Choir Training
Choir Training
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'A.MADELEY RICHARDSOH
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http://www.archive.org/cletails/cu31924022495794
TO THE HON.
A.
PERCY ALLSOPP,
CHOIR TRAINING
BASED ON
VOICE PRODUCTION
BY
A.
MADELEY RICHARDSON
M.A., Mus. Doc, OxoN.
F.R.C.O.,
Price
Two
LONDON
COMPANV^, LIMITED,
BERNERS STREET, W.
S.i
I\ -2.
The author
-2. (,
S r-
Sir
John
and
the
proprietors
permission
Chant
in
to
Also
of "
to
Messrs. Novello
Hymns
their respective
E and Mr. A, H.
Love Divine."
Ancient and
copyrights
Brown's
Hymn
&
Co., Ltd.,
Modern
viz.,
"
for
Ouseley's
Tune
to
"
CONTENTS.
PART I FORMATION AND MANAGEMENT OF THE CHOIR.
Chapter
1.
-z.
iNXRODncxoRY.
9.
Chapter
ID
I.
II.
II.
The Choir-Room.
room.
i3.
Chapter
14.
Frequent practices.
15.
The
III.
17.
Age
18.
A common
difficulty.
II.VOICE
Breathing gymnastics.
32. Position of the body.
Time
Two
rules.
Two
51.
52.
Their use.
39. The breath controllers.
41. Their position.
.40
And use.
42.
43. Structure of
44. Consonahts.
words.
Resonance.
Of various kinds
53. Principle
Experiments.
of the
structure
of
musical instruments.
34.
38.
The men.
The boys.
beating.
Payment
Payment
details.
of boys.
of men.
Balance of voices
22. Balance of voices
23. Probationers.
20.
21.
of boys.
PART
pianoforte.
Other
The Choir
ig.
full practice.
33.
34.
The
The human
voice.
59.
60.
61.
62.
six short
84.
85. Variety.
86. Three principal figures.
87.
88.
vowel
quality.
The
70.
89.
registers.
90.
91
voice.
Blending of
72.
747576.
registers.
for
Vowel
97.
98. The
99. Er.
100. A.
the
finding
" focus."
82.
83.
No.
to do with boy altos.
Usual range of boys' voices.
III. THE
I.
Importance of hymns.
103.
Consonant exercise.
104
Artificial
105.
Importance of phrasing.
137.
112.
113
Verbal accent,
Musical emphasis.
Verbal emphasis.
The two combined.
116. Hymns with refrains.
Breath-taking and phrasing
117.
Two
rules.
122.
Chapter
138.
139.
140.
141
The details.
The General
Volume.
Accuracy of time.
What
to avoid.
Endings
Another rule.
Illustration.
Proof.
Summary.
A lesson.
In detail.
choirmaster's attitude.
The
The Responses,
note to take.
Flattening How to avoid'
it.
147.
II.
Confession.
What
143.
words.
125.
126.
127.
128.
129.
130.
131.
132.
133.
134.
135.
136.
no.
HI.
con-
Hymns.
123
pronouncing
106.
for
sonants.
What
PART
importance of tone.
loud singing.
exercise.
round 0.
loi. E.
102. Rules
81.
95. Supreme
96. Soft and
The octave.
The arpeggio.
The descending scale.
The ascending scale.
92. Combined figures.
Teaching a new figure.
93.
94. Transposition.
71-
73-
etc.
Chapter
156.
157.
Wideness of the
III.
The Psalms.
168.
166
subject.
170
173.
174.
175.
the
of
161.
162.
The
" accent."
What
it
Chapter
183
184.
185.
How
IV.
An important principle.
Words and music.
182.'
for breath-taking.
Selection of Chants.
points.
186.
192. Diatonic
Pauses
Two
and Chromatic.
Chapter VI.
Three types of practices.
For boys only.
the
Rule
to secure
188. Sight-reading.
things to consider,
189.
igo 191. Intervals.
197.
198.
Endings.
Complete sentences.
Two new
Chapter V.
middle
178.
181.
of
of three syllables.
Method of teaching
Psalms.
179. How to regard the Psalms.
180. Antiphonal singing.
176
Words
172.
Psalms.
Rendering
words.
169.
193.
194
Time
195.
difficulty.
New
values.
Plan
for
music.
196.
Music.
Summary.
learning
new
PART
I.
INTRODUCTORY.
How
This
is one of the
the musical and
ecclesiastical worlds.
The days are long past when there was
any question as to the desirability of choirs and musical services.
All parties, however great their differences on other matters, now
agree that music ought to hold a foremost place in the Services
of the Church ; and that worship is offered in its highest form in
the Choral Service. Admitted that a Choral Service is desirable,
it follows that, to be a worthy offering, it must be the best
procurable by the means at the disposal of those responsible
nothing less can be acceptable within the Church's walls. How
obvious this seems. And yet there is a hardly defined feeling in
the minds of some devout people that there are dangers
connected with a highly artistic musical Service a dread that
gain in musical culture may mean loss in other directions that
worship may degenerate into a mere outward formality without
true spiritual life
though these same people would probably
be shocked at the idea of offering in the House of God anything
but the best in other forms of art. Would anyone maintain that
a badly painted picture would be more likely to aid devotion than
a good one, or that we ought to have feeble architecture, poor
sculpture, &c. ?
No 1 in all other branches of art, nothing is
considered too good for the House of God. Then, if music we are
to have, it should be the most artistic, as perfect as it can be
made with the material we have to use.
