Millie Ryan

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

“ To reach the top in the profession, you must have more than voice and application, for a singer may have the greatest of technique, yet lack "soul" and "intelligence." The latter two you must possess, as these the teacher is unable to give you.
The beginner, in singing, needs a model to imitate, just as much as the painter or sculptor. Everything is "imitation" until you develop in your work; your individuality will assert itself as you become proficient. Do not allow anyone to frighten you by telling you "never imitate or you will simply be a parrot." ”

“ Rome was not built in one day, neither can the elementary training of a voice be accomplished in a year.
If you are in good health, you must never allow the warm days of summer to be an obstacle to your practice. Can you imagine the successful banker, rising young doctor, lawyer or actor stopping their work because of a warm day? There may be some who do, but they are not the ones who are successful. When you hear a great singer, think of the obstacles she must have overcome in reaching her position of excellence. ”

“ The teacher who becomes impatient or ruffled because a pupil cannot instantly grasp his meaning, walking up and down the floor with clenched fists chastising the air, and in every way displaying his own nerves and lack of self-control, is not a teacher, but a fool. ”

“ The painter sees in a great painting the beauties of execution that entirely escape the eyes of the uninitiated; yet the musician will go before an audience of whom two-thirds have probably never studied music at all, and expect them to appreciate the classical music, and because they do not, he would brand them as unappreciative, absurd; he expects the impossible.
The average audience does not care for the name of a composition as long as the music appeals to them, and this is generally a matter of how it is interpreted. ”

“ There is no reason why a person with voice and talent who has to make his own living, could not do so after several years of study. I have over one hundred pupils who are making a good living by singing, and as many more holding church positions paying them enough to enable them to continue their studies.
Show me a pupil who has to make his own living, and who has studied with one teacher for eight or nine years and is not making his living by singing, and you are showing me one who never will.
There is, of course, no end to the study of voice culture. ”

“ We teachers charge enough for our lessons to make it possible for us to devote an evening a week "to art for art's sake"; invite our pupils, talk, sing, take up the biographies of the old masters, do ensemble work; study the oratories and operas. I am sure this would help create a greater love and understanding of the better things in music, for the more we hear it, the more we love it. ”

“ The matter of studying voice culture for a year does not make it possible for the singer to step before an audience and attain immediate success without other preparation.
It takes more than the studio to make a "star." No artist ever began as a master. In addition to being a singer, you must possess talent, character and the ability to manage. If there is one of these qualities lacking, you must remain only an "artist." ”

“ The power of a beautiful interpretation does not make itself felt in singing classics alone. Many persons harbor the notion that interpretation relates to the work of the dead masters only. This is not true. The simplest song needs interpretation, as well as the oratorio or opera and the difference between good and bad artists is largely a matter of interpretation. A simple song that emanates from the heart and soul, will have a reciprocal effect on others and will outlive all sermons in the memory.
The average audience goes to the concert, not to be educated, but to be entertained. ”

“ In fact, I have found in my twenty years' experience as singer and teacher that the boy who studies voice culture before his voice changes has an easy road to travel after his voice has changed. Many boys' voices have not finished changing until they are eighteen or nineteen years of age. The boy who studied before his voice began changing understands the breath control, the placing of the tone, and the pronunciation and enunciation. ”

“ Just think for a moment what the public is composed of. How many in the audience understand music? How many devote themselves to music during the day? An infinitesimal number. The rest, where do they come from? From offices, stores, business houses of some kind, or they come from teas and gossip, and then they go to hear the opera. Most of them are tired after a day's work or idleness, and such people you expect to take an interest in serious music. ”

“ Let your study of music cultivate within you a sympathy and love for all that is artistic.
Do not be unjustly prejudiced against good music because you do not understand it. Hear that class of music more, and it will overcome your prejudice. ”

“ Never breathe in the middle of a word, or break a sentence by taking a breath.
THE BREATH. THE FOUNDATION upon which you have to build your voice is the breath, and like all other foundations, it must be properly laid, or the structure will be a failure. It is imperative that you have absolute and perfect control of the breath. An athlete once said to me, "If breath is the foundation of good singing, I certainly should make a fine singer, as I have the largest chest expansion and can hold my breath the longest time of anyone in the college." ”

“ Avoid the teacher with a hobby. There is nothing so barren in the world as one idea, spring from one idea, nourished by one idea and aiming at one idea. This includes the teacher who believes in keeping the pupil on one tone for six months. While your tone needs more than six months to become perfect, dwelling on that one tone alone for that length of time would be decidedly wrong.
We frequently accept students who have acquired numerous bad habits in breathing or singing. They often know their trouble and ask how long it will take to undo this work and get back into the right way. ”

