I had my first experience in 1894 with the voice of a young girl that had a perpetual tremolo. I was thoroughly amazed at the unsteady wavering of each note. At last I asked her why she did not sing in a steady tone. Her reply was she could not help it. I then inquired if she had former instructions. She replied she had. After trying in vain to get a pure tone, I told her I'd rather not teach her as I had no knowledge of how to relieve her of this defect which could not be allowed in a perfect singer. Her disappointment was so great as to cause her to weep. My heart was touched for her misfortune and I told her I had only one remedy and if she would try that I'd undertake the work of restoring her voice to its normal state if possible. This was Tuesday. I asked her to return on Friday and if I saw any improvement I'd teach her if she would obey orders. I gave her a lesson in the art of breathing, something which had been entirely neglected before, and sent her away. On the following Friday she took her second lesson, and the voice was as steady as if she had never done the other work. I continued to teach her for two and a half years and at my first recital she and I sang the duet, Qui est Homo, from Rossini's Stabat Mater, and although my age was sixty and hers twenty, I was able to use my usual strength in singing the song as if she had been a mature singer. At the close of the number we were greeted with bravos and applause that lasted for some time. It was the crowning reward for my weeks of patient training and careful watchfulness. I never taught her after that evening and I heard she had several other instructors. I heard, however, that she had never returned to the tremolo after I had once placed her voice in the right path. Had she been a student I think the state of California would have been proud to have claimed her, but she lacked stability in her work. She still sings but I have not heard her for years. This was my first experience.