--- title: Improvement Era description: Monthly periodical of the Mormon church, 1897 onward. This library holds the issues of November 1897 to December 1930. authors: - Kimball, Edward P. collections: - periodicals tags: - magazine - improvement-era periodical: Improvement Era volume: 27 number: 6 published: 1924-04 publisher: Young Men’s Mutual Improvement Associations publisher_place: Salt Lake City language: en type: magazine reference: "Edward P. Kimball, “Church Music Committee: Chorister’s Manual—Lesson VII—Technique of the Baton,” *Improvement Era 27, no. 6 (April 1924)*: 560–562." source: url: https://archive.org/details/improvementera2706unse transcription: Transcribed from the Internet Archive scan of each issue (the item for each issue is named in the issue's own source); unnumbered advertising leaves are omitted, printed page numbers are kept as page markers. identifier: improvementera2706unse start_page: 560 end_page: 562 rights: status: public-domain basis: US publication 1930 or earlier (published 1924-04) source: https://archive.org/details/improvementera2706unse publication_year: 1924 note: The Internet Archive item metadata carries a blanket "© Copyright by Intellectual Reserve, Inc." notice. The library owner judged it inapplicable because this issue was published in 1924, before 1931; a scan-level notice does not restore copyright. --- # Church Music Committee: Chorister’s Manual—Lesson VII—Technique of the Baton CHURCH MUSIC COMMITTEE Chorister's Manual — Lesson VII — Technique of the Baton by Edward P. Kimball It should not be taught that the mere mastery of beating time intelli- gently is all there is to conducting. The baton is the chorister's wand by means of which he makes his desire known to his singers and accompanist, and he will do well to understand thoroughly its most effective use. It should also be kept in mind that after all, the personality "behind the stick" is the success or failure of the conductor's task, and while it must be acknowl- edged that many choristers are successful without much technical training in the uses of the baton, due in large part to their strong personal leadership, there are, at the same time, very few who could not improve the quality of their work, and that of their choirs, if they would give some attention to a few helps made use of by authorities in the art of conducting, beyond the simple routine of time-beating. As interpretation generally is so closely related to the use of the baton, and as such frequent reference to its employ- ment will be made in the lessons on this subject to come later, only a few general principles which are in constant use will be projected in this lesson. An Important Principle: The baton should usually not come to a perfect standstill at the points defining the beats; nor should it move in straight lines from one point to another, except in the case of the down- beat. The conductor should train his singers to know just what to expect from his beat. In the free and easy curve of the beat the singers must never be left in doubt as to the point which the conductor means to be "the beat," sometimes called the "bottom" of the beat. It will be noted tha there is a more or less involuntary contraction of the arm muscles in anticipation of the beat, and a relaxation when the beat has passed the "bottom." It is this simple process which in most cases gives the singers their perception of the conductor's intention regarding his "beat." The chorister will do well to make up his own mind as to wherein his stroke he intends the "beat" to be indicated, and impart this intention to his singers, drilling them on passages for the acquirement of a perfect mutual understanding with relation to this important matter. To quote Gehrkens: "The real reason for sluggish rhythmic response and poor attacks is * * * more often to be laid at the door of a poorly executed beat, by the conductor, than to the stu- pidity of the chorus or orchestra." The Attack: To secure a firm attack two things already mentioned are necessary, viz. : a preliminary movement of sufficient length and amply intelligible to be followed by the eye, in order to prepare the singers, and then a definite beat of which they understand the full purport. If the composi- tion begins on the first beat of the measure, the chorister will hold the baton poised in full view of the singers. When ready to start he will raise it slightly, which will indicate a sort of preliminary back stroke preceding his down-beat, and then bring the baton down for the first beat, his singers un- derstanding by previous drill just where in his stroke the "bottom" of the beat is. This action will never leave the singers in doubt as to the start. When beginning on a weak beat, the same slight preliminary part of the preceding beat should preced the beat upon which he desires to start the singers. The beat must always indicate the part of the measure upon which the composition begins, according to the accepted manner of beating time considered in the last lesson. If the composition begins on a note that is only part of a beat, the last beat should be given and then a slight extra beat to indicate the exact place of this "pick-up" note. In cases where good attack cannot be secured otherwise, it is well to beat out the preliminary CHURCH MUSIC COMMITTEE 561 measure, particularly is this true where the short note is preceded by rests that fill out the measure. Singers should be taught to respond to the baton. To shout, "Now, ready, sing!" is, of course, out of place. Nor should it ever be necessary to rap the stand for attention, either at starting or during the rendition. The Release: It is as difficult to secure a perfect release as an attack, and drill