolved +on faithfulness, bend the thought toward the result. Now, thought is not +the subtle nonentity we let ourselves consider it. The text of a book +recently examined is, "Thoughts are things." Thought is an emanation of +the ego; a messenger of the mind. We shoot thoughts out by the thousands +and millions. Generally we fly them at random. If they strike a mark we +gain a result. Stop shooting them at random, aim correctly, hit the mark +each time and each thought brings a result. Pure thought, the thought +from the ambitious ego, is upward, and when centered, concentrated on +the plan which ambition has prompted, it carries that plan +onward--upward--to the end, _success_. Concentration of thought, say +you? Do we not have it? Let me ask you to fix the thought on one object +five seconds. Tear this paper slowly from end to end and think of +nothing else while doing it. Probably the thought during the five +seconds will embrace a dozen things besides the act of tearing. Of what +paper is made, how far apart the lines are, be the texture fine, how +much does it cost, some other paper bought last week, where you bought +it, the salesman who served you, what a frightful rainy day that was, +how you caught cold and what a scolding you got at home for being out--a +long way from the act of tearing. The first thought is lost. +Concentrate. Acquire the habit of concentration. In nothing more than in +thinking should we say, "Do one thing at a time." Concentration of +thought makes steady growth of the plan of ambition's suggestion and +moves it on to success. + +_Third_--expression. Every growth produces another. Emerson says in +substance that the end of every act is but the beginning of another. It +used to be said that if a man made $5,000 he was sure to become +rich--meaning that the money invested and reinvested, and added to by +constant earning, would surely bring wealth. Every growth of attribute +of mind, be it of those mentioned or of others, develops possibilities +of further growth. Love, a powerful attribute of the ego, first circles +in the home, then expands into the circle of friends, then reaches the +business, society, the world. One begins by caring for the want of a +hurt bird or other pet. He ends by raising and healing mankind. One +quietly slips a few pennies into the hand of an unfortunate. He ends by +being a philanthropist. One speaks a kind word. He ends by raising the +fallen. These, you see, touch upon sympathy, helpfulness. Each attribute +expands. Have you followed? Isn't this true? How, then, about desire for +refinement? If the others expand, will not that? A noble thought, an +association with the pure in art, and beauty in poem, story, song, sky, +flower, but leads us to another even more beautiful. Each touch of +beauty, of docility, of refinement, expands that line of our ego, and we +feel ourselves raised, drawing nearer and nearer that great Mind, and +keeping us more and more in that grace which passeth all understanding. +The end _must_ be success in our plan. Mental growth means more power to +grasp and wrest from circumstances and the world itself, successful +prosecution of the plan which ambition framed. Successful prosecution +means ultimate success. + +In mind I hear some one say, this is good theory and a beautiful +picture. What of it is practical enough for my mind. Let us turn for a +few minutes to a darker side and then again to the brighter, and see if +a practical word does not exist for each. What prevents success, and is +there false success? + +A few minutes ago I spoke of the bodies which the ego inhabits. Those +bodies possess attributes and faculties. St. Paul said once that he +would be out of the body and be in the spirit; meaning, as I believe, +that he would rather live in the ego, and not be hindered by the body. +The body must be fed and clothed. It has appetites. Appetite grows, +requiring more delicacies, higher spiced and richer food, and perhaps +more food. Clothing takes much attention, and develops pride and vanity. +Has not each said many a time, "If I but had time to attend to study and +did not have to attend to my clothes, my food, and take the time to earn +money for them, I could do so much"? True, but the body is here and if +these things are not done, the ego would have no home in which to stay. +The care of the body is necessary. Cannot, however, even these necessary +demands be somewhat reduced for the sake of attending to the ego within, +more fully? If not, cannot the appetite and the pride, which, after all, +give no satisfaction when all is done, be so held in check by care and +reasonableness that the demands of body will not grow upon us? After +all, those necessary demands of body, grown abnormal, or into the +unnecessary, are not so bad as other attributes of body. Laziness! Light +gossip! Fretting! Uncleanness! Disease! These things _can't_ be part of +the ego, for the real man is the "breath of life"--God. They must be of +body. They are the things which play havoc with our time, our energy, +our thought. It is a commonly accepted belief that man must be now and +then on the sick bed. That commonly-accepted belief is slowly but surely +disappearing before the fact that the body only becomes diseased as it +is neglected, overfed or attacked by bacillae. If a plant dies we look +for the worm at its root, or the insect on the leaf. If it has had good +soil, earth and sun, we expect it to flourish. The body is the same +material--dust. Attend it, not abuse it, and except from contagion it +will serve us without disease. Solomon said, "Know thyself." Maybe he +meant know to care for the body. When this is done the ego is allowed +its chance to go to success. Without it, the body, full of appetite, +pride, hatred, laziness, envy, fretfulness and disease, weighs with +compelling force, the ego down to earth. Instead of success follows +failure. Emancipate the ego from the body before even planning. This +body and this alone can cause failure. A success arising from a pretty +face, a good figure, graceful dancing, agile singing and trifling speech +is false success and is worse than failure. How about circumstances and +their influences? Surroundings. They surely effect us. Yes, but just so +surely as the ego throws off the lower self, within the body, and +resolves to rise, just so quick will the circumstances and surroundings +begin to change. Just so fast as the ego develops its attributes just so +fast will appropriate circumstances and surroundings for its further +growth open. Like begets like. Water seeks its level. Seek low things on +bodily planes and low friends will surround you. Like is with like. +Raise yourself a peg and you will find those with whom you can follow. +Your old associates will not go with you, and some will call you mean +and cry, "Come back," and try to pull you back. Bid them adieu and go +higher. _New_ surroundings are there and will make a place for you in +them. The past becomes a stepping stone and if you have cleared the ego +of your own body, you will rise again. Like draws like. The new friends, +the new town, the new music, the new activity will lend you their aid to +go higher. Clear yourself at each step of the weight brought on by body +and circumstances will seem different. "God helps him who helps +himself." Those who would pull back are by our very inertia cast off. We +rise to success. + +The thousand things which might be well said in connection with the +subject must be left. Recapitulation and application to the individual +singing student show these: + +1st. Plan, and concentrate thought on its execution. + +2d. Cultivate the real self and not permit the shell or body to +dominate. + +3d. By that command of the self, win friends and compel success. That +which conduces most toward success is even disposition and geniality. +These grow into kindly independence which develops for us experience. + +How long, ask you, will it take to become an artist? No one knows. Two +minds differ--in fact, no two are alike. A few months suffice to make +the crudest student an adept singer; or rather, is time enough to make +him sing as well as his mind wishes. From that time on the voice grows +better only as the mind grows and comprehends how to further use the +voice. So, then, as soon as one can sing so as to acceptably please +friends, it is a duty which the pupil owes himself to sing for those +whom he pleases. The effort gives him experience and prepares him to +meet the next circle. As the ability grows, seek to sing before greater +artists, and with the best singers. The time will come--it may be one +year, two years, three years, or even more--when it is best to go before +the best artists of the world and secure their commendation and their +co-operation (silently it may be) to further for you the prosecution and +completion of your pre-arranged plan regarding your music. What matters +it how long this takes. Life is, if you are using it aright, a +perfection of a plan of existence which will end only when we pass over +the River. A portion, more or less long, used in making a musician and +an artist, is but a part of the whole, and a development of the talent +lent us by the good Father, and which we, by our effort, eventually +return to Him, added to, and made beautiful because of the Heavenborn +Art--music--which we have absorbed to ourselves. Nor is this all, for in +the development of our own talent we have carried the whole world +unconsciously upward nearest the pure, the beautiful and the true. + + + + +CHAPTER II. + +DESULTORY VOICE PRACTICE. + +"_Nothing should be done without a purpose._" + + =Aurelius.= + +"_Music is never stationary; successive forms and styles are only like +so many resting-places--like tents pitched and taken down again on the +road to the Ideal._" + + =Liszt.= + + + + +II. + +DESULTORY VOICE PRACTICE. + + +European schools and teachers stand aghast at what American pupils +demand and at their expectations. Accustomed to the years of attention +to detail and to seeing their own students willing to wait long years +before good results are achieved, they naturally think the American +students wild. These Americans want to do in one year what Europeans are +willing to use three or four years for. Those teachers say it cannot be +done and set down American students as conceited fools. While at first +glance the teachers appear right, may they not be wrong? America to-day +has more inventions in use, more quick ways of working in all lines of +life, and can show quicker results in all lines of activity than any +other nation. Methods and ways have been devised and adapted to American +speed in all branches. May such not apply to study? So this item is +prepared in the interest of American students, living under American +conditions. It is useless to say, "we live too fast." Take facts as +they are and adjust our custom to the day, place and situation. + +Until within comparatively few years the plan for cultivation of the +voice and preparation for song singing was to sing a few sustained tones +for warming up the voice, as the saying was, and then to sing vocalizes. +In the earlier stages of practice solfeggii and vocalizes of easy range +and light character were employed. As these were acquired, similar ones +of greater difficulty were used and as the singer gained confidence in +himself and ability to sing better, the exercises were still increased +in difficulty. The time employed in study extended over several years +and with the result that those who had patience and perseverance became +able to sing. Not one, however, in a thousand, who studied ever arrived +at a point which allowed him comfort in his singing or pleasure to his +hearers. That is, to the idea of a practical mind, desultory voice +study. It may be adapted to the contented plodding of an old world +civilization, but is not in keeping with the age of electricity or of +gigantic schemes. It must be kept in mind by every one that "old things +have passed away and all things have become new." The very association +about us makes mind keen to rapidity of action, speaking from incisive +thought. A plodder stands back while the brilliant man moves to the +front. By the plodder is meant he who is _willing_ to go slowly. By the +brilliant man, he, though he may not have more native talent than the +other, has by calling to his aid those commanding elements of success, +moved surely and therefore swiftly, through the perplexities of every +existence, to the front. Every thing which cuts off wastefulness of time +becomes a weapon with which to fight perplexities. In such an active +life, he who would cultivate the voice and become a musician must map +out for himself a course of study which will give him the best results +in the quickest possible time. + +It is patent to every one who intelligently teaches that the road +followed during the last few generations lacks these short roads to +success. One asks, and with justice, if we have now found the royal road +to learning which it has ever been said does not exist. If that means +the road by which, at one bound, we reach perfection, the answer must be +that no royal road has been found. There have been planned, however, +ways of procedure which must shorten the trip. I know not when man first +practised dentistry but this I do know, that the doctor of dental +science who works on lines of even one generation back is valueless. +To-day the terrors of the dentist's chair are reduced to a minimum, if +not entirely removed. Photography, a science of our day, has swiftly +grown to an art. I recall a photographer who in 1870 was noted for +perfect work. He was so satisfied with himself and his work that he +neglected to use the new ways which were being discovered. In 1880 his +work was considered so bad as to be condemned by all and his studio was +forsaken. Printing by the sun had not been discarded but how to use the +science had been carefully advanced--wasteful and slow method discarded, +and surer and better results obtained. Is a musician less keen of +perception and adjustment to circumstances than the dentist and +photographer? Pride rebels against an affirmative answer. Then the +natural deduction is that he has learned to apply new ways and methods, +by and through which he can produce surer and more beautiful results +than could his predecessor in his profession. As a first step toward +progress he recognised the faults of the old way and sought a change +from them. The chief of the faults lay in seeking to cultivate a sound. +He said in substance, then, that "since cultivating a sound is wrong I +consider that no such thing as sound exists. It cannot be perceived by +any of the senses. It cannot be seen, tasted, smelt, felt, or even +heard." (Parenthetically, it may be said if one takes exception to the +latter statement, that proof is given of the truth if one sings into a +phonograph. The singer cannot recognise what the instrument sounds back +as _his_ voice. Others may recognise it but he cannot. The hearing of +my voice by another, no matter how much _he_ may tell me about it, does +not show me how it sounds, and I must conclude that I cannot hear it.) +Since none of the five senses can bear upon sound, for cultivating it, +sound, or tone if you wish to call it so, is worthless. This then which +the old teachers watched for years, was intangible, and to watch it +to-day and to try to form singers by manipulating so subtle a thing, +produces wastefulness, and desultory practice. Go to the foundation. +What produces voice? Vibration of air reservoirs. What governs the air +and gives the vibration? Muscle. What are muscles, where are they, how +can they be managed? They are contained within the portion of the body +between the waist and the eyes, and form, while used in voice +production, about all of that portion of the body, and they can be +managed by the understanding and command of the mind. The general +understanding of vocal anatomy, and the positive control of that anatomy +that it may do just what the will demands is the foundation of voice +practice. Such positiveness makes possible the rapidity of vocal +development akin to the surety of the dentist's art and the certainty of +the photographer. The prime fault of old methods is, at one stroke, cut +away. A new growth on the foundation appears. + +Many musical journals discuss methods, Italian, French, German. Even +wonder if we will ever have an American method. Such discussion is +waste. There is _one_ method. _All_ schools build on it. He who +understands it best and is surest in teaching it, gives best result and +is the best teacher. He, the best teacher, is such only when he applies +his mind to each and every act of his pupil and banishes for the time +being every other thought from mind. In a proper lesson every minute is +used thoroughly. No sixty seconds can be thrown away. The mind of the +teacher alert to the necessity of his charge makes every minute tell. +With this as a preamble, turn to the pupil who is by himself to avoid +desultory practice. + +You have a voice. Every one has. Yours, you know, is a very good one. +You want (not, would like) in the quickest time to make it do just what +you conceive a fine singer should do. Then, know what is to be done, +understand how to do it, and do it. The boys say "One to make ready, two +to prepare, and three--." But you stand around making ready, preparing +so long. Why? Do you know what is to be done? Ask the teacher, and don't +let him evade positive instruction. Garcia, when asked the cause of +Jenny Lind's great success, replied "She never tried to do anything 'til +she knew how. More than once she has come to my house of an evening and +said 'I did not fully understand what you told me to-day. Will you +explain it again?' After that she never needed to be told again." At a +lesson understand what is taught. Don't pretend you do when you do not. +After going home from each lesson, write in a book kept for that purpose +what has been said at the lesson. Read that book often. This will fix in +mind, as well as preserve for reference, the instruction, and make sure +the understanding of it. Then it is for you to do it. Once the pianist +played scales by the hour to limber the hand; now he thinks only of the +muscle which causes each finger to strike, and makes that muscle work at +once. What formerly took months to do he now does in days. Desultory +practice is avoided. A teacher in a certain city complained that another +teacher got pupils by advertising quick method. Cut off desultory +practice, apply mind where brute force has formerly held sway, and quick +method is the result. + +One reference to complaint brings others to mind. The most precious +commodity known is time. Twenty-four hours only in a day. How little and +how valuable. Yet if all is conserved, how much and how