A TREATISE ON THE
AINING OF BOY'S VOICES
And Chapters on
CHOIR ORGANIZATION
With Examples and Exercises
THESE ISSUED IN A SEPARATE VOLUME WITH PF. ACCOMPT., ENTITLED \DUATED COURSE OF EXERCISES FOR BOY CHORISTERS." VOICE TART ONLY ALSO ISSUED.
COMPILED FOR THE USE OF CHOIRMASTERS
MT 915
BY
GEORGE T. FLEMING
SECOND ISSUE
1920
c.l
MUSIC
REEVES 83 CHARING CROSS ROAD, _________ ~,R LIMITED - LONDON, W.C.2 -
FACULTY
of MUSIC Faculty°fMuslcLib™-y
Presented to the Mu by
John Cozens
UNIVERSITY OF TORONTO
THE TRAINING OF BOY'S VOICES
A TREATISE ON THE
TRAINING OF BOY'S VOICES
AND CHAPTERS ON
CHOIR ORGANIZATION
WITH EXAMPLES AND EXERCISES
TO BE FOUND IN THE PART 2 ENTITLED " GRADUATED COURSE OF EXERCISES FOR HOT CHORISTERS."
COMPILED FOR THE USE OF CHOIRMASTERS BY
GEORGE T. FLEMING
SECOND EDITION
WILLIAM REEVES 83 CHARING CROSS ROAD, BOOKSELLER LIMITED LONDON, W.C.2
To
F. Cunningham Woods, Esq., M.A., Mus. Bac., Oxon.
PRINTED BI THB NEW TEMPLE PIIESS, NORBUHT CRESCENT, LONDON, 6.W.16, GBEAT BRITAIN.
PREFACE.
IN putting forth the following treatise, the author has not considered it necessary to conform to the apparently prevailing idea that no work can fulfil its object unless it is strikingly original. Neither does he pretend to have introduced any new "methods," nor to have disclosed any secrets of voice-production — if such there be — but merely to systematise those generally accepted rules of singing which apply to that branch of the subject of which this little book treats.
The conditions under which the training of boys in schools and church choirs is carried on, vary con- siderably, and the writer, whose good fortune it has been to have met with exceptional opportunities of witnessing the practical working of every kind of choir, has endeavoured to deal with his subject in a form suited to the circumstances by which the majority of choirs are governed. He has, further, been impelled to a recognition of the fact that, speaking generally, choirmasters are called upon to carry out their work under considerable — and in only too many instances, unreasonable — limitations, and he has therefore restricted himself to the laying down of the smallest possible number of rules, and to the simplest means whereby they may be made to achieve their object.
That the quality of vocal tone in the singing of our average English boy choirs leaves much to be
PEEFACE.
desired is a fact which, in recent years especially, has become universally recognised, and the defect has been attributed — and rightly, in the author's opinion — to a scarcity of competent choir-trainers. If, however, we go to the root of the matter, we shall find that, in its turn, this scarcity is caused by the insufficiency of opportunities afforded to students, of fitting themselves for their work before entering upon their career as choirmasters. This fact has been fully recognised by many leaders of the pro- fession, as is proved by the efforts made by the authorities of the Royal College of Music and other recognised teaching bodies towards providing such opportunities for the study of choir-training as circumstances will allow. The steps taken, however, do not — if the writer may venture an opinion — carry one sufficiently far; or perhaps it would be more correct to say that they start at a point too near the centre of the course, instead of at the very beginning. What our students of choir-training require is not simply practice in the teaching of singing in a general way to a class of boys, or at- tendance at the excellent lectures on the subject given at various colleges from time to time, but opportunities of following with undeviating regu- larity the systematic training of boys, pursued by a competent teacher from the very outset of the boys' career as choristers up to that point at which they may be considered reliable members of their choir. Such opportunities do not, of course, come within the immediate sphere of action in our teaching in- stitutions, and therefore such a thorough course of training does not find a place in their curriculum. As an alternative it has long been a custom for those students who possess the means of doing so, to article themselves to a cathedral or church or- ganist, and to pursue their choir-training studies independently of their college work, and probably
PREFACE. vii
the success of a very large majority of our organists and choirmasters has been due to their having adopted this course. This plan, however, involves the student in considerable, though necessary, ex- pense, which must debar a great number of talented young fellows from adopting it. We believe that the opportunities for studying the art of choir- training and choir organisation would be greatly extended if the authorities of our leading colleges of music could see their way to placing on the staff of their professors, simply as choir -trainers, such organists as are in a position to give pupils a thorough training in this branch of their studies, and to including the subject of Practical Choir-training and Organisation on these lines in their curriculum of college studies. There would be no difficulty in finding cathedrals and churches at which students might attend, and the fees need not be higher than those charged for other separate subjects. It would, of course, be necessary to obtain the consent of deans and vicars, but, in view of the improvement in the rendering of church music to which such a step would tend, it is hardly likely that any incumbent whose co-operation was worth having would place needless obstacles in the way.
We have touched upon this subject of the training of choirmasters because we believe that the cause we have mentioned accounts to a greater extent than any other for the acknowledged inferiority of church choir singing. Almost on a par with it, however, is another; to wit, the smallness of the stipends paid to organists and choirmasters, which necessitates their devoting time to private teaching or other means of making an income, instead of to the train- ing of their choirs. A choir of, say, twenty boys drawn from what, for want of a better expression, may be called the upper grade working classes (and by far the greater number of choir-boys belong to
viii PREFACE.
that station in life), together with a probationers' class of twelve boys and alto and solo-boys, cannot be trained to as high a standard as that reached nowadays in other branches of music, unless a couple of hours a day at the least be devoted by the choir- master (or his deputy, which comes to the same thing), to its interests. Such an expenditure of time on a poorly-paid pursuit becomes an impossibility to men who have to make an income by other means, however great may be their zeal and ability for the work.
The author has carefully borne in mind these and other circumstances in compiling this treatise, and if he needs must err, he has endeavoured to direct his faults to the laying down of too few rules rather than too many, while, with a view to the assistance of those teachers who have not the benefit of experi- ence to guide them, he has suggested the manner in which those rules may be explained by the teacher to his pupils.
As this treatise deals with the vocal side only of the boys' training, the subject of reading music at sight has in no way been dealt with. Nevertheless, vocal and theoretical training should go hand in hand, as the ability to read music and phrase well at sight inspires the singer with a confidence which is of great assistance to him in the management of his voice.
The lads should be made acquainted with the melody of each exercise before practising it for voice production, in order that they may concen- trate their whole attention on the special point exemplified in each exercise. G. T. F.
CONTENTS.
CHAPTER I.
MANAGEMENT OF THE BREATH.
Standing Position — Inspiration — Expiration — Exercises to be Practised — Additional Exercise in Breath Management — Opening the Mouth — Method of Practising 1
CHAPTER II.
FIRST STEIP IN VOICE PRODUCTION.
A "Forward" Tone— Flat Singing— Causes of Flat Singing — Ascent and Descent of the Larynx — Ex-
ercises to be Practised
CHAPTER III.
THE REGISTERS.
Explanation of Subject — Chest Register — Head Regis- ter — Method of Singing in Head Register — An Important Point — Exercises in Head Register ... 9
CHAPTER IV.
THE BLENDING OF THE REGISTERS.
Explanation of Subject — A Troublesome Habit — Train- ing the Voice Downwards — How to bring the Head Register as Low as Possible — Exercises to be Prac- tised — Rule for Discontinuing Former Exercises ... 13
CHAPTER V.
VOWEL SOUNDS.
Tone Quality affected by Vowel-sounds — Modification of
Vowels — Exercises to be Practised ......... 17
CHAPTER VI.
SOFT SINGING.
Explanation of Method — Exercises to be Practised — Uniformity of Tone — Concluding Remarks ... 19
CONTENTS.
CHOIR-ORGANISA TION.
CHAPTER I.
OBTAINING VOICES.
Choir-payments — Ways and Means of Obtaining and Retaining Voices — The Transference of Boys from one Choir to Another 23
CHAPTER II.
RETAINING VOICES.
Choir Privileges and Remuneration — Their Aim and Object— Choir Clubs— Cricket, Football, Hockey, Swimming, Evening Entertainments, Excursions, Library 33
CHAPTER III.
CHOIR TRAINING.
Reading Music at Sight — The Preparatory Choir — Con- ditions of Choir-membership — The Training of the Preparatory Choir — The Practice- room, Furniture and Fittings — The Librarian's Department ... 42
CHAPTER IV.
CHOIR VESTMENTS.
Cassocks and Surplices, Cost and Materials — Vestments
Cupboards — Repairs and Refitting of Vestments ... 59
CHAPTER V.
CHOIR DISCIPLINE.
Regularity in Attendance of Members — The Behaviour of Choir-boys — Choir Rules — Prayers Before and After Service 63
CHAPTER VI.
FINANCES.
The Choir-fund— Committee of Management — Organisa- tion and Maintenance of Choir-fund — Tables Show- ing Cost of Choir Organisation and Maintenance in every Department 69
CHAPTER VII.
CONCLUSION.
General Notes on Choir Work 83
A TREATISE ON THE ELEMENTARY TRAINING OF BOYS' VOICES.
CHAPTER I.
MANAGEMENT OF THE BREATH.
PROPER management of the breath is at the foundation of good singing. A few practices should therefore be de- voted to the following exercises before the boys are allowed to sing.
The boys should stand firmly on
both feet> one foot bein£ slightl> in front of the other. The hands
should be placed behind the back, or, better still, may be placed " akimbo," with the tips of the fingers towards the front. In either case the position should be an easy one, all
A TEE ATI SE ON THE
stiffness being avoided. The head should at this stage of the training be thrown slightly back. Later, when singing from notes, the boys will of necessity have to incline the head
a little.
The mouth should be opened as inspiration. for saying ah* While the choir- master counts four (at the metro- nomic rate of about forty), the boys should draw in the breath slowly, silently, and steadily, filling the lowest part of the lungs, and keeping the shoulders motionless.
The breath should be held for Expiration. about two seconds (the mouth still being open), after which, while the choirmaster counts six, it should be released slowly, silently and steadily, so that on the choirmaster arriving at six, the lungs are once more in a state of rest. Care must be taken that the boys do not hold their breath until
* Although breathing through the mouth is advocated here, it is very desirable that the boys should, so far as is possible, be taught to inhale through the nostrils. In teach- ing very large classes, however, it is not easy to insist on this rule, and the choirmaster is recommended, especially during the early stages of training, to allow his pupils to take breath through the open mouth rather than distress them with instructions which they find a difficulty in carrying out.
TRAINING OF BOYS' VOICES.
the last beat and then let it go with a rush. If the exercise be properly performed, the body will be motionless, except for a slight disten- tion of the stomach during the act of "in- spiration," and its return during "expiration," as taking and releasing breath are technically termed.
This exercise should be repeated
Exercises to be . . , . , ..
Practised. S1X or eight times at each practice, the number of beats during expira^ tion being gradually increased until ten are reached. A short pause for rest should be allowed after every second or third repetition. Additional «er. After three or four practices have cise in Breath been devoted to breathing alone, a
Management. r i
lew easy notes may be sung — not as an exercise in singing, but as an exercise in breathing. First, however, the boys should be taught how to open their mouths.
The mouth should be opened Mou"h"g freely and without distortion of
the features. The throat must be kept open and supple. The tongue should lie flat and naturally in the mouth, the tip gently touching the lower front teeth. These direc- tions will be sufficient for present purposes.
A TREATISE ON THE
The first note to be sung is E flat
Method of
opened their mouths and taken breath, this note should be clearly sounded upon the piano and then sung (to the vowel- sound ah), while the choirmaster counts six, as in the preceding exercise. After the E flat has been repeated three or four times, D, the semitone below, may be sung in like manner, followed by D flat. After which, starting again with E flat, the two notes above may be sung, viz., E and F. As in the previous exer- cise, the number of beats may be gradually extended to ten.
Two or three practices should be devoted to this exercise.
TRAIXIXG OF BOYS' VOICES.
CHAPTER II.
FIRST STEP IN VOICE-PRODUCTION.
THUS far the notes have been sung simply as an exercise in breath-management. The same notes may now be taken as an exercise in sing- ing, and the boys' attention must be centred upon the actual voice-production.
The choirmaster must at this stage of the training be prepared to exercise a consider- able amount of patience, as some boys experience much difficulty at first in producing a good and pure tone. The tendency should be towards soft, rather than loud singing.
The rules already given for open-
A " Forward " • ., ^ t • i
Tone. m£ tne moutn> keeping the tongue
flat, etc., must be carefully ob- served, but the chief point for the boys to bear in mind is the production of what is called
A TREATISE ON THE
a " forward tone," that is to say, the tone must always, in loud and soft singing alike, be dir- ected quite forward beyond the teeth, so to speak. As regards the lowest notes of the vocal compass the boys will succeed better in producing a forward tone, if they are taught to protrude the lips slightly — "shading" the mouth, as it is called.
It should also be noted that the mouth must not be opened equally wide for every note sung. The lower the note, the wider should the mouth be opened, and vice versa. For E flat (first line), the mouth should be opened sufficiently wide to admit the first and second fingers edgeways between the teeth.
Though a tendency to flat singing Fiat Singing, is sure to assert itself, no notice
need be taken of it at the outset, otherwise the boys' attention is diverted from the main points which they have to bear in mind. After, however, they have become somewhat habituated to the methods which up to this point they have been practising, their attention may be concentrated on good "in- tonation," i.e., singing in tune. The choir- master should start by explaining the meaning
TEAINING OF BOYS' VOICES.
of the term "flat" singing, himself giving the boys a few examples of it.
Flat singing is due to a great
Cause of Flat » • . i . • . i
singing variety of causes, but in the case
of beginners, it is nearly always caused by undue depression of the larynx. The following short technical explanation will make the matter clear.
