The choirtrainer's art

Front matter

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Chapter I Introductory

Choirs of many kinds — Importance of work —- The handmaid of religion — The power of music —- The Church’s need — Influence of education — Divisions of the subject .

Chapter II The Choirmaster

Personality of the choirmaster — The ideal — His aaa And knowledge —- The choirmaster’s reward . ty aiitihie (ftaha tt

CHAPTERS TTT THE MANAGEMENT OF THE BOYS

Two ways of managing boys—The method of force — The method of persuasion — Justice — Politeness ——'Trust — Codperation — The constitutional Monarchy — Results of responsibility — Monitors — Rules— Punishments — Fines — Impositions — A warning— Parents — Payment —Various systems — ‘The Southwark custom — eserved payment .

CHAPTER IV MANAGEMENT OF THE BOYS (Continued )

Application — Promotion — Forms of agreement— Balance of voices — Decani and Cantoris— The smallest choir — Increased in size — Exceptional cases — Age for commencing to sing — ‘ Breaking’ — Finishing — Nature’s signal — Balance of ages — Arrangement of places — For seniors— For probationers —Soloists — Trebles — 'Ten- EEA OS Mires UNG aS ss Wide) elite Ole

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PAGE vi CONTENTS

Regular work — Number of practices — Different plans — Boy’s — Men’s —< Full’ — Economy of time — Order —Standing, sitting, kneeling . Reece ey. ls:

Chapter IX English And American Boys

Distinguishing traits — Warnings to the author — His arrival in America — Newport experiences — Raw material — Cassandra’s forecast — A conversation — The end of it — American and English boys — Some anecdotes — Smartness of Newport boys .

PARSE TTI VOICE-PRODUCTION CHAPTER I METHODS OF PRODUCTION

Contradictory opinions — Search for truth — Its discovery — An empirical method— The <natural’ voice —Its production —’'The

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CONTENTS teacher taught—-Example and precept—Gradual growth — All voices useful — Results sought for — The perfect voice

CHAPTER II TONE (1)

Importance of breathing — Directions — Methods — The Italian —- Attack — Its importance — Explained — Control of breath — Faulty tone — Its cause — An analogy ; stim beawal oan ike

CHAPTER III TONE (II)

Resonance — Explained — Two kinds — Registers — Scientific names —‘ Solid’ and ‘liquid’ resonance —< Placing’ the voice — « Chest’ resonance — ‘ Middle’ resonance — ‘ Head’ notes — Balance — Attack and balance— Automatic tension — True and false balance — Diagrams — Personal experience — And knowledge

CHAPTER ALY, PRACTICAL DIRECTIONS

Position of the body —'The tongue — An exercise — The lips — The jaws— Compass of boys’ voices——'Treatment of registers — The starting-point — Middle voice — Head — Chest

CHAPTER V VOWEL QUALITY

‘Colour’ of tone—Definition of vowel— Thirteen varieties— The normal vowel — Modifications — Lip vowels—'Tongue vowels — Long — And short — Compound — Directions — Ah — Aw — O — OO — Ah — Er — A— E — The ea — The vocal ‘r’ — Its treatment. ; AUS Gen A

CHAPTER VI THE CONSONANTS

Definitions — And analysis — Explosives — Buzzes and hisses — Semi-vocals — Nasal — Oral — The aspirate — Order of study — Importance — Correct pronunciation — Enunciation and diction — Methods of practice— Combinations

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Vili CONTENTS

CHAPTER VII FIRST STEPS FOR BOYS

PAGE Pure tone — Exercise of muscles — Habits — Two laws of logic — Cause and effect—— The seed and the fruit——- Method of oabe Pen We pame rat /VOICe-Using ©) S/ahce iene. vrei Shall) eapiel Tegra 66 CHAPTER VIII FIRST STEPS FOR BOYS (Continued) Breathing-exercises — Exercises for attack — For resonance — Use or, cork “The ‘Humming exercise, 7 = 1s ku se) > + at CHAPTER IX AGILITY EXERCISES — SCALES Technical figures —'The downward scale-—— The ascending scale — The nine-note scale — The fifteen-note scale—— A variation—- The slow shake — The quick shake — Further steps. . . . . . «= 75 CHAPTER X AGILITY EXERCISES — ARPEGGIOS Moving by leap— Directions and exercises — A competition — Double scales — Triple scales — Use of various vowels — General di- FECTIONS Oli ihe dees ie i deay iW call Liesl te Ee) bce Ae Uh a dtl a