2. Highly trained choirs have been objected to on the ground
of a supposed interference with congregational singing, which is
by some regarded as the ideal way ot worship. Into the question
of congregational singing it is not our purpose to enter l\ere
but it will surely be admitted that a congregation singing with a
good choir is preferable to one in company with a bad choir.
And if it is supposed that good singing implies of necessity
elaborate music which must exclude the congregation, we enter
a protest against any such idea. The smallest things are worth
doing well. It is just the simplest parts of the Service that, as
a rule, need most attention, and these are unfortunately the
parts that are least frequently well rendered.
At present too
much is thought of what music is to be performed, and too little
I.
can
at present before
are present.
How
How
outlines.
6. This applies more forcibly to the singing of boys than that
of either rhen or women, as in any body of the two latter it
rnay be presumed that a certain proportion will have already
studied singing, and the good sense and taste of others will
prevent them committing the grosser errors. But with a body
of boys it is different. The average boy neither knows nor cares
anything about Voice Production his one idea is to make as
much noise as possible, and in this, unfortunately, he is as a
rule only too successful.
;
2.
THE CHOIR-ROOM.
Whenever
practice
10
3-
THE CHOIR.
When possible, the
14. Frequent practices should be held.
boys should be taken every day of the week except one, which
should be regarded as a holiday
and the men should attend
twice, once for practice alone and once for full practice, which
latter should be regarded as the summing up of the others
a
time for emphasising what has been already taught rather than
for learning anything new.
church, all other
15. The full practice should be held in
practices in the choir-room.
At the former, every member
should be in his own place, under conditions as nearly as possible
similar to those on Sundays.
For the full practice, it is an
advantage to have a second pianoforte wheeled into the centre of
the chancel, where the choirmaster should always stand. For
an inefficient choir, the pianoforte is indispensable; but when a
high standard has been reached, it is much better for the choirmaster to rely on simply a tuning fork and a b&ton. On no
account should the organ be used for choir practices ; all it can do
is to cover up and obscure deficiencies, which is just what a good
trainer does not want.
His object should be to show up defects
and correct them, not to blur them over.
repeat, that there
is nothing like singing without accompaniment to give a choir
confidence and decision and when singers can render any given
work unaccompanied, there need be no fear for them when the
instrument is added. The organ can then fulfil its proper office
of enhancing and extending the general effect, when not
trammelled by the necessity of leading and supporting the
;
We
singers.
16. In selecting boys, when, as is usually the case, only
ordinary raw material is procurable, more attention should be
paid to the appearance of the boy than to the sound of his voice.
It is well-nigh impossible to judge from a first trial how a boy's
voice will turn out. Very frequently the most unpromising at
first hearing will prove the best after training.
An accurate ear
is necessary, though it is wonderful how the ear can be trained,
and very often a seemingly incorrect ear is simply caused by
II
The
last.
has
writer
broken; others go
at
We
payment, which
will
work
as follows
small amount as pocket money (say, 3d. a week) this will secure
regularity of attendance, and from it can be deducted fines, to
strengthen discipline. In addition to this weekly amount, let a
further sum be reserved for each boy, varying according to age
and ability, from, say, is. a month upwards; put aside on the
distinct understanding that it will only be given if the boy
remains in the choir until his voice breaks, or else leaves with
the permission of the choirmaster. The amounts so reserved
;
12
be written down on a table to be hung up in a conspicuous
place in the choir-room, so that each boy may see at a glance
It is
how much he is entitled to at any particular time.
important to make this arrangement quite clear to the parents
when the boys join the choir, explaining that those who leave
before their time will only have the benefit of free teaching,
whereas those who remain to the end will, in addition, receive a
bonus of a good round sum. To avoid any misunderstanding,
it is best to have a printed form for the parents to sign accepting
the arrangement. There are other methods by which the same
result can be gamed, but the above is the simplest plan and will
may
13
add an extra bass each side, an extra tenor, after that one of
each part, finally an extra bass. Thus
:
(i.)
Six voices.
14
the circumstances.
It must be ever remembered that age and
frequent practice make all the diiiference in the strength of boys'
voices, apart from any question of quahty, &c.
23. Here we come to the matter of probationers, needful to
keep up a constant supply of boys. There should be a definite
number of these extra children ; say, equalling a fourth of the
number of regular choristers. Let them attend all the practices
(remember we do not want them too young) and sit in a special
place in church, where they will not be much heard, but where
they will feel that they are of some consequence.
Give them
all copies of the music, and it is a good plan to let them wear
cassocks but not surplices ; the latter being the garment of dignity,
marking the full chorister. Pay these juniors a small sum, and at
practice place them, not all together, but between other experienced
boys; in this way they will soon learn without requiring much
special attention.
15
PART
II.
Having now arranged our room and secured our choir, let
start with the boys and teach them something of voice
us make a
production.
25. The first thing to consider is the management of the breath.
Whole treatises have been written on this important subject, and
many
(a)
(6)
in.
much more
and
it
is
i6
The Spirometer,
Having assembled
We
17
the sound depending upon the weight of the lips and the tension
with which they are stretched. For a full account of their
structure and action the reader is referred to any good work on
vocal physiology e.g., "Voice, Song, and Speech " (Browne
and Behnke).
38. It is the function of the vocal cords merely to generate the
sound, its volume is mainly determined by the form and
substance of the parts of the body which it sets in vibration, and
the amount and shape of the air enclosed in the various cavities
of the mouth, &c.