great. Masonic +instruction divides the day into three portions; one for our usual +avocations, one for good of self and family, and one for refreshment and +sleep. So much for instruction. Can some wasteful acts of life be +reduced or eliminated, that we may economize time, and what is better, +form habit of utilizing all of the precious commodity? What a lesson one +can draw on these elevated trains. Each morn, a man (one man, or how +many think you?) enters and finds a seat. Immediately he is into his +newspaper. A half hour later he gets out, having arrived at his station. +What has happened? He has read the newspaper. No, he _hasn't_ read the +newspaper. Ask him what he has learned. He can't tell you. One item, +two, three, perhaps--and these of little value. That is not reading. It +is cursory glancing, desultory and wasteful. Stop it. Thirty precious +minutes gone. A glance at a paper (provided one knows the general +make-up of the paper he reads) tells him all in it of value. Six minutes +is enough, except when something of unusual moment is to be read, and +that doesn't happen once a month. The other twenty-four minutes should +go into some other purpose. A book, magazine, play, or even silent +thought will give value for the twenty-four. At night, on the way home, +the man skims through an evening paper. Almost one hour of the +twenty-four thrown away. Compute the amount of educational advancement +possible to this city were the hundreds of thousands of hours thrown +away daily to be used in progressive study or thought. You and I help to +waste, do we? + +The command of the mind is the underlying need of the student. It has +come into thought that should one apply himself every minute to some +work that he would fatigue and wear out. He could not stand it. Wrong. +The mind cannot wear out, even if it can fatigue. Rest is the opposite +of unrest, and unrest is equivalent to fatigue. The superficial reading +or skimming, shifting of thought through the thousand objects which come +before the mind gives the unrest and through it, the fatigue. Stop the +unrest, and let rest abound. Rest comes through definite change of work. +The man who leaves his office, rushes to mountain and farm, sees new +scenes, faces, customs, eats new food, rides, fishes, swims, climbs and +dances, is the one who comes back rested. There has been no unrest, but +radical change. The first assistant engineer of the New York aqueduct +was to me at one time an object of astonishment. It was said of him, +"When he works, he works; when he plays, he plays; whatever he does it +is for the time all in the world to him." At that time he held an +important engineering position, was an officer in a military +organization, secretary of a yacht club, active in church society, +leader in literary circles in classic Boston and never was rushed. The +change of work was the secret of it all. Rest came by turning out of +mind what did not pertain to the act then in hand. Every act was new. +Of a certain minister it is said "He can do more in ten minutes than +most men do in a day." His church has fifteen hundred members and his +Sunday school a larger number. Calls, sermons, the sick, weddings, +funerals, the poor (for he had four charity societies), his family, +young people's societies,--yet he has time for all and he sees callers, +more in one week than you and I do in a year. How does he do it? What +you and I waste time upon, he does not. No gossip, worry, standing +before a mirror, dozing over dinner, or unrest for him. Vary the +monotony a little and find rest. Don't fear doing too much. Wear out, if +need be, but don't rust. It is the busy man who has lots of time. Do you +want advice, a helping hand? Avoid the lazy man, for he has no time for +you. The busy man has. Why is it that the busy teacher draws the most +pupils? Were he to half teach ten pupils they would leave him and no +more would come. Because he can attend to forty, and that by making to +each a profitable half-hour, forty more come. The half supplied teacher +is less able to teach his small flock than the pushed teacher. He _must_ +turn quickly from act to act and thus keep rested, by change of scene, +pupil, music and vivacity. "Can you jump immediately from a lesson to +the desk and write one of your magazine articles?" asks one. Nothing +easier. Fix the mind on what is to be done that minute, and do it. It +makes a heaven of earth. + +Instruction which is not practical is little worth. You are interested +in improving yourselves vocally. To you let me plan a first step toward +preventing desultory voice practice. Under four headings. Practical +ones. + +_First._--Establish customs. The best one I know is to plan in advance +to accomplish certain things. Make up the mind what you would like to +do. Each night make out a little card of what is to be done next day. +Probably not half the things planned will be executed, at first. What of +it. Some have been done; but better, that unconscious growth which +carries custom into habit will be developed and the system which will +grow out of the custom of preparing the cards and attempting to work out +that which was planned, will cut off more wasteful minutes than you +admit are in your day. After a time it will come that all the items you +write on the card at evening will not be too much to do on the following +day. Compare the card of the thirtieth day with that of the first and +you will find you wrote quite as many (if not more) things to do and now +you can do them all, and feel no hurry and far less fatigue. Will you +try that? + +_Second._--Give certain times each day to certain things. You can't? You +can. I'll give proof you can. Having planned what is to be done the next +day and allowed that custom to become habit, will develop such +regularity that each hour will have its regular work and nothing will +crowd it out. The system produces it. Turn a kaleidoscope. Each jarring +makes new adjustment of figure. Your duty is a kaleidoscope. The proof +is that every one who _tries_ such adjustment, succeeds. The school boy +knows the time of bell ringing, the hour for arithmetic, geography, etc. +The train man knows the minute to be at each station. The clerk or +workman is ready to stop work at a certain time. Certain theatres +announce what scenes will be on at every minute of the evening. You +think and would say, "But these admit of no interruption, and I may have +interruptions." To which I say "These _permit_ no interruption, and if +you were as systematic, you would permit none." A friend calls at the +door to see you. You waste five minutes (only five?) talking to him. +Think it over. Was that necessary? Couldn't it have been said in +two--one, or less? Next time, kindly, but firmly excuse yourself. If the +friend thinks you snubbing, you can afford that, for the friend is a +wasteful one and better be dropped than allowed to spoil you. The fault +when we waste time is in us, not in the friend. A lady called recently. +"Your time is valuable. I'll say in one word what I want." 'Twas said, +and she went. Kind lady! To whom? Me? Not at all. She is one of the +busiest women in the city and couldn't afford to give much of her time +to the errand, but neatly complimented, in order to cover what some +might call selfishness. Be wise. That kindly habit comes from preventing +waste. + +_Third._--Banish every low or lowering thought. For now, for no reason +except to save time, and help form habit which prevents waste. Every +thought has its sure influence. Every thought of envy, hatred, jealousy, +of crimes, accidents, misfortunes, sorrows, our own or those of others, +is an evil. It takes time out of life and saps life-activity. Supplant +it with pure and good thought. Health, brightness, pleasure, art and +beauty are subjects which lift. Upward, upward, toward heaven! That must +be the student's mental attitude. Enough would drag down. Cast the down +view away. Look up and go up. You do not study for the purpose of going +downward. Upward again to the top--and _you_ must do it by having your +thought good and pure. + +_Fourth._--Interest friends in your practice. Only one word about that. +No one can long go in any mental work alone. Progress _is_ mental work. +Rising draws others to and with us. See a little whirlwind take up the +dust. It gathers more and more until a column twenty or thirty feet high +is before us. Tell father, mother, friends, those you can trust, what +you hope to do and what your efforts to accomplish that, are. Seeing +you in earnest they will help--with misgivings at first, may be, but +they will join the column and make one with you sure. + +Summary, briefly. By systematic utility, every minute contributes to +progress, forming habits which prevent wasteful thought and fatigue. The +customs of former years need not be followed because direct result will +come from direct application of thought to study. Old world ways and +past generation ideas do not belong to-day in either teacher or pupil, +and, therefore, are to drop out. The wastefulness of uncertainty and +evil in mind may be overcome by directness of effort until good habit +crowds out the evil. The first and all important step is the plan of +action. Acknowledge no limitation to growth. Love soundness, careful +thought, steadfast purpose. + + + + +CHAPTER III. + +ALERE FLAMMAN. + + "_His tongue was framed to music, + And his hand was armed to skill; + His face was the mould of beauty, + And his heart the throne of will._" + =Emerson.= + + "_Slow, indeed, at times, is the will of the gods, but in + the end not weak._" + + =Euripedes.= + + + + +III. + +ALERE FLAMMAM. + +Everyone Can Sing. + + +The culture of the voice has come to be looked upon as a great and +serious undertaking, and of such magnitude that but few have time for +it, and those only should attempt it who have exceptionally fine voices. +This is a mistake. Nearly everyone can sing, and if all would attempt to +improve the voices they have by observing a few common-sense rules, it +would soon be apparent that there are many more good singers among the +masses than it is supposed exist, and these singers will learn how much +can be done to add to their own comfort, by a little outlay of thought. +Culture of the voice has been made a mystery by charlatan teachers and +for a purpose. Think out how the conversational voice works and then +consider what difference there should be between that and the singing +voice. Nature planned the speaking voice and in doing it, gave us the +line of development to follow in bringing into use the singing voice. +The change from speaking to singing voice is where the quack enters with +his mystery. There is no mystery. Use the voice as in speaking but pitch +it at higher and lower points than are used in speaking. This is the +foundation of the singing voice. Only one caution is needed. Never +strain the throat. If, after a little practice, fatigue is felt or the +tone is husky, stop practice. Do not try to do it all at once. A little +each day added, will, in a few months, do all that is wanted. Do not +expect, however, that any amount of study by one's self will make an +artist. One can sing, by self-study, so as to get much pleasure, and so +as to give pleasure to friends; but something more serious and extended +is needed to make the artist. + + +Sustain Perfectly. + +Sustaining perfectly the reservoir of air is the greatest _desideratum_ +in using the voice. Acquiring ability to do so is a puzzle often to +students. The reason is in the fact that no muscles which are directly +under the control of the will can be caused to act upon the air column. +The chief organ of respiration is the diaphragm, and as years of +teaching bring experience which is definite in results, we find that the +diaphragm is the only muscle which holds the air column in check. That +muscle situated within the body cannot be held by any visible power. The +_thought_ of holding it still will make us hold our breath. Trying to +assist such holding by muscles of the chest, abdomen or throat, only +defeats our purpose and makes the diaphragm give way. That large muscle +will do the whole work if we will let it. The thought, as said above, is +what will make it remain quiet. That thought may take various forms. +What assists one does not appeal to another. But here is an assisting +thought which does much good to the majority of students. Of course when +the breath is taken the diaphragm is down and the waist is spread. Then +the chest, bronchial tubes, windpipe and mouth are full of air. Now +allow that air to be as still as the air of the room. Practise +sustaining tone with any vowel, preceding each effort by taking position +suggested above, and with the thought of keeping the air in the body +just the same as, and a part of, the outer air. Then allow tone to float +in the air, permitting no force whatever. + + +Care of the Body. + +Singers seem to think but little of the tools with which they carry on +their life work. That is the rule. Now and then a singer takes the +opposite course and becomes unreasonably careful of his tools. In that +case he is worse off than the careless. The "happy medium" is in all +things the desirable state. + +Our tools as singers are enclosed within the body and are the body. To +have the body ready to respond to the musical demands it must be well +and strong. To keep it well should be our first care. Happily we are so +made that by following a few simple rules of living the body goes on +through a long term of years without getting seriously out of order. +Some persons can boast that they are never ill while many report but one +sickness during a decade. The needed attention to the bodily wants, has, +in these cases, been properly given. If all were as careful to do the +same and not overdo the matter, perfect health would be the rule and not +the exception. + +The body needs nourishing food, clothing to preserve nearly uniform +temperature, sufficient sleep, generous exercise, and thorough +cleansing. Nothing more. Neglect of these, or as is more often the case, +overdoing some of the first, is cause of disorder and disease. A singer +cannot afford to have the tools of his employment other than in +first-rate condition. If he does he enters his work, unnecessarily +handicapped. + +General advice regarding the eating and drinking is often given. Making +it more specific, we would say, eat only such food as is easily +digested and insist that it shall be thoroughly cooked. Supply the body +with enough such for its maintenance only. The singer, again, cannot +afford to eat what is not needed, be that of kind or amount. Most +persons in running a furnace will feed fuel twice a day, at night and +morning. In specially cold weather giving the fire a little extra fuel +at noon. This is a good rule for feeding the body. Avoid over-feeding. +The object of eating is to nourish the body and not to gratify appetite. +It makes little difference whether the palate is pleased or not. The +body could be nourished on food which does not taste so good as some +other. Eating, to most people, is more palate gratification than +anything else. In doing so, the body is overfed and clogged. Singers +cannot afford that. + +Sleep. To recover the waste of body at each days' work, quiet restful +sleep is needed. Eight hours, or better nine, out of each twenty-four. +In a cool room where possible and with plenty of fresh air. People who +eat rationally need not fear taking cold by sleeping in a room with a +draught of air through it. Fresh air, fresh, good food and cleanliness +are necessary to the best results in singing study. + +No rule can be given about bathing. Some students can stand a thorough +bath every day. Others, only once in ten days. A sponge bath, if no +other, should be had daily, that the pores of the body may be kept open +and clear. + +Clothing should be sufficient to keep the temperature of the body even. +No need of wrapping the throat even when going into the open air, if the +temperature of the body generally is even. We do pamper our bodies and +think we are uncomfortable. In one sweeping sentence, be vigorous and +good-natured and the body will the better serve us. A long walk each day +in the fresh air adds to that vigor, and also to our good-nature. + + +Friends Can Help. + +Advice of friends is a source of value or injury to the singing student. +Advice has its influence. Every word spoken about one's voice and +singing helps or injures. If placed in a circle which condemns every +effort we make we are held back by that very influence from doing our +best. Every judicious word of praise helps us upward. A pupil who is +struggling by himself, without a word of cheer in his own home circle +has a hard fight of it. For that reason it is very necessary that pupils +whose desires are similar, and whose aims are toward the highest, should +be gathered together. They help by their words, and often by their +looks, the anxious student. "Forsake not the assembling of yourselves +together," applies. After a pupil's recital, a judicious teacher will +tell his pupils the kind things which the others have said. If unkind +things should be said (but a teacher who is himself kind will not hear +unkind things) he will keep those to himself, guiding himself, however, +by those comments in the future treatment of that criticized pupil. In +this connection, a word to the members of the family of the student. A +mother, who steps into the practice-room occasionally when she hears +good singing and says, "That was good. I see you are improving," aids +the student as much as a half-dozen lessons will aid. A brother who +banters his sister about her singing when he really enjoys it, knows +not, oftentimes, that his banter hurts and harms. To be sure, the +partiality of the home circle may foster false hopes, but since nearly +every one can learn to sing well if rightly trained, that will do less +harm than cold indifference and cruel banter. + + +Renew Thought. + +The teacher who does not live in high thought, and who does not attempt +to attain a high ideal, does poorer work than he thinks he does. It is +an easy matter to settle into a rut and to follow certain lines. These +wear themselves out. New ways of imparting time-honored teaching, +although they may not change the principles of teaching, must be +constantly sought. They will only come to mind by keeping the thought in +the highest realm of intellectual possibility to that teacher. One who +contemplates with restful care, in that higher realm, the beautiful in +music, the way of influencing mind, and the most direct way of causing +students to attain that which they need, will ever renew his method of +teaching. Such renewal will contain something better than he had before. +Unless constant renewal, or at least frequent renewal, takes place, the +rut will