od 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 place, but keep your eyes on the conductor.

Do not cover your face with your music.

Remember it is the conductor's duty to beat time. Keep head, arms and
feet still.

Do not try to sing louder than the others. You will not be heard any
better and will strain your voice.

Remember to hold the long note for its full count.

Time and rhythm are the two great factors in chorus singing.

Remember that "rests" are of as great importance as "notes" in music.

Do not start before or hang on after the others have ceased to sing.

Do not fail to slightly accentuate the first beat of each measure except
where accents are especially marked on other beats.

Don't look bored because you must stand up to sing. Determine whether
you are going to be =too tired= to do your part before becoming a member
of a chorus.

Keep your eyes on the conductor.

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.
However, as you gain confidence in yourself and your work, and feel that
you are in "rapport" with your audience, this sensation will wear off to
a great extent.

Very few children before their teens are troubled with stage fright. In
fact, they seem to glory in appearing before an audience. This is the
best time to continue the work that will be of inestimable value the
balance of their lives. Let them appear before the classes in the studio
until they are prepared to appear in public.

When one begins to discuss nervousness, suggestion takes it up and it