If the larynx could be removed from its
natural surroundings and the vocal cords then set in vibration,
the result would be only a feeble buzzing sound, quite different
from vocal tone.
39. Above the vocal cords, in the upper part of the larynx, is a
second pair of lips, commonly called "the false vocal cords "
must pause to
more correctly, the " breath controllers."
consider what is their use and how to secure their correct
We
action.
40. If the reader is in doubt as to where these lips are
situated, let him take a full breath, and, after holding it a moment,
the
whisper sharply any vowel sound, avoiding vocal tone
result will be a distinctly felt explosion at the commencement
of the sound, and this is caused by the lips in question
suddenly opening to release the air after having been tightly
;
closed.
41. Let the reader next sound a vowel with vocal tone, thus
bringing the vocal cords into play, and compare its effect with
the whisper.
It will be plain that the tone is now generated
lower down.
42. The vocal cords proper are very delicately constructed,
and their work is to set the expelled air in vibration, not to
govern its egress for this latter they are quite unfit, and if it
is forced upon them the effect will be disastrous.
All outgoing
air should be controlled by the breath controllers, and, in properly
managed voices, it always is but owing to the exigencies of
language, this natural function is frequently usurped by other
organs. Let us see how this happens.
43. Words are composed of vowels and consonants, the
former are musical tones proceeding from the vocal cords, the
latter are noises of various kinds, caused by a complete or
partial stoppage of the outgoing air passing through the mouth.
The consonant "P" is made by completely stopping the outgoing breath by the lips, and then suddenly allowing it to escape,
" T," "CH," and
thus causing a sharp explosion.
by
:
"K"
doing the same thing with the tongue pressed against the roof
of the mouth, at the front, middle, and back respectively.
44. Every time one of these consonants is sounded the breath
is completely stopped or controlled at that particular point
and the breath controllers of the larynx, not being then required,
will remain at rest.
iS
45. But in a language like ours, where the consonants are
little
attention
so
is
ordinary
so numerous, and
given, in
conversation, to pure vowel tone, the real breath controllers in
many cases get hardly any employment, and in consequence
become weakened and sometimes entirely lose their power of
We
is
it.
Remember that "husky" tone, "throaty"
tone, and " nasal " tone are all caused by an inadequate
control of the breath at the proper point, and may be without
to understand
impeded
is
in a
is
19
keep the larynx* low this gives a better chance to the breath
controllers
and insist upon clear, pure tone.
Take this
50. Occasionally an obstinate case will appear.
boy separately, and instruct him to practise privately an exercise
for reviving the disused parts.
This may consist of the breathing exercise already described, only substituting for the emission
of breath through the closed lips, a rapid repetition of a whispered
vowel, with the mouth open, commencing each time with a
decided click at the point of contact. This will probably soon
We
its
have seen that the vocal cords can only start the
volume will depend upon the action of other parts of the
body.
frame
is
We
*
would not recommend the use of a scientific term like this when teaching a mixed class of boys. Speak of the "throat," and point to the place you
Missing Page
Missing Page
22
66.
The consonants
(i)
Explosive.
(2)
of our language
(3)
may
be divided into
Mixed {smo\he.ve.d\oc3.\
M.
P.
b.
T.
Ch.
g. {soft).
N.
Ng.
K.
g. (hard).
L.
d.
tout).
R.
Sustained.
F.
V.
Y.
Th.
th. (soft).
W.
S.
z.
Sh.
sh. (soft).
(4)
Aspirate.
H.
sounded.
Here we must
consider
it
in
in singing, are more convenient for teaching than the terms " thick register,"
"thin register," &c., used by some, which, based upon the action of the
vocal cords at varying pitches, though perfectly intelligible to the teacher
who has mastered the subject, are confusing and often misleading to the
learner.
middle, where the air enclosed within the cavities of the mouth
mainly reinforces the tone, called "middle voice";* and the
upper, where the bones of the head are brought into play, called
"head voice."*
i
f
1^
I,
bo
PC3-
Chest.
'i
\\
Head.
Middle.
When we
upon the
air
T^
o
o
for all
practising upon
24
part that will give most trouble is the middle, and we
that in any given piece of music the majority of
the notes will be written there it is the exception when we go
very high or very low the middle part, then, will require the most
Remember that the cavity of enclosed air
careful attention.
must be tuned to every note by the opening or closing of the
lips
the effect of opening being to enclose less air and of
closing to confine more.
must aim at obtaining the maximum of tone with the
76.
75-
The
must remember
We
minimum
77. To find out the true focus, the simplest plan is to use an
exercise employing alternately the smallest and the widest
opening of the lips {i.e.,
and AH), and so we are bound to
pass through the correct position when this takes place, the
pleasurable feeling of finding the note " fixed " will induce a
00
00.
AH.
00.
AH.
AH.
00.
00.
$^^^*'
In singing this, let the teeth be fixed apart with a small piece of
cork,* about three-quarters of an inch thick, held lightjy, not
pressed.
This is necessary to avoid any closing of the teeth for
" 00," which will otherwise invariably happen with an untrained
" sound should be made to approach that
The "
singer.
of
" OO " (as in pull) to avoid a contraction at the back of the throat,
which will be induced by the former. The exercise must be sung
00
boy contralto
is
or third.
* The pieces of cork may be cut from a solid block, but trouble will be saved
small corks are purchased at a corkcutter's. They can readily be obtained just
the size required.
if
25
8o. There is considerable difference of opinion as to whether
boy contrahos should be employed in choirs as altos, or whether
We
voices.
are
We
to
[JQ_
i
many
easily be trained to
I
^i with ease, but almost
ij
all
can
flat.