“ A good teacher will not develop on the extreme high or extreme low tones. A good teacher will even up the medium register, teach her how to use the breath on the tone, how to place the tone, overcoming all seeming change from chest to head, will give her perfect pronunciation and enunciation. This can be done at any age from eleven years, depending on the individual. A girl who has good ear, and who does not lead the singing in school at eleven and sing at entertainments, can begin at sixteen or seventeen and develop into a very fine singer. ”

“ The truth is, a small girl, weighing ninety-six pounds, who had less than one-fifth of his chest expansion, had twice the volume of sound-carrying power in tone, and could sustain a tone three times as long as he.
To practice breathing is not practicing singing, and the teacher who keeps a pupil indefinitely on "breathing lessons" is either "killing time" or is not a proficient instructor of voice culture. ”

“ It is positively harmful for a teacher to make any attempt to explain the technical side of the voice to a beginner. Better develop the ear and memory. A teacher must have patience and tact in order to be able to deal with the different natures, dispositions and moods that are encountered in the studio. One word of kindness and encouragement will invariably do more toward putting a pupil at his ease and secure the best results from his work than any number of severe sermons and sarcastic criticisms.
The pupils are paying for their lessons and are entitled to courteous treatment. ”

“ Only the very poor teacher who knows her own weakness as a model would make such an assertion. If the beginner is fortunate enough to secure a teacher who can demonstrate a perfect tone, do not be afraid to imitate.
In order to fully interpret the emotions it is necessary to have knowledge outside of the singing lesson. It is for this reason that singers seldom reach the stage of "artist" until they are pretty well advanced in years. ”

“ The truth of the matter is, the less experienced the singer, the better the accompanist must be. Good accompanists are born, not made.
To be sure, practice makes perfect, but I know of many fine pianists who read well, have time, rhythm, technique, execution, and yet who will never make good accompanists. It takes all of these and more.
Nothing makes failure more certain than the blundering of an inexperienced and unskilled accompanist.
SELECTING A TEACHER. IT IS not always that the best read man on voice culture makes the best teacher ”

“ 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. ”

“ If you intend to go into the grand opera it is advisable to go abroad, as it gives you the prestige which is necessary at present, in order to secure these positions of which we have a fair illustration in the case of a beautiful mezzo soprano who had been singing with the English Grand Opera Company, and though in every way qualified to sing with the Metropolitan Grand Opera Company, was unable to secure an engagement with them. ”

“ That is the very reason you should take up singing. I have seen anæmic girls take up the study of voice culture, and at the end of one year's study develop perfect breathing, a fine full chest, rosy lips, warm hands, an elegant digestion, and a good disposition.
There is no tonic for the nerves equal to voice culture. At one of the large sanitariums where eight hundred and five patients were suffering from tuberculosis, there was but one who had been a singer. The nasal breathing prevents adenoids from developing. The deep respiration oxygenates the blood and gives us power to resist diseases. ”

“ Every voice which comes under our care includes the personality behind the voice, and is of distinct and special interest. This pupil's environment had undoubtedly been such that she was not further developed and could hardly be expected to love and understand the music, which the teacher was accustomed to perform or teach. However, many a singer, who first brought the popular song, has developed into a successful church and concert singer. ”

“ Give the pupil a chance to learn to perform good music before you demand that they should appreciate it. A good teacher will encourage questions. If there are any questions pertaining to the study of voice culture that he cannot answer it is time he should know.
Unless a teacher is a perfect accompanist, so that he can keep his eyes away from the keyboard, he should employ an accompanist, for the teacher should see as well as hear the pupil sing the finished numbers. ”

“ The sound and production stands by itself. A French singer does not so readily sing the other languages, neither does an American in the same length of time master the French as well as the other languages. The French insist on perfect diction, and one of our grand opera singers who delights the New York opera goers by her singing of "Faust," "Carmen," etc., in the French, would not be tolerated at the opera in Paris on account of her diction. ”

“ Analyze yourself and your work as much as you please at home, but when you go before an audience, forget yourself and let your aim be to win them.
THE ACCOMPANIST. I FIND that only about one in every hundred, who study voice culture, are able to accompany themselves on the piano. Nearly all know the keyboard and can get along after a fashion, therefore it is necessary that the student of voice culture should secure a first-class accompanist.
Your voice teacher here, or abroad, is always in a position to furnish you with one. ”

“ All kinds of athletics, breathing lessons or exercises in moderation are beneficial, but they are not voice culture. As your breath plays a most important part in tone placing, the breath and tone should start together, hand in hand, from the very beginning. ”

“ 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. ”

“ If you are asked to sing at an entertainment, do not take anyone's word that "there will be a good accompanist on hand," but see to it yourself. If it is not possible for you to have your own accompanist, be sure that you have ample time for rehearsal, and if the accompanist present is not a good one, do not sing.
A poor accompanist has been the cause of the failure of many young singers who are anxious to get before the public. ”