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diff --git a/32023.txt b/32023.txt new file mode 100644 index 0000000..bf76754 --- /dev/null +++ b/32023.txt @@ -0,0 +1,4466 @@ +The Project Gutenberg EBook of The Boy's Voice, by J. Spencer Curwen + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Boy's Voice + A Book of Practical Information on The Training of Boys' + Voices For Church Choirs, &c. + +Author: J. Spencer Curwen + +Release Date: April 17, 2010 [EBook #32023] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE BOY'S VOICE *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + + + + +THE BOY'S VOICE. + +[Illustration: _CHORISTER BOYS_. + +_Photographed by Mr George Hadley, Lincoln_.] + + + + +THE BOY'S VOICE + +A BOOK OF PRACTICAL INFORMATION ON THE TRAINING OF BOYS' VOICES FOR +CHURCH CHOIRS, &c. + +BY + +J. SPENCER CURWEN _Fellow of the Royal Academy of Music; President of +the Tonic Sol-fa College._ + +[Illustration: Decoration] + +London: + +J CURWEN & SONS, 8 & 9 WARWICK LANE, E.C. + +NEW YORK: CHARLES SCRIBNER AND SONS. + +_Price Two Shillings and Sixpence._ + +=1891= + +LONDON: J. CURWEN AND SONS, MUSIC-PRINTERS, PLAISTOW, E. + + + + +PREFACE. + + +The value of this little book, as the reader will soon discover, depends +less upon my own work than upon the large number of choirmasters whose +experience I have been fortunate enough, directly or indirectly, to lay +under contribution. The conditions of the choir-trainer's work vary, in +an endless way, according to his surroundings and opportunities. And it +is just when work becomes difficult that contrivances and hints are most +fruitfully evolved. Hence I have given in great detail the experiences +of many correspondents, and some of the most useful suggestions for +ordinary church choir work will be found to proceed from writers holding +no great appointment, but seeking quietly and unostentatiously to +produce good results from poor material. + +In view of a second edition, I shall be pleased to receive letters from +readers who have further experiences to offer. + +J. S. C. + +_June_, 1891. + + + + +CONTENTS. + +CHAPTER I. PAGES +The Healthfulness of Singing 1-5 + +CHAPTER II. +Management of the Breath 6-7 + +CHAPTER III. +The Art of Managing Choir Boys 8-11 + +CHAPTER IV. +Voice Training 12-22 + +CHAPTER V. +Information on Voice-Training, collected +by the Salisbury Diocesan Choral Association 23-26 + +CHAPTER VI. +Pronunciation in Singing 27-28 + +CHAPTER VII. +Singing by Ear and by Note 29-30 + +CHAPTER VIII. +Flattening, and Singing out of Tune 31-39 + +CHAPTER IX. +On the Training of Boys' Voices 40-48 + +CHAPTER X. +The Special Difficulties of Agricultural +Districts 49-58 + +CHAPTER XI. +Notes on the Practice of various Choirmasters +in Cathedrals, &c. 59-68 + +CHAPTER XII. +Notes on the Practice of various Choirmasters +in Parish Churches 69-74 + +CHAPTER XIII. +Alto Boys 75-89 + +CHAPTER XIV. +Schools for Choristers 90-98 + +CHAPTER XV. +Concert Songs for Boys 99-103 + +[Illustration: THE BOY'S VOICE.] + + + + +CHAPTER I. + +THE HEALTHFULNESS OF SINGING. + + +The boy's voice, though an immature organ of delicate structure, is +capable of much work, providing only that its mechanism be rightly used +and not forced. Some people are unnecessarily nervous about boys; as a +rule, under competent guidance, they will get nothing but good from +vocal work. A cathedral organist wrote to me the other day:-- + +"Our best solo boy, who has a splendid voice and who sings beautifully, +has been unwell, and the Dean and Chapter doctor (who has an idea that +every choir-boy should be as robust as a plough-boy) has just stated +that the boy is too feeble to remain in the choir. Notwithstanding my +remonstrances, the Dean and Chapter decided yesterday to uphold the +doctor. I tried his voice last week, and he sang with full, rich tone up +to the C above the stave, and that after he had been skating from 9 a.m. +to 5 p.m. I should have thought that a boy who could skate all day could +not be in such a 'feeble' state as represented by the medical man. Three +months ago a boy with a beautiful voice was sent away for the same +reason. So you see what uphill work it is for me." + +It is to be hoped that fastidiousness of this sort is not common. The +_abuse_ of the voice may lead, of course, to serious results. In the +_New York Medical Record_ of March 21, 1885, p. 317, there is a case +recorded of the bursting of a blood vessel through too energetic +singing, but this is altogether abnormal, and beyond the scope of our +enquiry. The voice, properly used, will last as long as any other organ, +and it benefits by exercise. Mr. D. W. Rootham of Bristol, who now at +middle age has a strong constitution and a fine baritone voice, tells me +that as a boy at Cambridge he sang for seven years at five services +every Sunday. The thing seems incredible, and it is an extreme case, +though it shows what work the voice, properly managed, will do. + +Singing, it should be remembered, promotes health. It does so indirectly +by causing cheerfulness, a genial flow of spirits, and the soothing of +the nerves. It does so directly by increasing the action of the lungs. +So far as these organs are concerned, singing is a more energetic form +of speech. As we sing we breathe deeply, bring more air into contact +with the lungs, and thus vitalise and purify the blood, giving stimulus +to the faculties of digestion and nutrition. A physiologist, in fact, +can trace the effects of singing from the lungs into the blood, from the +blood into the processes of nutrition, back again into the blood, into +the nerves, and finally into the brain, which of all organs is most +dependent upon healthful and well-oxygenated blood. Dr. Martin (organist +of St. Paul's Cathedral) has had many years' experience in training +choir-boys, and he tells me that he has never known a boy to injure his +voice, or lose it through singing. It is a question of method; if the +voice be used properly it will stand any amount of work. He has seen +boys disposed to consumption improve in health after joining the choir. +The medical man who declared that if there were more singing there would +be less coughing, expressed in a graphic way the healthful influence of +vocal practice. Parents and guardians need never hesitate to allow their +sons and charges to become choir-boys under proper choirmasters. They +may be sure that nothing but good can come of the exercise. + +Two cautions only are needed. The first is, not to sing during a cold. +When a slight inflammation has attacked the larynx--that is, when a cold +has been taken--the vocal cords are thickened, and the act of +vocalisation causes them to rub together, which increases the +inflammation. If the cold is a bad one--that is, if the inflammation is +great--the singer will be compelled to rest, because the congestive +swelling of the vocal cords will be so great that they will be unable to +vibrate sufficiently to produce tone. But whether slight or great, the +cold demands rest. Otherwise permanent injury may be done to the voice. + +The second caution relates to the preservation, not of the boy's voice, +but of the man's. There is no doubt that it is undesirable for a boy to +continue to sing after his voice has shown signs of "breaking." What are +the first signs of this change? Choirmasters notice that the middle +register becomes weak, without any diminution in the power and quality +of the upper notes, but that at the same time the thick register grows +stronger, and