The
^2iF~^=
rounded as
in singing "
is
continue the
reached,
00."
when
the
For
OR," and
so
26'
=^
feb:
87.
iifcc
We will
The
give
1^
ttfc
^
S
&c.
*^
i^a
-p-Hi
some examples.
simple Octave
:&c.
trc-
V'^~
tes
Here there is moreis an advance upon the octave.
opportunity for forcing up the lower register, which must be
Insist upon a closed note for the
most carefully prevented.
upper C, soft and full. As we take the iigure up the chromatic
scale, the same sound will appear as its third note
This
Try this C separately, securing again the same full tone. Then
the highest note will require attention it must be taken with the
Secure the proper opening by
head voice and wide open.
directing two fingers to be inserted between the teeth and insist
;
27
i 53=
little
higher, the
will
occur as
=t:
All this
this separately in the same manner as before.
requires great care and patience at first, but in actual practice it
is astonishing how soon the true tone will be acquired^ if it is
distinctly understood that the teacher will be satisfied with
Take
nothing less
and
it
is
soon
sufficient,
when a passage
Thus
is
it
=p=
and
ultimately
^n^-^
!_.
.
J ^-''r-r^
^^r^^^
THE
\fO-
SCALE.
i^
In this there
this
soft
Lips:
note,
et
is,
and round,
vibrating
against
full
the
only
the last note.
Taking the
figure higher up, the plan will be different. Here it is on F
same
mouth
i
Lips:
scale,
for
es ^. ^s
Listen always for the middle C, and never rest until you are
satisfied with it.
28
go.
Now may
i
tout
before trying
fragments
e.g.,
Three notes
Four notes
and
so on
-ri-
it
complete form,
in its
it
is
?T
well to take
it
in
two notes
i
i
w
i
=F=4=
j,
cJ
till
g>
"
As advance
is
=pc
iw
$
=P2=
^^m
=^
a
g? - 33:
m
m
29
92. It will be noticed that we have not included either
chromatic scales or minor keys; if desired, the choirmaster can
add them himself. Such figures can be multiplied ad infinitum,
according to the ingenuity of the choirmaster.
93. To start a new figure, play it over on the pianoforte, once
it will soon be caught up
if simple, several times if complicated
if it be an interesting musical phrase.
these will, of
94. We have written all the examples in C
course, be transposed into every key, ascending by steps of semi;
mend,
a considerable variety,
we recomthe actual
00.
O.
OR.
AH.
ER.
A.
E.
Let these now be sung in succession upon the lower parts of the
voice, again placing that invaluable little article, the cork,,
between the teeth. It will be seeii that in practising 00, AH,
and OR
we have already passed through the positions for
;.
little
trouble.
it should
be well opened and
pronounced with the mouth almost closed,
it to a shabby sort of ER, and depriving it of its fine,
Insist then always upon a " Round O."
bold character.
99. Passing to the other side, we have some new sounds.
98.
rounded.
reducing
often
ER
ER
30
loi. E will sometimes give trouble; to form it, the tongue is
raised high against the roof of the mouth, thus blocking the way
of the tone.
Let the sound ring well in the front of the mouth,
and if any difficulty is experienced, direct the tip of the tongue to
be curled over in a downward direction, touching the gums below
this will allow room for the resonance to take
the front teeth
place.
102. When good vowel-tone has been formed, we must turn
These, though they interfere as we have
to the consonants.
seen with the vowel quality, are yet of the utmost importance, if
singing is to answer its true purpose, to convey thought.
must then consider how to get the maximum of clearness and
distinctness with the least possible disturbance to the resonance
Remember two things (i) Untrained singers, when
cavities.
pronouncing a consonant, will invariably allow the teeth to close.
(2) This is in no case necessary; but, on the other hand, the
consonant will be much clearer if the teeth are still kept apart.
Further, if the teeth are allowed to close, they will either remain
so and spoil the vowel that follows, or, being again opened, the
two actions will involve a considerable waste of energy.
103. It is useless to tell a class of singers to keep the teeth
apart while sounding a consonant, the force of habit will be so
strong as to utterly prevent them doing so.
However, we can
remedy this in a moment. Take up the cork again and place it
in position
then go through the series of vowels
but this time
with the consonant placed before each, the desired effect will be
obtained at once without the slightest trouble. At first the corks
will be pinched so hard as to be, perhaps, bitten in two.
The
learners must be warned against this.
Let them aim at keeping
a perfect cork, if possible, without a dent. When this has been
achieved, the improvement in the tone will be astonishing.
104. Take first the simpler consonants, as P, T, K, making
the artificial words Poo, Po, Por, &c.
then add a consonant
after the vowel
e.g., Poot, Pot, Port, &c.
then when skill has
been acquired, double and triple combinations can be gone
through e.g., Kloot, Klot, Klort, &c. These exercises should
be practised only on the lower and easier parts of the voice,
where the vowel quality can be well produced without difficulty.
They should not be continued for long together with beginners,
as they are somewhat tiring.
105. And now, having studied vocal tone, vowel quality, and
consonant utterance, we are prepared for the interpretation of
;
We
31
PART
III.
HYMNS.
1
The
06.
groups
(4)
First, the
-thing
(3)
ment
may
Metrical Hymns.
The Responses, &c.
The Psalms.