be entered upon. The longer one follows it, the deeper he +becomes settled in it, and the harder is it to get out from it. + + +Speaking and Singing. + +The basis of good singing is good speaking. The speaking voice in common +use during conversation covers a range of five or six notes. Frequently +lower and higher notes are called into use, but the high and low notes +of the singing voice are seldom used in conversation. The organs which +produce voice, from their constant use respond involuntarily to the +will. They also do correct work. It is seldom that a person, unless he +has deformity, has trouble to pronounce any word or syllable, while +talking. Would this were true of singers. The student would greatly +lessen the amount of his labor and also reduce the cost of his musical +education if he were able to speak the words as correctly and as easily +while singing as while speaking. It is toward this imitation of the +speaking voice that one must constantly strive if he would make rapid +progress in voice development. When he has reached the point where he +can sing every vowel and consonant perfectly, and with as little effort +as when speaking, on every tone of his singing voice, and then have that +voice loud enough to be well heard in any hall, the voice is completely +and well cultivated. + + +Associates. + +Singers cannot afford to miss the chance to be among great men. As a +class, musicians are narrow and that arises from the necessity of giving +so much time to technical study. When the chance to meet and associate +with men of broad minds comes, take advantage of it. Even if the contact +be not close some of the light shining from the great mind will illumine +us, and will make us brighter. The great mind is drawing from inspired +source, maybe, and the light which comes from that mind drives out +darkness from whatever it covers. Light and darkness cannot remain +together. Let the mind be thrown open to receptivity when one is in the +presence of the acknowledged leader and good clear light, it may be from +heaven, will flood the mind and illumine it. + + +Purity of Method. + +Purity of vocal method must not be departed from by teachers. The +introduction of new ideas is at best a hazardous undertaking. In the +routine of teaching week after week and month after month the teacher +finds himself casting about for a new idea. He finds something which +pleases him and tries it on his pupils. Most teachers can look back at +experiments which have failed. Better decide on a few basic principles +and cling to them. The desire to try something new is very liable to be +the result of fatigue from overwork. Better take a holiday; go away from +the classroom and rest. Come back to first principles again and go to +work. The result at the end of the year will be better. Every teacher as +he grows older resolves his ways of cultivating the voice into something +very simple but which, as it condenses, becomes more powerful. There is +only one right way and deep thinkers settle on that alike in time. + + +Mental Recovery. + +A teacher cannot do better for himself and his work than to occasionally +close the office door and sit quietly by himself for a half-hour. At +such time crowd out the thought of all work, all planning, all worries, +and all demands. Bring the mind as nearly as can be into inactivity. One +will find in the hour when work is resumed that more of value will flood +into the mind, he knows not from whence, than he can catch and apply in +a great many hours. How many of us have times of refreshing. It is work, +work, hour after hour and the wonder is that we do so much and yet do so +little. Leave out some of the work and call activity of mind to our aid +and we will do more work with much less effort. + + +Profession or Trade. + +An item recently seen reads, "we would rather be a music teacher in an +obscure town than be a prosperous tradesman in a large city." That has +the sound of enthusiasm, and is the feeling of one who has the good of +his fellowmen at heart. Every man who enters a profession gives up his +life to do good. But few men in any professional life ever make more +than a good living. Some can, indeed, save enough to make occasional +investments, and these (if judgment has been good) secure a moderate +fortune. But no man ever became wealthy from his profession alone. A +professional man, however, gratifies his better nature and satisfies +cultivated tastes. A man in trade becomes so engrossed in business that +his better nature (his refined taste) is dwarfed. That comfort of mind +which the professional man has is more to him than the bags of gold of +the merchant would be. Probably the writer who made the remark quoted, +had in mind the opportunity which the music teacher has to do good. It +is a grand field of work, and one who has been engaged in it for several +years wants no other. To lead the public by teaching and by public +performance into the knowledge of the highest art, is a privilege which +should be prized. The music teacher, (even if not so placed by common +opinion) stands with the minister and the physician in the good which he +does the community. + + +Heart and Intellect. + +Let not the heart be the ruling power all the time. If it is, art sinks +into sentimentality. Allow the head to rule alternately with the heart. +Intellect must be applied if any satisfying musical result is to be +obtained. Emotion is good, but it needs curbing, shaping and +restraining. Emotion, long sustained and unbridled, becomes nauseating. +Emotion in itself is beautiful, but like fire and water, if it once +becomes the master, wastes and destroys. Emotion, aroused by imagination +and directed by intelligence, serves to give taste to all musical +rendition. One without heart is non-satisfying as a singer. Be he ever +so intellectual, his singing is cold. Intellect alone, unaided by heart, +is like polished steel--cold, brilliant and dazzling. Intellect and +heart combined are like the same surface engraved and enamelled in +artistic design--chaste, delicate and finished. + + +Time Ends Not. + +We may say with Emerson that "Time has his own work to do and we have +ours," and with Wood, "Labor is normal; idleness, abnormal," but in +music there must be times of cessation from labor. Call it change of +work, if you choose rather than admit that labor has ceased, but +experience shows that no musician can safely follow his calling year in +and year out, with no regular period of rest, and save his mind and +body. Sooner or later comes a collapse. The human machine breaks down. +Then we shall think of Emerson and Wood as unsafe leaders. Time has his +work, but he works in such deliberation and in such ever-changing form +that were he one who could feel fatigue, he need not feel it. Time is +from eternity to eternity. Time does not occupy a human machine. The +music teacher does. Many a teacher has toiled beyond his strength this +year. Many will next year. Who will take thought for himself and break +loose, if but for a few weeks, and postpone the time of breaking down? +One might say, that with Time, the human soul is from eternity to +eternity and there is no breakdown. True, but the residence of that soul +while it is in this period of existence, demands much of its attention. +That cannot properly be given when the exacting duties of the class-room +drag on week after week, till they number fifty-two, and then begin at +once another weary round. Admit that there are limitations, and, in +cordial co-operation with existing laws, select and use the days of +idleness, even if one has said that idleness is abnormal. + + +Power of Thought. + +The power of thought to exert influence is only in our day being +understood. How to utilize it is not yet in such degree of comprehension +that it can be told so that all are able to use the force which they +contain. Thought is a tangible essence passing from the human mind and +lodging upon the object toward which it is sent. Definite thought is +more powerful than is illy defined thought. Speech enables us to +crystalize thought and to empower it with added force. The time given to +framing sentences enables us to put thought into definite form. A step +beyond speech is obtained in singing. When learning our songs we revolve +the thought to be expressed in mind. The measure of the music gives time +to concentrate the thought contained into its most powerful form. The +rhythm and vibration which accompany music and singing, enhance the +power of thought. Whenever we sing in the true spirit of the sentiment +uttered we send out shafts, so to speak, of pure thought. Not one of +those is lost. It lodges somewhere, and as all good can never do harm, +our good thought, sent in song, must do good to those who come within +our influence to receive our good shafts. A singer who uses music for +vain display loses the opportunity for good. There is no good thought in +such singing. If there is any thought at all it is of the lower order. +It lodges also, but it appeals to that which is vain and low in our +hearers. What wonder is it, then, that ofttimes our hearers make unkind +remarks about us and our singing! It is our fault that we have stirred +up in them the spirit of vanity and criticism. Our thought has often +challenged such spirit in them. Let our thought be changed, and only the +good which is contained in poetic art sent out to them and their +attitude toward us will change. There is no unpleasant thing which comes +to us but that we stimulated it and created it. We can make our musical +surroundings by sending out powerful shafts of pure thought. + + +Nature Seldom Jumps. + +Nature seldom moves by jumps, and a student who reaches the best use of +his voice learns that he must do that through natural laws. In other +words, that he must acquire all things through naturalness. What wrongs +have been done to students under the shield of so-called naturalness! +Many teachers who claim that they are cultivating the voice by natural +laws, know nothing of what it means to be natural. Naturalness means the +expression of our own nature. If a teacher uses the natural method he +but points out to his pupils their true natures and holds them to that +correct use of such that they return to their normal condition. The +necessities of our modern living have made most of us feel that we must +put a side of ourselves outward which shows off well. In singing we +develop abnormally something which we fancy will please our hearers and +bring us applause. We try to hide our defects and admit that we do. +Aside from the question of honesty, is it policy to do so. Most firmly, +should be the answer, No! It destroys the naturalness of the singer and +substitutes artifice. Any spurious issue will be detected sooner or +later. Besides, is it not much more comfortable to have the real than +the counterfeit? Be natural, then. Many students are impulsive. It was +to these that the remark that "Nature seldom jumps," was made. In +natural action everything is deliberate and restful; controlled and +sure. Nature makes but few angles, but moves in graceful curves. Good +quality of tone on one note and poor quality on the next, is not +natural. Nature does not jump from one voice into another. Nature +demands symmetric cultivation of the whole voice, and not the display of +a favored part. + + +Be Perfect. + +Do not be content to merely make progress. (If one feels that he is at a +standstill, or worse, going backward, he should stop all study till he +can go forward). Merely making progress means that to reach great +result, a long time must elapse. To make a great artist requires years +of musical and intellectual training; to be able to sing as perfectly +as the body is capable of acting, requires but a few weeks, or at most, +a few months. Why will students take lessons year after year and not +sing any better than they did soon after they began? It is not necessary +if the student is willing to go rapidly. "Be ye perfect," applies to +singing as well as to anything else in life. If the injunction to be +perfect has any meaning at all, and no one has any right to doubt but +that it meant, when it was spoken, just what the words contain, that +applies very thoroughly to singing. The very essence of life itself is +more fully operative in singing than it is in anything else. If so, to +be perfect in singing is to be perfect also in the essence of life. The +injunction was not to become perfect by a long course of training. The +present tense was used and it meant just what was said. "Be ye perfect," +_now_. By proper mental conception of the true principle which underlies +voice culture and by demonstration with concentrated thought, the +possibility of any individual body can be at once brought out. On this +account, the long years of wasteful practice which people use in +cultivating the voice is not only unnecessary, but foolish and wicked. + + + + +CHAPTER IV. + +PERFECT VOICE METHOD. + + "_Observe how all passionate language does of itself become + musical,--with a finer music than the mere accent; the speech of + man even in jealous anger becomes a chant--a song. All deep + things are song._" =Carlisle=. + + + + +IV. + +PERFECT VOICE METHOD. + + +A teacher of voice and singing who does not believe his way is the best +in the world is in one of two positions:--either he is a scamp, passing +off spurious goods for real worth, or he is doing the best he can in his +knowledge and present situation, waiting for the time when he can obtain +instruction in a better method. If a teacher believes he has the best +way of teaching he has a perfect right to so express himself, and to use +that method in his teaching. He may be wrong in his opinion but that +does not effect his right to work on the lines of his opinion. Some day +something may show him he is mistaken and such a man will be very liable +to correct his error and, taking the newly found way, progress in that. + +A teacher who knows he is far from right and still works on, is not +worthy of consideration as a teacher. One who uses the profession of +voice teaching merely for livelihood and who cares not whether he does +good or harm is little better than criminal. Such there be and such +there will be until a time arrives in which teachers will be granted +authority to teach from some recognized institution, without whose +permission to teach, it would violate a law of the land to advertise as +a teacher. Just such control as is kept over medical practice will some +day be had, but not in our generation. + +Hundreds of teachers of the voice in all parts of our land are teaching +up to their light, hoping the time may come, and to most it does come +sometime, when they may get away from the office and study still farther +into voice and music, thus making better their ability. That class has +already done much for singing and music. It might be said that all that +has been done has come from that class, for no teacher feels that +nothing remains for him to learn. Singing, too, is a subtle thing. A +teacher feels every little while as if his good way were slipping from +him, and if he cannot get out of his work and brush up with a master, he +will lose all the ability he has. The best teachers do leave their work, +go to some other teacher, may be not better than they are, and have +their work inspected and made better. A salesman from a furniture house +once put the matter tersely:--"When I go out from the house on a long +trip, I start with a plan of what I will say and how I will make my +sales. In a little while I get rusty, and saying the same things over +and over again makes me hate them. Then my business falls off. I go into +the warerooms again for a time, hear the firm talk up goods in a new +way, meet other salesmen and hear how they talk, and off I go again on +my trip fresh and bright." + +No work gets into a groove more easily than teaching. When working in a +rut the teacher produces small results. The successful teacher tries +every expedient in his power to get all the result he can. Sometimes, it +may be remarked incidentally, he is called by a pupil lacking in +appreciation and discernment, an experimenter, because he changes his +plan of working. But he can endure that provided he gets definite +results from his teaching. The best way for the teacher who must plod on +by himself through long years is that he should once in every few months +sit quietly alone and think over what his voice method is, how he is +applying it, and what the result is. Below is the thought of such an +hour condensed into comparatively few words. The heading of this article +indicates that this is the opinion of the writer at the present time. +The thinking which may come in the next ten years may show he could have +thought better now, but this is to him now, a perfect voice method. + +The voice is produced by the body; it was originally planned for speech +and not for singing; attributes of the voice are range, power, quality, +and flexibility; into the voice can be injected, language; the action of +all physical portions are under the command of the mind. + +There are four portions of the body which are brought actively into use +for the production and management of the voice, and these permit voice +culture to be divided into four departments. These must first be brought +into correct action. Natural action is correct action. What the world +has considered as correct action may be wrong, for on most matters the +opinion of the world is incorrect. A few clear-headed men have again and +again appeared in various affairs and shown the world the mistake into +which it had fallen. May be this is true of voice culture. It is safe to +follow nature. The first department of voice culture is, as most persons +admit, the respiratory department. Breathing. That goes on from the time +we are born till we die. Generally as children we breathe well and +correctly. When manhood arrives most of us have interfered with nature's +way of breathing and have interposed something quite different from that +we used earlier. This has come largely from faulty civilized eating, so +that the organs of digestion are constantly troubling us. The stomach, +liver, etc., exert decided influence on the diaphragm which is the chief +organ of respiration. We, also, have grown nervous as years have come, +because of the demands of active life upon us. That nervousness keeps +all the muscles of the body in a state of unnatural strain, and this +strain has even caused us to breathe differently from what nature +planned. The very first step toward good voice method is to bring the +breathing apparatus back to working order. As said above, the chief +organ of respiration is the diaphragm, and that is a large muscle which +cuts across the body at the edge of the ribs. Its centre, right in the +middle of the body is