the boy can strike middle C with firmness. "The striking +of middle C," says Mr. G. Bernard Gilbert, "is usually sufficient to +decide the point." The tradition of teachers is in favour of rest at +this time, and a well-founded public impression counts for a good deal. +The fact is that during the time of change not only do the vocal cords +lengthen, but they are congested. An inflammatory action, like that +which takes place during a cold, is set up. Hence rest is desirable. +Nature herself also counsels rest because she reduces the musical value +of the voice at this time to a low ebb. It becomes husky and of +uncertain intonation. No doubt cases can be quoted of boys who have sung +on uninterruptedly and developed into good tenors or basses, but there +are cases equally strong in which the man's voice has completely failed +after such a course. Sir Morell Mackenzie is the only medical writer who +has advocated singing during change of voice, but not even his authority +can upset the weight of evidence on the other side. + +Nevertheless, on the principle of "hear both sides" I quote the +following from a letter by Mr. E. H. Saxton, choirmaster of St. James's +church, at Buxton:-- + +"Upon the question of resting completely from singing during the period +of change of voice, I hold that one must be guided by the circumstances +of each individual case. I carefully watch each boy when I am expecting +the change to commence, and it usually shows itself by the upper thin +register giving way. If I cannot immediately spare the boy from the +treble part (and good leading boys are not plentiful), I caution him to +leave high notes alone, never to force them, and as soon as possible I +relegate him to the alto part, where he often remains useful to me for a +year or eighteen months. All the time he is singing the alto part I keep +watch over him, and forbid his singing as soon as there are indications +that the effort is in the slightest degree painful. Generally I find +this prohibition to be only necessary for notes above [Illustration: +middle f] Should a vacancy occur in the senior choir (if the boy shows +signs of his voice developing to either tenor or bass) I get him passed +from the junior to the senior choir, warning him, however, to be very +careful of his high notes, and never to force them. My general +experience leads me to the conclusion that it is a most arbitrary and +unnecessary rule to lay down that every boy should rest at this time. In +some cases it is necessary, no doubt, but my opinion is, after twenty +years' practical experience, that in a large number of cases it is +cruel, and about as much use with regard to the after-development of the +voice as it would be to prohibit speaking. Speaking practically--not +scientifically--I hold that the vocal organ is beneficially exercised +when singing is allowed in moderation, and within the restricted limits +which every choirmaster ought to know how to apply. I have experienced +boys who have never rested developing good voices, as well as those who +have rested. But I have no experience of boys who have never rested +developing bad voices, though I have of those who did rest. I have three +boys in one family in my mind now, one of whom had a good alto, the +other two good soprano voices. The alto and one soprano never rested, +and developed respectively a good tenor and bass. The other rested +(through removal to another town), and developed a very indifferent +bass." + +In spite of this weighty and well-argued statement, my own opinion is +that the preponderance of evidence is in favour of rest. It is certainly +a new physiological doctrine for a short period of rest to injure or +prevent the development of any organ. In short, I cannot see how there +can be any disadvantage in a few months' rest, while from the other +point of view there can be no musical advantage in the use of an +unmusical instrument. As soon as the man's voice shows signs of +settlement its practice should gently begin. + +[Illustration: Decoration] + + + + +CHAPTER II. + +MANAGEMENT OF THE BREATH. + + +Breathing in singing is a matter of the utmost importance. The breath is +the motive power, the primary force, to which the larynx and the +resonance chamber are but secondary. In speech we can manage with short +breathing and half-filled lungs, but in sustaining the sounds of song, +we need to breathe deeply, and to breathe in a right way. Manifestly the +act of breathing consists of two parts--(1) the drawing in, and (2) the +letting out of the breath. When we speak of modes of breathing, however, +we refer to the drawing in of the breath. There are three ways of doing +this. First, by lowering the diaphragm, and thus compelling the lungs to +enlarge and fill the vacant space created. Second, by extending the ribs +sideways, causing the lungs to expand laterally. Third, by drawing up +the collar-bone and shoulder blades, causing the upper part of the lungs +to expand. The third method is bad; the ideal breathing is a combination +of the first and second. Upon this athletes as well as singers are +agreed. This is the breathing which we practise unconsciously in sleep, +or in taking a long sniff at a flower. The musical results of bad +breathing are flattening and a hurrying of the time; hence the +importance of the matter. Practice may well begin with a few minutes +devoted to breathing exercises. Let the boys inhale a long breath +through the nose; hold it for a time, and then slowly exhale. Again let +them slowly inhale, hold, and exhale quickly, allowing the sides of the +chest to collapse. Again, let them, while holding the breath, press it +from the lower to the middle, and to the upper part of the chest, and +_vice versa_. During this exercise the body should be in the position of +"stand at ease." The spirometer, a useful but rather expensive little +instrument, measures accurately lung capacity. These breathing exercises +may be followed by practice in holding a single tone for a period just +short of exhaustion. + +[Illustration: Decoration] + + + + +CHAPTER III. + +THE ART OF MANAGING CHOIR BOYS. + + +To some choirmasters the management of their boys is a perfectly easy +matter; to others it is a constant source of trouble. Everything depends +upon knack. Max O'Rell has some wise maxims on the subject which it may +be well to quote. "Face the boys," he says, "or you will be nowhere. +Always be lively. Never show your temper: to let the boys see that they +can ruffle you is to give them a victory. Allow no chatting. Never +over-praise clever boys; never snub dull ones. Never expect any thanks. +If a boy laughs at a mistake made by another boy, ask him for the answer +immediately, and he will be dumb. If you do not love boys, never become +a choir [school] master." + +Discipline is preserved by giving the boys seats in the same relative +position at rehearsal and in church. There should be a double row of +desks in the practice room, provided with a shelf for books, just as in +the stalls. If the boys have to hold the books and music in their hands +they stoop, and the singing suffers. Each boy should have a copy of the +music, and it should bear his number, so that he is personally +responsible for its good keeping. Punctuality at rehearsal is important. +Let the choirmaster call for order at the exact time, and let the roll +be gone over at once. To be unpunctual, or not to register early +attendance, is to encourage laxity. + +There is no doubt that the long services in many churches are trying to +the choir boys. In some churches the morning service lasts two hours and +a quarter. It is very hard even for an adult to keep his thoughts from +wandering, and his eyes from glancing over the congregation during all +this time. How much more hard is it, then, for a boy who is by nature a +fidget, and if healthy, brimming over with activity? Nevertheless boys +can be trained, if not to control their thoughts, at least to an outward +reverence and quietude in harmony with the service. Reproof, if it is +needed, is best administered in private. Boys should be paid, if only a +small sum; this gives the choirmaster a hold upon them, and enables him +to impose fines, if necessary. Payment can be increased for those who +take Tonic Sol-fa or other sight-singing certificates, which of course +increase their value as choristers. Let it be noted that the voices will +carry further if the boys hold up their heads. This caution is +especially needed when they are singing in the kneeling posture. + +All that can be done to interest the boys in their work by encouraging +the social feeling, will be to the advantage of the choir. Their hearts +are easily won. An excursion, an evening party once a year are great +attractions. Mr. H. B. Roney, of Chicago, advocates a choir guild, and +in the choir-room he would have a library, games, puzzles, footballs, +bats and balls, Indian clubs, and dumb-bells. He would open and warm the +choir-room an hour before each service and rehearsal. To some extent he +would let the youngsters govern themselves, and says that the gravity +with which they will appoint a judge, a jury, sheriff, prisoner, and +witnesses to try a case of infraction of the choir rules, would bring a +smile to the face of a graven image. Prizes at Christmas are part of his +scheme; these should be awarded for such points as punctuality, progress +in music, reverential demeanour, and general excellence. + +According to Mr. Sergison, organist of St. Peter's, Eaton Square, +London, the choirmaster will have power if he make himself beloved. He +should enter into the boys' way of looking at things, and remember that +they have deep feelings. The boys should be arranged in classes, each +higher class having higher pay, with sundry little privileges. Mr. +Sergison says that by putting the boys upon their honour, and treating +them well, he has always maintained strict discipline, and has never +yet had to resort to corporal punishment. The Rev. E. Husband, of +Folkestone, who is an enthusiastic choir-trainer, is strongly of opinion +that for vocal purposes working-class boys are better than the sons of +gentlemen. He finds that boys of a lower class have richer and fuller +voices than those above them in the social scale. I was myself present, +not long since, at a concert at Eton College, and although I was greatly +struck with the purity of the tone, its volume was thin and somewhat +shallow. One reason why working-class boys excel, probably, is that +plain food and outdoor life keep the body in the best condition, so that +the children of the poor, so long as they are well-nourished, are +healthier than the children of the rich. But the working-class boys have +also this advantage, that they begin life at four years of age in an +Infant School, where they sing every day, and receive systematic Tonic +Sol-fa teaching which is continued when they pass into the boys' +department. Boys who are trained under governesses and at private +preparatory schools often learn no singing at all. It is to be hoped +that the diffusion of musical knowledge will make these +class-comparisons, from a musical point of view, unnecessary. The +choir-boys of Christ Church, Oxford, are all the sons of professional +men, but then the choice is a wide one, as they come from all parts of +the country. + +The precentor of a cathedral writes to me on an important branch of our +subject. I sincerely hope that his picture is not one that is generally +true:-- + +"My own experience would suggest that in connection with the training of +cathedral choristers the attention of cathedral organists might be very +advantageously drawn to the very great importance of efficiency in the +art of teaching--of imparting knowledge. The instruction given may be as +good as could well be desired, but the manner of imparting it just as +bad--such as would be condemned in any well-conducted Public Elementary +School. Uncontrolled temper, the cane, boxing of the ears, are matters +which go far to prove a teacher very seriously incompetent as a teacher. +A cathedral organist is specially exposed to the temptation to +hastiness and harshness, owing to the power he possesses. A parent +values the position of a chorister for his son, and the organist is +tempted soon to take advantage of the parent's unwillingness to withdraw +his son. In a parish choir, either voluntary or paid at a very low rate, +the exhibition of bad temper or discourtesy in manner is quickly +followed, in all probability, by the loss of the offended chorister. +Offensive manners on the part of the trainer quickly endanger the +existence of the choir. Not so in cathedrals, and the cathedral organist +knows this. 'I cannot think why that boy does not sing in tune; I have +boxed his ears;' said a cathedral organist once to me quite seriously. +This proves, I think, how blind even a highly-trained musician may be to +the need for any art in the mode of imparting instruction. I fear there +is a vulgar notion (only half defined, most probably) that irascibility +in the musical trainer is a mark of genius. I write from experience, +having been upwards of a quarter of a century in cathedrals, and a +considerable portion of that time precentor." + +In conclusion, the custom of throwing a halo of sentiment round +choir-boys, and petting them, is much to be deprecated. It has become +the custom to write tales and songs about them, in which they are made +out to be little angels in disguise. All this is very foolish and +harmful. Choir-boys, as a rule, are no better and no worse than other +boys. They respond well to wise treatment, but need to be governed by +common sense, and to be taught their places. I am myself somewhat to +blame for illustrating this book with two pictures of choir boys. It is +really inconsistent. + + + + +CHAPTER IV. + +VOICE TRAINING. + + + { C2 + { B1 + Small { A1 + { G1 + {F1 + Upper Thin. {E1 + { {D1 + {C1 + Lower Thin. {B + {A + {G + { {F + Upper Thick. {E + {D + { C + Lower Thick. { B_1 + { A_1 + { G_1 + +Before commencing to train a voice the choirmaster must make sure that +it is a voice worth training. He must take the boy alone, test his voice +by singing scales, and try especially his notes in the treble compass, +say, [Illustration: musical notation] He must test his ear by playing +phrases, and asking the boy to sing them. He must enquire into his +theoretical knowledge, if any, and ask if he has had a Tonic Sol-fa or +any other systematic training. The ear of the choirmaster must decide +upon the voice. It is said by some that boys' voices partake of one or +other of two qualities, the flute quality or the oboe quality. They +differ, no doubt, in _timbre_, but these two divisions are not clearly +marked. The diagram at the side gives the compass of the registers in +boy trebles and altos. The names are those invented by the late John +Curwen, and have the advantage of describing the physiological action +that goes on. Thus in the Thick Register, the vocal cords vibrate in +their whole thickness; in the Thin