Ascent and De- PrindPal °rgan °f
scent of the duction, viz., the " larynx," is Larynx. situated in the throat. It is the
projection known as "Adam's apple," and may be easily felt from outside. The larynx is movable, and the higher the note sung, the higher should the larynx ascend in the throat. Now, if a boy depresses his larynx (by trying to sing, as it were, too low down in his throat or chest), the result is not only that the note is flat, but what is worse, a set of muscles is called into play to an extent out of all proportion to their legitimate functions, causing an un- healthy tone (usually " throatiness "), fatigue, flat singing, and subsequent injury to the voice. The choirmaster may, without any fear of im- buing his scholars with pedantic ideas, explain
the ascent and descent of the larynx to them,
2
A TEE AT 1 SE ON THE
and should teach them to allow their "voices" (which for the purpose is a better word than "larynx") to move freely up or down, as the case may be, and if the mouth and throat be opened freely and naturally, he will find that as the voices develop, the flat singing will, so far as this cause of it is concerned, be overcome.
About three or four practices Exercises to be should be devoted to the subject
Practised. r n . r r J t
ot this chapter betore that of the next is entered upon, Exercises i, 2, 3 and 4 in the Elementary Exercises, being used for practice.
TRAILING OF HOTS' VOICES.
CHAPTER III.
THE REGISTERS.
THE vocal compass may be con- Expianation of sidered as divided into two sec- tions called "registers." (There are also sub-sections, but they need not be con- sidered here.) The higher notes are, or should be, sung in the "head" register, the lower notes being sung in the "chest" regis- ter. Speaking generally — for boys' voices differ greatly in this respect — it is possible for boys to sing the notes from C sharp (third space) downwards, in the chest register, and those from G (second line) upwards, in the head register. It will be observed that the notes from G to C are common to both regis- ters. This part of the vocal compass is sometimes called, for the sake of convenience, the "middle" register.
10 A TEE ATI SE ON THE
It will be observed that the notes
chest Register, we have previously treated of are
those confined exclusively to the
chest register. We now proceed to those of
the head register.
The method of singing notes in Head Register, the head register is somewhat dif- ferent from that employed for chest notes, though the rules for breath-man- agement remain the same and must be care- fully borne in mind. We can adopt the same course for teaching the use of the head register as for the chest register, i.e., by exemplifying the method on some easy note and then add- ing other notes both up and down. For this purpose, D (fourth line) may be chosen. (For very young singers — those of about eight years of age — C sharp will be the better note to start from.)
Method of Breath having been taken, D singing in should be clearly sounded upon
Head Register. . . r . . r .
the pianoforte and then softly sung by the boys to the vowel-sound ah, the tone being made to ring in the hard roof of the mouth. If this be properly done, the note will have a pure, fluty quality of tone. Should
TRAINING OF HOYS' VOICES. 11
there be any roughness of tone, the vowel- sound oo should be sung instead of ah, when the difference in tone-quality will at once become apparent, this difference being caused by the note being sung in the head register, whereas the roughness of tone in singing the syllable ah was caused by the boys' endeavour to sing the note as a chest note.
An important 7^3 difference in tone-quality
Point.
between a note sung as a chest- note and the same note sung as a head-note must be strongly impressed upon the boys, the meaning of the terms "chest" and "head" register being at the same time explained to them. Further, the boys should be made to sing a few notes alternately in the chest and head registers, on C sharp (third line), C and B, the vowel-sound ah being sung when the note is taken as a chest note, and oo when the same note is sung as a head note, after which a few examples may be tried upon ah for both chest and head notes. The boys will easily feel the difference of sensation between the singing of a note as a chest-note, and that of singing the same note as a head-note.
12 A TREATISE ON THE
As soon as the method has been Exercises in understood and acquired by the
Head Register. . . , . . r ,
scholars, the training of the notes of the head register both up and down may be entered upon. A start may be made with D (fourth line), this being followed by D flat and C, after which, starting again from D, the two notes above may be sung, viz., D sharp and E, the choirmaster counting six beats to every note precisely as in practising the use of the chest register. These notes are given as exer- cises in No. 6 of the Elementary Exercises. As regards opening the mouth, the principle to be adopted is similar to that for notes of the chest register, the mouth being opened widest for the lowest notes of the register. In sing- ing D (the note started from in teaching the use of the head register), the mouth should be opened sufficiently wide to admit the thumb edgeways between the front teeth.
Boys are very quick in learning to employ the head register provided it be carefully ex- plained to them, and in many cases a single practice is sufficient for the purpose. The subject of the following chapter may therefore be entered upon as soon as they understand what has here been exemplified.
TEAINING OF SOYS' VOICES. 13
CHAPTER IV.
THE BLENDING OF THE REGISTERS.
WE have seen in the foregoing Explanation of chapter that a boy can, generally
Subject. ,f • . y
speaking, carry his chest register up to C (and often much higher), and his head register down to G (and sometimes lower). Thus there are two distinct methods of pro- ducing the notes within this compass to which
we have alluded to in Chapter III
A Troublesome as fte " Middle Register/' The
Habit. r
tormer is the wrong method, and not only so, but it is one to which boys are very prone to become habituated, and against which the choirmaster should always be on the look- out. Even after boys have acquired control over this section of their voices, the habit of forcing up the chest register is apt to break out at unexpected times. This should be ex-
14 A TREATISE ON THE
plained to the boys in order that they may be on their guard.
Training ^e niles for singing the notes of
the Voice the middle register — or, in other
Downwards. wordSj « blending » the head and
chest registers — are precisely the same as for singing notes in the head register, of which this is, strictly speaking, simply the lowest sec- tion. The course to be adopted for teaching is therefore the same except that, having selected a note as a starting point, it will be necessary to add note by note downwards only. The same note (D) should be chosen to start from, this being an easy note to sing in the head voice. This note should be sung pre- cisely as directed in the last chapter, six beats being counted, then the semitone below, and so on note by note down the scale, every note being sung in the head-register, and the mouth being opened a little wider for each successive note and shaded for the lower notes of the register. HOW to Bring Many boys will at first be unable
the Head Re- , »*<*>,«-«
gister as low to sm§" l°wer tnan B or B flat (third as Possible. line), in the head register to the vocable ah, and very few so low as G or F. In
TRAINING OF BOYS' VOICES. 15
every case, so soon as a boy finds it impossible to continue down the scale in the head-register, he must substitute oo for ah, by which means he will be able to bring the head register much lov/er. Of course in singing oo, the mouth cannot be opened so wide as in singing ah, at the same time care must be taken that the boy does not pucker up his lips as though he were going to whistle a tune. During Exercises to be thjs stage of the training, the prac-
Practised. _& \
tice of notes in the chest-register should be entirely dropped. At least half-a- dozen practices should be devoted to the cul- tivation of separate notes in the middle register (giving as exercises Nos. 7, 8 and 9 in the Rudimentary section), before any further exer- cises are entered upon. These latter are specially commended for the cultivation of the middle register and should occupy at least six or eight practices, after which the exercises in Part II may be taken up. Rule for Dis From this stage the training will continuing for- become more general, extending mer Exercises, throughout the vocal compass, and the rudimentary exercises which up to this
16 A TREATISE ON THE
point have been practised, may be one by one discontinued, as each exercise in Part II is taken into practice.
TEAINING OF BOYS' VOICES. 17
CHAPTER V.
VOWEL-SOUNDS.
Tone Quality QUALITY of tone in singing is much Affected by affected by the nature of the vowel vowel-sounds. sounds sung> Some vowels are
less favourable than others to the production of pure tone, and therefore require modifying, especially when they have to be sung in cer- tain sections of the voice. Many boys who have been taught to produce a good " for- ward" tone in singing will intuitively modify their vowels so as always to produce a good quality of tone; others must be taught to modify the vowels.
The following are the chief vowel- Modification 11-1
of vowels. sounds which must receive atten- tion. Care must be taken that they are only modified to such an extent as to secure purity of tone :
18 A TBEATISE ON THE
ee as in meet should slightly resemble i as in lip
*i „ kite „ „ „ oi „ coil
e „ met „ „ ,, er „ assert
a „ mat „ „ „ a „ father
All the exercises in Part II should
Kxerdses to be be frequently sung to the above- Practised. ° , . named vowel-sounds, though the
vowel-sounds ah and oo must chiefly be used as directed in the exercises. Sentences simi- lar to the following should also be frequently practised on various notes (e.g., see Elemen- tary Ex. No. 14).
To be sung slowly and smoothly in one breath :
I owe you.
All are in your light.
Caught in your own hand.
Sing to the king.
We see three reels.
O come, let us sing unto the Lord.
* Another method of singing this vowel-sound is to pro- nounce it as two distinct vowels, viz., aa (as in baa) and y (as in freely), thus aa-y. The aa is held steadily so long as the note is sung and the i quickly shot off as the not© is released. The method is more useful for the upper than for the lower notes, but great care must be taken that it does not become exaggerated.
TRAINING OF BOYS* VOICES. 19
CHAPTER VI.
SOFT SINGING.
THE practice of very soft singing Explanation js most essential to good manage-
of Method. p ' __
ment of the voice. 1 he mouth should be opened as wide for soft as for loud singing, the softness of tone being acquired by giving less pressure to the breath. The mind of the singer must be concentrated upon steadying the breath and maintaining the
pitch. This should be explained
Exercises to be to fat bovs> Exercises i. 2, 3 and
Practised. . _ 7 TT
9 in Part II are the best adapted for the practice of soft singing, but every exer- cise in Part II may, after the boys have made fair progress, be used for the same purpose, frequent practices being devoted to this subject.
20 A TEE ATI SE ON THE
In employing the chest-register Uniformity soft singing must be the rule, par-
of Tone. . , ,& .5
ticularly in scale passages, more uniformity in the quality of tone being thus imparted throughout the compass of the voice.
CONCLUDING REMARKS.
THE age at which boys may first be taken into vocal training is from six to eight years.
In choosing boys for a choir, preference should be given to intelligent boys and to those who in singing an ascending scale, chiefly, if unconsciously, employ the head-register, rather than to boys whose chief distinction is a strong pair of lungs.
Boys often experience a difficulty in taking breath through the nose, on account of some little chronic defect in the nostrils. In the majority of cases the cause is one which a surgeon can easily remove, and, in view of the important functions of the nasal organs in singing, the choirmaster will always do well to have such matters attended to.
TEAINIFG OF SOYS' VOICES. 21
When practising a new piece or exercise, do not stop at every mistake. Rather do one thing at a time, and concentrate your pupils' attention on one point throughout the piece, then go back to the beginning and take another point into practice — and so on. If necessary to correct a mistake, stop the singing and give your instructions in as few words as possible and m a quiet voice. Then practise the pas- sage until the error has been so far overcome as circumstances will permit.
The amount and nature of the music sung at services or musical performances, should be strictly in proportion to the opportunities for practice. Greater efficiency is ultimately acquired by foregoing the music at a service, than by allowing a service to depose a neces- sary practice.
Tired or sick boys should not be called upon to sing.
Ability to read music at sight assists boys indirectly, but very effectively, in a proper use of their voices. There are numerous and excellent handbooks on the subject.
The training of the voice, concurrently with the practice of reading music at sight, should
22 TRAINING OF BOYS' VOICES.
form the ground-work of instruction in the art cf singing, for even if the rendering be per- fect in every other respect — which, however, is hardly likely to be the case — no singing can be beautiful if purity of tone be absent.
CHOIR-ORGANISATION.
CHAPTER I.
OBTAINING VOICES.
A WELL organised choir is almost auto- matic in its working. There is a definite time and place for attending to every item, and some responsible person to attend to it, and, provided there is no neglect of duty on the part of those responsible, the whole system works quietly, smoothly, and with a minimum expenditure of time, labour and money.
In the following notes we assume the choir to be an ordinary parish church choir consist- ing of, say, sixteen men and from twenty to
23
3
24 A TREATISE OX THE
thirty boys, together with a preparatory choir of boys, the boys being drawn chiefly from among the working classes. Arrangements have to be made for
1. Obtaining the boys.
2. Keeping them.
3. Training them.
Under the first two of these headings we propose to deal with such matters as choir- boys' payments, choir privileges and attrac- tions, while under the third heading we shall consider the means necessary for carrying on the training systematically.
In most parishes there is some school in con- nection with the church, and from this the majority of the boys will probably be drawn. It is not, however, always an easy matter to induce boys to join a church choir, partly because they nowadays devote much of their time to attending evening classes and suchlike institutions, and partly because they do not care to be tied down to practices and services unless they receive proportionate remuneration — not necessarily pecuniary. Much depends upon the inner working of the parish itself. In a well organised and well visited parish — one
TRAINING OF SOYS' VOICES. 25
in which the parishioners regard their church as the centre of a vitalising religious influence — in such a parish parents will usually be found willing enough to encourage their children to join the choir. But much also depends upon the reputation which the choir enjoys amongst the boys of the parish. We do not for a moment counsel slackness of discipline, but we do say that undue severity and unnecessary fault-finding are the greatest deterrents to the acquisition of candidates for the choir. The mere privilege of being a member of the choir counts for comparatively little in the eyes of a child; how should it be otherwise? Induce- ments must be offered which appeal more dir- ectly to the sympathies of the boy-nature, and once having got your boy, you can train him as he grows, to an appreciation of the higher objects of choir-membership. What form these inducements — or attractions (if the word is allowable in connection with such a subject) —should take, we shall consider presently. We may, however, refer here to one matter closely allied to this question, viz., monetary payments.
At the present time payment for boys' ser-
23 A TREATISE OS THE
vices has become so general, that really good boy-singers are apt to be attracted away from their own parish to other choirs unless they are paid for the work they do. This, of course, is the case in towns, rather than country par- ishes. But the principle of paying boys simply to keep them within their own parish is unsound ; the boys should be paid on the prin- ciple that they are expected to work and that they should therefore receive a material reward.
