T HIS book is not for the purpose of instruction in singing, as singing is an art which cannot be taught from book or correspondence. Neither is it a technical treatise on the voice, but instead I aim through the medium of my book to have a "heart-to-heart" talk with the beginner, and with those who contemplate the study of voice culture. Books abounding in technical terms are valueless to a beginner, and the finished artist does not need such a book. There are many valuable books published, but

T HE first question which arises with all those who possess an average singing voice is, "Will it pay me to study voice culture?" The answer may be found in the following: "If you possess a good voice, do not hesitate a moment to cultivate it, regarding it as the most beautiful gift granted you by Heaven."—Schumann. "But," says the applicant, "I must make my own living. Have I enough material to cultivate and be able to realize returns?" This depends entirely on yourself and what your ambitions

T HE average teacher, in fact, most teachers, will say, "Yes, if you study," but this is not true, as you have only about one chance in a thousand. Have you any idea of the requirements necessary in order to become a "star" of the Metropolitan Opera Company? You must have a fine voice, a "big" voice, a voice of great power and endurance, fine enunciation, clear and correct pronunciation, knowledge of the modern languages, have at least twenty-five operas committed to memory, fine dramatic abilit

M RS. L. and her 15-year-old daughter called at my studio. The mother explained that her little girl had been "leading the singing" in school ever since she was eleven years old, but that her voice was not as good as it used to be, and that she would like to have her study, but thought she was too young. I tried the girl's voice and found two registers used so differently that a person sitting in the next room would think they were listening to two persons singing. She had a terrible break betwe

I SHOULD like to take up the study of voice culture, but am not very strong." That is the very reason you should take up singing. I have seen anæmic girls take up the study of voice culture, and at the end of one year's study develop perfect breathing, a fine full chest, rosy lips, warm hands, an elegant digestion, and a good disposition. There is no tonic for the nerves equal to voice culture. At one of the large sanitariums where eight hundred and five patients were suffering from tuberculosis

P ARENTS should encourage their children who are taking up the study of voice culture, as home encouragement is necessary to children. I know that parents are inclined to think that when they pay for the music lessons, nothing further should be expected of them. But this is positively a wrong idea. Do not make the great mistake of forcing your children too soon upon the public. Many excellent young voices have been ruined in this manner. A child eleven years of age was brought to my studio. She

T HIS, of course, depends entirely upon your ambition. There are very few American singers who have reached positions on the grand opera stage without having previously studied abroad. It is well in any case to get your preliminary training at home. For tone placing and singing you can do equally as well in this country as abroad, as we have excellent teachers here from all parts of the globe. I would advise the boy or girl who has a good home and lives in a community where it is possible to get

I T is of great value to the singer to belong to a good chorus, provided you know enough not to attempt to be the whole chorus yourself, and are willing to give the others a chance. To be a success in the chorus you must observe the following rules: Be punctual. Stand erect, and on both feet. Let your chest lead. Make yourself a part of the chorus. This is not a solo. Don't annoy those around you by "wiggling" or "fidgeting." Rise and sit down in unison with the others. Do not look all over the

I HAVE never met a singer, amateur or professional, who does not or has not at some time suffered from this dreadful malady. There is no positive cure but constantly appearing before an audience, and then some of the singers never overcome this form of nervousness. The only consolation is in knowing that a person entirely void of this feeling will never make an artist, as they are lacking in temperament. Emotion is the flesh and blood of music and the condition is one in which self-consciousness

I FIND that only about one in every hundred, who study voice culture, are able to accompany themselves on the piano. Nearly all know the keyboard and can get along after a fashion, therefore it is necessary that the student of voice culture should secure a first-class accompanist. Your voice teacher here, or abroad, is always in a position to furnish you with one. You must arrange for his services at least twice a week. You can have no idea of the progress this will mean in your work. If you are

I T IS not always that the best read man on voice culture makes the best teacher; in fact, we find that teachers, who have not been singers themselves, but who have devoted years to the study of the physical and technical side of the question have turned out very few good singers. In order to make a good teacher, one must first have command of his own voice in order to make perfect demonstrations which are essential to the beginner. Further, a teacher in order to be successful must have practica

H OW MANY musicians live up to this much-abused term? In my travels here and abroad I have found just two whose lives were entirely devoted to "art for art's sake". They both reminded me of the last act of Beau Brummell, and certainly did not suggest happiness. To fully live up to "art for art's sake," one must necessarily have means, and you would be surprised to know how few of those who are in position to live up to it, do so. Singers, in whom you would expect to find a demonstration,—real mu

T HE MUSICIAN who refuses to make certain concessions to the public gives proof of courage, but not of wisdom. One cannot expect to go before an audience and sing over their heads, and by so doing educate them up to one's own standard of music. You must reach down from your lofty ideals and meet the public on its own ground. For example, in creating a love for the grand opera (which the people, especially of the west, up to a few years ago have had no chance of hearing), you must proceed gradual

G ET OUT in the fresh air at least once a day, summer and winter. If you are in good health, walk in preference to riding. Get plenty of sleep. It is better than all other tonics. If you are "out of sorts," try a little "new thought," or "mental science." It may be all you need. Sponge your neck, chest and back with cold water every morning. Girls, accustom yourselves to wearing your waists minus collars. Boys, wear your collars loose. The artists all do. Never bundle your neck in winter. A ligh

I T IS not so much what , but how you practice. The average beginner takes up his practice in an aimless sort of way. Every action should have some result in view. After taking your lesson, if you find you are not positive as to the proper course to be pursued at home, you must ask your teacher the questions necessary to put you on the right path. You should have all your work laid out for you and go about it in a systematic manner. Only in this way can you hope to achieve any degree of success.

T HE FOUNDATION upon which you have to build your voice is the breath , and like all other foundations, it must be properly laid, or the structure will be a failure. It is imperative that you have absolute and perfect control of the breath. An athlete once said to me, "If breath is the foundation of good singing, I certainly should make a fine singer, as I have the largest chest expansion and can hold my breath the longest time of anyone in the college." The truth is, a small girl, weighing nine