Register their thin edges alone +vibrate; and in the Small Register a small aperture only is made, +through which the sound comes. The registers are practically the same as +those of women's voices. They may be shown on the staff, thus:-- + +[Illustration: Lower Thick. Upper Thick. Lower Thin. Upper Thin. Small. + +Chest. Middle. Falsetto.] + +I give below the staff another set of names which are sometimes used, +but different voice-trainers attach to these different meanings. + +It is undesirable to tell the boys anything about the registers. The +spirit of voice-training at the present time is too analytical. The +theory of the registers is for the teacher, not for the pupil. Some +voice-trainers seem to think that it is their business to discover the +registers, but as far as tone goes it is their business to conceal them. +Trainers work better through possessing physiological knowledge, but the +end is a smooth and homogeneous voice, blended and well-built. + +Roughly speaking, the boys to be rejected are those who through +carelessness, excitement, or confirmed habit, force up the thick +register while singing. And those to be accepted are the boys who have +sufficient reserve and care to turn into the fluty tone at the proper +place, whether the music be loud or soft, and whatever be the shape of +the melodic passage. The right use of the voice is most likely to come +from boys who, whatever their social status, are well brought up, and +have been taught to avoid screaming, coarse laughing and bawling, and if +possible to speak in a clear way. + +Voice studies are of two kinds. First come those which promote the +building and setting of the voice. These are generally sung slowly. When +the voice is becoming settled exercises for agility may be introduced. +Of agility exercises most voice-training books contain plenty. There is +a good selection in Mr. Sinclair Dunn's "The Solo Singer's Vade Mecum" +(J. Curwen & Sons, price 1s.) and Sir John Stainer has written a set, +printed on a card, which is published by Mowbray, Oxford and London, +price 6d. + +When the system of probationers is at work the voice-building exercises +will not be much needed. The little boys will insensibly fall into right +habits. They will learn to produce tone as they learnt to speak--by ear. +But when a new choir has to be formed, the building exercises are +necessary. And the first object of these is to make the boy feel the +thin register and strengthen it by use. For this purpose such phrases as +these, which leap into the thin register, and quit it by step are the +best:-- + +[Illustration: KEY =E=[b]. d1 t l s d1 t l s m1 r1 d1 t d1] + +[Illustration: KEY =G=. s f m r f m r d l s f s m] + +These exercises should be sung to several vowels, but especially to the +sound "koo," which will at first immensely amuse the boys, but will +afterwards be found to throw the tone forward towards the teeth in a way +that no other sound does. + +Pure vowel tone goes with pure and resonant voice. The broad and pure +vowels of the Yorkshire dialect have, more than anything else, produced +the Yorkshire voices. Hence the choirmaster must make a determined +effort to cure provincialisms in so far as they prevent the issue of +pure vowel sounds from the mouth. The vowels should be sung in their +vocal order as recommended by Mr. Behnke, oo (as in _you_), o (as in +_owe_), ah (as in _Shah_), a (as _pay_), and ee (as in _see_). These may +be taken to slow scales, thus:-- + +[Illustration: oo-o-ah-a-ee oo-o-ah-a-ee, &c.] + +Let the choirmaster watch carefully for impure sounds, and call upon +each boy to sing two measures by himself from time to time. + +In singing the boy should stand upright and free. He must not lean or +bend his body. The mouth must be fairly opened, but not too wide. As the +voice ascends the mouth opens wider. The lips must lie lightly on the +teeth, and the tongue should lie at rest, just touching the front teeth. +If, for the sake of change during a long rehearsal, the boys sit, let it +be remembered that there are many ways of sitting, and that the upright +posture hinders the breath less than lolling and a crooked posture. +Rigidity is the enemy of all good singing. Let the whole body and vocal +apparatus be relaxed, and pure tone will result. "If I hear a boy +forcing up his voice," said Herr Eglinger, of Basel, to me, "I ask the +rest of the class to point him out, and they do it at once." This at +once cures the transgressor and sharpens the consciences of the other +boys. As to the vowel on which singers should be trained, there are +differences of opinion. Maurice Strakosch, the trainer of Patti, +Nilsson, &c., used "ha," which causes a slight breath to precede the +articulation. This, he said, gives the voice a natural start. It is +something like the "koo" of Mrs. Seiler. Learners he required to lower +their heads while singing, and to show the upper teeth, so as to keep +the lips out of the way of the tone. Mr. Barnicott, a successful +choirmaster at Taunton, uses "ka." But as in the actual singing of the +English language all the vowels are encountered in turn, it would seem +reasonable that they should all be included in the practice. + +Mr. Walter Brooks, quoted elsewhere, lays stress upon long-sustained +notes in the scale of E flat, and up to G. These expand the lower part +of the lungs, and produce steady, firm tone. They should be sung both +loud and soft, the boys one by one and together. An admirable plan is to +keep boys on the alert listening for faults, asking those not singing, +"Whose fault is that?" Jealousy and conceit, says Mr. Brooks, are +avoided by giving a solo to three or four boys to sing in unison. Three +or four will blend better than two, and after proper rehearsal the tone +is so like one voice that people say, "What a beautiful voice that boy +has!" + +As to balance of parts, the following table is given by Mr. H. B. Roney +of Chicago:-- + + Sopranos 12 17 25 37 50 + Altos 4 5 7 11 14 + Tenors 4 5 8 11 14 + Basses 5 8 10 16 22 + -- -- -- -- -- + 25 35 50 75 100 + +Mr. Stocks Hammond says that during voice exercise the boys should stand +perfectly erect, with mouth well open, the shoulders being thrown back. +After exercise in slowly inhaling and exhaling the breath, comes the +uniting of the registers. This is accomplished by singing up and down +the scales of C, D, and E to the syllable "ah." Each tone is taken with +decision, and is followed by a slight pause. The same scales are +afterwards sung to "oh" and "oo." This exercise should not last longer +that ten or fifteen minutes. Staccato scales to "ah!" "oh!" and +chromatic passages are introduced later. + +Mr. G. Bernard Gilbert, F.C.O., of West Ham Parish Church, is an +exceptionally skilled trainer of boys' voices. He meets his boys +half-an-hour before each of the Sunday Services and "tunes them up," an +admirable plan, which cannot be too widely imitated. The first thing he +does in training boys is to teach them to attack and leave sounds with +precision, neatness, and proper register or quality of voice. He gives +chief attention to the sounds between [Illustration: here the author +expresses a range from the F above middle-C (or F4) to the C above +middle-C (C5) by inserting a staff] and first practises them. If beauty +of tone is to be obtained, it is of the utmost importance that these +sounds should be given in the thin register. Mr. Gilbert has cultivated +this register in his own voice, and is able to give the boys a pattern +in the right octave, which he