The ways and means of obtaining voices vary with the special circumstances of each parish. In country parishes there is not often any difficulty in making it known when voices are required for the choir, though, on the other hand, there is not always the same large field to choose from. In towns, especially in Lon- don, it is necessary at times to cast about a little in order eventually to alight on the best voices. If the parish be a wealthy one, there need not be the slightst difficulty in obtaining boys, but wealthy parishes are the exception, and we have to deal here with ordinary cases only. Where there is any difficulty in obtain- ing boys from within the parish itself suitable
AWtfiG OF BOYS' VOICES. 27
means must be adopted for procuring them from elsewhere. A choir prospectus may be printed, setting forth the duties of the choris- ters together with their rewards and the various advantages of membership. As in the case of every detail connected with the material side of the choir, the prospectus must be looked upon as a business matter, and must be worded in such a way as to be easily understood by the classes among whom it is to circulate. Copies of the choir-prospectus should be easily obtainable, and should be freely distributed among such of the boys and other persons as are likely to make good use of them. If there be any technical schools in the neighbourhood or other institutions attended by boys, the co- operation of the superintendent may be enlisted with a view to making the choir known. Advertising may be resorted to, and in this case care should be taken that the paper chosen for advertising in is one which circulates among the classes from whom candidates are likely to be forthcoming, and that the area of its circulation is not situated too far from the parish, unless the authorities are prepared to pay the boys' fares to and fro.
23 A TREATISE ON THE
We have known exception to be taken to boys being drawn from one parish to the choir of another, and there is much to be said in support of the objection. In the first place, if a boy belongs to the choir of his parish church, it is to be assumed that he is more directly under the care of those responsible for his spiritual and temporal welfare than he would be as a member of any other choir, and it would hardly be fair to withdraw the boy without their consent.
Again, it may be that the boy possesses more than average ability as a chorister, due to the trouble bestowed upon his training by the choirmaster. Here, again, nothing could be more unfair than to allure the boy away by holding out advantages which his own parish may not be in a position to offer. True, some people might contend that a boy is worth what he can earn, on the principle that an article is worth the price it will fetch, and that therefore he has, or his parents have, the right of choice in this matter; a moment's reflection, however, will show that the principle does not apply. The boy's voice — or natural ability — is of course his own, but the training by which he
TRAINING OF BOYS' VOICES. 29
has been enabled to develop that ability is not his, but the choirmaster's (unless the boy has paid for it, which would make the case an ex- ceptional one), and it would be as wrong for the boy, after having made use of this training, to go off to another church — or for anybody to induce him to do so — as it would be for a workman to decamp with his master's tools. The objections urged against boys leaving one choir in order to join another are therefore often backed by what appears to be a sound principle. But there is another side to the question.
In all these matters the welfare of the boy himself has to be considered before anything else. It is hardly necessary to take into con- sideration the case of boys being drawn from one parish to another who are not already mem- bers of their parish church choir, if they do not belong to it either as members or proba- tioners, or if the choirmaster himself or the clergy in their parochial visits do not think it worth while to unearth talent for the choir, it is to be assumed that those boys who are not members of the choir are not wanted in it.
In many cases it will be found that the
30 A TREATISE ON THE
seceders are the most promising boys. We have dealt with the case of those choirs in which good training is bestowed, but there are numbers of churches in which, for one reason or another, not the slightest trouble is taken to turn to account the potentialities of the material at hand. How many hundreds — or even thousands — of boys are there in the vari- ous choirs of this country, whose gifts are lying hidden and stunted owing solely to lack of training ! Choirmasters who have given atten- tion to the subject will be able to recall instances by the score. Now, if it be not within the means of a parish to provide good training for promising boys, it is selfish to the highest degree — and therefore out of keeping with the spirit of parish work — to prevent the boy obtaining it elsewhere. It may be that the parish is unable to afford a choir-trainer of ability and experience. That may, perhaps, be regarded as a misfortune, but it should not be allowed to play the part of the bushel to the light of the candle, or, in other words, pre- vent the boy joining the choir in which his talents would be cultivated and turned to such account as they may merit,
TRAINING OF BOYS' VOICES. 31
In many cases the secession of boys is caused by those in " authority " ; (we use the word advisedly, " authority/' in many instances doing duty for "interference"). When one witnesses the chaos which is characteristic of some choirs, and the bullying and pettifogging interference by which the work of the choir- master is hampered at every turn, causing unpleasantness and confusion everywhere, one wonders that boys are ever to be found who will join such choirs. Here, again, one cannot blame the boys who go off to other choirs, nor vicars and choirmasters of other parishes, who are willing to take them.
While we have dealt with some of the more common instances, it would be difficult, in this short review of choirwork, to consider all the circumstances under which boys may pass from one choir to the detriment of another. In all such questions, however, it should be borne in mind that everyone engaged in parochial work is a worker in the special mission bequeathed to the Church by our Lord Himself, and that there is in the dealings of one parish with another, an exceptional call for courtesy and kindness. But in all such dealings, as touch-
32 A TKEATISE ON THE
ing the subject in hand, the first and foremost principle to be maintained is that of studying the welfare of the boys themselves.
OF SOTS' VOICES. 33
CHAPTER II.
KEEPING BOYS IN THE CHOIR.
THE arrangements to be made for keeping boys are closely allied to, and, in great meas- ure, are identical with those for obtaining them.
We have mentioned that the boys should receive special advantages as part of the re- muneration for work which they must be called upon to do well. Adequate provision should be made for this, everything being organised and carried on systematically and in a business- like manner.
There is, hov/ever, a higher purpose to be served in this matter of choir privileges, than that of mere reward. It is, we believe, a mis- take to allow boys to think too much about li remuneration " for their work in the choir. We are far from asserting that it is possible
31 A TREATISE ON THE
to carry on the work of the choir satisfactorily without paying the boys in some kind, but it is desirable that they shall first and foremost remember that they are engaged in the special service of Almighty God. As far as those responsible for the choir are concerned, they should consider themselves as under obligation to pay for services rendered; but this point of view concerns the authorities, and, as regards the boys, may well be allowed to take a secondary place.
But, as we have said, these advantages of choir-membership have to reach beyond the purpose of mere reward, and this is particu- larly the case when they take the form ot cricket clubs, football, hockey, swimming, etc. Most of us know what it is to look back upon old schooldays. Nine out of ten of us — even those who do not think it necessary to cram down the throats of the rising generation the old falsehood that "my schooldays were the happiest days of my life " — like to look back upon certain phases in our school life — upon the school's success in sports, upon the honours gained by our chums at the universi- ties or in various examinations, upon the
AiyiSG OF BOr.SC VOICES. 35
brilliant success and rare literary merit of the <; something-' ian/" or, among the more blue- hosen of us, some quiet nook in the school grounds where we primed ourselves success- fully against the onslaughts of examiners.
As it is in school; so it is — though perhaps, to a lesser extent — in the choir. These cricket clubs, sports and pastimes appeal to the best instincts of our English nature; they foster in us an esprit de corps which clings to us through life; and therefore the choir cricket-club, the football or hockey-club, or whatever else it may be, should become not only a part of the reward which the boys receive for their ser- vices, but also a strong tie between themselves and their church after they have outgrown their choristerships and when they, at this more than at any other time of their lives, need to keep in touch with those in whose power it lies to guide them either in spiritual or temporal affairs.
In advancing this argument in favour of choir-clubs, we do not assert that there are not other and more substantial means for culti- vating in boys and young men an affection for, and loyalty to their church — that would be
30 A TREATISE OX THE
absurd ; but where subsidiary means to this end, as here suggested, come within reach, we do assert that the fullest use should be made of them.
Among what we may term the " material" privileges attaching to choir-membership, we may mention football, cricket, swimming and hockey clubs, paper-chases, evening entertain- ments, teas, indoor amusements, and outings to places of interest. These undertakings, however, must not be carried out spasmodi- cally or irregularly. In estimating the choir income and expenditure at the beginning of every year, these amusements should be duly allowed for in accordance with the means available for providing them, and there will then be no difficulty in arranging them with thoroughness and economy.
It is quite unnecessary to go into details of cricket or football club organisations, but we may mention a few of the points which are sometimes overlooked by those who have not had experience in organising boys' clubs.
Singing boys should be taught to play quietly, both for the sake of their voices as well as of the game.
TRAINING OF BOYS' VOICES. 37
In cricket, football and hockey, the boys should have some voice in the management of affairs, with some competent person to guide them. If the latter be a member of the con- gregation, so much the better, as the boys are thus able to see that their work is appreciated and for this reason, to say nothing of higher motives, is worth doing well.
It answers to give each boy some particular office to fill and interest himself in. For ex- ample, in the cricket-club one boy (a neat writer), may assist the club secretary, another may take charge of the stumps, bails and other club articles except the bats. The bats may be in the special care of some boy who will see that they are properly oiled. Yet another (who should have an assistant), should be re- sponsible for having the practice-nets ready at the appointed time, and so on. Each of these lads should be instructed to hand in to the secretary any article that gets out of order, in order that repairs may be done at once and the expenses of new tackle kept as low as possible. If cricket matches are played, the full score may be posted up in the choir room or other suitable place and also published in the parish
38 A TREATISE ON THE
magazine if one exists. Batting and bowling averages should be kept, and everything pos- sible done to foster a spirit of keenness for the game. The management of the football club will be on much the same lines as that of the ciicket club.
As regards finances, we must refer the reader to Chapter VI, which deals specially with this subject.
Bathing is, of course, very popular with boys, as, indeed, with nearly everybody else, and the lads may lark about and enjoy them- selves to their hearts' content when indulging in it. Some responsible person should, of course, be in charge, and at a given signal every boy should instantly leave the water and dress.
Hockey is a capital winter game, but in nine cases out of ten, the boys will be found to prefer football. If a hockey-club be formed care should be taken that good hockey-sticks are provided. It is a mistake to suppose that the game can be played, even by boys, with any crooked old twig. Each boy should be re- sponsible for the proper keeping of his hockey- stick, which should be given up to the club
TRAINING OF BOYS' VOICES. 39
secretary at the end of the season. All the sticks should be then cleaned and dried and tied up in a bundle and safely put away ready for the next season.
In all these games, the occasional visit of the vicar, the organist, a churchwarden, or, it may be, of one or two members of the congre- gation, has a beneficial effect.
Where evening entertainments are provided, they should not involve the boys in extra work, otherwise the entertainments are apt to become burdensome and have the opposite effect to that intended. In many parishes the boys are called upon to give concerts for the benefit of the choir-fund out of which they are paid. This resource is not to be commended unless the boys are given to understand before joining the choir that participation in concerts is part of their duty. It must be remembered that the lads are already called upon to earn their money in the church and practice-room, and that therefore it is hardly just that they should be expected to work for it a second time in the concert-room.
A quarterly or monthly tea, followed by games, is an institution quite dear to the boy-
4
40 A TEEATISE OA7 THE
mind, and has the merit of being inexpensive. Here is the cost of a tea for eighteen boys. The account is an exact copy from the books of a London suburban choir :
Cost of .Boys' Tea on Dec. 7, 1895.
s. d.
Tea, | Ib ... 1 H
Butter, \ Ib 8
Cake, 5 Ib 2 6
Sausage rolls, 18 16
Bread, 2 loaves 5
Jain, 1 Ib. apricot 6
Also 1 pot (about 2 Ib.) given by — Milk, 3 pints 6
Also \\ pints given by —
Loaf sugar, 1^ Ib >. ... 3
Oranges, 2 doz. ... ... ... 16
8 \\\
Occasional outings and excursions are at- tractive to boys, but are sometimes apt to be expensive. In estimating the choir expenses for the year it is well to settle all details as to places to be visited, and to allow for expenses accordingly. In this way it can be seen what excursions can be afforded, and disappoint- ment consequent upon projected excursions being abandoned, provided against.
If there be any library connected with the
TltAIXIXG OF J10Y& VOICES. 41
church, the choir should have the privilege of using it, an annual subscription on behalf of the choir being paid out of the choir-fund.
42 ,1 TREATISE OX THE
CHAPTER III.
CHOIR-TRAINING.
WE now come to a consideration of the means to be provided for carrying on the musi- cal training of the choir, and for their work in the sanctuary itself.
The treatise preceding these chapters on choir-organisation deals exclusively with the training of the voice, but voice-training alone - — indispensable as it is to good singing, especi- ally if only rough material be forthcoming for the choir— will not of itself make a good singer. Boys should be taught to use their brains when they sing, which means that they must have some knowledge of music and sing- ing at sight. The process of cramming boys with music by ear is altogether unsatisfactory. The boy who can read at sight will be found to sing with far greater attention to time, ac-
TRAINING OF BOYS' VOICES. 43
cent, rhythm and phrasing, than one who relies entirely for his knowledge on the weekly choir-rehearsal. We therefore counsel the choirmaster to make every provision for teach- ing his boys to sing at sight. There are numerous handbooks on the subject. If the choir-practices be held regularly, say, three times a week (i.e., two practices for boys alone and one for the full choir), half an hour's in- struction a week in singing at sight will be found sufficient, and a boy should in the course of about two years, be able to read fairly well at sight any ordinary church music, such as services and anthems of average difficulty. The instruction in this subject should be given before the other work of the practice is entered upon. The choirmaster should have by him a plan of the work to be done at the practice. A practice of one hour and a quarter may be divided into three portions, viz., half an hour for reading at sight, from fifteen to twenty minutes for vocal exercises, and the remainder for practising the service or other music. When reading at sight is not practised, twenty minutes may be devoted to vocal exercises and the re- mainder to preparing the music to be sung at
44 A TEE ATI SE ON THE
the services, or some music in the nature of part-songs, care being taken that there is always some piece of music which will interest the boys.
The preparatory choir should be as carefully studied as the senior choir. The age at which boys may be taken into training is from eight to ten years. Of course, boys may be taken at an earlier age, but this involves their remaining in the preparatory choir for three years, boys of less than eleven years seldom being of real use. The numerical strength of the prepara- tory choir should, roughly speaking, be equal to about three-fourths of the senior choir (ex- clusively of the men). This proportion will not be found inordinately large when it is re- membered that in every choir there are unavoidable leakages beyond the breaking of voices, all of which cause a drain upon the choir, to say nothing of leakages from the preparatory choir itself.
If the boys of the senior choir be paid, the same course should be followed with regard tc the preparatory choir. There must, how- ever, be a definite understanding at the outset as to the conditions of membership, both of the
TRAINING OF BOYS' VOICES. 45
senior and preparatory choirs. The payment of the preparatory choir need not entail any great expense, provided there are advantages attaching to membership beside the payment, but provision must be made against boys of the preparatory choir drawing payment — perhaps for two or three years — and depriving the church of their services by leaving the choir just when they are beginning to be of use. We know of no more efficient safeguard against this practice than that of paying each boy half his salary, the remainder being placed to his credit, to be paid to him on his promotion to the senior choir. Of course this, like all the other conditions, must be explained to the boy's parents before he is accepted as a member of the preparatory choir. This in- formation may also be included in the choir- prospectus.