CHAPTER XI USE OF THE BLACKBOARD Sight-reading — In two parts — And three— Silent directions . 83

CHAPTER XII us VOWELS AND CONSONANTS COMBINED

Use of hymns — Details of rendering — Variety of ways—-<«O God, our help’ ——Analysis — ‘Holy, holy, holy’ rn ena —+‘ When wounded sore’ — Analysis—Gradual advance. . ‘ 84

CONTENTS ix

CHAPTER XIII THE TRAINING OF ALTOS PAGE Desire for information — The writer’s experience at Newport

The material — Plans of work — Line upon line — Progress — Here a little, and there a little — Exercises — Difficulties — Discouragement

MID ITAL TESIILS Da) oh alta Ww. ed tes (al ple ale al ee gl

Legend ye Mert Ng THE RENDERING OF CHURCH MUSIC CHAPTER I THE VALUE OF WORDS

Evolution and origins — What words are— Beauty of sound — Lord Chesterfield’s saying — Rhythm — Regular — Irregular — English losses——The golden age—- Formal designs — Latin metres— Their meaning for us — Accent — Stress — Quantity — An illustration — Importance of first steps—— A guiding principle. . . . . 97

CHAPTER Ti WORDS AND MUSIC

Ancient poetic inflexions —A loss— The ritual music of the Church — Free rhythm — Explanation of the Benedictines of Stanbrook — Merbecke’s directions—— The ecclesiastical chant — ‘The pure choral style — Introduction and tyranny of the bar— Return to true founda- PES) is UE cts Vesey iC MYT ee SU Co Nii S ech Re gravel ta tie ee

CHAPTER III THE FIXED PLAIN-SONG OF THE SERVICE — MONOTONES

Recent advances — In England — In America—— The fixed plainsong — Monotones — The General Confession — Analyzed — Points to observe —Importance of foundations—— Maintenance of pitch— A strong warning — The best advice — Pace — Volume — The Lord’s MRE UATtNE IN TCCH wi ob Waele a sli isilt vel crs tl atl iis jibe dha tt) a) MEbOO x CONTENTS

CHAPTER IV THE FIXED PLAIN-SONG (Continued) The Versicles and Responses, and Litany

Widespread misunderstanding — ¢ Ferial ’ — « Festal ’— ‘True rendering — Distortions — Their result — Unison or harmony ?— Analysis in detail — The Gloria Patri — An important suggestion — Prevailing mistakes —Tallis—-A comparison —'The composer’s intention — The A RC at — The vicwainy — Weak aaa —A Pe s error . : 4

CHAPTER V PSALM CHANTING

Importance of the true art — Definition of the Chant — The best known chant — The prevalent faults vs. the true old method — An unfortunate distinction — An unnecessary evil— A pre-Reformation verse —A verse from Merbecke — A verse from Tallis — Introduction of harmony — New conditions —A serious loss — < Pointing ’ — Rules for chanting — Illustrated — The recitation — Final words — The correct way to view the matter

CHAPTER VI PSALM CHANTING (Continued)

Middle words —— The one condition — Verses from Merbecke — Verses from Tallis Bars, their use and abuse—— An important rule — Illustrations — Dots — Fully considered —'The mark of division — The Rev. W. H. Frere’s opinion— Antiphonal singing — Various ways — Structure of verses — A word of warning — Unison chanting — A word of encouragement — The easiest way — Its results —— «The Psalms in Human Life? — The real wt TRE TT Futile efforts — ae for the future. Ss :