thinks of great use. The change from upper +thick to lower thin takes place between E and F. The boys should intone +in the thin register. Flattening while intoning is almost entirely due +to boys using the thick register. Mr. Gilbert uses the vowels as +arranged by Mr. Behnke, oo-o-ah-ai-ee, practised first with a slight +breath between each, afterwards all in one breath, _piano_ and +_staccato_. Consonants preceding these vowels are of little value, as +they only disguise a wrong action of the glottis, without removing the +fault. He uses also sustained sounds, and short major or minor arpeggi, +and last of all scale passages. If due attention be given to the +intonation of the arpeggio, the scale should not be, as it too often is, +all out of tune. The arpeggio is its skeleton or framework. Mr. Gilbert +alternates this work with the singing of intervals and the practice of +time rhythms. He attaches great value to the vowel "e" in practising +sustained notes, scales or arpeggi, though other vowels must receive due +attention. "E" has the advantage of bringing the vocal cords very close +to together, thereby effecting a greater economy of the breath than is +possible with the other vowels. He has constantly succeeded in making +boys produce a pure and beautiful tone to this vowel, especially in that +part of the voice called the upper thin, when he could not do so with +the others. Of course "e" can be sung badly, and boys will sometimes +make a nasal squeak of it, but the correct placing of the tone is +quickly learnt if the teeth are kept nicely apart. Mr. Gilbert teaches +the boys when very young the mechanism which governs their voices above +[Illustration: high f] This is the "small" register. He is careful also +about pronunciation, recommends that boys should be paid, and that bad +behaviour, laziness, or irregularity, if they occur, should be punished +by fines. One of the most marked excellences of Mr. Gilbert's choir is +its chanting, and the elocutional phrasing of the words of the hymns. +The rigidity of the time is often broken with impressive effect in +order, by an elocutional pause, to throw into relief a prominent word or +idea. + + * * * * * + +Mr. T. H. Collinson, Mus.B., organist of St. Mary's Cathedral, +Edinburgh, has given me some interesting particulars of the training +which his excellent boys undergo. The process of selection is as +follows:--(1) Advertisement. (2) Trial of voice, and entry of +particulars of school, school standard, father's occupation, &c. (3) +Choice of most promising voices. (4) Inspection of homes, as to +overcrowding, &c. (5) Appointment of probationers. (6) Full appointment, +with religious service of admission by the Dean. The parents engage in +writing to retain the child in the choir school until his voice changes, +or to the average age of fourteen. The boys are taken at all ages from 9 +to 12-1/2. + +"Cultivation of tone, blending of registers, and accuracy of pitch are +specially studied, the principal means being as follows:--(1) +Mouth-opening (silently). (2) Breathing exercise. (3) Sustained notes +_piano_, each to full length of breath. (4) _Piano_ scales. (5) Simple +flexibility exercises, _e.g._, Sir J. Stainer's card of exercises, +published by Mowbray. (6) _Crescendo_ and _Diminuendo_. (7) Behnke's +resonance vowels, oo-o-ah. (8) Behnke's glottis-stroke exercises, +oo-o-ah-ai-ee. (9) No accompaniment, except a single note on the +pianoforte every three or four bars to test pitch. Where badly flat, a +scolding, and going back to try over again. (10) At early morning +practice no _forte_ singing is allowed, as a rule. + +"By the above means, especially sustained notes and _piano_ scales, +flatness is easily avoided, and the registers blend perfectly. A curious +local peculiarity has to be specially treated in the junior boys. The +Scottish 'u' as in 'gude' (good), 'puir' (poor), 'nue' (new), is +identical with the French 'u' in 'tu' or 'Hugo,' and the little fellows +sing an amusing exercise like the following:-- + + You should do two, + +on every note of the scale, with special care to protrude the lips to a +round whistling shape for the 'oo.' Very oddly they sing a good 'oo' in +the falsetto register, and a certain solo boy used to sing Handel's 'How +beautiful are the feet' in its first two phrases in alternate Scotch and +English, the vinegary 'ue' in the first (low) phrase, and a fine round +'oo' in the higher phrase, where 'beautiful' begins on E flat. + +"Raw candidates and ill-taught children generally come minus any +register at all above [Illustration: high d] and grin with surprise on +being taught to produce sweet upper notes by open-mouth _piano_ 'ah.' + +"Colds and petty hoarseness, interfering with the upper notes, are +terribly common in this climate in the class of boys obtained for the +choir. A successful soloist at Friday rehearsal may be found incompetent +by Sunday, so that all solo work is carefully understudied. A few +minutes each day suffice for the purely technical voice exercises. The +services are many in number; three on Sunday, two on week-days, and +occasional extra services at special seasons. The number of boys is kept +up to say 30, and they are worked in divisions to minimise their duties. +The boys are educated free, and seniors receive payment. 'I think that +boys' voices are much like unto boys' legs--they need daily exercise if +they are to be worth anything.'" + + * * * * * + +Mr. R. H. Saxton, of Buxton, writes:--"My choir boys are almost +exclusively drawn from the working class, and the majority of them use +the thick register for the speaking voice. I take them at nine years of +age, sometimes younger if they can read fairly well, and my first effort +is to suppress the thick register altogether in singing. If they were +encouraged to use it they would most certainly abuse it by carrying it +far beyond its proper range. Soft singing is the only effective plan I +know of for removing the tendency to use the thick register. This I +insist on in modulator voluntaries and time exercises. The time +exercises are always laa'd on or above [Illustration: middle A]. In +modulator work I at first avoid beginning in the lower keys where the +thick register would naturally be used. By thus constantly cultivating +the thin register, never allowing faulty intonation to pass unnoticed, +and always checking the natural tendency of boys to sing coarsely; +together with a free use of ear exercises, in which they are taught to +recognise tones by their mental effect, I succeed at last in getting +fairly good tone. It is, however, a work of time and difficulty, on +account of the daily surroundings of the boys, and the habitually coarse +way in which they are allowed to sing in school. To avoid flattening, I +believe the course I have indicated to be the best remedy, as eye, ear, +and voice are cultivated simultaneously. + +"In training the thin register special care must be taken that the Upper +Thin is brought out at [Illustration: high d] and it is often better +that the C also should be taken in the Upper Thin. A strained Lower Thin +on C sharp or D will be sure to induce flattening, while if the Upper +Thin is properly used there is no difficulty whatever in using the high +D and E within reasonable limits as the reciting note in chanting. When +the music moves about stepwise in close proximity above and below the +breaks, we have another cause of flattening. As most of our country +choirs consist at the best of but partly-trained voices, composers and +choirmasters should bear this in mind. It must not be supposed that boys +are the sole cause of flattening. Far from it, they are too often the +victims of an untuneful tenor or bass. + +"From the first moment a boy comes under my care he is encouraged to +take the Tonic Sol-fa certificates, and few leave the choir without +having passed the Intermediate. I am of course now speaking of those +boys who remain with us till they are no longer of use as boys." + + * * * * * + +I append an extract from a letter by Mr. J. C. E. Taylor, master of the +Boys' National School at Penzance, and choirmaster of St. Mary's Church, +which is interesting as showing the extent to which singing by ear can +be carried:-- + +"The children here, as in most Cornish towns, are fond of music, and +have a quick ear. I pick my boys from a school of nearly 400. I choose +them by the way they _read_ in school. They are generally of Standard +V., and between ten and eleven years of age. If younger the Psalms +puzzle them. I try a new boy's voice at the choir practice. If he has a +sweet tone, and can reach F sharp, however faintly, I accept him, and +keep him on probation at the practices. About half-a-dozen are so kept, +and the best lad fills any vacancy occurring in the choir. I have no +trouble as regards discipline, as a fine, or the knowledge that their +places can be instantly filled by the probationers, keeps the choristers +well in their places. At the choir practices I begin with running up and +down the scales with their voices together, beginning soft, and allowing +the voices to increase as the scales ascend, and diminish on descending, +but holding on to the top-most notes whilst I play a chord or two on it. +Then with a nod of my head they descend. At times one note is given them +on which to _cres._ and _dim._, for breathing exercise. Not one lad +knows his notes except as to their rise and fall and values. They depend +on their ear entirely, even in the most difficult fugues." + +At this church anthems and settings of the Canticles are sung every +Sunday evening. The men are voluntary; the head boys get from 30s. to +40s. a year, the solo boys receiving 3d. or 6d. as an encouragement +after rendering a solo or verse part. + + * * * * * + +In spite of all that can be written on the subject of voice-training, +the art is one most difficult to communicate. Some teachers succeed; +others fail. A remarkable instance of this came under my notice lately. +The headmaster of a school asked me to pay his boys a visit in order, if +possible, to discover the reason of the great falling-off in their +singing. His previous singing-teacher had brought the boys to a high +pitch of excellence. When he left, the singing was placed under the +charge of an undermaster, who had for a year or more heard all the +singing lessons given by his predecessor, who used the same voice +exercises with the same boys in the same room. Surely, one would have +thought the results must be the same. But the singing had deteriorated; +flattening, and a lifeless manner had overcome the boys. The causes, so +far as I could discover, were first that the new teacher wanted the +magnetic, enthusiastic way of the old, and second, that he had not so +quick an ear for change of register, and allowed the lower mechanism of +the voice to be forced up higher than its proper limits. + + * * * * * + +This chapter focuses a large amount of valuable experience, but amid the +many hints which are given, two ways of securing right tone stand out +with marked prominence. They are, soft singing, and the downward +practice of scales. + +[Illustration: Decoration] + + + + +CHAPTER V. + +INFORMATION ON VOICE-TRAINING, COLLECTED BY THE SALISBURY DIOCESAN +CHORAL ASSOCIATION. + + +I am indebted to the Rev. W. Miles Barnes, rector of Monkton, +Dorchester, for the following information, recently obtained by him on +the subject of voice-training. It appears that for the information of +choir instructors (some 200 in number) in union with the Salisbury +Diocesan Choral Association, the advice of precentors and organists of +cathedrals was lately sought as to the best way of correcting a very +common fault in the singing of country choirs. + +The following questions were proposed: + +"(I.) It is a common practice in country choirs for boys and +tenors to force the lower register to sing notes which +should be taken in the higher or head register. The +notes thus forced are harsh and unmusical in tone, and +generally flat in pitch. How would you correct this +fault in boys?" + +"(II.) What method is employed in ---- Cathedral for developing +and strengthening the higher (head) register in +boys' voices?" + +The following are extracts from the replies:-- + + Rev. F. J. HELMORE, Precentor of Canterbury. + +I should recommend the practice of the first five notes of the scales of +A, B[b], B, and C, _piano_, taken rather slowly, and then of intervals +from G to D, G to E[b], G to E, A to E, &c. &c. After that I would try +them with the complete scales of E, F, F[#], and G, fast and _forte_, +thus:-- + +[Illustration: musical notation] + +If no improvement is perceptible, begin again. Practice is the main +thing, after a boy has got to understand his faults. + + Rev. W. MANN, M.A., Precentor of Bristol. + +(1.) I think it almost impossible to remedy the evil you complain of +after the boys have been accustomed to sing upper notes from the chest +for some time--say one or two years. Our practice here is to secure boys +between the ages of 9 and 11, before they have been singing elsewhere, +or certainly before they have acquired any faulty tricks of forcing the +voice. + +(2.) In training boys' voices never allow them to shout. If they +commence singing when young they may be taught by scale practice (always +singing quietly) to bridge over the break which exists between the chest +and head voice. This is an art, and requires experience. + +(3.) Speaking generally, I should say that judicious scale practice is +the remedy likely to be of most service in the case specified, teaching +boys, by singing quietly, to glide the chest voice into the upper +register. I recommend the syllable "la" as generally best for the +purpose all through the scale. Boys should keep their tongues down, open +mouths well, sing not through teeth, &c. &c. I find that boys acquire +the cathedral style of singing (with the well-known flute or bell-like +tone) chiefly by example. In singing with boys who have already acquired +it the younger ones catch the style, just as birds are taught to sing by +trained songsters. The untrained rustic can never naturally produce this +tone, but much may be done by (1) careful scale practice; (2) strict +enforcement of a quiet easy style, and rigid prohibition of shouting, or +forcing the voice; (3) the occasional example of trained singers. + + Rev. C. HYLTON STEWART, Precentor of Chester. + +The great thing is not to train boys _up_ through break in the voice, +but _down_ through it, and so to coach them that the break becomes +imperceptible. The top notes ought to be practised very softly until a +good round note is procured. This, however, can seldom be done out of a +cathedral, as it requires constant attention. + + Rev. W. E. DICKSON, Precentor of Ely. + +In this Cathedral, and I suppose in every other, the boys have at least +one hour of daily practice under the most favourable circumstances of +quiet music-room and good pianoforte, and an able teacher. The two +orderly services follow with the regularity of a