Church Music Committee: Practices and Rehearsals

CHURCH MUSIC COMMITTEE Lesson III — Practices and Rehearsals By Edward P. Kimball "There is no royal road to choir singing, any more than to other things. A first rate trainer will produce a first rate choir; but only if he has sufficient time in which to teach them. Good singing involves steady and constant work, and those who are unable, or unwilling, to give this can never hope for the best results. In no form of activity can efficiency be attained without regular application, but in none less than in singing. The watchword should be 'hard work.' " — A. Madeley Richardson. The learning of music, in one regard, is like physical culture — if one is to profit from it, practice must be engaged in regularly. One cannot "cram" in gymnasium work; it is the regular periods of floor work which build the body. The work cannot be neglected for a space, and then the good to the body made up by longer work at one session. So with the practice of music — no amount of extra time, in one session, can make up for a lapse of practices. It is the daily recurrence of the practice that develops the mind and muscles. One of the first requisites for a good choir is a regular, set time for rehearsal. In most wards, this time has been named by the presiding author- ities. When once set, it should be rigidly adhered to, and the chorister has the right to insist that nothing shall interfere with it. It should be at a time when it is the most convenient for the greatest number, and when there is least probability of distracting members' attention from choir work. No choir can hope to succeed, if the time for practice is changed about to suit every arising contingency. Being among the most important in the life of the ward, its work must be given every advantage with the least possible interference. In practices, punctuality and order are of great importance, and required both of singers and conductor. Promptness and precision throughout the re- hearsal are points to remember. No moment of time should be lost; as few words as possible spoken, and these always to the point. The singers have come out to sing — not to be lectured to. From start to finish the mind should be fixed upon the work in hand and not allowed to wander. Time is valuable, and many attend rehearsal at a considerable sacrifice of their time. Each chorister must plan his rehearsal as best suits these circumstances. The most profitable rehearsal ought to last about one hour and thirty min- utes. Mr. F. W. Wodell, director of the Peoples' Choral Union, of Boston, divides the time as follows : Drill in voice-culture and singing 15 minutes Hymns or simple anthems already in rehearsal 15 minutes Taking up new music 30 minutes Rest 1 0 minutes Perfecting one or more numbers _ 20 minutes The value of this plan lies in the fact that definite objectives are set, and every division has its time. Nothing is neglected by non-preparation as to time allotment. Mr. Wodell adds to this plan: 'The time allotted for voice-culture is likely to be as fruitful in good resjlts as any portion of the rehearsal session. * * * At least one number should be perfected — that is, thoroughly prepared for performance, at each rehearsal. Thus is a genuine repertoire accumulated. Some choirs have many selections partia'ly learned, but practically no one piece thoroughly prepared."

] 62 IMPROVEMENT ERA It might be well to consider some suggestions on how to use the time of each division most profitably. A review of lesson 1 is urged, in order to keep clearly before the choristers the main functions of a choir. The chorister must prepare his work in advance, and have in mind a well defined program of procedure. In the practice of hymn singing, it is well to con- sider the character of the hymn: Is it to furnish atmosphere? Is it a prayer? Is it didactic? The drill then should be directed towards: (1) A study of the words, (2) Tempo, power, tone quality, (3) Enuncia- tion and articulation, (4) Dignified rendition, thoroughly in keeping with the song and the service. Means should also be practiced to lead the congregation in songs, giv- ing attention to correcting faults in the congregation, such as lagging, etc. In taking up new music the chorister should remember that singers learn quickest when they understand best. Therefore, he must freely analyze the words; have the singers read them, in order to get the content, thought, and emotion. It is a good plan to have the four parts played slower than they are to be sung, requiring each division of the choir to follow with the eye, silently. The director should point out the rhythmic and melodic ele- ments of the selection, and explain the tonalities (keys) and harmonies. If singers understand the keys through which they are led, they learn much more readily than where they are left to find tones without establishing their relationship to other tones, merely trying to locate them according to their position in the staff. Unusual and difficult passages should be practiced slowly, each progression being mastered as it comes. Some find it ad- vantageous to do this on "a," then with words after it is firmly fixed in the mind. In drilling the parts separately, it is well to have the strongest melodic part sing first, to provide the most natural agency for establishing a relation- ship of other parts. If this be in the soprano, then the strongest related part will be the bass, and this should be taken up next. The alto may now be added, and then the tenor, as these parts supply the tones which every ear feels are lacking when only soprano and bass sing. The important point is to provide the strongest lead, then to establish the other parts naturally, if possible in their relationship to this. When the selection has been read thus, it is well to sing it through without stops, and then lay it aside for future perfecting. Mistakes in rhythm, intonation, and interval must be corrected completely at once. There may be many ways of taking up new music, but the chorister must exert himself to having the music learned in the shortest time, correctly and thor- oughly. It is wise to stand to rehearse music that is to be sung standing, and vice versa. The manner and time for rising and sitting should be prac- ticed, so that no haphazard shall take place before the congregation. For giving a choir confidence, unaccompanied singing is unequalled. No com- position is thoroughly mastered until it can be sung correctly — tone, in- tonation, and expression — without instrumental accompaniment. Perfecting music that has been in rehearsal means that it must be note perfect, and then finished, regarding precision, phrasing, shading, tone, color, enunciation — all of which make up what is called an artistic performance. Lessons on voice culture, etc., will follow in subsequent issues: Discussion for Union Meeting: — 1. Why is it advantageous to have a regular time for practice? 2. What should be the conduct of the chorister in rehearsal? 3. Discuss the advantages of a plan such as the one suggested for rehearsal. 4. How would you proceed in teaching a new composition? 5. What constitutes an "artistic performance?"