The general conditions of choir-membership must depend to a great extent upon local cir- cumstances, both as regards men and boys, but in any case, it is advisable that every boy should, before joining the choir, give an under- taking not to leave the choir before his voice breaks unless good cause can be shown for ex-
46 A TREATISE ON THE
emption from this rule. The choirmaster must, however, set himself to resist any tempta- tion to arbitrarily enforce the rule to the detriment of a boy's interests, even should he, or rather, his choir, suffer thereby. Important as the interests of the choir are, they sink into insignificance beside those of the fresh young- life which has not yet encountered the rough- and-tumble of the world, which has not yet been called upon to resist the garish attractions to be found within it, or to hold its own against the deceits and follies which sooner or later will tempt him — God grant it may not be with success — to forsake the path of integrity, of industry, and of manliness. Where such issues are involved, it would surely be a criminal act to enforce any agreement which might hinder a boy from making a good start in life, or from fitting himself as early as possible for any call which may eventually be made upon him.
The maintenance of a preparatory choir is not always an easy matter, since it imposes extra v/ork on the choirmaster very much out of proportion — at the average rate of an organ- ist's salary — to the remuneration he receives. And yet a preparatory choir is a necessity, par-
TRAINING OF BOYS' VOICES. 47
ticularly if there be not much choice of material. The practices of the preparatory choir should be held apart from those of the senior choir, and not less than twice a week. The first few months of the boys' training should be given to teaching the boys how to acquire purity of tone throughout the compass of their voices. For this ample provision has been made in the foregoing treatise and exer- cises. The boys should also at once enter upon instruction in singing at sight. An oc- casional hymn-tune within easy compass may be taken as an exercise in voice-production, those hymn-tunes containing passages in the lower section of the head -register (e.g., 284 and 346 in "Hymns, Ancient and Modern") being very useful for this purpose. These may be followed by easy part-songs and anthems, and finally chanting may be taken into practice. As regards choice of chants, preference should at the very outset be given to those in which the reciting notes lie well within the compass of either head or chest register, and after the boys have become accustomed to the work, chants containing reciting notes in the u middle " register should be diligently prac-
48 A TREATISE ON TEE
tised in order that they may become accus- tomed to a right method of voice-production in this, the most difficult region of their compass. It is better to begin with the Canticles than with the Psalms, in order that the boys may concentrate their attention on the special points to be practised, instead of having their atten- tion diverted by the labour of reading the words of the Psalms.
It is of great importance that the practices should be held regularly. If the practices are being continually postponed, the boys learn to regard them as of no importance, and any en- forcement of punctuality and regularity is rendered difficult.
Every well-appointed church possesses a choir-room furnisheci with everything needed for carrying on the work of the choir. The choir-room need not be of very large dimen- sions. If the boys' practices only are held in it and the choir is not an unusually large one, a room measuring thirty feet long and twenty feet wide is large enough. A larger room is of course desirable if it is to be used for prac- tices of the full choir. For reasons which later on in this chapter will become apparent, it is
TEAINING OF BOYS' VOICES. 49
advisable that the room should not form part of any consecrated building. It should be easily warmed in winter and well lighted in every part, and the gas-meter should be inde- pendent from that of the church (unless elec- tricity be used). The gas-brackets should be so arranged as to allow of the use of a black- board by gas-light without the necessity of moving the choir from their usual places in order to avoid the " shine " which prevents the writing on the blackboard being easily read when the light falls upon it from certain directions.
The importance of ventilation cannot be exaggerated.
The choir-room should have an entrance in- dependently of other rooms or vestries, and, if anywhere near the church, the walls should be sufficiently thick to allow of the practices being carried on without the risk of disturbing any services which may be going on in the church.
A lavatory should be attached to the choir- room with a good supply of water.
A goodly number of hat and coat pegs should be provided near the entrance.
50 A TEEATISE ON THE
The choir-room should contain the following articles and furniture : a pianoforte, chairs, black-board, easel, box of chalk for use with black-board, four dusters, metronome, music- rack or cupboard, baton, writing-table, writing materials, paper-knife, waste-paper basket, and a small cupboard for the use of the ladies in charge of the cassocks and surplices (see p. 61).
The following hints regarding these articles may be of use to those who have not had experience in fitting up a choir-room.
The pianoforte should be square or grand, if possible, in order that the choirmaster may be able to see his singers. If this cannot be afforded, a cottage piano must be made to answer the purpose. An extremely powerful instrument is by no means a necessity provided the tone be clear and good. We may add that a pianoforte is much to be preferred to any other instrument in training boys' voices, and that the quality of tone produced by the boys is influenced in a remarkable degree by the kind of instrument used in accompanying them, while precision of attack — such an important factor in good singing — is far more easily im- parted if a pianoforte be used than is the case
yiXG OF BOYS' VOICES. 51
with any wind instrument. Fancy training a boy's ear by the asthmatic sound of an harmonium !
The blackboard should be of the ordinary make, and ruled with lines to represent the stave, the space between the lines measuring one inch — a little more if the pupils are seated any distance from the blackboard. We have found white lines preferable to red, though some choirmasters prefer the latter. Three or four staves may be ruled, a space being left blank either at the side or foot of the black- board for other matter than music. A small hook or peg on the left hand side of the black- board will be found convenient for hanging the duster on.
Four dusters are required, two for use with the blackboard and two for dusting the books and music. They should all be marked with the name of the choir.
The music rack should be divided into a large number of partitions, half the number of partitions being one and a half inches, and the other half two inches wide, and about twelve inches in length. The partitions should be made to slide out in order that two partitions
A Tit EAT I SE ON THE
may be converted into one if necessary. The partitions should be slightly cut away in the centre in order to allow of the music being easily grasped. Horizontal are greatly to be preferred to perpendicular partitions as they allow the music to lie flat and save the wear and tear which results from music getting creased, as it usually does when perpendicular partitions are used. The partitions should be numbered consecutively. The rack should also contain one or two shelves and three or four drawers, one at least of which should have several small divisions for holding paper binders, pins and other odds and ends which all require keeping tidy. Sliding doors should only be used where there is but little room for the rack ; ordinary doors on hinges are much to be preferred.
The baton should have a loop attached by which it may be kept hung up in the music cup- board when not being used.
A writing table is very useful in the choir room. A knee table is to be preferred to any other on account of the large number of drawers this kind of table contains and which may be allotted to the organist, choir secretary and the librarian.
T1U1SIXG- OF VOY& VOICES. , 53
The room should also be furnished with a requisite number of chairs and a table which can easily be moved.
The lavatory should be furnished with not less than two washstands, towels, soap, brushes and looking glasses. The brushes and towels should each have a loop attached in order that they may be hung up when not required.
The choir room should form a resort for the choir boys and should be made as attractive and comfortable as possible. Here the boys may assemble for games — draughts, domi- noes, marbles and dumb-bell exercise before or after the practices and services. The room may also be used for meetings of the cricket club, glee practices and so on. Here, also, should be two notice boards, one for notices dealing exclusively with church matters, the other for notices referring to secular matters, the cricket club, etc.
The room should be in charge of a choir room superintendent (with an assistant), who should be responsible to the organist for keep- ing it in order also lighted and warmed by the appointed times. If a room be much used by the boys, two or three persons should be in-
54 A TEE ATI SE OAT THE
vited to take turns in being present to maintain order among the boys, though better discipline will be secured if the boys can be taught to behave well as a point of honour and without continual supervision.
It should be part of the duty of the choir room superintendent to see that the lavatory is kept scrupulously clean and tidy, that clean towels are supplied regularly, and that the brushes and combs are washed at stated intervals.
The books and music should be in charge of a librarian (with two boys to help him), who is responsible to the organist. New music is usu- ally ordered in the name of the organist as some publishers do not care to open accounts in the names of churchwardens. Immediately any new music is received it should be placed on a shelf labelled "new music" in the music rack and a tally attached showing the name of the composer, title of the music and number of copies. The librarian who then takes charge of the music, marks every copy with the num- ber of the partition in the music rack in which the music is to be kept, and with the number of copies ; thus he will be able to tell by glancing
TRAILING OF BOYS' VOICES.
at any one copy when collecting the music after use by the choir, how many copies there ought tc be and to which division in the rack they belong. The same particulars should be entered in a catalogue of all the music owned by the choir. These details having been at- tended to, the new music is placed on a shelf labelled " binding." The binding of the music is best left to some lady member of the congre- gation who may choose her own assistants. All music with paper covers should have a strip of music binding gummed along the back. The adhesive linen music slips sold at many music shops is well adapted for this purpose. The
binding need not run the whole length of the music, it will be quite sufficient if strips, say, two inches long be gummed on at the top and at the bottom, this being the part where the music is likely first to get torn.
No music should be taken away without per- mission of the librarian who should enter in a book the name of every person to whom music is lent, a note being made when it is returned.
It is important that all damage to the music, however slight, should be at once repaired. Two drawers or shelves in the music rack may
5
56 A TREATISE ON THE
be set apart, one for music to be repaired, the other for music returned from repairing. The person undertaking the repairs should pay a visit to this shelf or drawer at least once a week (preferably every Monday morning) in order to take away any music which may require bind- ing or repairing.
It frequently happens that a leaf in a book becomes torn and escapes the attention of the librarian. This is easily provided against by supplying every book with a marker to be placed in any part of the book which may become damaged, the book being left on the seat — not on the choir desk. Thus the librarian or his assistants when tidying up the choir stalls after service will at once find the book and place it on the shelf set aside for damaged books and music. A lew extra books should be kept in reserve to temporarily replace any that may be under repair.
If much music be required, the organist should at the beginning of every week, have in some stated place a list of books and music required for every service and practice during the week as well as for the following Sunday. The librarian should be responsible for having
TRAINING OF SOYS1 VOICES. 57
the music ready in good time before each ser- vice and practice.
If the librarian have two assistants, he will do well to put one in charge of decani side of the choir, and the other in charge of cantoris. The men's book ((i.e., chant book, hymn book, psalter and responses book), may be kept in a rubber band, each member having his own set of books, and every book being labelled out- side with the member's name. These books may be kept on the lower rack of the choir stalls, the bibles and prayer books being kept on the upper rack. A set of reserve books may be kept in each stall.
After every service and practice the librarian's assistants should collect such music as has to be replaced in the music cupboard, gather up the disused service lists (which should be placed in one of the writing table drawers for use as "scribbling" paper), and see that the choir stalls are left in good order, every book being left in its proper place.
There is a minor office which must not be overlooked in connection with the librarian's department. It is that of marking the lessons in the bibles before service. Every bible
58 A TEE ATI SE ON THE
should have two markers — one for each of the lessons, and it should be the special function of one of the choir boys to find and mark the les- sons before service. This is rendered neces- sary by the difficulty in attending when the les- son is given out, the choir at this moment being engaged in preparing for the next canticle, hymn or anthem, the finding of which must not be left to the last moment.
TEAINING OF BOYS' VOICES. 59
CHAPTER IV.
CHOIR VESTMENTS.
THE robing of the choir should be as system- atically attended to as any other branch of the choir work. In some choirs this is not con- sidered part of the choir system, but for the sake of completeness, we may here sketch out the lines upon which this department may be worked.
The cassocks should be made of Russell cord costing from fifteen shillings to eighteen shillings for a man's, and ten shillings and six- pence to thirteen shillings for a boy's cassock of medium size .
It is bad economy to entrust the making of the cassocks to any but an experienced tailor. Boys' cassocks have to pass from one boy to another about every twelve months, and as it is not always easy under such circumstances to fit every boy, any fault in the tailoring becomes
60 A TREATISE ON THE
conspicuous, besides which any alterations which may be necessary are rendered difficult. All boys' cassocks should be made with a hem of five or six inches at the foot to allow of lengthening. The cassocks should be made without pockets, but there should be a side slit through which the wearer can pass his hand into his trousers pocket. This plan not only obviates the bulging out of cassock and sur- plice, which is often caused by handkerchiefs and other articles being kept in the cassock pocket, but is also a safeguard against the stowing away of sweets which spoil the cas- socks and render them unpleasant when passed from one wearer to another.
Surplices made of linen, the usual material, cost about nine shillings for a man of medium height, or five shillings for a boy. Surplices ot plain shape seem to be generally preferred to those which are "gathered," and are more easily washed and ironed. The surplice should come within about two inches of the wearer's knees. The fantastic little smocks in which some choirs are vested are in execrably bad taste. Coloured cassocks are often only a fad, pure and simple, though they have a practical
TBAINING OF BOYS' VOICES. 61
use in dark churches where they lend a little welcome colour. Like the cassocks, the sur- plices should be made only by persons experi- enced in the work.
Great care should be taken that the cassocks and surplices should be kept in a dry place. Even if the vestries are kept warmed in the winter, it is advisable, unless the cassocks are worn every day, that somebody shall be respon- sible for giving them a weekly airing.
The vestments cupboards should be fitted with double hooks, a hat peg being fixed above the hooks. If the cupboards be fitted with cur- tains instead of doors, the curtains should be so arranged as to be easily taken off the curtain rod and well brushed, especially at the top near the rings, every three months. Somebody should be responsible for closing the cup- boards after service, and for seeing that every- thing about them is left in good order.
The superintendence of the surplices and cassocks is best left to some lady member of the congregation, who may choose her own assistants. She should visit the vestries at least once a week — on Mondays for choice. A special peg should be set apart in every cup-
A TEEATISE ON THE
board, on which members may leave damaged cassocks and surplices.
There should be a general refitting of boys' cassocks every twelve months.
If all the boys wear Eton collars, the appear- ance of the choir is improved by collars being worn outside the cassocks.
TEAMING OF BOYS' VOICES. 63
CHAPTER V.
CHOIR DISCIPLINE.
UNDER the head of " Discipline " are embraced strict attention to duty, from the organist down tc the youngest boy, instant obedience to in- structions, punctuality, regularity of attend- ance, and silence during the practices. These apply as directly to the adult members as to the juniors.
