udience as if you were telling them a story. Speak distinctly and make
them understand and feel what you are saying. Don't wear anything that
binds you, such as tight shoes, tight corsets or tight collars, as they
all tend to contract instead of relax. It is through nervousness that
singers have "wobbled" off the stage after their solo, before the
accompanist has finished. Remember in the interval between the end of
your solo and the last note of the accompaniment you should stand
perfectly still. Say to your audience (mentally), "Don't move until the
accompaniment is finished." You will be surprised to see how well you
can hold them. All these little thoughts will help make you forget
yourself.

I once read an article on stage fright. The author advised the singer to
look at his audience as though they were so many cabbage heads. I
cannot agree with him. You, no doubt, have heard people sing as though
they were inspired. I have felt that way many times when singing, and I
am sure my audience inspired me. It would have been impossible to sing
like that to empty chairs or a field of cabbage heads.

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. 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 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.

The young and inexperienced singer cannot be too particular on this
point, and I would suggest that amateurs during their first few
appearances before the public sing only with an accompanist with whom
they have become accustomed to sing