CHAPTER VII MERBECKE’S COMMUNION SERVICE

Two notable Services — What they are— Importance of Merbecke’s work — Misconceptions as to its rendering — Anachronisms — ‘The author’s intentions — Free rhythm and tonality — Use of the square notes —— A comparison —A presumption, and a certainty — Work of the modern adapter — A new edition — The movements — The Kyrie — A suggestion —'The creed — A detailed interpretation — ‘The Sanctus — A remarkable distortion——-The Agnus Dei— The Paternoster — An unfortunate mistake —'The Gloria in Excelsis —‘The Offertory Sentences and Post-Communions — Their revival

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Contents

CHAPTER VIII FURTHER DIRECTIONS

Length of practice — Order, method and precision — Plan of practice — Time-beating — Sight-reading — Learning new music — Leads — And endings — Important method — Pauses — Their treatment

CHAPTER IX ACCURACY AND EXPRESSION

Chapter I: Introductory Chapter I]: The Choirmaster

Chapter III: The Management of the Boys Chapter IV: Management of the Boys (cont. ). Chapter V: The Management of the Men Chapter VI: Women Singers

Chapter VII: The Practice Room

Chapter VIII: Practices and Rehearsals . Chapter IX: English and American Boys

CHAPTER (I INTRODUCTORY

Choirs are of many kinds, from the Cathedral Choir at one end of the scale to the humblest village choir at the other. In dealing with choirs of varying capacity the choirmaster’s work and methods will vary greatly as to detail, but the general principles upon which they are grounded, and his attitude and feelings towards choir singers, will remain the same, only expressing themselves in different forms and by different channels.

In the following pages an attempt will be made to assist all choirmasters, whether they be the humble directors of village choirs or whether they be the dignified choragi and precentors of Cathedral foundations.

The importance of choir work at the present time can hardly be overestimated. As I have said on a former occasion, the standard of Church music is steadily going up. The desire is felt, and is being expressed in all directions, that the important side of religious life represented by choir singers should receive due and proper attention.

The efficiency of the Church, and the strength of the cause of religion itself, depend ultimately upon the way in which each separate department is conducted. Of all these departments, that of music, the Handmaid of Religion, is certainly not the least important.

The compelling power of music, and especially of vocal music, has been recognized from the beginning of the world.

The poet declares :

When at its best, music is a persuasive force stronger than rhetoric, a force which can be appealed to where all others fail. Remembering this, it is seen how great importance is rightly attached to Church music—an importance that has been emphasized by the leaders of religious thought in all ages.

With the rapid spread and growth of musical education in all directions and in all classes of society at the present day, it is clear that the Church must not, and cannot, remain unaffected. It must strive to keep in line with the advance of education. It must even go further, and try to lead public taste and to guide it into the best channels.

With the general questions of musical education and artistic teaching it is not within the scope of the present volume to deal. But the art of choir-training cannot be unaffected by them, and the best choirmaster will be the one who rightly balances his ideas and work with things around and outside him, and who values at its correct standard the importance of his work not merely asan end in itself, but also as a part of, and link in, a wider and greater whole.

The study of choir-training comprises three branches of knowledge, dealing respectively with the general scope and management of choirs ; the training and production of the voice, and its musical instruction ; and the rendering of Church music in a true, correct and artistic manner. Equal attention should be given to each of these three branches in the order in which I have placed them. None is sufficient without the others; the three welded together will give a complete and finished whole.

* Horace, «De Arte Poetica’: ¢* Orpheus, the priest and interpreter of the gods, made uncivilized men abstain from bloodshed and savage diet ; so that he was reputed, on this account, to have tamed tigers and raging lions. Amphion also, the builder of the Theban citadel, was said to move stones by the sound of his lyre, and by soothing allurements to lead them wherever he wished.’’ (Bagot’s translation. )

CHARTER TT THE CHOIRMASTER

Before discussing the management of a choir it will be advisable to consider the personality of the choirmaster himself. The choir depends upon the choirmaster. As is his personality, so will be that of the choir. The choir is the instrument upon which he plays, the living medium through which he expresses his musical thoughts. If we can find a perfect choirmaster, then we shall have a perfect choir.

I shall not, I hope, be considered too much of an idealist if I mention some qualities that the choirmaster should possess. We cannot get the ideal in this world, but that is no reason why we should not think of it and wish for it and try for it. The higher we aim, the higher we shall attain.

