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.