clock, and in these the +voices of the boys are balanced and supported by those of adult +singers--presumably, good vocalists. + +I think you will agree that no practical rules, available by instructors +of village choirs, can be founded upon arrangements so far beyond their +reach. To describe any "Method" of developing voices under such +circumstances would be quite delusive. + +A life-long experience in the training of parish choirs would lead me to +say that the best approach to true voice production is made when a lady +takes charge of the choir, and has the boys to practise at her own +house. + +To say that all instructors should use unwearied diligence and unfailing +patience and kindness in the attempt to get soft singing, is only to +repeat a very trite remark. + +In schools, the mistake is often made of singing almost all the +exercises in the key of C, and commencing all scales with the syllable +"Do." In trying candidates for admission to the choir, we constantly +find that they have been accustomed to a scale of 13 notes only (one +octave) up and down. The scales should begin on all or any of the +notes--D[#], B[Symbol: natural], G[b], &c., and the peculiarities of the +intervals should be familiarly explained. + +A pamphlet might be written. But there is no "Royal road." + + J. M. W. YOUNG, Esq., Organist of Lincoln. + +The precentor has forwarded your note to me. In answer to your question +asking how to prevent the trebles in country choirs from forcing the +upper notes, I would suggest that when practising the choir, care should +be taken that the trebles are never allowed to sing even the _middle_ +notes _loud_, only _mf_, and they should be frequently practised to sing +_piano_. If this be attended to, it will, in a great measure, prevent +the forcing of the voice on the higher notes, which should never be +practised otherwise than softly. + +Country choirs nearly always sing twice as loud as they ought to do, +consequently the tone becomes harsh and grating, and they invariably +sing the upper notes out of tune. + +I never allow the Cathedral choristers to practise in a loud tone of +voice, yet their voices are rich and mellow, and there is never any want +of power when it is required. Any tendency to force the voice is checked +at once. It will be found very useful to practise the trebles with the +diatonic scale at a moderately quick pace, taking care to sing it +_smoothly_ and _piano throughout_, first to "OO," next to "Oh," and +finally to "Ah." + +[Illustration: Decoration] + + + + +CHAPTER VI. + +PRONUNCIATION IN SINGING. + + +It is impossible to emphasise too strongly the importance of clear +pronunciation in singing. The English, as a rule, pronounce +indistinctly. "We carry on our talk," says Mr. H. Deacon, "in mere +_smudges_ of sound," a graphic and true way of putting things. The +Scotch, Welsh, and Americans pronounce better than we do. Indistinctness +and bad dialect arise, roughly speaking, from two sources--impure vowels +and omitted consonants. The impure vowels are generally due to local +habits of speech, such as the London dialect, which makes a colourless +mixture of all the vowels. In some parts of Scotland also the vowels are +very impure. The voice-training exercises given elsewhere are several of +them directed towards the production of good vowel tone, but the danger +is lest the power gained in these should not be applied to the actual +words encountered in psalm, canticle, anthem, or hymn. A sentence +containing all the vowels may be chanted repeatedly on a monotone, but +after all the best exercise consists in constant watchfulness against +mispronunciation in the ordinary weekly practice. + +Man, according to Mr. R. G. White, may be defined as a consonant-using +animal. He alone of all animals uses consonants. The cries of animals +and of infants are inarticulate. So is the speech of a drunken man, who +descends, vocally as well as in other ways, to the level of the beasts. +This idea has been expressed in another way, by saying that vowels +express the emotional side of speech, and consonants its intellectual +side. All these distinctions point to the great importance of a clear +enunciation of initial and final consonants, and a clear separation of +words. A well-known bishop said to a candidate for ordination, "Before +uttering a second word be sure that you have yourself heard the first." + +It is of no use to give a list of common errors, because each part of +the country has its own bad points of dialect. The choirmaster should +take his standard of English from the best preacher and reader he has +the chance to hear, and endeavour to conform his boys to it. + +But localisms are not the only faults. Boys are very apt to clip their +words in chanting, to omit the smaller parts of speech altogether, and +to invent new and meaningless sounds of their own. The most familiar +parts of the service need frequent and watchful rehearsal to prevent +this tendency. Chanting, as a rule, is much too fast, and the eagerness +of the boys must be restrained in this direction. + +In those rare cases where pronunciation and elocutional phrasing reach a +high pitch of excellence, the music of the service makes a double appeal +to the heart. It bears not only the charm of sweet sounds, but the +eloquence of noble words. + +[Illustration: Decoration] + + + + +CHAPTER VII. + +SINGING BY EAR AND BY NOTE. + + +Many choirmasters maintain that, considering the short musical life of +the choir-boy, it is not worth while to teach him to sing by note. The +quickness of boys' ears for music, they say, is astonishing, while their +memories are equally good. Between the two faculties--ear and memory--we +are told that all things necessary are supplied. The boys, it is said, +don't like theory, and it saves time and patience not to have to teach +it to them. + +I am altogether at issue with this view. I believe theory can be made +interesting to boys, especially if the Tonic Sol-fa system is used, and +that if they are taught sight-singing the choirmaster saves himself a +vast amount of trouble. The after musical doings of the boys should also +be considered, and whether they become tenors and basses, or take to an +instrument, the power to read music will be a happiness through their +whole lives. + +The leading anthems, services, and psalters are now published in the +Tonic Sol-fa notation, so that boys who have learnt to sing from the +letters at school may quickly be put to sing their parts in the church +choir. The late Alfred Stone, of Bristol, who used the Tonic Sol-fa +notation for his choir boys, found it a great time-saver. So quickly was +the service music got through at the weekly practice that there was +nearly an hour to spare for singing glees and getting up cantatas. Mr. +Stone arranged his boys in two grades. The upper grade all held a Tonic +Sol-fa certificate, and they received higher pay than the lower grade. +The result of this arrangement was that the lower boys got the upper +ones to teach them Tonic Sol-fa in their playtime, and thus saved the +choirmaster a great deal of trouble. + +A serious disadvantage of the ordinary way of learning to sing from the +staff notation is that practice usually begins in, and is for several +months confined to key C. For boys' voices this is the most trying of +all the keys--the one most likely to lead to bad habits in the use of +the registers. The keys for boys to begin in are G and F, where you can +get a cadence upon the tonic in the thin register. A German