The choirmaster should possess an enthusiastic love for his art, a full and firm conviction of its great importance, and implicit and steadfast faith in its object and mission.

He should have infinite patience, perseverance, tact and firmness ; a kindly and attractive manner; courage to face difficulties, or even temporary failure.

The choirmaster will best do his work if he understands something of literature and poetry, and has learnt to value words for their own sake; to appreciate the subtle differences in sound and sense so dear to the scholar; to regard them as things of beauty, value and interest in themselves.

A knowledge of voice-production is essential to the successful choirmaster. He need not be a solo singer, but he ought to know what it is that makes a successful soloist, and to be able to produce perfectly correct tone with his own voice.

A knowledge of the underlying principles which guide the singer in the rendering of vocal music is further essential, and of what the voice is capable as a declamatory medium.

The choirmaster should be a disciplinarian and an organizer; then I think he will be all that can be desired.

There are some good choirmasters, and there are doubtless many more who would become good ones if they knew how, and if they determined to develop themselves. Some are without doubt deterred by the consideration that there is little reward for the choirmaster in a worldly sense. This is certainly true; but the reward lies in the work itself, and looked at in this way it is by no means small. There _can be no more beautiful art work than the singing of a good choir, and the joy and rest and peace that it can bring to many a weary heart are, to those who look below the surface of things, of more value than fame and riches and praise.

Chapter III The Management Of The Boys

In the management of a male voice choir there are two elements to be considered, the boys and the men. The management of the first is of the most importance to the majority of choirmasters, as being the most difficult in which to attain success.

There are two ways of managing boys, by force and by persuasion —by driving and by leading. It 1s quite possible to get good musical results with the former, but the cost is too great—the cost of making boys dislike the work, and perhaps in consequence ultimately dislike the Church and all that it stands for. It is hoped that no reader of these pages will adopt the method of force. A word of warning is by no means superfluous, as it is a method that has been, and is, used in many directions. Mr. J. Spencer Curwen, in his book on ‘The Boy’s Voice,’ tells a story of a Cathedral organist who said quite seriously, “I cannot tell you why that boy does not sing in tune; I have boxed his ears.”

Boys will sing well if they want to, provided always that they know how; and the best results will surely be obtained when the work is done from love and not from fear of the consequences of failure. But, having said this, it must not be supposed that there should be any lack of firmness. Strict discipline is of the greatest importance, and must always be maintained. What has been said refers to the way in which it is to be secured, the foundation upon which it is to be based. A good motto for the management of boys, as of other people, is: “ suaviter in modo, fortiter in re.” The manner should always be kind, gentle, persuasive: the matter should be firm, decided and unflinching for what is right.

No persons have a stronger sense of justice than boys. Let the choirmaster treat all alike, with absolute impartiality, and be prepared to give a fair reason for all that he does; so will he gain the boys’ respect and trust. He should never go back upon his word, but make it clear that he can always be relied upon to carry out what he promises.

Politeness and a considerate manner are important in the management of choristers, and will always be greatly valued. Neglect of this point often causes failure in choir discipline. Boys watch and imitate the bearing of the choirmaster far more than is sometimes supposed, and if he takes care to treat them invariably as responsible beings, entitled to respect, he will reap an ample reward.

An important principle may help to guide the choirmaster, viz., that in general people tend to do and feel and be what they know is expected of them. Therefore, let the choirmaster show the boys that he always trusts them. This applies to such matters as telling the truth. I have often told boys that it is better to undergo any punishment than to do so mean and unmanly a thing as to tell a lie; and that he who does this loses far more in self-respect than the one who is justly punished. I have told them that I always believe their word, that I would not wrong them by doubting it, that I would rather run the risk of being deceived than believe that they were capable of trying to deceive me; but that, once deceived, I could never trust them again.

In the details of the management of a choir it is a great help not only to have the hearty agreement and cooperation of the boys, but even to go further and, as far as possible, let them assist in the management. I do not mean that the choirmaster is to hand over his rights to the boys, but that he may with advantage place trust in them when he sees that they are worthy of it, and show himself willing to take their advice whenever they are capable of offering it.