Regularity of attendance should be as strenuously insisted upon as circumstances will permit. The men of voluntary choirs are notoriously irregular in attending practices. Arbitrary action on the organist's part does not, as a rule, produce the right effect. A better result is brought about by dint of an occasional reminder that an engagement is ever an en- gagement, and that the fact of the person entering into it receiving no payment, does not release him from the obligation of faithfully
64 A TEEATISE ON THE
performing his share of it. Choirmen should be asked to look upon the regular performance of their duties as a point of honour. The excuse made in some choirs that the choir prac- tices are dull is somewhat beside the mark. It is to be assumed, if only as a matter of disci- pline, that the organist knows best what ought to be practised in order to train his choir with the best result, and if a choirman gives his ser- vices with the right motive, he will be willing to undergo some little self sacrifice in order to achieve the desired result, and to subordinate his opinion to that of the choirmaster. On the other hand, the choirmaster will do well, whether his choir be voluntary or paid, to make the practices as interesting as possible, and not, in his anxiety to achieve a high standard in the rendering of any piece of music, to try the pati- ence of his singers by too constant corrections. Further, he should himself set an example of reverent behaviour, punctuality and attention to duty, and above all, he must avoid anything which savours of fussiness.
Choir boys generally have the reputation of being worse behaved than other boys. The charge is an unreasonable one. The fact is
TEAINING OF BOYS' VOICES. 65
that the boys in a choir, owing to the position they occupy while in the church and their naturally being more together when out of it, are altogether more in evidence than most boys. But take any other children at random, put them into surplices, seat them in the choir stalls and allow them to fidget and swing their legs about exactly as they do when sitting in the congregation, or call upon them to keep their youthful spirits pent up three times a week during the choir practices when other children are out at play, and then observe how their behaviour in church compares with that of the average choir boy, or to what lengths the exuberance of their spirits will not carry them when they are released from that control which the discipline of the practice room necessitates. As a matter of fact, a really badly behaved choir of boys often becomes so through mis- placed severity and unnecessary fault finding. A better way of getting boys to behave well, especially in the choir stalls, is by allowing them to see for themselves that they can behave well of their own free will, and not from fear of punishment only. An occasional hint, too, that they are in the house of God
66 A TEE ATI SE ON THE
should have the right effect, and often a word of encouragement will do more good than any brow-beating or punishment. Continual over- looking will not of itself bring about really good behaviour. Boys can be taught to behave well without the necessity of being continually watched, and will rise to the call to do so if it be made upon them.
Much, too, depends upon comparatively small matters, for it is, as a rule, little habits which shape the course of a boy's conduct. A few simple rules such as the following, will bring about a better result than any long rig- marole and list of fines :
CHOIR-RULES.
Vestry and Practice Eules.
1. Boys must come to the services and practices with clean hands and face, and tidy hair.
2. On entering the vestry every boy is immediately to put on his cassock and sit in his place until " time " is called. Talking in a whisper is allowed until the call of time, provided the speaker is sitting in his place.
3. On returning to the vestry after service, each boy must replace his cassock and surplice and at once quietly leave the vestry.
4. Talking, laughing and inattention are forbidden in the practice-room after "time" has been called.
TRAINING OF BOYS' VOICES. 67
Service Rules.
1. Every boy must sit, stand, or kneel upright, and must try to keep his attention on the service. Elbows are not to be put upon the choir-desks.
2. Whispering and looking down the church are for- bidden.
3. The lessons must be followed in the bibles.
Every boy should be supplied with a prayer book in his choir stall, and inside the cover should be gummed short prayers to be said before and after service. The following prayers have the merit of being simple, and sufficiently short to allow the boys time for finding their places before service and putting away their books before leaving the choir stalls after service. The cost of printing a few copies of a size to fit the prayer books is trifling.
PRAYER BEFORE SERVICE.
O Lord, open Thou my lips that I may bless Thy Holy Name. Keep my thoughts from wandering, and grant that my praises may be acceptable to Thee ; through Jesus Christ our Lord. Amen.
PRAYER AFTER SERVICE.
0 God, I thank Thee for this opportunity of worshipping Thee. Forgive me if I have done anything which is wrong during this service, and accept my praises for Jesus Christ's sake. Amen.
68 A TEE AT I SE ON THE
The vestry should be furnished with seats for the boys while waiting to enter the church. Every boy should have his own place, and any boy found standing about should be called to order.
TRAINING OF HOYS' VOICES.
CHAPTER VI.
FINANCIAL.
IT is, of course, impossible to adopt any defin- ite system of choir organisation, unless there be a choir fund as distinguished from the ordinary funds of the church, out of which the expenses may be defrayed. The work of maintaining the income of the choir fund should be in the hands of some properly con- stituted committee who will be responsible either to the vicar only, or the vicar and churchwardens. The nomination of the com- mittee may be entrusted to the churchwardens, or the vicar himself may appoint the members, or they may be chosen at a general meeting of the parishioners, but in any case, the sanction of the vicar must be obtained before any appointments can finally be made.
In some parishes the choir fund is simply
70 A TREATISE ON THE
part and parcel of the ordinary church ex- penses and is therefore liable to so many fluctuations that no continuous system of choir administration is possible. In other churches the churchwardens guarantee a certain sum for choir expenses and instruct the organist to make the most of it, while there are many churches where the choir fund is altogether independent of the ordinary church finances except for an annual subsidy from the church- wardens and certain offertories for the choir fund. The first of these methods is neither economical nor conducive to efficiency; the second may be adopted if the ordinary income of the church be large ; the third is to be recom- mended, not only because the liability of the churchwardens on account of the choir fund is limited to a certain stated sum, but also because it leaves those who are responsible for the maintenance of the choir fund a free hand in collecting subscriptions and taking whatever other steps they may consider necessary for keeping it up to a certain amount. This last point is one of some importance. People will, in most cases, be found willing to subscribe to a choir fund without reducing the amount they
TRAINING OF SOYS1 VOICES. 71
are in the habit of giving to other objects, and not only so, but the fact of their having sub- scribed will result in their taking an interest, and even a pride, in the choir, especially if it attain to anything more than ordinary efficiency. Again ; there is no doubt that well- rendered services result in bringing together larger congregations than is the case with in- differently rendered music. We do not insinu- ate that this should be the end and aim of church music — we simply state the fact. One result is that the ordinary offertories are increased and the ordinary church finances benefited, and this without any additional liability on account of the choir-fund.
:The functions of the committee — which should be a small one if good work is to be done — are purely financial and do not embrace any control over the rendering of the music for which the organist alone is responsible to those by whom he is appointed.
The sources of income in most parishes are as follows : —
Subscriptions of a guaranteed annual amount.
6
72 A TREATISE ON THE
Donations.
Subsidy from the ordinary church funds.
Special offertories.
Choir-fund box at the entrance of the church.
All annual donations and as many subscrip- tions as possible should be called in at a stated period of each year. At the same time a de- tailed estimate of expenditure for the ensuing year should be handed in to the committee by the head of each department (e.g., cassock superintendent, secretary of cricket club, etc.), and the committee will then draw up a general estimate of income and expenditure for the en- suing twelve months, apportioning to each department such a sum as the estimates of that department call for, or as much of it as the means will allow. Thus the head of each department will know what funds he has at his disposal, and can administer his department accordingly.
The work of drawing up the estimates will be greatly facilitated if the accounts of the preceding year have been carefully kept and can be presented to the committee in tabulated form, so as to be easily available for reference.
TRAINING OF BOYS' VOICES. 73
In all matters affecting each department, the committee will, of course, avail themselves of the advice of the head of that department.
At a stated period of each year the head of each department will hand in to the committee a balance sheet duly audited. The accounts will then be summarised and a general balance sheet drawn up, which, having been passed by the committee, may be published for the in- formation of donors and subscribers.
Appended is a list of estimated expenses in choir-organisation and maintenance. For the sake of completeness we have included every- thing which is necessary for carrying on the choir-work, but there are few parishes in which it will not be found possible to forego a great part of the expenditure. The first set of tables refers to the first expenses in starting a choir; the second set includes the annual expenses for maintenance.
The estimates assume a choir of forty mem- bers (twenty-six boys, all paid, and fourteen men, voluntary), together with a preparatory choir of sixteen boys (all paid).
74 A TEEATISE ON THE
DEPARTMENTS.
a. Personal: includes boys' payments, prizes, prospectus printing, etc.
b. Books, music and choir-room: includes articles used at the practices, repairing music, etc.
c. Recreation: includes cricket and other clubs, indoor games, etc.
d. Vestments and vestries: includes cas- socks, surplices and certain vestry furniture.
\lt should be understood that the prices quoted in the following lists are pre-war rates, and as fluctuations for a considerable time are only natural, the list has been left unaltered, but at least 50 per cent increase should be reckoned on.]
FIRST SET OF TABLES (Organization).
(a). PERSONAL. CHORISTERS' PAYMENTS.
£ s. d. 2 boys receiving £500 yearly £10 0 0
?)
400 3 10 0 300 2 10 0 200 1 10 0
800
14 0 0 12 0 0
15 0 0 800
6 0 0 73 0 0
Preparatory Choir : 16 boys receiving 4/4 per ann. 394
Bonuses and Prizes 500
Advertising ', 1 10 0
Prospectus Printing 15 0
Contingencies 2 10 0
Total Expenses of Personal Department 86 4 4
TRAINING OF BOYS' VOICED. 75
|
(bj. BOOKS, MUSIC, AND CHOIR-ROOM. |
||
|
BOOKS AND Music, viz. |
||
|
4 doz. Bibles at 9d. each |
£1 16 |
0 |
|
4 doz. Prayer-books at 8d. each ... |
1 12 |
0 |
|
4 doz. Psalters |
2 8 |
0 |
|
4 doz. Chant-books |
3 12 |
0 |
|
4 doz. Response and Litany Books |
12 |
0 |
|
4 doz. Hymn-books |
2 8 |
0 |
|
30 Vocal Exercise Books at 4d. each |
10 |
0 |
|
30 Theoretical Instruction Books |
||
|
at I/- each |
1 10 |
0 |
|
4 doz. Rubber Bands at 6/6 per doz. |
1 6 |
0 |
|
50 yds. Book-marker Ribbon at If d. |
||
|
per vd |
7 |
4 |
|
Printing Prayers to be said before |
||
|
and after Service |
4 |
6 |
|
Printing Music-list forms |
15 |
0 |
|
Contingencies |
3 0 |
0 20 0 10 |
|
PRACTICE REQUISITES, viz. |
||
|
Pianoforte |
£40 0 |
0 |
|
Music-rack |
8 10 |
0 |
|
Metronome |
15 |
o |
|
Blackboard . ...) |
10 |
6 |
|
Easel |
4 |
$ |
|
Chalk |
6 |
|
|
2 Blackboard Cloths at 2f each ... |
5J |
|
|
Baton |
1 |
0 50 1 ll£ |
|
CHOIR-ROOM FURNITURE AND FITTINGS, |
||
|
viz. |
||
|
Writing-table |
£4 4 |
0 |
|
2 cork-faced notice-bds. at 7/6 each |
15 |
0 |
|
Drawing-pins |
6 |
|
|
Trestle-table |
10 |
6 |
|
Cupboard |
10 |
6 |
|
Waste paper basket |
1 |
0 |
|
4 doz. Chairs at £1 5s. per doz. |
5 0 |
0 |
Carried forward £11 1 6 £70 2
76 A. TEEATISE ON THE
|
Brought forward £11 |
1 |
6 £70 2 9i |
|
Hat and Coat Pegs ..- |
7 |
6 |
|
Umbrella Stand |
15 |
0 |
|
2 Scrapers at 4/- each |
8 |
0 |
|
2 Mats at 2/- each |
4 |
0 |
|
Fender ... |
10 |
6 |
|
Fire-irons |
8 |
6 |
|
Coal-scuttle |
5 |
6 |
|
Hearth-brushes |
4 |
0 |
|
Hearth-brush Box |
1 |
0 |
|
2 Brooms at 2/- each |
4 |
0 |
|
Dust-pan |
1 |
o |
|
Dusting-brush |
2 |
6 |
|
4 Dusters at 2^d. each |
10 |
|
|
Scrubbing-brushes, Pail and Cloths |
2 |
6 |
|
Marking-ink |
6 |
|
|
Lavatory Fittings, viz., 2 Wash- |
||
|
stands and Basins at 12 / 6 each 1 |
5 |
0 |
|
6 Towels at 4d. each |
2 |
0 |
|
Pegs for Towels .... |
2 |
|
|
2 Hair Brushes at 1 '6 each |
3 |
0 |
|
2 Combs at 6d. each |
1 |
0 |
|
2 Filters at 17/6 1 |
15 |
0 |
|
4 Tumblers at 2d. each |
8 |
|
|
2 Looking-glasses at 1/6 each |
3 |
0 18 6 8 |
Total of Books and Choir-room Department 88 9
(c). RECREATION. CRICKET CLUB.
Mowing Machine ... £440
Roller 660
Machine Oil and Cloths 9
Crease-marking Frame 36
Carried forward £10 14 3
TEA.INING OF BOYS' VOICES. 77
|
Brought forward |
£10 14 3 £ s. |
d. |
|
Whiting, Brush and small Bucket |
2 0 |
|
|
4 Match Bats at 12/6 each |
2 10 0 |
|
|
4 Practice Bats at 8/- each |
1 12 0 |
|
|
6 Balls at 4/3 each |
156 |
|
|
2 Sets Stumps at 3/3 |
6 6 |
|
|
2 Sets Bails at 6d. ... |
1 0 |
|
|
3 pairs Leg-guards at 6/6 |
19 6 |
|
|
3 pairs Batting-gloves at 5/- |
15 0 |
|
|
Wicket Measure |
3 6 |
|
|
Practice Net with poles, guy ropes |
||
|
and pegs |
1 10 0 |
|
|
Telegraph Board |
7 6 |
|
|
Scoring Book |
1 0 |
|
|
Cricket-bag |
12 6 |
|
|
Linseed-oil |
6 |
|
|
Contingencies ;. |
15 0 21 15 |
0 |
|
FOOTBALL CLUB. |
||
|
4 Goal Posts at 2/6 each |
10 0 |
|
|
4 Footballs at 7/- |
180 |
|
|
Inflator |
3 0 |
|
|
Boundary Marker |
17 6 |
|
|
Whiting, Brush and large Bucket |
3 6 |
|
|
Contingencies |
7639 |
6 |
|
HOCKEY CLUB. |
||
|
4 Goal-posts at 2/6 each |
10 0 |
|
|
36 Clubs at 3/6 |
660 |
|
|
Boundary Marker |
17 0 |
|
|
Whiting and Bucket |
3 6 |
|
|
3 Balls at 4/6 each |
13 6 |
|
|
Contingencies ... |
56 8 15 |
6 |
|
Carried forward |
£34 0 |
9 |
78 A TREATISE OAT THE
£ s. d. £ s. d.