constantly moving downward and upward. When it +goes down the breath enters the body; when it comes up the breath comes +out. Stop that muscle and breath is held. Stripped of all confusion that +is all the description needed of inhalation, exhalation and +breathing-holding. If some who read this would not say that this is too +simple, and that they knew more than this article says, the subject +would be dropped there. At most, all that can directly be added is to +prolong the lowering and raising the diaphragm so that it is done by +long strokes. Some one says we have been taught about spreading the +sides, expanding the abdomen, filling the back, keeping the chest still, +and a dozen more things. Examine the above, and if opposing effort to +the free movement of the diaphragm in its upward and downward journey is +avoided it will be found that all which is of good in inspiration and +expiration is contained in the above. A most useful exercise for the +development of strength in this organ of respiration is to slowly +perform the act of panting in the same way that a dog pants. + +But about holding the breath. That is the most important thing about +breathing. It says above that if the movement of the diaphragm is +stopped, the breath will be held. Sure enough. Then why can't we all +hold the breath? We can. Holding the breath in that way a little while +every day and caring to keep it so whenever using the voice will so +complete the strength of the diaphragm that it will stay still a very +long time, much longer than it takes to sing any phrase in music which +is written. The majority of pupils--yes, all of us, teachers and pupils, +when they seek to let the diaphragm stay still try to assist it to do +so. We try to hold the breath by the muscles of the chest, by those of +abdomen, or by shutting off the throat. Now these do not assist the +diaphragm to stay still, and on the other hand, they prevent the +diaphragm from staying still. They make it move. Some one says, or +thinks if he doesn't say it, that unless the diaphragm moves when we +begin to sing that no tone can be made. That is one of the mistakes of +the world. Some teachers have even said that we must press the air +upward as we sing, so that the vocal bands may make it into tone. That +is absurd. Keep back all pressure from the vocal bands. If the slightest +air pressure is put upon them they are over-worked. Hold still the +diaphragm and the air is held loosely suspended throughout the chest, +the bronchial tubes, the windpipe and the mouth. Then in this air the +vocal bands work. They will help themselves to just the right amount of +breath, to make into tone without any assistance from you. You can't +make nature work. You can permit her to work in her own way. + +When we speak of the vocal bands we are talking of something which +pertains to the second department of voice culture--the throat. There +can be, and need be, very little said to the pupil about the throat in +its action during singing. Teachers do say many things. One thinks the +larynx--the protuberance known as the Adam's apple--ought to be pressed +down, and kept so. Another thinks it ought to be forced upward. Still +another says it should be allowed to be low at one time and high at +another. There is just one way of settling the matter. How is the action +when we act naturally? Nature built the throat for conversational voice. +If we are to use it for singing we can't do better than to follow the +suggestions of nature as to the way the throat moves while speaking. +Then on those ways let the throat act while singing. Sound several notes +with the same vowel in the conversational voice and see what the larynx +does. Some one suggests that this ceases to be conversation and becomes +singing. But it doesn't. Conversation runs easily through an octave of +tones. Generally we use three or four tones. When we are very quiet or +are sad the voice lowers a few notes. If we are very merry or are angry +the voice ascends. We talk at the "top of the voice," literally. If we +do so in speaking, surely we may lop off the many vowels and the +consonants and speak, conversationally--on several tones. It will be +found that the larynx moves freely. That being the case, he is a very +foolish man who could make the larynx go down and stay there. Again, +with the tip of the finger on the larynx say the different vowels. It +will be seen that the larynx changes position at each change of vowel. +Let it so change when we sing. The great opponent of such action is the +stiffening of the cords of the neck--the muscles on the sides of the +neck. In connection with the work to be looked after in the third +department, yet to come, the way of removing that stiffness will have +mention. Within the larynx there are many delicate muscles which are +performing their various functions. What they do, and how they do them +has been the subject of study through several generations and the +question is not solved. An eminent physician has for several years been +photographing throats while producing tone. About four hundred +different throats have been photographed. In an article published by him +in January of this year, he says: "I have not yet permitted myself to +formulate a theory of the action of the larynx during singing, for even +now, after a large number of studies have been made, the camera is +constantly revealing new surprises in the action of the vocal bands in +every part of the scale." With that true, the only way open for us is to +seek ease and comfort of action and never force any part of the throat +to overwork. + +The third department in voice culture relates to the pharynx, or back of +the throat. It seems as if any thinking student would realize that in +order to acquire a rich tone, resonant with pure sound, the pharynx must +be allowed plenty of room, yet many shut it off making a very small +chamber. Well, it is the teacher's work to find some way to open a roomy +space. One of the best ways is to draw a picture of a cross-section of +the mouth from the lips to the back wall of the throat, showing a large +arch at the top of the section. Convey to the pupil's mind the idea of +room and he will be most liable to produce the room. Sometimes, although +it is of doubtful propriety to make any local application for special +purpose, the use of the word oh, as an exercise, will permit the pupil +to enlarge the pharyngeal chamber sufficiently for any need. This will +come up later in connection with another thought. A very important +branch of voice culture, the quality of tone, has to do with the +pharynx. Not much can be said of it now but just a little in connection +with a perfect voice method. When singing, we should express something. +The emotion in mind must have its appropriate setting. That setting +comes chiefly from the quality, and the quality arises from the shape of +the pharyngeal cavity. As in all nature's plan we must not try to _make_ +the pharynx do anything. We may _permit_ it, and if we do, nature will +have her way and will do just right. The emotion of the mind expresses +itself upon the face. A face plastic and delicate, changes expression a +hundred times a minute, maybe. Just so, if we permit it, the emotion of +mind expresses itself on the pharynx. We cannot see the expression of +the throat as we can that of the face, but we can hear it. That the +pharynx may be able to receive the expression of the mind it must be +plastic and delicate. If so, just the right form will be assumed for the +idea we would express, and the proper quality would be given the tone. +We--many of us--don't permit this. We try to shape the pharynx. Stop +trying and let the muscles of the back of the throat come to a state of +rest. Then willing them to remain so, sing. Sing anything. Don't change +the feeling, and good quality will fill the tone wherever the voice +moves--whether it be high or low, loud or soft. So by this restful way +of singing the stiffness of the cords of the neck will be removed and +the larynx will move easily and flexibly. In fact, all rapid singing +grows out of the restful singing. The use of all embellishments, too, +comes through this restful singing. It is to be kept in mind that so +long as we employ artificial methods of holding the air column, and so +long as we force tones through rigid vocal bands, just so long will we +be prevented from obtaining restful action of the pharynx. Each part +must act correctly and no part must interfere with another. + +The articulatory department is all which remains to be described. +Singing employs words, and words are made up of letters. Letters are +made up of consonant and vowel sounds. Consonant and vowel sounds, save +one alone, are made by changing the tongue or lips, or moving the jaw. +There are but few changes which may be made--less than a dozen. Six of +those pertain to the tongue, one to the jaw and three to combination of +tongue and lips. What these are need not be detailed now. Sufficient to +say that any action made during conversation may be made while singing +and must be made in the same way as in conversation. Two ideas advanced +by some teachers which are very wrong should be noted. One is that the +singer should practice with a spoon in the mouth to hold the tongue in +place. As if nature didn't know what the tongue ought to do! The other +is that the mouth should be widely opened, "to let out the tone," as old +singing school teachers used to say. The tone doesn't come out of the +mouth any more than out of the cheeks, chest or head. Allow the tone to +be made properly, then given quality and resonance by a well arched +pharynx and it will come out, no matter where or how. Someone asks if +there is any real objection to widely opened mouth. Certainly, there is. +Were it merely that the facial expression were destroyed, that would be +enough, but that is not the worst of it. Opening widely the mouth +destroys the shape of the pharynx and all richness is lost. Notice a +bell. So long as it remains bell-shaped, it has resonant ring. Bend its +shape so it resembles a pan and the ring is gone. + +One thought more in connection with articulation. It used to be said +that all attention should be given to vowels. Not so, in the light of +to-day. Attend to the consonants and the vowels will take care of +themselves. Correct speech in song, only, will make good singing. While +watching the resonance of the tone as made in the pharynx note the +delays made by thoroughly (not violently) sounding the consonants. Those +delays, prolonged greatly, permit expansion of the pharynx, and perform +the work mentioned before which was given the vocal sound, _oh_, to do. + +To sum perfect voice method up into a sentence it is that by which we +command with no apparent effort the column of air, keeping it away from +the vocal bands, and, therefore, permitting the quality of tone in the +pharynx to be pure; that by which the larynx acts freely, with no strain +upon it; that by which thought may instinctively make its impression on +the pharynx to give quality to the tone; and that by which we can make +consonants and vowels in that pure tone, so that words conveying the +thought of the mind may go out to our hearers. + + + + +CHAPTER V. + +A PAPER OF SEEDS. + + + "_He who is a true master, let him undertake what he will, is sure + to accomplish something_." =Schumann=. + + "_To engender and diffuse faith, and to promote our spiritual + well-being, are among the noblest aims of music_." + + =Bach=. + + + + +V. + +A PAPER OF SEEDS. + +ANALYZE SONGS. + + +Every song or other vocal composition should be analyzed as the first +step in its study. The first theme noted, and the second also, if such +there be; the connecting bars; the points which are descriptive or which +contain contrasts; the phrases which may present difficulties of +vocalization; the climax; and, as well, what relation the prelude and +other parts of the accompaniment bear to the song. It is probable that +before the pupil is capable of doing this by himself, the teacher must +do it for him, not on one song merely, but on a dozen or twenty. A wise +teacher will gather his pupils to hear him analyze music now and then. +It saves time at individual lessons, for the analysis will be understood +by a group as easily as by an individual. It matters not so much that +the pupils are not to sing those particular songs, for at the gathering, +the way to do the thing will be learned. Then as other songs are taught +at private lessons, the pupils will be prepared to receive quickly, the +instruction. + + +FAULT FINDING. + +Pupils may be sure that teachers do not find fault with them merely for +the purpose of finding fault. If the teacher is worthy [of] that respect +which leads pupils to study with him, he doesn't find fault except when +it is necessary, and then he does it with dignity. If the teacher is +constantly fault-finding, and does it in an irritable manner, you would +better leave him at once. Now and then we learn of a teacher who gets +his pupils so nervous that they burst out crying. It is not well to +remain long with such a teacher. The pupil goes to him with fear which +spoils the first of the lesson, and surely after the cry, the lesson is +spoiled, for no good vocal tone can then be made. At a lesson all should +be restful and dignified. + + +RECOVER FROM MISTAKES. + +Next to him who makes no mistakes, is he who recovers from and disguises +the errors. At best a performance full of errors of pitch, word, tone +and quality is but a patched garment. Apply the mind to eradicating +every error. Perhaps the most common thing for students to do is to try +over again, while at practice, the music in which the error has been +made, but doing it without thought. It is far better to think what the +error is, what caused it, how it should be removed, and then begin the +practice which will remove it. Oh, if the hours of wasteful practice +could only be gathered up into useful hours, how much better off the +whole would be! The least wasteful thing is to stop practice and +_think_. + + +SONGS FOR BEGINNERS. + +When selecting songs for study for beginners, only those which have +smooth and well defined melodies should be selected. Modern composers +seek by the strangest harmonies, following each other without coming to +points of definite rest, to do things different from what has been in +use so long that it is looked upon as common. The pupils in their early +study cannot understand such music, and while bewildered by it, they +misapply what they know to be correct use of the voice. The first +selections should be simple, melodious, and of easy range. The songs of +Mozart and Mendelssohn are much better for early use than are those +which are being published now. As the pupil advances in the knowledge +of songs add in any quantity the latest and most weird music, providing +it has merit. + + +CRITICISM. + +The phraseology of newspaper criticism often disturbs musicians, +especially those who are very sensitive, and sometimes arouses their ire +so that they make reply. In doing so they make a mistake. They place a +weapon for further attack in the hands of the critic and add to the +force of his remarks by showing that they have hit the mark. One does +not prize a shot which goes wide of the point at which it was aimed but +is quite proud if, by chance, he hits the bull's-eye. The sensitive man +in his reply shows how fortunate the critic is in his shooting. It is +not easy to bear the remarks of a harsh critic and it is much harder to +draw from them any good lesson. (Whether one may draw a lesson from +criticism is not open for remark at this writing.) Yet, when one gives +serious thought to the criticism which seems so cruel he will learn that +no one has been hurt by it except the critic himself. He has lowered his +thought from a high plain and has made his nature, thereby, coarse and +uncomfortable. That cannot come to anyone, even for a few minutes +without making him less manly. Out of the fullness of his heart at that +moment the critic has written and sent out into the world that which +lowers. What he sows, that shall he also reap, and in due time his +unkindness will come home to him. If he can bear his own act the +musician can endure it for the brief time that the "smart" is there. +None should ever forget that a man can injure himself but no one else on +earth can injure him. + + +WAIT FOR RESULTS. + +Some of us are slow to learn the lesson, waiting for results. We feel +that at one bound we must and will achieve the great success which is +our ideal. Youth is enthusiastic and believes in itself. Nothing daunts +it, save the realization of limited success and that realization comes +not quickly. There are circumstances which cannot be forced; there are +laws which prevent our reaching too far or going too quickly. Under them +we chafe but in time we come to know that those laws place boundaries of +limitation about us. We then begin to inspect the laws just as one bound +with cords might be supposed to study his binding after having tried in +vain to tear himself free. Then is when he discovers that by knowing +natural law he can shape his course so that he is not antagonized but +aided by his environments and curbings. He then discovers that he can +even use the laws which seemed to restrain as his power. But it takes +long to learn that lesson. Stripes, which cut and burn, must have been +received before one can know that he must not fret and be impatient for +quick results. "Patience overcometh all things." "Seek and ye shall +find." Remember that the early fruit decays quickest. The rosy apple, +when all of its fellows are green, has the worm at the core. If you are +worthy of results they will come to you, but not in your way or time +perhaps. You can afford to wait. + + +ALL THINGS ARE GOOD. + +Certain quotations and sayings, through familiarity, lose their point to +us. We not only are not impressed by them but forget that they are +truths. Do you recall "All things work together for good?" Does that +mean anything? Does it mean what it says? Does it mean nothing? It means +nothing or else exactly what it says, and you may be sure that the +latter is the true meaning. What are "all things?" The few which seem +bright, maybe; and those which to most of us seem evil, do not belong to +"all things." But may we not be at fault in our idea? We are, _we are_. +Whatever appears to happen to us (although nothing ever happens in the +common meaning of that word) belongs to "all things" and at some time we +will be able to look back and say from the heart that all was well with +us. + + +LITTLE THINGS EFFECT. + +Every shade of tone has a meaning which is either artistic or inartistic +and one who has developed his appreciation of artistic rendition can so +use his tone that just the right effect will be produced