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.