Brought forward 34 0 9
INDOOR GAMES.
4 sets Dominoes at 3/- per set ... 12 0
2 sets Chess at 5/- per set 10 0
6 sets Draughts at 2/- per set ... 12 0
1 pair Fencing Foils 46
1 pair Masks ... ... ... 56
1 pair Indian Clubs 76
1 set Boxing Gloves 8 0
Contingencies 12 6 3 12 0
Total Expenses of Recreation Department 37 12 9
(d). VESTMENTS AND VESTRIES. VESTMENTS. 18 Men's Surplices averaging 45 in.
in length at 9/- each £820
18 Men's Cassocks averaging 56 in.
in length at 14/6 each ... 13 1 0
30 Boys' Surplices averaging 30 in.
in length at 6/- each 900
30 Boys' Cassocks averaging 45 in.
in length at 10/- each ... 15 0 0 Marking-ink 6 45 3 6
VESTRIES.
Vestments Cupboard for men ... 800
Vestments Cupboard for boys ... 10 0 0
Benches for boys' vestry 1 10 0
Hat and Coat Pegs .... 7 6
Umbrella Stand 10 0
Contingencies 2 0 0 22 7 6
Total Expenses of Vestments Department 67 11 0
TRAINING OF BOYS' VOICES. 79
|
SUMMARY. a. Personal £86 4 4 b. Books and Choir-room ... 88 9 5£ ^. Recreation 37 12 9 d. Vestments 67 11 0 |
|
|
Total £279 17 <H |
|
|
SEOOND SET OF TABLES (Maintenance). (a). PERSONAL. CHORISTERS' PAYMENTS. £ 2 boys receiving £500 per annum £10 0 0 2,, 400 „ 800 4 „ 3 10 0 „ 14 0 0 4 „ 300 „ 12 0 0 6 „ 2 10 0 „ 15 0 0 4 „ 200 „ 800 4 „ 1 10 0 „ 600 * Back payments of 6 boys raised from Preparatory Choir to Senior at 4/4 each boy 160 74 |
s. d. 6 0 |
|
Preparatory Choir: 16 boys receiving 4/4 per |
9 4 |
|
Bonuses and Prizes ... ... .. 5 |
0 0 |
|
Contingencies ... ... ... ... ... 2 |
0 0 |
|
Total Annual Expenses of Personal Dept. £84 (bj. BOOKS, MUSIC, AND CHOIR-ROOM. BOOKS AND Music, viz. Repairing Materials 15 0 New Music ... 10 0 0 |
15 4 |
|
Postage 10 0 |
|
|
Stationery ...... 50 |
|
|
Pianoforte Tuning 10 6 2 Librarian's assistants receiving 5/- per quarter each ... 2 0 0 14 |
0 6 |
|
Carried forward 14 |
0 6 |
* See page 45.
80 A TEEATISE ON THE
£ s. d. £ s. d.
Brought forward 14 0 6
CHOIR-ROOM.
Gas 1 15 0
Water 9 6
Coal and Wood ... 200
Soap 1 0
Bath-brick ... 6
Chimney-sweeping ... ... ... 50
Washing Hair-brushes, Towels, etc. 10 0
Toilet Rolls 2 6
Blacklead 6
Caretaker 500
Contingencies \ ... 1 0 0 11 4 0
Total Annual Expenses of Books and Choir- room Department 25 4 6
(c). RECREATION.
CRICKET CLUB.
Repairs ... ... 15 0
6 Cricket Balls 1 16 0
Machine-oil 6
Linseed-oil 6
Whitening ... 6
Postage 2 6
Fares 1 10 0
Contingencies y 15 0 5 0 0
FOOTBALL CLUB.
Repairs 10 0
3 Footballs 110
Whitening 1 6
Fares 1 10 0
Contingencies 11 6 3 13 0
TEAINING OF SOYS' VOICES.
81
|
£ s |
. d. |
£ s. d. |
|
|
Brought forward |
8 13 0 |
||
|
HOCKEY CLUB. |
|||
|
Repairs |
5 |
o |
|
|
4 Balls ... ., |
6 |
0 |
|
|
Whitenin^ |
6 |
||
|
Fares ... |
15 |
0 |
|
|
Contingencies |
5 |
0 |
1 11 6 |
|
INDOOR GAMES. |
|||
|
Repairs |
10 |
6 |
|
|
Contingencies |
10 |
6 |
1 1 0 |
|
QUARTERLY TEA (42 BOYS). |
|||
|
Tea, 21 Ibs. at 1/8 |
3 |
8* |
|
|
Butter, 2 Ibs. at 1/4 |
2 |
8 |
|
|
Cake, 12 Ibs. at 6d |
6 |
0 |
|
|
Sausage rolls, 43 at Id |
3 |
7 |
|
|
Bread, 4 loaves at 5d |
1 |
10 |
|
|
Jam, 8 Ibs. at 6d |
4 |
0 |
|
|
Milk, 8 pints at 2d. |
1 |
4 |
|
|
Loaf sugar, 5 Ibs. at 2d |
10 |
||
|
Oranges, 5 doz. at 1/8 .'.. |
8 |
4 |
|
|
Hire of tables, crockery, etc. |
10 |
6 |
|
|
Contingencies |
5 |
0 |
Total for 4 teas per annum ... 2 7 9£ x 4 9 11 2
Total Annual Expenses of Recreation Dept. 20 16 8
(d). VESTMENTS. Repairs, Buttons, Marking-ink, etc. Alterations to boys' cassocks
Washing Surplices
Contingencies
7 6
1 10 0
2 10 0 1 10 0
Total Annual Expenses of Vestments Department 5 17 6
82 A TREATISE ON THE
SUMMARY.
a. Personal £84 15 4
b. Books and Choir-room ... 25 4 6
c. Recreation 20 16 8
d. Vestments 5 17 6
Total £136 14 0
V See note regarding increase of prices on page 74-
THAWING OF BOYS' VOICES. 83
CHAPTER VII.
CONCLUSION.
IT may not be inopportune to mention here that, although to one who does not possess practical experience of choir-work, this sketch of choir administration may appear to be too elaborate to work well, there is little suggested in these pages which has not been put to the test of actual experience and which does not form part of the routine of several of the best managed choirs in this country. The ease with which the work of a well appointed and well managed choir can be carried on is remarkable.
We would, however, counsel the choirmaster and those whom, as head of the choir system he may appoint to be his assistants, to work quietly. These are days of self-advertisement, of show, and of paragraphs in the newspapers.
84 A TEE AT I SE ON THE
All that must be avoided. Especially would we advise him not to attempt anything in the way of oratorios or musical festivals, at the expense of the ordinary service music — the vocal and theoretical training, the chanting, an- thems, and so on. We do not for a moment deprecate the rendering of oratorios by choirs competent to include them in their ordinary curriculum of training. The excellence of our best London and provincial choirs is simply the outcome of training, and when a choir has become efficient enough to include in its reper- tory some of the most difficult oratorios and other music, the advisability of giving oratorio performances (if the word be permissible in such a connection), may then, and not till then, be considered.
We hear nowadays a great number of very badly rendered services, and the reason seems to be that choirs are so often called upon to render the music before they have learnt to sing. The training must come first, and the rendering of the music then becomes a com- paratively easy matter and — what is of no little importance — it will be uniformly good, and will not almost entiirely depend upon the
TEAINING OF BOYS' VOICES. 85
weekly rehearsal or any such hand-to-mouth method of procedure.
The training must be regular, and the num- ber and nature of the musical services kept within the capacities of the choir and strictly limited to the opportunities for practice. Should the question arise of sacrificing either a practice or the music at a service, the one to the other, better results — from a strictly musi- cal point of view, will be attained by allowing the service to give way to the practice, and, after all, this only amounts to foregoing the music at one service in order that it may be the better rendered at another.
Above all, let the choirmaster ever keep before himself, his choir, and all who are con- nected with the work for which he is responsi- ble, the one great object in doing with all their might whatever their hands may find for them to do.
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Chopin, His Life and Letters. By MOBITZ KARA- sowsKi. Translated by EMILY HILL. " Third Edition, with Additional Letters in Polish with English Trans- lation, Chopin to Grzymala, and extra Illustrations. 14 Illustrations. Crown 8vo, cloth, 12s. 6d. net.
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Student's Guide to the Art of Teaching: the Pianoforte. Practical Suggestions for Young Teachers and Students. With an Extensive and Care- fully Graded List of Studies and Courses of the Great Masters. By CYRIL R, H. HORHOCKS, L.B.A.M., L.T.C.L., A.It.C.M. Numerous music examples. Second Edition. Revised and Corrected. Crown 8vo, cloth, 6s. net.
The Approach to Liszt A Course of Modern Tonal Technique for the Piano, in the form of Graded Studies from the Moderately Difficult to the Master Stage. By HERBERT WESTERBY, Mus.Bac. Lond., F.E.C.O., etc. Folio, 5s. 6d. net.
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Studies in Russian Music.. Rimsky-Korsakov and his Contemporaries. Critical Essays on the most im- portant of Kimsky-Korsakov's operas, Borodin's " Prince Igor," Dargomi'zhsky's "Stone Guest," etc.; with chapters on Glinka, Mussorgsky, Balakirev and Tchaikovsky. By GERALD ABRAHAM. Copiously illus- trated by music examples. 350 pages, crown 8vo, cloth 10s. net.
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Beethoven's Piano Sonatas. A Descriptive Com- mentary on the Sonatas in the light of Schnabel's In- terpretations ; giving an aesthetic Appreciation of each Sonata, with an Outline of the Development of the Sonata Form in Beethoven's hands. With a Biographi- cal Sketch of Schnabel and an account of his activity as an executant, composer and teacher. By RUDOLF KAST- NER. Englished by GERALD ABRAHAM. 55 pages, post Svo, cloth, 3s. 6d. net (paper, 2s. 6d. net).
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ESTHETICS, CRITICISMS, ESSAYS
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ESTHETICS, CRITICISMS, ESSAYS. 9
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10 ESTHETICS, CRITICISMS, ESSAYS.
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ESTHETICS, CRITICISMS, ESSAYS. 11
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14 BIOGRAPHICAL
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16 H1STOET.
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See page 7 for list of about 60 works in this series, including works by Wagner, Tchaikovsky, Beethoven, Mozart, Handel, Berlioz, Glinka, Schubert, Gounod, Herold, Mendelssohn, Meyerbeer, Balfe, Auber, Ros- sini, \Veber, Wallace, Suppe, Adam, Thomas, Nicolai, Sterndale-Bennett, Cornelius and Flotow, chiefly arranged by Edwin Evans.
ORGAN. 23
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P1ANOFO&T&. 27
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TECHNICAL AND THEORETICAL. 29
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30 TECHNICAL AND THEOltETlCAL.
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32 TECHNICAL A AT) THEORETICAL.
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TECHNICAL AND THEORETICAL. 33
HOW TO WRITE MUSIC IN SHORTHAND. For Com- posers, Students of Harmony, Counterpoint, etc. Eas- ily Acquired, can be Written very Rapidly and is more Legible than printed Music, with Specimens from Bach, Handel, Chopin, Wagner, Mendelssohn, Spohr, Mozart, etc. By FRANCIS TAYLOR. 14 pages. Post 8vo, sewed, 9d. net.
COUNTERPOINT : A Simple and Intelligible Treatise. Con- taining the most Important Rules of all Text Books, in Catechetical Form (terming an Answer to the Question "What is Counterpoint?"). Intended for Beginners. By A. LIVINGSTONE HIRST. Crown 8vo, sewed, Is. net.
THE SONATA : Its Form and Meaning, as Exemplified in the Piano Sonatas by Mozart. A Descriptive Analysis, with Musical Examples. By F. H. MARKS. Sq. 8vo well printed on good paper, cloth, 10s. Gel. net, paper 8s. 6a. net; or in two volumes (Nos. 1 to 9 and 10 to 20), paper, each 4s. 6d. net.
QUESTIONS ON MOZART'S SONATAS, both Educational and Suggestive. By F. HELENA MARKS. Aid and Com- panion to the Study of the Author's work "The Son- ata : Its Form and Meaning as Exemplified in the Piano Sonatas by Mozart." For Teachers and Stu- dents, Is. 6d. net.
TRANSPOSITION AT SIGHT. For Studente of the Organ And Pianoforte. By H. E. NICHOL. Fourth Edition, with numerous Musical Exercises. Crown 8vo, cloth! 2e. 6d. net, paper, Is. 6d. net.
The practice of transposing upon the lines here laid down deve'ops the " mental ear," quickens the musical perception and gives ease in eight reading ; as it is evident that, if the student can transpose at sight, he will not have much difficulty in merelv playing at sight. Free use i« made of the tonio sol-fa as well as the standard notation in many musical examples.
SCHUMANN'S RULES AND MAXIMS FOR YOUNG MUSI- CIANS. Sewed, 3d.
THE STUDENT'S HELMHOLTZ. Musical Acoustics, or the Phenomena of Sound as Connected with Music. By JOHN BROADHOUSE. With more than 100 Illustrations. Fifth Impression. Crown 8vo, cloth, 8s. 6d. net; also in 2 vols., paper covers, each vol. 3s. 6d. net. " In his Preface the author says : ' The object of the present book is to give, in one volanie, a good general view of the subject to those who can neither spare time to read, nor money to buy a number of large and ex- pensive works." A perusal of the book justifies us in asserting that this design is most satisfactorily carried out ; and it is not too much to say that although the plan of the work excludes the possibility of minutely dissecting every subject treated upon, any careful reader may obtain BO clear an insight into the principle of acoustics, as to enable him not only to pass an examination but to §tore up a large amount of general knowledge upon the phenomena of sound." — Musical Times.