with his tone. +A noted cartoonist recently showed by two little dots the ability which +he possessed to change the character of his picture. He had drawn a +sketch of a sweet young girl; rosy cheeks and cherry lips; big sleeves +and a Gainsborough hat; the most demure and modest little girl ever +imagined. Then to carry out a joke he changed the position of the eyes, +just rubbing on two dots. The character of the whole picture now +changed. The demure little girl became the sauciest Miss that could be +imagined and one could almost imagine a shrug to the shoulders. Are +singers less able to portray in art than is the cartoonist? If we know +the resources at our command and how to use them we can give expression +just as well as any other artist can. We do not always know how small a +thing can change all expression. The bright face, the warmer tone, the +more elastic delivery of voice, quicker attack, all have their value in +expressing something. + +Not enough attention is paid to personal appearance before an audience. +There are a few things which can be prepared before our appearance which +can make the whole performance more artistic. The way of walking across +the stage, taking position before the audience, manner of holding the +music, of turning its leaves, way of looking up while singing, way of +leaving the stage; all these have to do with artistic rendition. They +should be taught to pupils by the teacher and should become part of the +pupils' instruction. We give all attention to tone and that is only part +of the instruction which the student needs. The other matters must not +be left to chance. The little things point out the difference between +the singer and the artist. + + +MUSICAL LIBRARY. + +A musical library should be a possession of every singer. There are less +than two hundred books on music printed in English, on subjects directly +connected with music and singing. These contain all which has been +printed which has any great value. Many are books for reference and a +few contain direct practical instruction. Each teacher and all earnest +students should see how many of these they now possess and plan to +develop the library. All the books need not be purchased at once, nor is +it wise to obtain books and put them away on the shelves just for mere +ownership. Get one book at a time, one a month perhaps, and read it +carefully enough to allow you to know what is in it. Then put it away +for reference. It takes but a few minutes to refresh the mind on what is +read. A dozen books a year added in this way will, in a dozen years, +give a valuable library. What is more valuable to the owner is that he +has lodged in his own mind for every day use more than a hundred good +ideas. Books taken from the public library and returned to it do not +have the lasting value that one's own books have. The sense of ownership +is worth something. + + +CHANGE OPINIONS. + +In these days of invention, discovery and progress, no one need be +ashamed of changing his opinions. In vocal music the ideas most commonly +held twenty years ago are being exchanged for something new. The man who +has made a change is often sneered at as "having a method." He may have +that, but he may only have advanced to new ground which is to be +occupied by common opinion a dozen years from now. The man who changed +early was in advance of his fellows and would attract attention. Who +thought, outside of a very small circle, only forty years ago, that the +music of Wagner would become the most popular of any age? It is to-day +the music of the present and we are already looking for a "music of the +future." The present time is, in the manner of dealing with the singing +and speaking voice, a transition age. Ideas which are being taken up now +were scouted as nonsense twenty years ago. They will be commonly +accepted ten years from now. It is better to join the army of progress, +and change early, even if it does raise a laugh. + + +REPUTATION COMES SLOWLY. + +Reputation which will last comes only by slow degrees. Man may spring +into notoriety at a bound because of some fortuitous circumstance and he +may hold the prominence which he gains by his strength of manhood, but +the cases of this kind are rare. It is by "pegging away" at something +which one knows to be good until by the merit of the "something" and the +worth of the labor put into it, attracts the attention of a few judges +of its worth, that a reputation is begun. It is begun then, only. Some +more of the same work must follow but those who have seen the worth now +assist in thought as well as in word and the circle which appreciates +the worth grows. When good reputation has begun nothing can stop its +growth except some unwise or unmanly act of the person himself. For this +reason no man need strive after reputation. Do well what is good and the +result will take care of itself. The reputation will not come because of +striving. It will come to any man who is doing good work and living a +right life. It takes time to make the lasting reputation and that +impatience which so often influences Americans, prevents the growth of +many a reputation. + + +STUDY POETRY. + +Every singer should be an earnest student of poetry. There are minds to +which poetry does not appeal as does the practical prose. But in all +minds there is enough of latent love of poetry which can be developed +until poetry appeals with even stronger force than does prose. Can your +heart glow with the beautiful sunset? Do you joy over the song of the +bird? Has the spring blossom a message of delicacy to you? Then have you +that love of nature which can give you understanding of the poet. A +faculty of mind exercised grows with its use. A singer _must_ have +imagination. Without it, the best vocalization lacks the spark of true +life. Without it, coldness displaces warmth, and darkness, light. The +very essence of poetry is imagination. One word in poetry often suggests +that which practical prose uses ten words to express. The study of +poetry, that is, making poetry a study so that one knows what is in it, +helps make good singers. He who has not yet thus used poetry may well +plan something new for his winter evenings. + + +MANNERISMS SHOW CHARACTER. + +Mannerisms give knowledge to the observing person of our character and +intellectuality, and, on that account, are to be studied and used to our +advantage. Such as would prepossess our hearers in our favor should be +retained and such as would be unpleasant to the majority of people +should be trained out of our unconscious use. But few think long enough +about a singer to be able to tell their reason for liking or disliking +him. The voice and art may be good and yet the audience may not like +him. On the other hand, the voice may be meagre and the music faulty, +yet there will be personal charm which is captivating. The manners +which express the better side of our individuality will be those +retained. Certain it is, that manners are the expression of +individuality and there are no two persons whose action is just the +same, any more than that there are two faces or two voices alike. + +It is doubtful whether one can judge the good and bad in mannerisms in +himself. We are so liable to accept our intention for actual performance +that we deceive ourselves. Then, too, mannerisms which would be +permitted in one place are not admissible in another. The ways of a +German dialect comedian would not serve the Shakesperian comedian nor +would the physical accompaniment of the songs of the London Music Hall +be proper for the _lieder_ of Schubert. The teacher enters at this place +and by judicious physical drill, based upon the knowledge of what is +wanted in true art, shows the singer what to cure and eradicate and what +to make more prominent, wisely retaining those mannerisms which show the +higher, nobler and more pleasing part of the singer's individuality. + + +PROVIDE FOR THE YOUNG. + +Parents see the necessity of providing the means for their children to +learn to take care of themselves. A fortune left to a son frequently, +if not generally, proves a curse. A "good match" may turn out badly for +a daughter. A few hundred, or even one or two thousand, dollars invested +in musical education is sure to permit the son or daughter to earn a +comfortable living. It will be more than a generation before the field +for musical activity is supplied. More than that, in music, every +further elevation of the public increases their desire for better and +more expensive things in music. There is no prospect that the musical +field will be over supplied with artists and teachers. Happily, the +profession is open to women as well as to men. Our daughters can, then, +receive preparation for independence in it. The necessity for marriage +for mere living has gone by. Daughters are as independent of marriage as +are sons. The time was when boys were held in greater esteem and value +than were girls because they could take business positions and acquire +wealth. The new openings for women have changed this. Woman is making a +place for herself, not through the ballot and because of political +influence, but because she is taking position in the business and +professional world. Everyone, man or woman, should be prepared to take +some position which permits a living income to be made. Parents are +using music as the means of independence to their children. It is better +to spend the hundreds of dollars in education in music than to invest +that sum in any way to provide a fortune for the children. The +life-income from the investment is better for the children. + + +THERE ARE NO MISTAKES. + +How often does every one of us make the "mistake of a lifetime?" +Probably everyone has made that remark many times regarding himself. The +circumstances of life have seemed to point out a certain path. We have +followed it. Later we felt it to be wrong. It was a mistake. Did it do +us any good? No. Did we learn any lesson? No. Will we not make another +"mistake of a lifetime" to-morrow, if we have the chance? Yes. Such is +human nature. So we go on. But there is another side to the shield. +There are no "mistakes of a lifetime," if we sum up the whole life. None +of us can do that yet, but we can put a number of years together and see +a result in them. How about that mistake over which you have been +mourning? Was it a mistake? Is it not possible that if you had what you +think would have been yours had you taken a different course, you would +be worse off than you are now? A young man who is making his mark +recently said, "I am glad my father lost his property. Had I been +supplied with a lot of money while at college, I would have been a +profligate." When the father lost his money he probably thought he had +made the "mistake of a lifetime." Which would any father prefer, poverty +or a wrecked family? + +Many pupils rue a supposed mistake in the selection of a teacher. There +is no mistake. Every teacher who can attract pupils can teach something +and every pupil can learn something of him. The mistake, if one was +made, was by the pupil, in not learning what that teacher could teach, +and when he had gotten that, in remaining longer with him. + +Don't talk about the mistakes but so shape circumstances that all events +may be used for good. There is something which can be utilized in +everything which happens to us. The bee finds honey in every +flower--more in some than in others, to be sure, but none are without +sweetness. + + +REGULARITY. + +"It is the regularity of the laws of nature which leads us to put +confidence in them and enables us to use them." Thus writes Dr. McCosh +and he was a keen observer of men and things. His remark suggests that +teachers can and will be trusted and used who, by their regularity, +awaken confidence. He who attracts and enthuses can for a time command +attention. His work will only be lasting and his hold upon the musical +public be good when there is something of permanent value behind the +enthusiasm. Slowly but surely we are reaching the knowledge that in +music there is all of life, and that only as we make music part of +ourselves is our life rounded. We have reached the place when we can +feel that he who has no love of music suffers an infirmity akin to the +loss of sight or hearing. We have also reached the belief that everyone +must cultivate the musical faculty. We are passing through this life to +one beyond and he who raises himself nearest the perfect man, best uses +the span from birth to death. In and through music, especially on its +side of education, more can be done than can be in any other way. +General culture, college education, mental development are, in their +proper place, to be used but neither will do so much for man as will +music. In thus developing that faculty we acquire something also, which, +as executant musicians, gives us delightful influence over our fellows. +Such is the possibility of a teacher to so make mankind better that he +becomes a noble instrument of service in God's hand. But he who knows +his position best and by regularity of mind, body and estate, by system, +certainty and reliability, obtains the confidence of the musical +public, can best be used as an instrument in that service. + + +ASSERT INDIVIDUALITY. + +Personal freedom of action must for a time be surrendered by pupil to +teacher but it should be for limited time only. The impress of the +teacher's mind can be made upon the pupil in two seasons of study if it +can be at all. Perhaps most pupils receive all that the teacher can give +them in six months. As soon as they have that should they leave that +teacher? Not at all. They should then begin the use of their own +individuality--letting it, little by little, assert itself. The +practical application of individuality should be as carefully attended +to as is any part of the pupil's education. Perhaps it should have more +attention. More than one, more than a thousand, every year wrecks her +good and great future by what we term wilfulness or waywardness. The +name is misapplied. The individuality is then asserting itself and it is +then that the pupil needs the skillful and firm hand of the master. The +keen clear judgment which comes from experience is worth to the pupil +more than the cost of many lessons. The life is planned then. It is a +time of bending the twig; the tree grows that way. The wrecking which is +so often seen arises because the pupil changes to a teacher who does +not understand the case. The new teacher must study it all over. Before +that can be done the pupil is spoiled and disappears, disappointed and +disgusted. Receive the personality of the teacher, pupils, but then +allow him to lead you onward as you bring out your own individuality. + + +EDUCING. + +Educing is bringing out or causing to appear. Teachers impart and call +that educating. The reverse of the common way is best. Instead of +imparting all the time to the pupil seek to draw out from the pupil that +which is in him. Cause it to appear. In this way will one's teaching +faculty be improved and he will become the better teacher. Often the +education must be against counter influences and, it seems frequently, +as if it were against the wish of the student himself. Yet the skillful +teacher can overcome the prejudice of the pupil and the adverse +influences, and reach his results. A help in thus using one's skill lies +in the fact that what is to be drawn out lies divided into two distinct +classes. One is that which pertains to execution and the other to +knowledge. They are widely separated. The first is to be trained so that +it cares for itself without the thought of the student or singer and +the other so that it is always ready to respond to the quickest thought. +There is in the two classes variety enough to keep the most active +teacher on the alert and to make for him the highest kind of +ministration to mankind which is open to anyone. Later may come the +comfort of joining the two classes, synthetically, thereby making the +rounded and completed artist. + +It occurs to one's thought at once that he who would draw out what there +is in another, must know something of the machinery which he would cause +to act and also of the mind which is in command of that machinery. This +is the basis of the teacher's education, without which he cannot be a +good teacher. As a young teacher he has the right to teach those who +know less than he does. He imparts then. As an educator he must be more +than what he was at first. He must keep his own education above that of +his fellows and he must become able to educe. + + + + +CHAPTER VI. + +CUNEUS CUNEUM TRUDIT. + + + "_Art! who can say that he fathoms it! Who is there capable of + discussing the nature of this great goddess?