The government of the choir should be a Constitutional Monarchy. ‘This plan has been tried by the present writer with success. It has acted somewhat as follows: He has laid down the general lines as to the conduct of the choir, and as to what his aims and ideals were; he has then offered to receive counsel and suggestions from the senior boys. When the suggestions have been wise and right he has adopted them, when they have been unsuitable he has explained the reasons for not adopting them. Any choirmaster trying this plan will probably be surprised to find what good ideas many boys have as to discipline and organization. ‘The sense of responsibility brings out all that is best in them in this direction ; and, when they feel that they have some voice in the management of the choir, their attitude towards it becomes totally different from what is sometimes found. ‘They take a pride in all that it does, they look upon it as their own, they learn to love their work for its own sake, it becomes one of the objects of their lives, they do it to the best of their ability ; and when the time comes for them to relinquish it, they do so with regret, and think of it afterwards with affectionate remembrance.

Responsibility in the control of the choir may be shared by the choirmaster among the senior boys. ‘There are various plans upon which this may be arranged; the idea being that, according to the age and importance of a boy, so his responsibility increases. The details will depend upon the size and character of the choir. As a practical illustration it may be helpful here to give some rules drawn up by the present writer with the help and advice of a committee of senior boys at Southwark Cathedral. There there were some fifty boys to be controlled; in places where there is a smaller number, and perhaps less high-spirited individuals, a less elaborate plan would suffice.

Southwark Cathedral

MONITORS The boys occupying the Head Places in the Choir are eligible for election as Monitors.

Boys occupying the end seats are eligible for election as Assistant Monitors.

When a new boy is appointed to one of the end places, he may be elected as monitor or assistant monitor by the other members.

The duty of the Monitors is to maintain the behaviour of the Choir in a high state of efficiency.

The duties of the Assistant Monitors are to assist and

report to the Monitors.

ROW Poa Bl E OHOPR

I. All boys must kneel up straight in the service. No deviation from this is permitted.

II. Each boy must sing every note of his part throughout the service.

III. No boy may stare down the church during the service, or at the communicants.

IV. When changing the attitude (kneeling, standing, sitting), all boys must move at the same time.

V. No boy (monitors and the book boys excepted) shall take off his cassock and surplice until ordered to do so by the person in charge.

VI. No boy may talk, unless he is spoken to by the person in charge, while he is in church.

In this imperfect world there will always be black sheep in every flock, and so the writer here feels reluctantly compelled to say a word as to punishments. ‘They are sometimes a necessary evil, but they should be resorted to as seldom as possible, and only when other methods fail.

Punishments will be required for delinquencies of three kinds: (1) failure in attendance, or unpunctuality, (2) mistakes in singing, (3) misconduct.

With regard to the first, a simple rule should be in force and always adhered to. AQ fixed fine should be inflicted for absence; a smaller one for unpunctuality. When a satisfactory explanation is received for either, the fine should be remitted, otherwise it should be rigidly enforced. An explanation in writing from a parent should be required in the case of a junior boy, for seniors a personal explanation will generally suffice. This penalty has been placed under the head of punishments, but it should be regarded as only technically such, and its operation averted as often as possible.

A penalty for mistakes in singing is often of great advantage to every one concerned. Mistakes may occur (a) through insufficient preparation, () through weariness or ill health, (c) through accident, or (d) through carelessness. In the first case, the choirmaster ought to be fined. In the second, a free pardon may be granted. In the last two, a penalty should be inflicted; 'and here it is important to make the punishment a suitable one. It should be understood that when music has been adequately prepared it must be efficiently performed, and that the failure to take pains at the right moment will inevitably be followed by much more pains and trouble afterwards. A little firmness now and then in this way will save endless future trouble and disappointment. For mistakes in singing a suitable punishment is the writing of an imposition. This can be administered in quite a friendly and pleasant manner, and explained as being equivalent to a necessary medicine administered by a wise physician to curea particular ailment. I have found that all resentment and rebellious feeling has been removed

The Management of the Boys II by consulting the boys upon this point and letting them set their own impositions, or at any rate advise upon them; and then, in the case of a group of boys incurring the same penalty, having an understood rule that the senior one shall manage the affair, give round the set copies, see that they are done by a stated time, and collect them. Such sentences as the following, written 20, 50, or 100 times, have worked wonders :

“ A chorister must sing in tune.”