VIOLIN AND STKINGED INSTRUMENTS.
VIOLINIST'S MANUAL. A Treatise on Construction, Choice, Care. Adjustment, Study and Technique of the Violin. Full of Useful and Practical Advice regarding the Violin and Bow. By H. F. GOSLING. Numerous Illustrations and an Index. Cr. 8vo, cloth, 7s. 6d. net (or paper, 5s. 6d. net).
VIOLIN TECHNICS, or How to Become a Violinist. Exact Instructions, Step by Step, for its Accomplishment with or without a Teacher. By " FIRST VIOLIN." 2s. net.
PLAYING AT SIGHT FOR VIOLINISTS and Others in an Orchestra. Valuable Hints and Aids for its Mastery. By SYDNEY TWINN. Post 8vo, 2s. net.
ADVANCED MODERN VIOLIN TECHNICS.
TONAL SCALES AND ARPEGGIOS FOR VIOLIN. Intro- ductory to the Unusual Intonation and Finger-group- ing of Advanced Modern Music. By SYDNEY TWINN. 4to, 3s. net.
" These scales will be useful to advanced players who find difficulties in the unusual intonation and technique of modern music." — Strud.
THE VIOLIN. Its Story told in Forty-four Chapters. By PAUL STOEVING. Frontispiece and 42 Illustrations of Instruments, Musical Autographs and Portraits. With Appendix. 5s. 6d. net.
SCALES AND ARPEGGIOS. Indispensable Studies for the Violin. Edited by ALBERT GRAFF. Is. 6d. net.
ARPEGGIOS FOR THE VIOLIN. By BASIL ALTHAUS. Folio. 3s. net.
VIOLINIST'S ENCYCLOPAEDIC DICTIONARY. Containing the Explanation of about 4,000 Words. Phrases, Signs, References, etc., Foreign, as well && English, used in the Study of the Violin, and also by String Players gener- ally, by F. B. EMERY, M.A. New and enlarged edition, doubled in size. 246 pp., crown 8vo. Cloth, 7s. 6d. net, paper, 5s. 6d. net, or on India paper and bound in red pegamoid rounded corners, 6s. 6d. net, suitable for student or travel.
OLD VIOLINS AND VIOLIN LORE, Famous Makers of Cre- mona and Brescia, and of England, France and Ger- many (with Biographical Dictionary), Famous Players, and Chapters on Varnish, Strings and Bows, with 13 full-page plates. By H. R. HAWEIS. Thick crown 8vo, cloth, 7s. 6d. net.
BOW INSTRUMENTS, their Form and Construction. Prac- tical and Detailed Investigation and Experiments re- garding Vibration, Sound Results, and Construction. By J. W. GiLTAY. Issued into English by the Author in Co-operation with E. VAN DER STRAETEN. Numerous Diagrams. 8vo, cloth, 8s. 6d. net (paper, 7s. net). " A valuable treatise."— The Strad.
VIOLIN AND STRINGED INSTRUMENTS. 35
YOUNG VIOLINIST'S SCALE AND ARPEGGIO MANUAL.
By WILSON MANHIRE, L.R.A.M., etc. 2s. net.
70 PREPARATORY VIOLIN EXERCISES for Beginners in the First Position, carefully Graduated, Supplementary to the First Instruction Book. By WILSON MANHIRE, L.R.A.M., A.R.C.M.. etc. 2s. net.
FACTS ABOUT FIDDLES. Violins Old and New. By J.
BROADHOUSE. Fourth Edition. Or. 8vo, paper, 9d. net.
NOTABLE VIOLIN SOLOS: How to Play Them. Three Series (consisting of 43 descriptive Articles in all). By E. VAN DER STRAETEN. Is. 6d. net each series. Also complete in cloth, with Portraits, 6s. 6d. net.
VIOLIN MANUFACTURE IN ITALY and its German Origin. By DR. E. SCHEBEK. Translated by W. E. LAWBON.
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CHATS WITH VIOLINISTS. By WALLACE RITCHIE. With four Photographic Illustrations. Crown 8vo, cloth, 4s. net.
CHAPTERS : On the Importance of being- Accurate ; On Various Details ; On the Violin and its Fittings ; on Reading from Sight and Playing from Memory ; A Few Violin Secrets ; Some valuable Technical Exercises ; Hand Development for Violinists, including Eighteen Excellent Finger Gym- nastics ; Sundry Useful Hints.
I here lay before the public that information and advice which I have hitherto b»en content to reserve for the sole use of my own pupils. During a considerable experience, both as a student and. as a teacher of the violin, I have naturally pieced together quite a variety of small hints and items of information which, though modest enough indi- vidually, have been found on the whole to be of no inconsiderable value, not only with regard to my own playing, but also— and which is of far more importance — in enabling me to impart a knowledge of the art to others.
ADVICE TO VIOLIN STUDENTS. Containing Informa- tion of the Utmost Value to every Violinist. By WALLACE RITCHIE. Crown 8vo, cloth, 4s. net (paper, 2s. 6d. net).
CONTENTS : Selecting and Adjusting — Choice of a Teacher — Course of Study— The Sevcik Method— Practising— Style— Tone Production— Pronun- ciation of Terms, Names, etc. — Graded List of Studies, Pieces, etc. To- gether with Hints on Common Faults — Shifting — Heading Music — Stopping —Harmonics — Vibrato — Tempo — Intonation, Pitch, etc.
THE VALUE OF OLD VIOLINS. By E. POLONASKI. Being
a List of the Principal Violin Makers, British, Italian, French and German. With Approximate Valuations of their Instruments and Occasional Notes on their Var- nish. Facsimiles of Labels and Violins. Crown 8vo, cloth, 4s. 6d. net.
HOW TO REPAIR VIOLINS and other Musical Instruments. By ALFRED F. COMMON- With Diagrams. Crown 8vo, cloth, 3s. net (paper, Is. 6d., net).
VIOLIN AND STEIN GED INSTRUMENTS.
INFORMATION FOR PLAYERS, Owners, Dealers and Makers of Bow Instruments, also for String Manufac- turers. Taken from Personal Experiences, Studies and Observations. By WILLIAM HEPWORTH. With Illus- trations of Stainer and Guarnerius Violins and Gauge of Millimetres and Centimetres, etc. Crown 8vo, cloth, 4s. net.
CONTENTS : The Pegs— Neck— Finger-board— Bridge— Tail-Piece— Saddle- Violin Holder — Tail-pin — Bar — Sound-post — On the Stringing of Bow Instru- ments in General Use — Strings — Rosin — Cleaning of the Instrument and the Bridge — Bow— Violin Case — Repairs — Preservation — Conclusion.
SKETCHES OF GREAT VIOLINISTS AND GREAT PIAN- ISTS. Biographical and Anecdotal, with Account of the Violin and Early Violinists. Viotti, Spohr, Paga- nini, De Beriot, Ole Bull, dementi, Moscnelee, Schu- mann (Robert and Clara), Chopin, Thalberg, Gottschalk, Liszt. By G. T. FERRIS. Third Edition. Crown 8vo, cloth, 3s. net. (Edition with portrait to each, 4s. 6d. net.)
NOTICE OF ANTHONY STRADIVARI. The Celebrated Violin Maker known by the name of Stradivarius, pre- ceded by Historical and Critical Researches on the Origin and Transformations of Bow Instruments, and followed by a Theoretical Analysis of the Bow and Re- marks on Francis Tourte. By F. J. FETIS. Translated by J. BISHOP. Facsimile of a Letter of Stradivarius. 8vo, cloth, 6s. 6d. net
TREATISE ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN and all other Bow Instruments. To- gether with an Account of the most Celebrated Makers and of the Genuine Characteristics of their Instruments. By J. A. OTTO, with Additions by J. BISHOP. With Diagrams and Plates. Fourth Edition, further En- larged. Crown 8vo, cloth, 4s. 6d. net, Contains instructions for the repair, preservation and bringing out the
tone of instruments ; tracing model for violin, mutes and fiddle holders ;
list of classical works for stringed instruments. This work is especially
valuable for makers of violins.
HOW TO PLAY THE FIDDLE. For Beginners on the Violin. By H. W. and G. GRESSWELL. Eighth Edi- tion. Crown 8vo, cloth, 3s. net, or in 2 vols., paper, 2s. net (or separately, Is. net each).
JOACHIM says : " Contains many useful hints about violin playing." BIOGRAPHICAL DICTIONARY OF FIDDLERS. Including Performers on the Violoncello and Double Bass, Past and Present. Containing a Sketch of their Artistic Career, together with Notes of their Compositions. By A. MASON CLARKE. 9 Portraits. PostSvo, cloth, 6s. net.
' We may here take the opportunity of recommending a useful book to all lovers of violins and violinists. Fiddlers, Ancient and Modern, is practically a little Biographical Dictionary, well arranged with some excel- lent portraits."— Northern Whig.
VIOLIN AND STRINGED INSTRUMENTS. 37
ART OF HOLDING THE VIOLIN AND BOW AS EXEM- PLIFIED BY OLE BULL. His Pose and Method proved to be based on true Anatomical Principles. By A. B. CROSBY, M.D., Professor of Anatomy. Portrait, Diagrams and Illustrations. 8vo, cloth, 3s. net (paper, Is. 6d. net).
Included in the above are some interesting recollections and anecdotei of Ole Bull.
THE VIOLIN AND OLD VIOLIN MAKERS. Being a His- torical and Biographical Account of the Violin. By A. MASON CLARKE. With Facsimiles of Labels used by Old Masters and illustrations of a copy of a Gasparo da Salo. Crown 8vo, cloth, 3e. net (paper, Is. 6d. net).
THE VIOLIN, ITS HISTORY AND CONSTRUCTION. Il- lustrated and Described from many Sources. Together with a List of Italian and Tyrolese Makers. With 28 Illustrations and Folding Examples of the First Music issued for the Lute, Fiddle and Voice. From the Ger- man of ABELE and NIEDERHEITMANN. By J. BROAD- HOUSE. Fresh issue printed in larger size. Crown 8vo, cloth, 4s. 6d. net, paper covers, 3s. net.
" The learned and instructive treatise of Abele, skilfully rendered by J. Broadhouse and supplemented by a version of Niederheitmann's list of Italian and Tyrolese violin makers, a compilation invaluable to collectors and connoisseurs of rare fiddles .... a work which forms a noteworthy addition to the small number of English books upon this interesting sub- leot." — Scotsman.
HOW TO MAKE A VIOLIN, Practically Treated. By J. BROADHOUSE. New and Revised Edition. With 47 Il- lustrations and Folding Plates and many Diagrams, Figures, etc. Crown 8vo, cloth, 5s. 6d. net (paper, 4s. net).
CONTENTS : Introduction— The Parts of the Violin— On the Selection of Wood— The Tools required— The Models— The Mould— The Side-pieces and Side Linings— The Back— Of the Belly— The Thickness of the Back and Belly— The Bass Bar— The Purfling— The Neck— The Finger-board— The Nut and String Guard — Varnishing and Polishing — Varnishes and Colour- ing Matter — The Varnish — A Mathematical Method of Constructing the Outline — The Remaining Accessories of the Violin.
This new edition had the advantage of being revised throughout by a celebrated violin maker.
A MUSICAL ZOO. Twenty-four Illustrations displaying the Ornamental Application of Animal Forms to Musical Instruments (violins, Viol da Gambas, Guitars, Pochette, Serpent, etc.). Drawn from the Carved Ex- amples by HENRY SAINT-GEORGE. Cloth, 5s. net (paper, 3s. net).
THE HISTORY OF THE VIOLIN and other Instruments Played on with the Bow from the Remotest Times to the Present. Also an Account of the Principal Makers. Coloured Frontispiece and numerous Illustrations and Cute. By W. SANDYS, F.S.A., and S. A. FORSTER. Thick 8vo, cloth, 10s. 6d. net (published at 14s. net).
38 VIOLIN AND STEINGED INSTEUMENTS.
THE VIOLIN AND BOW. A Treatise (in Three Languages, English, French and German), with numerous Copies of Photographs taken from Life, supplemented by Various Examples and Original Studies by I. B. Poz NANSKI. 4s. net.
ROYSTON'S PROGRESSIVE VIOLIN TUTOR (with Illus- trations giving Correct Position for Hand, Wrist and Fingers). Folio, 3s. net.
TECHNICS OF VIOLIN PLAYING. By KARL COURVOISIER. With Illustrations. Eleventh Edition. Cloth, 3s. net (paper, Is. 6d. net).
" It is my opinion that this book will offer material aid to all Violin players."— JOACHIM.
" As far as words, aided by diagrams, can make clear so practical a subject as the playing of a musical instrument, this little book leaves nothing to be desired. The author, who was a pupil of Joachim, has treated the subject in a most thorough manner, and we can highly recom- mend his little book." — Educational Times.
AN IMPORTANT LESSON TO PERFORMERS ON THE VIOLIN. By the Celebrated TARTINI. Portrait. Being the Translation by DR. BURNEY, issued origin- ally in 1779, together with the original Italian. 8vo, cloth, 3s. net (paper, Is. 6d net).
STORY OF THE HARP. Told in Twenty-two Chapters. By W. H. G. FLOOD, Mus.Doc. Frontispiece and 32 Illus- trations of Instruments, etc. Appendix containing the ^Eolian Harp ; Epochs in Harp Making and Biblio- graphy. 5s. 6d. net.
VIOLONCELLO EXERCISES, SCALES AND ARPEGGIOS.
By E. GILLET. Complete in one vol., 4s. net • or Part I, Exercises, Is. 6d. net, Part II, Scales, Is. 6d. net, and Part III, Arpeggios, Is. 6d. net.
ART OF VIOLONCELLO PLAYING. Tutor in Three Books. By E. VAN DER STRAETEN. Text in English and French. 4to. Book I, as. 6d. net; Bock II, 4s. net
WELL-KNOWN VIOLONCELLO SOLOS. How to Play Them. Three Series. By E. VAN DER STRAETEN. Is. 6d. net, each series. Also complete in cloth, with Portraits, 6s. 6d. net.