_" =Beethoven=. + + "_Whatever the relations of music, it will never cease to be the + noblest and purest of arts_." =Wagner=. + + + + +VI. + +"CUNEUS CUNEUM TRUDIT." + +VOCAL TONE. + + +All vocal tone used in singing when produced at the vocal bands is small +and probably always about alike. The tone which we hear is "colored", +"re-inforced" etc., on the way from the vocal bands to the outer air. In +order that the tone shall carry well and be heard in purity throughout a +hall, the initial tone must be added to. This is done by its +reverberation in cavities where there is confined air. By confined, is +meant, air which is not being greatly disturbed. There are four such +cavities, or chambers, in connection with the production of voice. The +chest, the ventricles, the inner mouth and the nose. To have the tone +resonant the air in these chambers must be held in confinement. The way +they can be utilized is best illustrated by the drum. A blow on the +drum-head sets the air in the drum into vibration and that air +re-inforces the tone caused by the original blow. Tone made by the +vocal bands is re-inforced by vibration in the chambers of the body, and +the connection of these chambers with the outer air sets into vibration +the air of the room. + +Something might be said about the thickness of clothing to be worn over +the chest while singing. It is certain that thick woolens worn during +singing, absorb much of the vibration of the tone and lessen the amount +of voice. Tone comes from the whole body and chiefly from the chambers +in which air is confined. Our singing tone does not come out of the +mouth alone. It comes from shoulders, back and chest without going near +the mouth. + +The stillness with which the air is held in the chambers of vibration +has much influence upon the volume of tone, and upon the quality. Just +now we will consider the chamber within the mouth. The space between the +back of the throat (as seen in a mirror) and the teeth is this chamber. +The air in this must be held as still as it can be. The practical way of +doing it, and the way of telling pupils how to use themselves so that +they can do it, tax the ingenuity of the teacher. A picture, or an +image, is the best way perhaps. The air in the mouth should be like the +water of a still lake. Into it, at one end, a gentle stream may flow. It +does not disturb the lake. It causes a ripple where it enters. It may +raise the elevation of the water in the lake, and the superfluous water +may flow off at the other end of the lake. Now, suppose a mountain +stream comes rushing into the lake. It stirs everything up, and rushes +out at the outlet in the same rough way. In the still chamber of air in +the mouth there must be no "mountain streams." The quiet lake must be +imitated. A little air, which has been vibrated at the vocal bands may +enter it, and not disturb it. That initial tone, always a quiet one, +will be re-inforced by vibration in the mouth and will issue forth large +and round. The amplitude of vibration will determine its volume. The +shape and size of the cavity of reverberation can constantly and +instantly change and by such change the tone can be regulated. + +The chamber of still air cannot be utilized unless the organs of +respiration are working correctly and strongly. A forceful blast of air +sent through the mouth will dissipate all vibrating waves. It is useless +to try to the initial tone until after the diaphragm is in good working +order. When that is all right then employ the re-inforcing chamber in +the way given above and resonance of tone will be obtained. It is by so +using the respiratory column and re-inforcing the tone made by the vocal +bands that a person can be made a good vocalist in a few weeks. It is +not necessary to take years to cultivate the voice. (It _is_ to make a +good singer.) From five to eight weeks, if the student does right, will +perfectly cultivate a voice. + + +TRUE ART IS DELICATE. + +All true art is delicate. Music is the most delicate of all arts. Music +is expressed through thought and emotion. In this, music has much the +advantage over sister arts. The sculptor can chisel his thoughts into +marble, and there they can imperishably remain. To what small extent can +he express human emotion! The painter also places his thought on canvas. +As his art is more easily within his grasp, to change at will, he is +enabled more fully to express emotion than is the sculptor. His finished +work remains. While at work upon it he may change here and there to suit +himself. That line and that shade of color, if not satisfactory, can be +changed. Not so in music. At one stroke--in one tone even--the musician +must express his emotion--and that expression, once uttered, is all that +he can use of his art. It is a delicate thing and requires sure thought, +complete mastery of emotion, and perfect ability in execution. Each and +every stroke must be perfect. + +Voice culture is the preparation of the body and its +expression--voice--for use in this delicate art. Voice culture is that +through which we approach art. It cannot be roughly handled. If art is +to be delicately used, it must be delicately approached. He whose vocal +practice is forceful and rough will never know the delicacy of true art. +He may become a vocalist after whom the ignorant public will clamor, but +he can never be an artist. Seek the delicacy of true art, or decide to +be forever a rough mechanic. One may hew wood or quarry rocks, or he may +be a worker among jewels and precious stones. It is a time to say +"Decide this day which you will serve." The two masters do not belong to +the same firm and both cannot be served at the same time. + + +WORDS AND TONE SHOULD AGREE. + +While singing, words and tone should agree. What does that mean, asks +one. It can be well stated when we consider how they do not agree. If +one sings "Sing ye aloud, with gladness," with a sombre tone the words +and tone belie each other. This result invariably follows the attempt to +cultivate the voice on vowels only, or on one single vowel. He who +watches tone while cultivating his voice reaches this result. We express +our thought while singing in words. Words are made by the organs of +speech, the chief of which are the tongue and lips. The tone receives +its expression from the pharyngeal cavity. If tone and words agree, the +tongue, lips and pharynx will work harmoniously in accord. It is when +one or the other does not work correctly that one belies the other. + +Training of the organs of speech has been written upon so extensively +that for now more need not be said. Suffice it to say, that the organs +of speech can be trained upon a few enunciatory syllables in a short +time, so that every word can be distinctly understood. There is no +excuse whatever for our singers remaining so indistinct in their +singing. The way of getting the tone to agree with the words, is what +may be considered now. As said above, tone is regulated, so far as +quality goes, in the pharynx. That organ can be put into working order +and kept so through the expression of the face. The same thought is +expressed on the throat which is expressed on the face. The same set of +nerves operates the two organs. To show what is meant, recall that if +you hear someone utter a cry, you know from its sound whether it is a +cry of fright, of happiness, of fear, of greeting, of anger, or whatever +it may be. The position and shape of the pharynx has made the cry what +it is. One standing near the person would see on his face the look which +corresponds with the cry uttered. In this case the word and the tone +correspond. It is not easy to reach the pharynx for voice culture, +except through the face. It can be reached in that way. The tone for +general use in voice culture should be the bright one. Then the +expression during vocal practice should be a bright one. All vocal +exercises should be, on this account, practised with the face pleasant +and expressing happiness. This fact led many teachers, years ago, to +have their pupils smile while singing. It led to most ludicrous results. +The teachers said, "Draw back the corners of the mouth, as if smiling." +Very well. That may be good, but it has no particular beneficial +influence on the pharynx, or upon the tone produced. The mouth is not +the seat of expression in the face. Not that there is no expression to +the mouth, but its changes are limited. The eyes are much more +thoroughly the seat of expression, and through them the pharynx can be +reached. Let the eyes smile. Let the whole face take position as if one +saw something irresistibly funny, at which he must laugh. Practice with +the eyes in this way will brighten the whole voice. It will relieve +strain upon all the facial muscles and will render the organs of speech +more pliable, too. Having obtained such control of the eyes that one +expression can be placed in them, the student can attempt other +desirable expressions. He will find that whatever is used in and about +the eyes will affect the kind and quality of tone. He may arouse his +interest in some particular thought and hold that in mind as he sings; +the voice will then have warmth of tone and will readily receive +meanings. He may express varying degrees of surprise in the face and he +will find varying degrees, to correspond, of fulness and roundness go +into the voice. The use of expression in the face as a means of giving +character and quality to tone opens a field of experiment and experience +which will lead any teacher to practical and beneficial result. It is +not a new idea. Salvini, the great actor, has given some very useful +thought on that subject. Little of such instruction, important as it is, +has gone into print. Yet it is so important. + + +PREPARATION FOR TEACHING. + +There are many who become teachers of singing without knowing what they +are doing. No one who wishes to enter the profession should be kept out +of it. There is room in it for many times the number engaged. It is to +be earnestly recommended, however, that he who intends to become a +teacher should decide beforehand what kind of work he intends to do, and +after he has begun, he should bend his energy to make that branch +successful. There are, at least, three distinct specialties of the +singing teacher. First, rudimental music; second, voice culture; third, +artistic singing. He who thinks he can excel in all has very great +confidence in his own ability. Perhaps most of those who become teachers +have no adequate knowledge of what the profession is, but enter into it +for the purpose of making a living. After becoming a teacher he +discovers that something is wrong, and the last person whom he thinks +wrong is himself. Probably he has never decided on a specialty and +properly prepared himself for that. Thus we see men who know something +about music, teaching singing. They know nothing of practical voice +culture, but attempt to teach singing. They ruin voices and wreck their +own happiness. The first duty of a singing teacher is to study enough of +anatomy and physiology to enable him to know exactly what parts of the +body enter into voice culture, where they are and how they work. The +dentist makes his specialty, filling teeth. But he would not be given +his diploma if he did not know anatomy. His course in the medical +college is the same as that of the physician. It differs in degree, but +not in kind. Such should be the education, to a certain extent, of the +vocal teacher. This education cannot be had from any books now +published. Plain anatomy can be given in books, but the student should +also see the parts described in the subject. He should then examine, so +far as may be, the action of these parts in the living body. He must +then make his own deductions. It may seem strange that that is +necessary, but such is the subtlety of voice culture, that hardly two +theorists agree in their deductions. Until some recognized body of men +decides on definite things in voice culture, reducing one's theoretical +study to practical uses must stand. + +As important as such study, too, is the preparation of the artist mind. +One can teach voice culture mechanically and obtain good result, but be +very deficient in the art of music. It is often said that "Artists are +born, not made." That is a mistake. No man was ever an artist by birth. +Some men may be more appreciative of beauty than others but all men have +enough within them to serve as the basis of artistic education. That +education should be carried to a considerable distance before teaching +is commenced. Almost as soon as the voice is capable of making any tone, +music must be put into study. Appreciation of music itself as an art, +must be a part of the good teacher's preparation. Knowledge of greater +and better music comes from that appreciation with the years of +experience in teaching. If the artist mind has not begun to assert +itself before business is attempted, business will be likely to absorb +the teacher, and he stands the chance of never being an artist. One who +combines scientific knowledge of voice culture and an understanding of +the art of music is well equipped for entering the profession of +teaching vocal music. Only such should enter it. With that as +foundation, the experience of each year will make him a better teacher. +Without that as foundation he will probably remain, vocally and +musically, about where he was when he began. Financial success may come, +but musical success never can. + + +EXPERIENCE. + +A very good reason, but one which individuals can attend to, why we have +so few artists among singers, is that so few take time to gain +experience. There must be many appearances before audiences before the +_amateurishness_ is worn off. Singers often think, when they hear a +noted singer, that they could do just as well as that and perhaps +better, and yet they cannot get professional engagements. It may all be +true, that they can do just as well as the artist, but in appearance and +self-command they may be deficient. Experience cannot come in a day or a +season. If it could what a crowd of singers would become noted. It takes +much time--years of time. One cannot safely feel that he has had +experience enough to place himself among the professional singers until +he has appeared at least fifty times. How many of our readers have done +that? Many visit the large cities and seek engagements who have great +talent and have the probability of complete success in them, but who +have had so little proper experience that their first appearance in the +large city, would be a failure. Managers of experience perceive this +state of affairs and refuse to give engagements on that account. Gain +that appearance necessary to the artist by singing before public +audiences everywhere, at church festivals, benefit concerts, parlor +receptions, college recitals, anywhere where an audience can be +entertained. Study your influence over your audience and learn how to so +express your art in your voice and singing that your audiences are your +subjects. Concert after concert must pass before you know your own power +in song. Year after year will go bye, before it is safe to approach the +critical audiences of large cities. + + +BEFORE AN AUDIENCE. + +When singing before an audience in a hall, do not look on the music. A +glance at it may be made from time to time but keep the eyes off. A +singer appears very ridiculous if he looks on the page. A song is a +story told by the singer in the singing voice. It is not a lesson read +from a book. The story cannot be well told if the singer has only half +learned it. If he is confined to his notes he attracts attention to +himself and that spoils art and the artist. It is best to learn by rote +the music to be sung, and when it can be done, to leave the music in +some place out of the hands. If it must be carried, have it as much out +of the way as possible. A singer of much fame, spoiled his evening's +work recently by fixing his eyes on his music all the time while +singing. This may have been an exceptional evening, but if he does that +all the time, he is no artist, in spite of his repute, and ought not to +receive engagements even if he has a fine bass voice. + + +COME UP HIGHER. + +The man makes the musician as does the musician make the man. The rules +of life which make men better make the musician better. There is a +constant call in life to "Come up higher!" He who has lost the sound of +that call is at a standstill, or rather, since there can be no stopping, +he is sinking from the place once gained. Get within the sound of that +call and heed it. There are no heights so great, but that they form the +base to heights beyond. Music is so rich and full that no man can +understand it all and no man has reached the highest place in it. The +call ever sounds "Come up higher!" Music fills all which contains life, +and uses all materials for its transmittance. The air, a subtle ether, +is filled with a still finer ether, on which sound travels. That ether +is filled with vibration. It is ever present. The connection with it can +be made at any moment and the musical thought can be sent off into +unlimited space, to influence all within that space. To be able to use +this at its best the thought which is musical must be raised to divine +thought. The possibilities in that are boundless. + +Musicians cannot stop. The year may roll around and one may feel himself +doing a great and good work, doing a work which seems to be well +rounded; a work which leaves the musician, as the end of a season rolls +around, exhausted from labor, and ready to say that the end of his work +is reached, that he has gone to his greatest height. Not so, however. +Next year is a height to be ascended, and that of the present moment is +but the base of that greater height. Music calls "Come up higher." + + +CRUDE VOICES EXPRESS NO EMOTION. + +An untrained voice can never have correct emotion expressed in it. The +voice responds as truly to the thought which passes in the mind as does +the leaf bend before the breeze. The singing voice is an extension of +the speaking voice, and since nature planned only for speaking purposes, +in order to have the organs which produce voice in proper condition for +singing, there must be that degree of physical drill which makes the +vocal apparatus able to convey in proper pitch and quality, the thought +of the mind. The untrained voice will not do this. The throat becomes +rigid, the pharynx strained and in-elastic. Emotion cannot be expressed +when the vocal apparatus is thus held. One may have a beautiful natural +voice and he may arouse the enthusiasm of certain of his hearers, but he +cannot, without careful training do a tithe of what he is able to do. +That is sufficient reason for teachers to urge all who sing at all to +place themselves under the best of tuition. All who talk pleasantly have +the power to sing. The exceptions to the rule are so few that they +amount to but a very small percentage. But all who do sing, if they +would rightly use their gift should train themselves to do whatever they +do, well. + + + + +CHAPTER VII. + +AMBITION. + + "Character is the internal life of a piece, engendered by the + composer; sentiment is the external expression, given to the work + by the interpreter. Character is an intrinsic positive part of a + composition; sentiment an extrinsic, personal matter only." + + =Christiani.