What Every Singer Should Know Part 5

Robusto tenors are high baritones with the head tones developed.

Saddle riding, walking, physical culture, fencing, dancing, elocution, the study of any instrument will all be of some value in helping you to become an artist.

Use your brains more than your throat.

Don't be impatient because things do not come your way at once. Rome was not built in one day.

Let your study of music cultivate within you a sympathy and love for all that is artistic.

Do not be unjustly prejudiced against good music because you do not understand it. Hear that cla.s.s of music more, and it will overcome your prejudice.

Acquaint yourself with the old masters and works before you take up the novelties.

Keep young in mind and thought, and the body will not grow old.

Think for yourself and =think=.

Don't worry, for worry is born largely of misdirected ambition.

When someone is singing, do not shrug your shoulders and a.s.sume a pained expression, so as to impress those who may be sitting near you that you are a great critic.

Have you ever thought what a desolate place this world would be without music?

Never neglect an opportunity to hear a great singer. If your means are limited, subdue your pride, for it is far better to sit in the gallery and be able to hear ten "artist concerts" than to sit in the orchestra and be able to hear only one.

Be willing to sacrifice much for your music.

a.s.sociate as much as possible with people who =know more= about music than you do. Read everything you can find on the subject. You will find =some= truth in all of it.

When you attend a concert look forward for the best only--don't be a pessimist, be an optimist, and you will derive much more benefit. Don't criticize audibly when someone is singing. =An artist never does.=

Before going to hear an artist sing, acquaint yourself as much as possible with the program.

While under one instructor, do not run around to other studios to have your voice tried. It is undignified, and reflects on your teacher, as well as upon yourself.

Become a sight reader by reading at sight.

You can break yourself from clearing your throat by not clearing it. You will be surprised to find it was only a habit.

Punctuality at the studio is essential. Ten minutes early for your lesson is better than two minutes late.

If there is anything about your lesson that you do not understand, ask questions. You are paying for information.

Practice systematically if you expect to make a success.

Beginners should practice only fifteen minutes at a time.

The scales are the backbone of music study.

Remember your consonants are of as great value as your vowels.

In singing, you must use both your nose and mouth for breathing.

Always stand up when practicing your exercises.

Memorize all your songs.

When asked to sing, sing songs with which you are perfectly familiar.

Stand on both feet and let your chest, not your stomach lead.

If you expect to sing well, leave the tight collar, the tight corset and the tight shoes at home.

It is better to stand too near the footlights than too far back.

If you are not an expert at handling a train on the stage, don't wear one.

While waiting for the introduction to be played, don't count the footlights or the stars, but look out beyond the audience, rather in with your eyes and nose.

When holding music, never hold it high enough to cover your face from the audience.

Sing =to= your audience, not =at= it.

Try and look pleasant, even if you don't feel that way. The audience can't help it.

Never fail to give a smile or word of encouragement to other beginners who may be on the same program with you.

It is certainly appalling to know how many good singers have bad stage manners.

A man must never put either one or both hands in his trouser pockets, nor stand with his feet spread far apart while singing. Both of these faults denote improper training.

If you are ever so warm, use your handkerchief only before or after you leave the stage.

Correct dress is essential.

For a man, for informal entertainments, black suit, black shoes, white shirt, collar and cuffs, with either a black or white tie. For concert, only evening dress is appropriate.

For girls, the nicest thing to wear is a gown; if you do not wear one, try to have your waist and skirt correspond in shade. The so-called shirtwaist effect, which is produced by waist and skirt of different colors, is not effective on the stage.

Wear hose and slippers of the same color if possible.

Amateurs when on the stage frequently rearrange a tie or smooth back a stray curl, etc.; this is but a form of nervousness and looks bad.

Finish your toilet at home.

For ease and grace take dancing lessons.

The graduate from dancing and dramatic schools never appear ill at ease before company.