is necessary here. The movement for release is usually a down stroke to right or left, and is preceded by such a slight preliminary stroke as described above for attack. The final chord is not always beaten out, but the baton is held poised before the sign for release is given, allowing the beats to pass mentally, or relying on one's sense of completeness to finish prop- erly. An exception to this, however, is in case there are figures in the ac- companiment which must go on. Care should be taken that the accompanist is not led to think that the poised baton indicates a hold, but he should have the time indicated with the conductor's other hand, so that a uniform release may be made by choir and accompanist. It might be well here to remind choristers that releases should always come at the end of the note values, and nowhere else. The hold or fermata: Remarks made above are applicable here. The cut-off stroke will be influenced by the beat of the measure on which the hold occurs. It should be done in such way as will indicate the release, and make it possible to go on with the next beat with its proper stroke, so that no one is left in doubt as to the place in the measure the next note occupies. If there are notes in the accompanist or voice parts that do not come to the hold simultaneously these should be led to the position of rest in the same manner as indicated on the paragraph above. Non-measured Music, Chants: Though used infrequently in our Church, the chorister has occasion to use it sometimes. While there is no generally accepted way of conducting this style of music, the singers may be held together by indicating the first of each line, or a slight accent over every strong syllable, or by following the lips of the conductor. The success will depend on the conductor developing that means which is most intelligible to the singers. Conclusion: Any knowledge, to be valuable and of service, must be applied. The chorister must drill himself in the use of the baton, and then drill the choir with himself, so that they understand his intentions, and he learn to secure by his baton any and all results he may desire to accomplish. Music "Though cheerfulness and I have long been strangers, Harmonious sounds are still delightful to me; There's sure no passion in the human soul But finds its food in music" — Lillo. "Music hath charms to soothe the savage beast To soften rocks, and bend the Knotted Oak" — Congreve. "M" Men's Inter-stake Trophy The "M" Men's inter- stake trophy of the stakes of Salt Lake county was won by Ensign stake, the boys of the Eleventh ward being the winners, at a highly contested tournament held in the early part of March. To celebrate this victory a gathering of the "M" Men of the stake with their fathers was held in Whitney Hall on the evening of March 1 1 . The trophy, a beautiful cup, was donated by Col. Joseph J. Daynes. Quite a number of games were indulged in and the program was gotten up with a view to breaking down the barrier which usually exists between fathers and sgns. Editors ^Table The Resurrection At the coming of Easter, and the Spring time, one's thoughts nat- urally turn to the resurrection. One of the most consoling principles of the gospel of Jesus Christ, though mentioned by Paul next to the Judg- ment, which is named last, (Hebrews 6:1,2), is the resurrection. Though not very clear on this subject there are many quotations in the Old Testament which give us to understand that the spirit is immortal, and that the body is essential to the future life of man; hence, the body must be restored. The doctrine of the resurrection in the Old Testament seems to have had a slow and hesitating development in the minds of the people. Nevertheless, in Daniel 12:2, it is apparent that the resur- rection of the body was declared, as also in Job (19:25-28), which book is among the oldest literature of the Bible; and in Hosea (13: 14), the promise is made: "I will ransom them from the power of the grave; I will redeem them from death." This promise probably refers to the ultimate national restoration and blessing of Israel in the kingdom of God, and not to the resurrection of the individual. But individual resurrection is doubtless referred to by Isaiah (26:19) when he exclaimed: "Thy dead men shall live, together with my dead body shall they arise. Awake and sing, ye that dwell in the dust: for thy dew is as the dew of herbs, and the earth shall cast out the dead." Belief in the destruction of the existence of the individual was not therefore generally adopted, if we bar certain exceptions, as in Ecclesiastes 3:8-22 where the preacher, in dilating on the weary round of life, declares all things vain. The spirit was believed to subsist after the breath of life had been withdrawn from the body, and the imortality of the spirit (Genesis 2:7) was held as an in- stinctive faith from which sprang the belief in the resurrection of the body and that death was not the final goal. This faith is intensified, established and enlarged by the resur- rection of Jesus Christ which assured men of what seems to have been until then a mere hope, perhaps imperfectly supported by scriptural warrant, and hence contested by the Sadducees. His resurrection raised, emphasized and enlarged that hope (Peter 1:3): "Blessed be the God and Father of our Lord Jesus Christ, which, according to his abundant mercy, hath begotten us again unto a lively hope by the resurrection of Jesus Christ from the dead." His resurrection meant entry into an entirely new phase of existence — not like that of Lazarus, who was risen with a body subject to all previous conditions, but an existence where men will be the children of the resurrection and can die no more. (Luke 20:36.)