= + + + + + +VII. + +AMBITION. + + +The very first question to ask of an applicant for vocal lessons is +"what is your ambition?" By that, I mean, the teacher should know at the +very start what purpose the pupil has in study, or if he has any +purpose. The intention of the pupil should make a difference in the +consideration given to the pupil in the matter of voice trial. If an +applicant says he wishes to sing in Opera and the teacher sees that he +lacks all capacity for such high position, he should frankly say so; if +the applicant says that he wishes to learn to sing well that he may have +pleasure in his own singing and give pleasure to his friends, that +should be taken into account. Such person, provided he has any voice and +musical instinct, can reach the height of his ambition and his study +should be encouraged. + +The first visit of an applicant to a teacher is a most important event +in the life of the pupil. The importance of it is not appreciated. To +very many persons it marks a change--a veritable conversion--in their +lives. A mistake made by the teacher with regard to the future of the +pupil is a serious matter. That visit gives the teacher his chance to +plan his treatment and is akin to the diagnosis of the physician. The +pupil places himself in the hands of the teacher as thoroughly as does +the patient give himself over to the physician. The case assumes +importance from this fact. Responsibility by the teacher is assumed. The +musical future of the pupil is in his hands. It may be for the good of +the pupil that he found his particular teacher and it may not be. + +"What is your ambition regarding your music?" is the safeguard of the +teacher. Knowing that, he can have a basis for examination and a ground +for promises to the student. In the large cities, teachers are troubled +with that which would be very amusing were it not for the sad part of +it. Students of music come from the smaller cities and from the country +and begin a series of visits to the different studios for the purpose of +selecting a teacher. Everyone seems to recommend a new teacher and the +student calls upon all. The result is surely disastrous to the pupil. He +or she is left in doubt as to whom to go for study. The different +promises made, the compliments paid, the hopes of ambition raised, are +all enough to unbalance the judgment of older heads than those who +usually seek the music studio. When a teacher is finally selected, it +takes a long time to settle down into confidence in him so that the best +result can be obtained. I said it would be amusing to the teacher were +it not sad. I have known persons to boast that they had had "as good as +a lesson" from the different teachers visited. I even know men who are +teaching voice culture and singing in this city who claim to teach +certain methods, and all they know of those methods is what they picked +up in the interviews which they pretended were to see about arranging +for study. As if any man of experience would give (or could give) his +instruction in a talk of ten or fifteen minutes! The men who have ways +of teaching which are so good that they bring valuable renown are too +shrewd to be caught in any such way as that. What shall be done about +such persons? Nothing. Let them alone. They die out after a time. Were +there any way to prevent other people from following their example it +would be a most excellent thing. But as society is made up, as long as +the flash of a piece of glass passes for the sparkle of a diamond just +so long will the cheater spring up, flourish and disappear. + +A question more to the point is "How can the racing from studio to +studio be stopped?" I frankly say that I do not know. Generally I avoid +bringing up a subject which has not in my own mind reached solution. I +can suggest remedies if not cures. + +By writing about it some little help may be given the student. The +remedy--nearly all city teachers have some special branch, a branch in +which they obtain satisfactory results. One succeeds in Italian Opera, +another in Voice Culture; one in Rudimental Study, another in Oratorio; +one has many pupils in church choirs, another forms delightful classes +of society pupils. "What is your ambition?" Find that teacher whose +general reputation is in that which you want to do and be, and commence +study with him. A very few lessons with that teacher--say ten +lessons--will tell the student whether he is the right teacher or not. +Probably the teacher will prove satisfactory. If not, by that +time--acquaintance with the teachers of the city will permit more +certain selection, the second time. "But," say you, "those ten lessons +have cost something." True, but they have not cost half as much as it +costs to settle an unbalanced mind. + +To return to the first question, what is your ambition? Has it ever +occurred to you to wonder what becomes of all the music students--how +many are there? Who can tell? One teacher boasts of having given four +hundred vocal lessons last month; another caps that by claiming five +hundred. Allow for all exaggeration, and say that these teachers (and +thirty or forty others had as many students at work) had all they could +do. They had from thirty to fifty pupils under study. What is to become +of them, and how many ever amount to anything? The teacher has +responsibility. He who receives every person who applies, especially if +he tells him what a good voice he has and how well he can sing after a +term or two, borders very nearly upon the scoundrel, or else the fool. +If he thinks he can make a singer out of every person who comes to him +he is the fool; if he flatters a person whom he knows can never become a +singer, he is a scoundrel. He who is wise will find out the desire of +the applicant and tell him frankly whether or not he can reach the +desired goal. If he thinks it cannot be done there is no objection to +his pointing out some other channel of musical usefulness and advising +him to enter that. If the applicant has no aptitude for the desired +study the only honest course is to tell him not to waste time and money +on his voice. Any conscientious teacher feels a shudder sometimes over +the responsibility of his position when the thought comes up "what +becomes of all the music students?" We can ask "what becomes of the +pins?" and have the question answered. The material of which they are +made can be supplied anew. "So," say you, "will new pupils come." But +those who are now studying must be made something of. The day they begin +study a new world opens to them. Is it for good or ill? That remains for +the teacher to solve. Every true teacher improves every pupil who +studies with him. Some of them will become good singers and fine +musicians. These are the ones most talked about and the teacher finds +pleasure in the added reputation which they bring, but the others have +the right to demand that they shall be raised to a higher plain of life +because of their music lessons. + +What becomes of all the ambitious youths and maidens who study singing? +Only one or two now and then amount to very much in professional life. +Thousands attempt to be "Patties," but who has reached her height? Some +one is at fault that this is so. Whatever belongs to the singing +teacher, let him assume, but let him keep in mind that there is +something to guard in the future. Over in Milan, ten years or more ago, +while a student there, I met a great many Americans who like myself were +there for study. I was told that at least two thousand American young +ladies were there. Probably more than half of them expected to become +successful singers in grand opera. How many successful singers in grand +opera have appeared during the last ten years? A very few surely. What +has become of the "ninety and nine?" Of that, say nothing. I saw the +wretched lives they were leading at Milan--most of them--and advised, +nay, begged, that they would go home to America and do anything for a +living if they must work, rather than to stay there. Taking in washing +would be much more ennobling than what some of them were doing. Whose +fault was it that so many were there, and that so many are there all the +time? Teachers of singing here at home must sooner or later realize that +they did it. How, when, or for what purpose? Well, much might be said +which will not be. Had an honest expression of the belief regarding the +possibility of gratifying the original ambition been given, very much of +the wrong done could have been avoided. + +One of the reasons why many people try to learn to sing is because some +one has urged them to do so. The person who arouses the interest in +another does a necessary act, and yet there should be a good degree of +caution used in the matter. This article will be read by thousands who +are now students, and as the aim of the magazine is to educate, let us +see what word can be formed in the idea of this paragraph, which will +make students better able to use judgment in inducing others to study. +Do not cease in the efforts to bring others into musical work, but let +your effort be tempered with discretion. When you hear a person sing who +evidently enjoys it, whose face beams with pleasure, and whose voice +pleases her hearers; when, in a word, you hear one who has a voice, and +has intelligence enough to understand himself and his music, then learn +if he has given serious study to music. If not, urge him to see a master +at once. Do not, however, when you hear a person labor through a song, +with act painful to himself and everybody else, urge him to go a +teacher, "and learn how." + +Well, reader, "What is _your_ ambition?" Have you any? If not, get one +pretty soon. I would say that before another sun sets, you should have a +settled purpose in your vocal study and follow that purpose to a +definite end. That matter settled you will do more than ever before. It +is a matter which _you_ must settle. Others may suggest and advise, but +you must decide it, yourself. I would not continue study without a fixed +purpose. A poor purpose is better than none. Shall I tell you of some of +the ambitions which students have, and say a word about them? Perhaps +you will get a useful idea from that. The best use of lessons in music +is that you may know music and how to use it for pleasure wherever you +may be placed. This means that the study should be for education itself +and not for the financial return which the study may bring. Study for +the culture of a beautiful art--for the improvement of the mind, for the +refinement which comes with associating with that which is pure. When +one tells a teacher that this is his ambition, he will in many cases +find that the teacher wishes him to work for something besides. A church +choir is something of that sort. There is no reason why one should not +have other ambitions, but the highest ambition which one can have is to +make himself a musician of the highest and best kind. The whole journey +toward becoming such is pleasant. Whoever goes but one mile along the +road has his reward, and each additional mile brings its additional +reward. Anyone can have this ambition in his study, and he who is most +faithful and has the most intelligence will make the most progress and +do the best in a given time. People who have little or none of that +which is called musical genius can so develop that talent which they +possess that they will be accounted musical. Those who have more can do +almost anything. The class of persons who study with this ambition is +larger, proportionately, in small cities than it is in the large ones. +It is a fact that people are, in many small cities, better educated in +music in which they can participate individually, than are the people of +large cities. The students enter for long periods of study and follow +those studies which do them the most good. With them the ambition to be +musical and to have a good musical education is upper-most in mind. It +is the best ambition to have. Even if no other use is made of the +study, that education well repays one for all the time and money devoted +to it. The choicest moments of life are while directly participating in +music, or while engaged in that of which music is the accompaniment. Our +association with friends in their homes and in our own is sweetened by +music; our tired brains are rested at the concert, the opera, and the +theatre; our seasons of deepest devotion and greatest spiritual delight, +when we are at the house of worship are made more holy because the +sacred words are beautified by music. Every act which can be looked back +upon even to the child days, when the little songs of the school +children were ours, has its embellishment of music. Whatever we do to +increase our appreciation of music, to make us better able to make +music, and to add to the charm of life of our own circle, is profitable. +The good of it comes to us every day, and in addition it prepares us the +better for that higher life to which we are all hastening, because it +makes more beautiful the soul. The ambition to study for music itself +is, then, the best ambition to have. + +The majority of those who present themselves to the city teacher wish to +sing in church choirs. The reason is plain. There is some chance for +financial return. There is also on the part of many a certain sense of +duty to the church which they wish to fulfil by participating in its +services. There are many things to be said on this whole subject and +when such things are spoken it should be with no uncertain tone. The +ambition to become a church singer should be held within certain bounds. +The path to become such and the gratification which comes from the work +accomplished are not such as most persons think they are. Of course the +study to become able to sing in a church choir is altogether delightful. +To prepare the voice so that it can be used as a means of interpreting +the best church music is the best part of voice culture. Tones of good +power, pure quality, evenness, and fair range, are absolutely necessary. +No greater pleasure comes into voice culture than the training to be +able to do just such work. Then the music of the church is satisfying. +There is more to it than the light music of the parlor or light opera, +more that appeals to deep feeling, more with which we can arouse our +hearers. + +With regard to the wish to serve the church by our vocal powers, it may +be said that while that is laudable, it is one that disappears very soon +after one has the chance to put it into practical use. The wish is a bit +of sentiment, and there is nothing like the practical to dispel +sentiment. This brings us to a consideration of the choir and whether +the ambition to become a choir singer is worth anything or not. + +In small places the choir singer is at once a person of some note. That +note which the position gives has a value. The country choir becomes a +sociable club (although composed of only four persons) and the +friendship which each has for the other is a thing to be prized. Country +choirs generally practise enough to have the voices blend and to have +the singing good. There is some pleasure in singing in such a choir. But +does it pay, financially? In some places it does, and he who is in a +paying position in a country choir has the best place of any one in +choir work. How many, though, of those who go to the teacher with the +ambition to study for the choir would feel contented to take such a +place as that? No, they want a place in the city choir, and at large +salary. Have they ability enough to fill such position, and could they +hold the position if they obtained it? The competition for choir +positions in a city like New York is very great indeed. Let it be known +that a vacancy is to occur in any church choir and hundreds if not +thousands of applications are made. Only one person can have the place. +The work of selecting one person out of the many applicants begins. It +is at this point that the student feels the sentiment regarding singing +in church begin to disappear. She feels that she is not being given a +fair chance. She supposes that that which would give her the position is +good voice, good singing and a good character. As sad as it may seem, +she is decidedly wrong. + +That which is wanted in most city churches is "style" in body and dress, +a comely face and vivacious manner. If the applicant lacks these she may +as well not try, no matter what her musical acquirements may be. In +fact, there are many singers in church choirs of New York and Brooklyn +who haven't the least claim to be singers at all. Then regarding pay for +choir singers in these cities. There is very little money in it. +Salaries have been reduced and there are always those content to take +the places at the lower figure. The majority of singers in these cities +get less than $300 a year. Deduct from that the cost of car-fares, extra +clothing, and the little incidentals which count up, and not one half of +that amount remains as income. That does not pay to work for. The time +and labor used in earning it could be better used in something else. A +better money return could be had from that time in a dozen different +things by any person who has ability enough to become a singer in a city +church on salary. Nor is the possibility of obtaining a greater salary +in later years to be taken into account. If an increased salary does +come increased expenses come with it. Even if, after years of waiting, +the student makes herself a fine singer and is competent to take a high +place, she finds herself set one side for a fresh face and a new voice. +That is a picture which is not pleasant; but which is true to life. + +One may ask if there is no work in choir or church for which one can +prepare himself and which will be pleasant and desirable. Yes, in two +directions;--first, when one is so trained that she is very desirable as +a solo singer--one who can sing sacred songs well--she can find a +position in which she has this and no other work to do. She then avoids +competition, because her fame attracts the church to her. She has no +long and trying rehearsals and she can be an artist as well as a church +singer. But how many years of study this takes! Is your ambition equal +to it? The second line of pleasureable work is, that of the +choir-leader. Unhappily for singers, in most of the city churches the +organist is made choir-leader; even in the vested choirs of the +Episcopal church. This is not well for the choir or the church, but we +must take things as we find them. When one is competent to superintend +the music of the church and can find a choir to take charge of he is a +happy singer. These two positions--of professional choir soloist and of +choir-director--are the only satisfactory ones in the large cities. + +In connection with this it may be said that if one wishes to take a +prominent position as concert singer it is almost necessary that he +should hold a church choir position. At least he needs that until his +fame as a concert singer is great. Managers of concerts in various +sections of the country ask the very first thing, "Where does he sing?" +If he is connected with a city choir he is placed. The choir gives him +position. + +Concert singing is the field most widely opened and most easily filled +of any to which a singer can aspire. Every year the concert field +broadens. The so-called "grand" concerts of the last generation have +disappeared, and that is better for the singer. Concert singing is more +thoroughly a business and it is one worthy the ambition of any vocal +student. Not that it is always pleasant business--what is, for that +matter?