(i)
(2)
"We
Hymn.
sometimes receives
of no consequence
it
it
It is
We
We
(i)
(2)
(3)
(4)
32
io8. Accent is the regular alternation of strong and weak
Though every musician
beats, which takes place in every bar.
understands this matter theoretically, in actual teaching too often
The best way to secure its
it receives insufficient attention.
correctness is to teach boys to
Beat Time
and
insist
music.
is
&c.
-^rri-
Spi
no. Emphasis
mer
of
rit
cy
*
:53:
ll*=
5=
It
I*
-iu
I
'Here
112.
faith
._.
is
ours"
The words
speaking, as
,1
in
regards
^
yiij
"but
.!
there
--'
are
per
feet
33
to be so by an extra amount of tone, unimportant ones
Emphasis
should be taken simply with the natural accent.
should not supersede accent it should assist and amplify it.
113. Many hymns end with a refrain or " Chorus," e.g.
" Let us with a gladsome mind."
" Hark hark, my soul."
" O Paradise "
" All glory, laud and honour."
shown
114. Others
" text," as
Some have
115.
manner.
We
mention these
117. (2) Breath-taking and phrasing.
separately as they are not quite identical, all breath-taking
involves phrasing, but not all phrasing necessitates breath-taking.
The rule for the first is negative :
(a) Never take breath when so doing destroys the sense of
the words,
for the second positive
[b) Always make a break {i.e., end a phrase) when so doing
will bring out the meaning of the words.
118. This is an extremely important matter in hymns, as often
in no two successive verses are the words written to suit the
same plan of phrasing, and in such cases we must each time
adapt the music afresh to the words.
iig. Only passages of a certain length can be sung in one
breath beyond a certain point it becomes a physical necessity to
renew the breath we must then choose the place most suitable
not always at the end of a line, this will
in regard to the words
sometimes quite spoil the sense. Indeed, a case occurs to us in
which it would be best not to make any break at the end of the
verse -in Hymn 17 (A. and M.) the verse ends thus, with only a
;
comma
I
If
we go
It
ici:
bid
3=t
-
ing
in
the breast,"
^
" Save
:2=t
that
Thy
izz:
will
be
done,"
34
without any break, the improvement in the effect will be marked.
But such refinement as this is only possible with a very highly
trained choir.
Under ordinary circumstances it is advisable to
make a pause at the conclusion of every stanza.
I20. Here is a case where the taking of breath should be
delayed beyond the end of a line
fc^
O'er moorandfen,o'ercragandtorrent,tiU
'
If
a breath
after
Here
i:
4:
zi:
t^z
is
made
at * the
sense
is
lost
331
ZCi
.
* Thenightis
gone."
*^
made
is not
the sense
make
:t
=t:
-ri-
ze2i
" Light
in order to
of lights *
when
falls
the even.''
i
"
i
9
The
height * to
and
prove."
=?2Z
znt:
'Find
ing
fol
lowing * keep
ing * strug
When
gling.*
a brea^
id
made
in these cases, to
insure the break it is useful to tell beginners to take it, so that
there may be no misunderstanding.
When good habits begin to
be formed, it is sufficient to explain that there must be a
momentary cessation of sound at such phrases.
122. No singing can be called satisfactory without correct
phrasing. Let it therefore be regarded as a matter of the first
importance.
123. If any doubt arises as to where the phrase should be
marked, read over the words, simply thinking of the meaning,
regardless of the music in ninety-nine cases out of a hundred
the required phrasing will be obvious.
124. In teaching boys, let them understand that you rely upon
their intelligence
that as they would not talk nonsense, so they
Bhould not sing it.
Drive home the rule that " Breath should
be taken according to the sense."
When it is incorrectly taken,
repeat the passage and ask why it is wrong.
Let the answer
come " Because it makes nonsense " Ask where the best
;
35
place would be (for a sensible person).
Accuracy of time.
125.
Let us before
all
things be accurate.
or this
or
i=p==^=^
^
i
i E^E^I^^^
=t=
W=
''
'
-ri-
J-
m^ ^^^
'
*
!
i
molio accelerando.
this
-;\^
&c.
tl^
zz:
A.
i:
who ought
1
We
amends.
127. The instances of incorrect time hitherto given have
occurred in the middle of phrases. There are less obvious cases
which will require separate attention and these are the
;
to
what
is
is
36
prevail.
The above
secure this
Here we have written down five beats, the last being the point
where silence commences but the horizontal line being taken
to represent the vocal tone, the sound will be only that of four
beats, ceasing at the end of the fourth beat
that is, the com;
mencement
of the
fifth.
129. If is sometimes
at the last beat indicated
I-
That
any number.
130. In the case of a consonant ending, the matter is not
quite so apparent, though it is of still greater consequence.
The
importance of a choir clearly and sharply sounding the final
consonants will be readily admitted. With what fatal errors
do we meet when
this is neglected
for
hear
Lor
5
1
37
not so arranged we wander in a fog. Where else shall
No two persons will agree as to tne answer and the
If it is objected that this plan
result will be dire confusion.
will result in prolonging the note unduly, the reply will be that
the consonant, being presumably sounded instantaneously, may
be regarded as a negligible quantity further, that the consonant
is not a musical sound, only a noise of a definite character
and that the written notes, being admittedly to indicate the
music, do not of necessity include the consonant.
Now if this rule be accepted and acted upon, we are in a
The time
strong position as regards aiming at accuracy.
beating, already established, will furnish an infallible guide to
the exact length of a note, and then, except from carelessness
or want of practice, no mistake can arise.
If
it
it
is
come
Hymn
132.