VOCAL.
THE VOCAL WORKS OF JOHANNES BRAHMS. Histori- cal, Descriptive and Analytical Account of each Work treated in the Order of the Opus number, preceded by a Didactic Section and followed by copious Tables of Reference. Original English Translations supplied to many numbers. Specially designed for the use of Con- cert-goers, Pianists, Singers and Students. By EDWIN EVANS, Senior. Thick 8vo, cloth, 15s. net.
The above volume is a complete technical account of the vocal works. It forms a part of th? Historical, Descriptive and Analytical Account of the Entire Works of Brahms advertised on page 4.
VOCAL TRAINING AND PREPARATION FOR SONG IN- TERPRETATION. With a Section showing how to Determine Accurately by Pitch and Curve Graphs the special Suitability of Songs selected for particular Vocal Requirements. Music Illustrations and Descrip- tive Diagrams. By FRANK PHILIP. 8vo, cloth, 8s. 6d. net.
THE AMATEUR VOCALIST. A Guide to Singing. \Vith Useful Hints on Voice Production, Song Preparation, etc. By WALTER L. TWINNING, F.R.C.O. Post 8vo, limp cloth, Is. 6d. net.
HOW TO TEACH CLASS SINGING, and a Course of Outline Lessons which illustrate the psychological principles upon which successful tuition is based. By GRANVILIE HUMPHREYS, Professor of the Art of Teaching, Voice Production, etc., at the T.S.-F.C. ; late Lecturer in Class Singing at the Tiaining School for Music Teach- ers. Numerous Music Illustrations. Crown 8vo, paper, 4s. net, cloth, 5s. 9d. net.
Teacher's will find this very striking book of great value. The pub- lishers have no hesitation in strongly recommending it.
VOCAL SUCCESS, or Thinking and Feeling in Speech and Song, including a Chapter on Ideal Breathing for Health. By the REV. CHAS. GIB (author of "The Art of Vocal Expression" and " Vocal Science and Art"). With a unique series of X-ray plates especially taken for this work. Crown 8vo, cloth, 5s. net, or paper covers, 3s. 6d. net. The known facts of science in connection with both the structure and
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by impressions formed in the course of long experience and experiment
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THE VOICE AND SINGING. Practically Explained, Con- densed but Comprehensive Treatise, designed princi- §ally for Students and Amateurs, by an Experienced inger and Teacher (C. W. PALMER). Cloth, 3s. net; paper, Is. 6d. net.
" I have studied the subject as an enthusiast both theoretically and practically, both as student and teacher, for over thirty years." — Extract from the Preface.
40 VOCAL.
VOICE PRODUCTION AND VOWEL ENUNCIATION. By
F. F. MEWBURN LEVIEN. Diagrams by ARTHUR C. BEHREND. Post 8vo, sewed, 6d. net.
VOCAL SCIENCE AND ART. Hints on Production of Musical Tone. By REV. CHAS. GIB. The Boy's Voice, Muscular Relaxation, Art of Deep Breathing, Elocu- tion for Ordination Candidates. With Numerous Illus- trations, and Introduction, Notes and Diagrams, by J. F. HALLS DALLY, M.A., M.D., etc. Dedicated to the Bishop of London. Crown 8vo, cloth, 4s. net.
RUDIMENTS OF VOCAL MUSIC. With 42 Preparatory Exercises, Rounds and Songs in the Treble Clef. By T. MEE PATTISON. Second Edition. Crown 8vo, paper, 3d. net.
PHYSICAL DEVELOPMENT IN RELATION TO PERFECT VOICE PRODUCTION. By H. TRAVERS ADAMS, B.A. 8vo, paper, 2s. 6d. net.
Intended for students. Treats of Vibration, Breaks and Registers, The Speaking Voice, Attack, Practical Application, Breathing, Exercise in Inspiration, Expiration, and so on.
SIMPLICITY AND NATURALNESS IN VOICE PRODUC- TION. A Plea and an Argument. By EDWIN WARE- HAM. Crown 8vo, cloth, 3s. net.
OBSERVATIONS ON THE FLORID SONG. Or Sentiments on the Ancient and Modern Singers. By P. F. Tosi. Translated by Mr. Galliard. With folding Musical Ex- amples. 184 pages. A Reprint of this Celebrated Book, first published in 1743. Crown. 8vo, boards, with vel- lum-like back. 6s. 6d. net.
Recommended to all students of the Italian method of singing by th<> late Charles Lunn.
" It stands for all that is sound and final in the philosophy of singing and shows that the aesthetics and morals of the art are changeless. Re- presents the best thought and practice o* the old Italian singers and singing masters."— The Etude.
" The aged teacher embodies his own experience and that of his con- temporaries at a time when Ihe art was probably more thoroughly taught than it has ever been since." — Grove's Dictionary of Music and Musicians.
ELEMENTARY LESSONS ON SIGHT SINGING. Combining the Staff and Tonic Sol-fa Notations. With Music Examples throughout. By J. W. ROSSINGTON, L.B.A.M. Cloth, 2s. 6d. net (paper, Is. 6d. net).
For many singers there is only one method of becoming good sight- readers, viz., combining the Ionic sol-fa with the staff notation. It is hoped that a perusal of these elementary lessons will show the principles on which this combination is effected and simplify the somewhat difficult task of sight-reading.
THE ART OF VOCAL EXPRESSION. A Popular Handbook for Speakers, Singers, Teachers and Elocutionists. By the REV. CHAS. GIB. Crown 8vo, cloth. 3s. net (paper, Is. 64. net,
VOCAL. 41
THE THROAT IN ITS RELATION TO SINGING. A Series of Popular Papers. By WHITFIELD WARD, A.M., M.I).
Illustrations. Second Edition. Cr. 8vo, cloth, 3s. net,
paper, Is. 6d. net.
CONTENTS : Anatomical Structure of the Throat ; What we See with the Laryngoscope ; How we Sing ; How we Breathe ; How to take Care of the Voice; Hints to Voice Builders; How the Voice is Destroyed; Common Throat Affections of Singers, together with their Treatment, etc.
HOW TO ATTAIN THE SINGING VOICE, or Singing Shorn of its Mysteries. A Popular Handbook for those desir- ous of winning Success as Singers. By A. RICHARDS BROAD. Crown 8vo, cloth, 3s. 6d. net (paper, 2s. net}.
Thia is the Book which fitted Eva Turner to achieve her wonderful successes in the operatic world (in Italy, Germany. Portugal, etc., as well as in her own country). It should help you to achieve great things too.
" An immensely interesting book that has every right to be classed amonir those that %re genuinely useful, and it should be prized by all vocalists from the highest to the lowest.*' -The Musical Observer.
TWELVE LESSONS ON BREATHING AND BREATH CON- TROL. For Singers, Speakers and Teachers. Bv G. E. THORP. Crown 8vo, limp cloth, Is. 6d. net .
TWENTY LESSONS ON THE DEVELOPMENT OF THE VOICE. For Singers, Speakers and Teachers. By G. E. THORP. Fourth Edition. Crown 8vo, limp cloth Is. 6d. net. Mr. Thorp's two books have from time to time been recommended by
various eminent vocal specialists as giving practical aid and advice for the
training, care t,nd development of the \oice. They are fret from any
biased "'system," or 'discovery."
TREATISE ON THE TRAINING OF BOYS' VOICES. With Examples and Exercises and Chapters on Choir-Or- ganization. Compiled for the Use of Choirmasters. By GEORGE T. FLEMING. Second Edition. Crown Svo, cloth, 3s. net ; paper, Is. 6d. net.
GRADUATED COURSE OF EXERCISES FOR BOY CHOR- ISTERS. With Piano Accompaniment. For Use in Conjunction with Above. By G. T. FLEMING. 4to album, paper, Is. 6d. net.
- Ditto, Boy's Voice Part only, 9d. net.
SIX SPIRITUAL SONGS FOR UNACCOMPANIED CHORUS,
with Piano Accomp. (for Practice). By RUTLAND BOUGHTON. In one vol. Roy. Svo. 2s. 6d. net.
The songs are also issued separately.
VOCAL EXERCISES FOR CHOIRS AND SCHOOLS. By
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THE CENTRAL POINT IN BEAUTIFUL VOICE PRODUC- TION. By H. TRAVERS ADAMS, M.A. Cloth, 2s. net ; paper, Is. net.
WAGNER.
WAGNER'S TEACHINGS BY ANALOGY. His Views on Absolute Music and of the Relations of Articulate and Tonal Speech, with Special Reference to " Opera and Drama." A Series of Papers for the Student. By EDWTN EVANS, Senior, F.E.C.O. Crown 8vo, cloth, 3s. 6d. net (paper, 2s. net).
The above forms an introduction to Wagner's Prose Writings.
OPERA AND DRAMA. By RICHARD WAGNER. Translated by EDWIN EVANS, Senior, F.E.C.O. Vol. I. : Part
I. Opera and the Esence of Music. Part II. The Stage-Play and Dramatical Poetic Art in the Abstract. Vol. II. : Part III. Poetry and Music in the Drama of the Future. The Three Parts in 2 vols. Portrait. Crown 8vo, cloth, 12s. 6d. net (or separately, Vol. I, 7s. 6d. net, Vol. II, 6s. 6d. net).
The value of the study of Wagner's prose writing as an education to the musical student cannot be over-estimated, and amongst these prose writings " Opera and Drama " may be considered his principal critical and theoretical production. Without a study of its contents no true and lasting understanding of opera can be arrived at. Wagner's somewhat heavy and Teutonic style in the original has b«»en admirably Englished by Edwin Evans, and Wagner students will feel they owe him a full debt of gratitude for so clear and expository a translation which has now been placed within their reach 1 This pleasure is added to by the setting of the text which has been arranged in numbered paragraphs, each with a sub-heading denoting the subject dealt with. A copious index makes possible an easy and quick reference to any of these paragraphs, and the whole thus gains in attractiveness and loses the heavy and discouraging appearance of the original.
Wagner writing to his friend Uhlig said :
" Here you "have my testament: I may as well die now — anything fur- ther that I could do seems to me a useless piece of luxury."
EBNF.ST NEWMAN in " A Study of Wagner," writes : " Although there appears here and there in his prose-work something of the vast synthetic power of his musical imagination — such a work as ' Opera and Drama," for instance, finally compelling our admiration for its tenacity of pur- pose and the breadth of vision that sweeps so far before and after."
BEETHOVEN. By RICHARD WAGNER. With a Supplement from the Philosophical Works of Schopenhauer. Trans- lated by EDWARD D\NNREUTHER. Third Edition. Crown 8vo, cloth, 6s. 6d. net.
" This work contains his contributions towards the metaphysics of music, if, indeed, such can be said to exist. Apart, however, from meta- physics, the work is an exposition of Wagner's thoughts on the signifi- cance of Beethoven's music." — Grove's Dictionary.
WAGNER'S PROSE WORKS. Translated by WM. ASHTON
ELLIS. Vol. I, The Art-Work of the Future, etc. ; Vol.
II, Opera and Drama ; Vol. Ill, The Theatre ; Vol. IV, Art and Politics. Thick octavo, cloth. The 4 volumes, £2 10s. ; or separate volumes, 15s. each.
LIFE OF RICHARD WAGNER. Being an Authorised Eng, lish Version by WM. ASHTON ELLIS of C. F. GLABENAPP'B "Das Leben Richard Wagner's." 6 vols., 8vo cloth, 15s. net per vol.
WAGNER. 43
JUDAISM IN MUSIC. Being the Original Essay together with the Later Supplement. By RICHARD WAGNER. Translated from the German (Das Judenthum in der Mueik) and Furnished with Explanatory Notes and In- troduction. By E. EVANS, Snr. Cr. 8vo, cloth, 4s. net.
" It at last becomes possible calmly to seek to draw from this essay those valuable lessons relating to art-culture which are therein contained, not in that aspect of the main subject by which Wagner was most ex- cited or his adversaries most offended, but in those subsidiary references and explanations by means of which he then thought merely to support his case but to which time has given a greater value than to the case itself. The noise and disturbance created by the publication of the above work drew public attention for the first time to Wagner's prose writings and created a demand which has continued ever since."
" This ' human document ' shows Wagner in a peculiarly personal light, and as such it will be read with interest by those who believe that the composer of the ' Ring ' never wrote anything which is not worth reading." —The Scotsman.
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The Gipsy in Music. By FRANZ LISZT. Englished for the first time by EDWIN EVANS, SENIOR, and preceded by an Essay on Liszt and his Work.
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Musical Instruments in Pictures. Collection of 168 full page plates of famous pictures in European Galleries by eminent masters, in which musical instruments figure (titles in English, French, German and Italian), foreword in German. 4to, cloth, 16s. 6d. net.
"THE IMMORTAL NINE."
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The ByrcS Organ Book, for Piano or Organ. A Collection of 21 Pieces (Pavans, Galliards, etc.), by William Byrd, 1543-1623, edited from the Virginal MSS. and now first published in Modern Nota- tion. By M. H. GLYN. In two books, 3s. net each, or complete, 5s. net.
About Elizabethan Virginal Music and its Com- posers. With Facsimiles of William Byrd, John Bull, Orlando Gibbons and Giles Farnaby. By MARGARET H. GLYN. Crown 8vo, cloth, 7s. 6d. net.
The Birth off Arthur (Uther and Igraine), Choral Drama. The Libretto by R. R. BUCKLEY and RUTLAND BOUGHTON. Is. 6d. net. This u'ork was performed at Glastonbury in August, 1925, to the
music of Rutland Boughton.
Easy Trios, arranged from Classical Composers, by S. 0. GOLD- SMITH. For Piano, Violin and Violoncello. Score and Parts. Two books, each 3s. net.
3.
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Scherzino ( Schumann J; 9. Song' without Words, No. 3 (Mendelssohn').
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IMPORTANT MUSICAL WORKS.
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Theory of Music for Young: Musicians. With Answers
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Art of Violoncello Playing1. Complete Tutor. By E. VAN DER STRAETEN. Text in French and English. 4to. Part I, 3s. 6d. net : Part II, 4s. net.
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