--but it is something which can be entered upon on business +lines, and one can make a place for himself in it. His first work is, of +course, vocal and musical preparation. He should begin as soon as he can +sing well enough to appear before an audience at all, to sing whenever +and wherever he can get the chance. This is for practice and not for +pay. No one ought to expect pay before he has sung at fifty or sixty +entertainments without pay. He must have that amount of practice on his +audiences. If he has improved his opportunities his name will be known +by the time that period of experience is over and he can then begin to +demand a small fee. The smaller the better for him. He can then begin +to send his name abroad as an applicant for more remuneration. Step by +step he can improve in ability and increase his income. It is a work to +which all can be directed. It takes years to make any goodly success at +it. Three years are needed to make a good beginning, but when one looks +back over a life, three years of preparation do not seem long. + +With regard to singing in opera and theatre a word can be given at +another time. An outline of what might be said is this:--grand opera is +very limited, and only few can become opera singers in grand opera; +light opera presents a good field for the gratification of ambition, +under certain conditions; the theatre presents a good field for +vocalists to those who feel inclined to enter theatrical life. + + + + +CHAPTER VIII. + + +MUSIC AND LONGEVITY. + + "_Were it not for music, we might, in these days, say the beautiful + is dead._" + + =D'Israeli.= + + "_I verily think, and I am not ashamed to say that, next to + Divinity, no art is comparable to music._" + + =Luther.= + + + + +VIII. + +MUSIC AND LONGEVITY. + + +Perhaps no one chooses to question the statement that length of human +life is greater in our generation than it was in the last, and much +greater than it was one or two centuries ago, in the face of statistics +which the medical profession puts forth. Question of such statement +implies a hidden motive in the medical profession. Possibly that +profession might have a motive in leading people to believe that life +lasts longer. If there is such motive it is for the good of men. It also +recognises the influence of mind over matter as a preserving force. +Doctors are anxious more than can be imagined to do all they can for the +benefit of mankind. No class of men (or of women, since we have women in +the profession) strives harder to do good. Their very code of ethics is +based on self-sacrifice. The inventions, the discoveries, the devices +which that profession now uses are such as bewilder and astonish one who +only now and then has a chance to see their work. But a generation ago, +and the sick man was loaded with charge after charge of drugs. It was +only the generation before, that the sick man was bled in great +quantities for every ailment. That was a change from generation to +generation. But a little while ago a new school of medicine sprung up in +which drugs were almost wholly discarded. Attenuation to the thousandth +or even the five-thousandth part, was used, and when drugs are so +attenuated, there is not much left to them. Such success has attended +the homeopathist that he must be recognised. Who shall say but that +another step may be taken or has been taken, in dropping the use of +drugs and medicines entirely? + +All these schools and schemes have borne their part in prolonging human +life, or more properly speaking, prolonging life in the human body. + +It is but recently that the influence of music in the cure of disease +has been given professional thought. Its influence has been known for a +long time but has not been properly placed and appreciated. This +discussion may be the one thing to bring it before the world. + +Metaphysics--That is a word which we hear from mouth to mouth, nowadays. +What does it mean? Briefly "the scientific knowledge of mental +phenomena." We have almost come to think that it is something mythical, +or even relating to the supernatural. But it is "_scientific +knowledge_." Even our magazines which talk upon "Psychical Research" +drift off into spiritualism and hallucinations. The writers do not keep +to the text. Metaphysics is a science--and that science which deals with +the most real and tangible. It deals with phenomena. It deals with mind +itself. Now, mind is tangible and real. It is that part of us which came +from the Creator--was from the beginning--has no end--and is in these +bodies of ours for a time only. Which from this definition, is more +tangible? Mind or body? There is no longevity to mind. From eternity it +came--to eternity it goes. No measure can be applied to it. Body, that +which we see and handle and in which we believe mind to reside, is quite +another thing. It begins--it lasts for a time, ever struggling against +forces which tend to destroy it--and drops at last into Mother Earth or +the elements. That which we try to prolong is the existence in living +condition, of the body. The keeper of that body is the mind, and +whatever is done successfully to that body is done through the mind. +Medical treatment is well enough in its place, and I am not to quarrel +with the man who wants to use that, but mental treatment, (and I do not +choose to be classed with the various isms now before the public which +have grasped one corner of the subject and are tugging away at that) is +the one thing by which and through which the body is to be affected. By +that is human life to be prolonged. + +Music affects the mind. If it affects the body it does it through the +mind. We say, when the dance begins that we can't keep still. What is +the "we?" Our bodies. Not at all. Our mental perception is alert, and it +recognises the vivacity of the dance and responds to it. In a moment the +body answers the mind and whirls out over the floor in rhythm and in +sympathy with the musical action. Again music seeks the minor thought +and we are subdued into seriousness, or maybe, worship of the beautiful, +the good, and God. Was it the body, fighting against disease and death +which thus responded? Not at all. The mind, in which there ever rests +the appreciation of all that there is in God, (and that includes beauty, +bounty and truth) felt itself influenced by the music. That influence +was extended to the body. You cannot enter good without getting good, +mental and physical. + +There is nothing which has the tendency to reduce the average of human +life as much as debauchery. That causes early decay. That wears out the +body. That nourishes the seeds of disease. But, say you, if mind is the +controlling force over the body, metaphysics over physics, why cannot +one engage in any wildness which he chooses to fancy, and enjoy life. A +gay life and a merry one. Are we to come down into soberness and +somberness to preserve these bodies of ours? Can't we look back into the +days of a jolly good dinner with a draught, deep from the pewter pot, of +nut-brown ale, can't we joke with every pretty face we see, whether +under a bonnet or not, can't we even become Falstaffs, if we feel like +it, and yet keep ourselves alive to the full of days, if mind can +control body? Yes, yes! But can mind stand such things--can mind keep +itself in touch with the source of what is Good, in such conditions? If +it can, enjoy all debauchery. If not, for the preservation of self, keep +out of it. Now there are various kinds of debauchery, and not the least +of these is music itself, wrongly used. And herein lies the point which +I would make. Herein lies the point of the practical, or you may say if +you choose, the didactical, side of the question; the point where our +music touches our longevity. Music of the intellectual kind is the only +music which can have ennobling influence upon the human mind and keep it +in equipoise. The dance, the sentimental, the pleasing, has its place I +admit. But to the musician that which lacks the scientific, lacks +everything. How many of us care to attend a concert, an opera of the +light vein, or that of a brass band, as perhaps we once did? That +pretty, catchy song, let it be sung ever so well, has lost an awakening +influence upon us. Even a Patti is gone by to us. We call a pianist +old-fashioned. Is he really so? Are not we becoming new-fashioned? Are +not we becoming so keenly alive to the intellectual that, unless we +watch phrases and periods, theses and antitheses, sequences and +cadences, melody against melody, we have no satisfaction in music. Then +we run from music to music trying to hear some new thing, until we +become almost unbalanced in mind. We become hyper-critical, sensitive to +faults, irritable over remissnesses, until those conditions become a +part of our disposition, and the musician becomes the crank. That is +musical debauchery and I contend that that will shorten the life of any +man. Which leads me to ask the question, can there not be such a thing +as an overdose of music, just as there is an overdose of drug? And does +it not behoove us, now that we have started a medico-musical-mental +treatment of this poor body of ours, to beware lest we shorten its +existence rather than prolong it. + +But _Art_--that which calls for the highest in man--must surely be a +benefit to man. Mrs. Rogers says "Those who approach art because art +first reached out its arms to them, and who approach it on their knees, +with faith, with hope, with love, with religion, thinking not of self, +nor of aught that shall result to them from their devotion to it, but +that only through art, they may utter truth, and so fulfill art's real +purpose, and with it the highest purpose of their own life--those shall +indeed know the blessedness of power, of growth, of inspiration, of +love." Such art as that carries the mind down to the centre of all +things from which all good springs. That centre is Life. That life has +for its great attribute the re-cuperation--the re-creation of all which +it touches. The dwelling of that life--the body--is, by art such as that +which that noble writer just quoted describes, made young every day and +its days are prolonged on the face of the earth. This may be ideal +to-day, but so many times has it been true, that "the ideal of to-day is +the real of to-morrow," that even this may be the tangible medicine of +the next generation. + + + + +CHAPTER IX. + + +ACTIVITY. + + "_Life is a series of surprises. We do not guess to-day the work, + the pleasure, the power of to-morrow, when we are building up our + being._" + + =Emerson.= + + "_Chase back the shadows, grey and old,_ + _Of the dead ages, from his way,_ + _And let his hopeful eyes behold_ + _The dawn of Thy millenial day._ " + + =Whittier= + + + + + +IX. + +ACTIVITY. + + +Fortunately, no two persons are exactly alike. If they were, the result +would be the same and the everyday acts leading to a result would be the +same. Nature, acquiescing in the Divine plan, has a different line of +action and result for every individual which she creates. We find +unlimited variety in man. The seat of activity is the mind and the first +portion of the body to be acted upon by the mind is the brain. One man +possesses more convolutions of brain than does another, and the fibre +which extends from the gray matter to manipulate the many organs of the +body which we constantly use is finer in one organism than in another. +We recognize differences in classes of people and call one class +nervous, and another, phlegmatic. So strongly are we influenced by +public opinion that we honestly believe that a "slow" man cannot reach +so great result in a lifetime as can a "quick" man. General opinion is +usually wrong and it most certainly is in this case. Nature has a work +for each kind and each individual to do, the summing up of which, is the +result of that life, and if the gifts of each individual have been +properly used the result is success in life. It may be believed that the +usefulness of each individual, if the life of each is perfectly carried +out, will be equal to that of all others. The _apparent_ success may not +be _real_ success. + +The active brain directs a responsive body. The more active the brain, +the more active can the body be made. To make the body useful at all, +the motion of its members must be well understood and perfectly +commanded. Herein lies the secret of success or failure. All want--not +wish--success. (A wish may be a whim.) The saying "One thing at a time, +etc.," has become obnoxious to us years ago, but in the idea contained +in that lies the path to greatest activity. The active mind spreads +itself. It schemes. All the plans which it suggests seem possible. Why +not carry them all out? Merely because life is not long enough, nor +mental and physical endurance strong enough, to do even the preliminary +work of one tenth of the schemes which can come to an active mind in one +day. Cut them all off. It might be well to say "First come, first +served," and take the first which comes and carry that to success, +concentrating all thought and force upon its accomplishment. It may be +a Higher Power which put the thought of that plan _first_ into mind. + +Yet more narrowly would we draw the line which surrounds our activity. +One must make the most of his force and strength. In the case of every +man, woman and child living there is enormous waste of power. Much more +is wasted than is used. We have in years past stood beside Niagara and +thought if that power, apparently going to waste, could be used for +moving machinery it could run the mills of the world, forgetting, or not +knowing, that, in getting to the Falls, we wasted enough mental and +physical force to run our human machinery for a week. The thought flew, +changing probably twice a second, to how many different things in the +hour before. Computation is easy. In the sixteen working hours of a day, +perhaps, we think of 2000 things. Isn't that wasteful? Before the true +plan of nature is carried out some (if not three-quarters) of this waste +must be prevented. What has the body done in the hour before reaching +Niagara? The hands have wandered aimlessly, the feet have tapped the +floor, the watch has been looked at a dozen times, the hat taken off and +put on again, the card-case opened, half-looked at, and shut, and each +act, with twenty more, has been repeated again and again. It was waste +activity. It must be overcome. Nature never intended you and me to be +wasteful. These actions of mind, brain and body, are useful in their +places, but we misuse them, using up strength and power. Night comes and +we are tired out, or think we are, which amounts to the same thing. Who +said "One thing at a time" was obnoxious to him? To gain our greatest +power we must bring ourselves down to "one thing at a time." Put your +mind on that one thing. Are you sharpening a pencil just now? Don't read +a book at the same time. Are you placing your hat on your head? Don't +brush dust off the coat. Are these things trivial? Nothing is trivial in +nature's plan. Do not, in impatience, without trial, cast aside these +suggestions. Even give one hour each day for one week as a trial to +doing what you do, perfectly, and think of it as a trial. The increased +result in mental and physical activity will demonstrate the wisdom of +the advice. + +Strength is essential to successful labor. Wildly beating the air in +undirected effort is the element of greatest weakness. We smile at the +antics of two chickens in their fight in the farmyard. In a few minutes +they wear themselves out and go off to rest. Are not we much like them? +Do we not use up our strength in useless effort? Then, how often we rush +off to the gymnasium or to the drug-store in the vain hope of regaining +our strength. New strength is not to be found in either place. It is +within ourselves all the time. Stop the expenditure and permit +re-cuperation through concentration. Don't go lie down. Don't take a +nap. Stop right where you are and bring the thought down to one thing, +_strength_. For the moment allow the body to remain still. Think +strength, desire strength, command strength! It is yours. It belongs to +you. It is all around you. It will take possession of you if you permit +it. What say you? That it will not come at your bidding? Are you sure? +Have you cleared the mind of the cobwebs--the two different things per +second which can come into it? Have you? Until you have, don't give up +the test. Concentrate the thought upon strength, if that is what you +want, and it will come. + +Impatience is waste. You cannot afford it. It is too expensive. We are +all children. We see a toy and we must have it instantly, even if it is, +as it often is, a sharp tool, which cuts our hands. If that which we +wish belongs to us, or is to be given to us, it will come in its time. +We wish to do something _now_. We haven't the means, or we don't see our +way clearly to do it. We bemoan our hard luck, and can't see why we +can't have it. Just so does the child about the toy. Wait patiently, and +if, in nature's plan, the thing is to come to us, it will come, and we +can't prevent it. It will seem as if it came itself. Impatience merely +wears us out and uses up strength which nature wishes us to use in some +other way. Obey nature and carry out her purposes. + +Activity which is useful, comes through directed effort. There may be +_seeming_ activity which is worse than sluggishness, and which is +certainly not desirable. Directed effort comes best through calm mind +and responsive body. Silence and quietness, self-imposed, prepare the +way to directed effort. Cease everything, even thinking, so far as it +can be stopped, and remain passive thirty seconds. Then another thirty +seconds. Who cannot take one minute out of each hour in the day for +preparing the mind and body for greater strength and activity? When +night has come and we lay the body down to rest there are a few minutes +when it can have the best preparation for the activity of the next day. +The few minutes before sleep carries us into unconsciousness are dear +and sweet minutes, if rightly used. Then can the thought, which has been +sent to thousands of things during the day, be brought back to its +proper place. It should be centred upon one thing. The estimate is that +the mind cannot be kept on one thing more than six seconds; but it can +be returned to that one thing for several periods of six seconds each. +We do not have the chance to return it many times, for sleep seizes us. +Let the thought selected be a pleasant one; of some happy spot or view; +a sunset or refreshing shower. It is better to select something from +nature rather than man, for such thought is likely to be unalloyed. The +last thing at night, if pleasant, tends to give us the calmest rest and +best prepares us for the next day. The well and strong body can be +active and the temperament of the individual makes comparatively little +difference. In this we may all take courage. Every thoughtful person has +had an occasional sad thought over his apparent impotence. No one need +use less than his normal strength and activity. + + * * * * * + +Corrections made by the etext transcriber: + +There has, however, ways of procedure been planned which must shorten +the trip.=>There have been planned, however, ways of procedure which +must shorten the trip. + +Fortunately, no two persons are exactly alike. If there +were=>Fortunately, no two persons are exactly alike. 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