(i)
tunes
The
may
ancient Choral
Instances
" The old Hundredth."
" O Sacred Head."
(2)
Th/ modern
"
Instances
How sweet the Name."
" O Love Divine."
"
(3)
Instances
" O Paradise "
" Lead, kindly Light."
" Days and moments."
!
The
treatment.
Song
tunes,
which require
special
Missing Page
Missing Page
40
production, the forcing of a lower register upwards, which results
in a harsh, vulgar tone, and makes the sustaining of pitch
a most difficult matter. The difficulty, as a rule, is not that a
note is too high, as we shall hear some complain, but that the
part of the voice used is too low.
"
" 00,
142. To secure the right register with boys try the
is
right
toiie
the
on the reciting note very softly
( 78) exercise
Proceed then to practise the words.
then sure to appear.
Directly the tone becomes thin and forced, revert to " 00, AH,"
and continue this until the tone used in reciting matches that of
AH
the exercise.
143. If a middle note is used, we recommend one well up in
It is easier for boys to
in preference to G.
scale.
produce good tone in the manner indicated on the former than
on the latter, and is better practice for the voices.
144. Under our second heading comes a common and gross error.
the
Untrained singers
will often
insist
and
last syllables
We
consonant.
Do not let a boy say, " Strayed'm Thy ways,"
" offend'd," " things 'ch we ought 'ooa done." It is hardly
necessary to remark that all aspirates must be rigidly demanded.
146. The Confession must be taken at a moderate pace.
Not
so slow as to sound tedious not so fast as to lose distinctness
and sound irreverent. In practising it is well to take it slowly
at first, and afterwards to increase the pace as much as is
;
desired.
There is
147. Let the Confession invariably be taken softly.
only one place in the Prayer Book where any direction as to
musical expression occurs, and that is here.
are directed to
say the Confession with " an humble voice " this is usually
understood to mean a soft subdued tone and so let it be
observed.
148. All the above remarks apply equally to the " Lord's
Prayer" and "Creed," except that these are almost invariably
taken on a middle note and in a rather louder tone of voice.
149. There is one further matter worth notice.
When the
Priest recites with the people, there is often doubt as to how the
commencement shall be made.
Very frequently the Priest
alone takes the opening words, the people joining in with what
follows. This is sometimes objected to on the ground that in such
a case the people are excluded from their rightful part, and with
some show of reason too. There is really no principle involved
at all, it is merely a matter of convenience.
We
41
all
requirements
....
believe
"
fin
believe tin
on the whole,
be,
(which art."
"
(People
This seems to
as follows
Our Father
\People
{Priest. "
is
God
God
the
far
art."
the Father."
the Father."
most
satisfactory
The
Tone.
Emphasis.
Endings.
We
rail.
-J
|=d=
III
Thy Ho
:?2=
And
^S^
^f
take
not
11
-
IS
-t-
-1
-r*p-
iy
Spi-rit*from
us,
te
=r
rr
The
152. In this last Response notice the place for breath.
length of the phrase makes it almost imperative to replenish the
It should be taken after
lungs, otherwise the ending will suffer.
" Spirit," not after " Holy," as is sometimes done.
153. Amongst mistakes of emphasis, the following is common
" And our mouth shall shew forth Thy praise."
:
42
quite short and ragged.
A good plan is to regard each note as
bearing two beats, the last syllable will then count three, thus
The manner
which a simple
in
Amen
is
sung
is
the test of a
choir.
Amen
Before every
last
moment.
THE PSALMS.
A whole
treatise
Psalms alone.
We
We
(2)
(3)
Middle words.
Endings.
(4)
The
Recitation.
This should be taken at exactly the
as the inflexion that follows, neither quicker nor
slower.
At the end of any given sentence, the final syllables
must be regarded as being inflected primarily, for the sake of
variety ; secondarily, to intensify the emotion
but the pace with
which the words are taken should not vary from beginning to
159.
same pace
43
that the words so prolonged are
whereas often the words
occurring in the middle of a long sentence are the chief ones.
i6o. Equal attention should be given to all words, whether
they are sung on one note or another. To insure this, it is
important to point out that in the course of a long sentence
many accents will occur and certain emphatic syllables. In
rhymed verse the accents occur regularly ; in the poetry of the
Psalms, irregularly. Hence the difficulty.
i6i. This brings in our second division.
The Accent Mark. Nothing has given rise to more misunderstanding and error in chanting than this.
So much so, that some
end.
of
'
If
it
is
We
authorities have advocated its being abolished altogether.
do not think this would be desirable, and will endeavour to show
why.
162. It is important to make clear (a) what the accent does
not mean, and (6) what it does mean.
It does not always mean
that the syllable over which it is placed is the strongest in the
Neither does it
recitation
frequently this is far from the case.
mean that this syllable must of necessity be held longer than
others.
But it does mean this That the syllable over which it
is placed is the last before the bar that will bear any stress at all.
;
If this is clearly
163.
Here
is
understood,
its
an instance
man
cleanse his
way."
"Young"
Even by
Here "self"
ruling himself
after
Thy
"
law."
With my whole
heirt
have
not be as
Again
" Heart " bears an accent, but the principal word is " whole,"
which should be still stronger and later, " sought " bears a stress.
If " heart " is rendered more strongly than the other syllables,
the meaning of the thought is entirely changed. The point is
not that the " heart " as distinguished from any other member
does the action.
What the Psalmist dwells upon is the
"seeking," and that thoroughly ("wko/e heart").