“ The human voice must be correctly produced.”

“‘ Assharp is a sign to raise the pitch a semitone.”

“ Music must be sung with care and precision.”’

«A chorister must fulfil his duties to the best of his

power; etc., etc.

Sometimes it answers the purpose, while varying the

monotony, to cause the actual passage where the mistake occurred to be written out a stated number of times; ¢. g.,

SS = Be ser - SAN WAC ot Sle) fa eter ten times.

Under the third heading, misconduct, come such matters as talking during the service, inattention, insubordination, and so forth.

I strongly dislike punishment for these offences, as there is always a tendency towards the feeling that severity is a sign of weakness on the part of the choirmaster. The more power he has, the less willing he should be to exert it. The good behaviour that is acquired by fear is worthless, when looked at from the highest standpoint. Sense of duty, reverence, esprit de corps, and unselfishness: these should be the underlying motives for good behaviour. Still, after saying this, occasions will sometimes arise when other motives must be temporarily appealed to. When this is the case, the punishment should be such as will be remembered and will not be required twice. Fines may be inflicted if necessary, but for misconduct the best remedy is suspension; and when there is a proper spirit among the choir this will be a heavy trial indeed. The writer has very seldom had to resort to suspension, but, when he has, the boys have often come to him in tears and begged to have any punishment but this, and when their prayers were unavailing they have been followed up by those of one or both parents. With such a spirit it will be readily believed that misconduct is a rare thing, and this brings in a final and important consideration. In all questions of discipline, let the choirmaster be sure to enlist and keep the support and cooperation of the parents. When the latter know that their assistance 1s welcomed, they will be always most glad to give it,and they will value highly the knowledge that their children have in the choirmaster not only a master, but a friend who has their best interests at heart.

It is a good plan sometimes to make it known that the presence of a parent 1s occasionally permitted at a choir practice; the musical ones will gladly avail themselves of this privilege. The question of fines has already been alluded to; this implies payment. It may be supposed that, after all that has been said as to esprit de corps and the motives for good work, the idea of payment will be discouraged. This is, however, by no means the case. Ina very large number of churches the boys are paid, if ever so little, and it is hoped that this custom will be carried further and become universal, No reflection upon the loyalty and good will of the members is implied by payment; it is merely a recognition, often very welcome, of hard work and self-sacrifice. If any argument were needed, it is sufficient to mention the saying that ‘‘the labourer is worthy of his hire”; for choir-members are indeed labourers when they do their work efficiently, though they may still be willing ones, For boys to study church music thoroughly, and to go through all the physical exercise that is essential to their =ueceaetel rendering of it, is just as much hard work as learning Latin and the multiplication table; and the help and satisfaction they may derive from receiving a little pocket-money in return is no more introducing a wrong principle than is the payment of the clergy, organists, vergers, or any other workers. It is the motives that matter; and they can be properly instilled just as well with payment as without it.

There are various systems of payment in use. One that I would strongly deprecate is that of giving a fixed sum for each attendance ata service or practice. If there is any tendency toa mercenary spirit, this is the system to foster it. The best plan is to give so much a week, ora month, for all the work; and for absence without permission to deduct, not the proportion that represents the time . that has been eked: but a much larger sum, thus refusing to recognize that absence is permissible. A member, on joining a choir, ought to undertake to be present at all its meetings. If He cannot do this, it is better not to join at all. As has been said before, absence through illness or or other unavoidable cause should be condoned; but absence through slackness or a counter-attraction should never be countenanced, and should be met by a prohibitory fine.

It will be useful to describe a method which the writer has found to work with the best results in a district where the boys have all been drawn from the artisan class.

1. Every boy received 1/o a month as pocket-money.

2. Absence from an ordinary practice involved a fine of ad; unpunctuality, 1d (these were remitted on receipt of a valid excuse).