164. What we require, then, may be thus briefly put: We want
more accents, not less. By all means retain the present marks for
their proper use, to guide the singer at the point where the
inflection takes place ; but let us also add the other necessary
accents and emphasis which the sense of the words require.
;
44
semibreve should be divided according to the sense
For rules for such division, the reader is referred
to Sir John Stainer's admirable Introduction to the " Cathedral
syllables, this
of the words.
Psalter."
i66. Middle
Words that is, words occurring on notes intermediate between the reciting note and close or half-close. These
need special attention. When in any bar are set two corresponding syllables to the two notes of the chant, there is little
difficulty, though it is important to notice that the first of the
two must always bear an accent, though sometimes only a
weak
one,
"
e.g.
With my whole
heart
*
have
sought Thee."
Here, " have " should be light and the emphasis given to
" sought." When to one note of the music, either the up or
down beat, are set two syllables, the matter requires more
A badly trained choir will invariably clip the first of
attention.
these syllables short and prolong the second. This is just the
opposite to what should be done. Insist that where two syllables
take the p ace of one, the first should always be longer and
stronger than the second.
167. This applies to a sub-division both ot the down beat and
the up beat. Instances
"
O come
let
us sing
*
unto the
Lord."
"
Here " un " should be distinctly longer than "to," and " the
which takes the second beat, being an unimportant syllable, may
be somewhat lessened, so that the three syllables together will
be rendered almost like a triplet. Of course we should not
actually so describe it, but, if done properly, the effect will be
nearly so.
familiar instance of two syllables on the up beat is
168.
This
more
and
to the
Son."
difficult to
"
With my whole
h6art
have
*
sought Thee."
45
Here obviously the first takes the accent and slightly more than
half the semibreve yet one frequently hears such a rendering as
;
sought Thee
y
apparent when written down.
Three syllables should as a rule be rendered as a triplet,
171.
four syllables as a quadruplet, on the same plan.
172. This question of endings in chanting is one of the most
important to observe, and one with respect to which lack of
intelligence is
is
i
(*)
come,
(a)
an accent.
an emphasis.
"
let
un
sing
us
^^^
us heart-i- ly re-joice
in the strength of
m.
p^-ri^J-r
(ii)
and
thanks
giv
T
-ri-
^^m
shew our-
tion.
=t
=pz:
va
sal
-a^-#-
(c)
:?z:
our
hk
Lord
the
to
^^
^M:
l*t-
let
glad
selves
in
Him
with
ing
ICt
Psalms.
lil
For
(e)
III
i 1^
(/)
ZS1
H^
is
Lord
the
^-
pas-ture,
our
God
^
^nd the sheep of His hand.
46
ie)
iiU-lU-l
^^
and the
(A)
<y)
Glo
/-
1-
As
it
the
-^
hills
Fa
e>
to
of
ners
is
His
ther,
and
Ho
the
ly
=1=
13o
world without
pfl^
^arth
the
'
the
to
so.
Son
Ghost:
=t
now, and
ev
er
shall be
end.
al
=?=c:
St
m-m- -0
(m)
to
ifc
-+-
he
cJ
and
(*)
-<-J
be
ry
cor
-I
stren gth of
l*i
{I)
the
all
1*1
:c3=
both.
show an imaginary
47
this should occur in the penultimate bar.
Both are right, and
both are wrong. The stress and accent should follow the sense
of the words
if the last syllable of the sentence be an emphatic
;
one,
should be so rendered
lightly.
ing
incorrect.
is
The
The
(4)
points.
To one
method
" The foregoing remarks upon chanting apply equally to the Confession in
the Communion Service, as set in Stainer's " Marbeck," which is really a kind
of irregular chant.
48
i8o. In respect to antiphonal singing, we strongly recommend
the use of the half-verse arrangement.
There is every argument
As a rule, it assists immensely in bringing out the
in its favour.
structure of the poetry, and in the great majority of Psalms it is
obviously intended to be employed.
It also makes good chanting
much easier to attain, as with it in use each side has always just
as much to sing as can conveniently be taken in one breath.
Then follows a pause for replenishing, and so a brightness and
vigour can be insured, which, with a whole long verse to sing in
one breath, is hardly possible.
iSi. Whatever plan be adopted, enforce this rule
let any one
side take a full breath while the other side are singing their last
bar ; not wait until they have finished.
If this rule be carefully
followed, no unpleasant break need ever occur.
182. As regards the structure of the Psalms, and the way in
which chants should be set to them in accordance with the
structure of the poetry and the spirit of the words, there is no
better guide than Westcott's "Paragraph Psalter."
(a)
The "
(6)
Pauses.
185. In all chorus singing, a good start and a good finish are
Take the greatest care that when any part
half the battle.
enters alone, its first note shall be firm and decided, without the
Insist that every singer of a part shall
slightest hesitation.
When the note is a
sing his first note at the proper time.
difficult one to take, you may help the singers in two ways
either point out some other part that has the same note in a
different octave which may be listened for, or else stop and let
the singers sing their own first note clearly and decidedly, and,
when they have well heard and felt its pitch, go back a bar
or more, pointing out how many beats there will be before the
Then, if the fact that the singers have heard their note
lead.
with their own voices will instinctively guide them in returning
to it, the difficulty is reduced to a matter of time only, which, if
the beating is being rigidly enforced, will be soon overcome.
It is to be hoped that the day is approaching
186. Pauses.
when all indefinite pauses in vocal music will be abolished,
49
and the exact length that the composer requires for any given
When a conductor beats time the
note clearly indicated.
difficulty is not so much felt, though even then it would be
much better to know exactly what is expected than to be left
to the taste and caprice of each individual conductor.
But when
no conductor is present, there ensues a state of " confusion worse
confounded." No one knows exactly how long the pause note
is to be held and therefore no one is to blame
and the pause
coming as it does so often as the final note of a piece, just
when we want complete unanimity and decision we get the
very opposite.
187. The only remedy, since composers continue to write
indefinitely in this respect, is for the choirmaster to go over
the music carefully, and, having decided for how many beats any
particular pause-note should, in his opinion, be held, to have
that number clearly marked in each copy, and see that it is
observed.
;
5-
NEW
MUSIC.
consider are
(i) Pitch.
Duration.
(2)
50
192. There is no need when teaching boys to speak of minor
and major, perfect and imperfect intervals. When the music is
diatonic, it will naturally be sung correctly
when chromatic, the
;
is
The ^
The b
The
t|
raises.
lowers.
restores.
Refer often to this simple formula, and the boys will take pleasure
applying it to the work they are doing.
193. As to the second head, the names and value of the notes
must be learnt but the one important thing to grasp is that
every bar will occupy the same time in singing, whether it
contains few or many notes.
If, then, the beginning of every bar
be made certain through time beating, the difficulties will be
much lessened by enabling a general outline of the rhythm to be
gained almost at once, into which the details can be filled by
degrees.
194. In learning new music it is well to have a definite plan
before starting, and the following will be found helpful
First, go right through the piece with the help of the pianoforte,
and secure a general idea of the time and style of the whole.
Secondly, commence again at the beginning, and go on until a
difficulty arises
stop here and learn this difficult part, then take
a few bars back, and fit in the fragment so learnt with its surIf it should be a florid passage, take it slowly and
roundings.
secure perfect accuracy for every note if it rises and falls again,
take the highest note first, and when the production of that is
perfect, add the rest.
When the difficulty lies in the intervals,
select the worst faults again.
The least accurate note should be
first aimed at.
When that comes with ease, its fellows will
Lastly, turn to expression
soon join it.
to small details of
finish
to gradation of tone
accents emphasis, and the various
other points already noticed in this work.
195. In the beginning, do not worry over small points until a
general idea of the whole has been clearly grasped. When first
commencing a new piece, it is a great mistake to keep stopping.
Such a plan only disheartens a choir and retards progress.
Think how a building is erected
in
(i)
(2)
(3)
On
So
new music
(i^
(2)
Accuracy of notes.
(3)
be gained.
SI
No
196.
accuracy
taken as
expression
is
complete
representing
is
6.
types of practice
will
be three
(2)
(3)
Full.
(i)
take the
Hymns
few minutes.
52
uncertainty occurs, practise each part alone.
help to add one part after another, thus
(i)
(2)
(3)
men's practice,
Questions of expression
At
the
Sometimes
it is
Bass alone.
Bass and Tenor.
Bass, Tenor, and Alto.
make
may
be
all
practice, but
(I
VOICE PRODUCTION
IN
CHOIR TRAINING."
A PAPER READ IN THE ALBERT HALL AT THE
CHURCH CONGRESS,
1899.
PJ!/C SIXPENCE.
To
be obtained of
S.
ALSO
Communion ^^rbice
in
C,
LONDON
BERNERS STREET, W.
LIMITED.
HARMONY
DIATONIC AND CHROMATIC,
CHARLES VINCENT, Mus. Doc,
Bound in
The
Author bases
his
Oxon.
Root
Enhai-monic Scales, and discards altogether the so called
Theory," his definition of " Jioot " being " The Scale interval
'
'
student
is
own
basses
and
first.
Elementary form is also considered, and much practical information given on the subjects treated.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII-XV.
XVI-XX.
XXI-XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
Form.
Chords from the Minor Scale.
Ilaimonization of Diatonic Melodies.
Suspensions.
Passing Notes.
Inversions.
London
CHARLES W. PEARCE,
Mus.
Bound in
Cloth, price if
net.
HIS
The language
contained
is
is
clear
thoroughly modern.
be found most valuable for those who may be preone of the various paper-work examinations in
rudimentary musical knowledge, or who may be desirous of
being able to answer fluently the viva voce questions put by
the examiners in practical subjects, such as pianoforte and
It will
paring for
separate chapter
is
and
instead of grading
flats,
rests,
as
the need
for
this
easily
first,
knowledge
LONDON
THE VINCENT MUSIC COMPANY, LIMITED,
60.
BKRNERS STREET. W.
CQusiG
Bxm
Elementary Ear-Training
Tonality and Roots
Students' Counterpoint
Composers' Counterpoint
Hints to Singers
Scoring for an Orchestra
The Reading of Music
Musical Memory and its
Cultivation...
...
Voice Culture
Combined Rhythms
._
...
...
On Organ Playing
Bodies.
(juido Porpora
R.
Manual of Sight-Singing
...
Part
1.
Rowe
Dr. F. J. Sawyer
II
Dr. F. J. Sawyer
Designed for use with the Manual of Sight-Singing.
in
Paper
cover.
Is.
4d.; in Cloth ...
Complete
each
Ten Parts
New-Century Pianoforte Method Dr. C. Viiuent
Form in Music
y. Humfrey Anger
Harmony, Diaionic and Chromatic Dr. C. Vituent
...
5'.
Midgley
Paul Stoeving
be continued.
2
I
Missing Page