choirmaster, +whose choir is greatly celebrated, has sent me a little book of +exercises which he uses, and I find that, as in most English +publications of a similar kind, there are pages of exercises in key C, +before any other key is attempted. In Tonic Sol-fa all keys are equally +available from the first. + +I have had a wide experience of boys taught on all systems, both in this +country and abroad. I have been present, by the courtesy of +choirmasters, at rehearsals in all parts of the country. And I have +noticed that boys taught by ear, or taught the staff notation by the +fixed _do_, make mistakes which boys trained by Tonic Sol-fa and singing +from it, or applying their knowledge of it to the staff notation, could +not make. The class of mistake I refer to is that which confuses the +place of the semitones in the scale. A sight-singing manual which I +picked up the other day says that the whole matter of singing at sight +lies in knowing where the semitones come. And from one point of view +this is true, but to the Tonic Sol-faist the semitones always come in +the same places, _i.e_., between _me_ and _fah_, and between _te_ and +_doh_. He has only one scale to learn, and as to modulation, that is +accomplished for him by his notation, while the time marks, separating +and defining the beats or pulses of the music, make rhythm vividly +clear. + +If choirmasters wish to save themselves trouble, and get confident +attack and good intonation from their boys, they should teach them the +Tonic Sol-fa notation, and let them sing from it always. The staff +notation they can easily learn later on. + + + + +CHAPTER VIII. + +FLATTENING, AND SINGING OUT OF TUNE. + + +The trainer of adult voices has constantly before him the problem of +making his pupils sing in tune. With boys this matter is less of a +trouble, for this reason. Many adults have fine voices which, if their +intonation can be improved, will do great things. Others have incurably +bad voices, but possessing the ambition and the means for studying +singing, they come under the hands of the professor. In the case of +boys, however, there is a preliminary process of selection by which the +teacher rejects at the outset any defective ears and voices. The trainer +of boys chooses his pupils; adult students of singing, as a rule, choose +their teacher. + +Even, however, when a good set of boys has been chosen and trained, +every choirmaster is troubled from time to time by the evils which I +have named at the head of this paper. + +What are their causes? Probably no cause is so fruitful as a misuse of +the registers of the voice, a straining upwards of the lower register +beyond its proper limits. This may be placed in the front as a perpetual +cause of bad intonation and loss of pitch. This straining is usually +accompanied with loud singing, but boys who have formed this bad habit +will not at once sustain the pitch if told to sing softly. Their voices, +under these circumstances, will at first prove weak and husky, and will +flatten as much with soft singing as they did with loud. A slow process +of voice training can alone set them right. But as boys' voices last so +short a time this treatment is not worth the trouble. Boys who have +fallen into thoroughly bad habits should therefore be dismissed, and a +fresh selection made. + +Some choirmasters imagine that practice with the organ or the pianoforte +will cure flattening and uncertainty. This, however, is not the case. +Probably the effort to keep up the pitch which singers make when +unaccompanied keeps their minds and throats tense and active, while the +consciousness that the instrument is supporting them makes them +careless. An instrument reveals loss of pitch, but does not cure it. No +good choirmaster rehearses with the organ. A pianoforte, lightly +touched, is commonly used, but the teacher should frequently leave his +seat, and accustom the choir to go on alone. + +It is a mistake to suppose that boys flatten because the music is too +high. This is very rarely the case. They are more likely to flatten +because it is too low. Boys attack high notes with greater ease than +women. + +Nervousness will cause a singer who has sung in perfect tune at home to +sing sharp or flat at a concert. But nervousness does not greatly +trouble boys. + +Carelessness will sometimes cause these troubles. The way to cure this +is to increase the interest of the rehearsal, to make the boys feel +bright, happy, and comfortable. + +To mark the breathing places is a good way of preventing flattening, +which is often caused by exhausted lungs. + +Singing is a mental as well as a physical act, and unless the boy has a +clear conception in his mind of the sound of the note he wants, the +intonation will be uncertain. Here comes in the Tonic Sol-fa system with +its "Mental Effects," which give a recognisable character to each note +of the scale, and guide the voice and ear. + +Bad voice production, throaty and rigid, must always go with flattening +and wavering pitch. The act of singing should be without effort; the +muscles of head, neck, and throat should be relaxed. A boy inclined to +these faults should be told to smile while singing. The tone will then +become natural. + +But in spite of all these hints, flattening occurs from time to time in +the best trained choirs, and seems to defy the skill of the +choirmaster. All agree that a half empty church, a cold church, an +ill-ventilated church promotes flattening, and it may be added that +certain chants and tunes so hover about the region of the break that +they invite false intonation. + +Mr. H. A. Donald, headmaster of the Upton Cross Board School, tells me +that he has not much flattening, but that when it comes it seems to be +beyond control. The discipline of his school is excellent, but on a +given day there will come, as it were, a mood over the boys which makes +it impossible for them, try as they will, to avoid sinking. Sometimes, +but not always, this will happen in warm weather. He has more than once +abandoned the singing lesson, and taken up some other study because of +it. One day recently the boys were most attentive, and their vexation +and disappointment with the flattening was evident. Another day it does +not trouble them in the least. This is a school where voice-training is +exceptionally well looked after. + +Several correspondents have favoured me with experience on this point, +and I now proceed to quote their letters. Mr. W. W. Pearson, of Elmham, +writes:-- + +"Ordinary flat singing is the result of want of practice and experience. +Chronic flat singing is incurable, as it is due to a defective ear. A +new lot of choir boys will be liable to sing flat, and to lower their +pitch at any time for the first year or so; but after they have been in +training for a considerable time, I never find that there is any +inclination to sing flat. The notes most liable to be sung flat are the +third and sixth of the scale, or any high note that requires courage and +increased effort. One of these, having been sung flat, is taken by the +singers as a new departure, and being used as a standard, the pitch is +lowered, and all succeeding notes are flat. + +"When I first formed my present choir I was very much plagued with flat +singing, but I am seldom troubled in that way now, and I think the +reason is that a large proportion of the members have been under +training for a long time. + +"I used to find flattening prevail more in muggy, damp, or cold +weather, and in heated rooms. I never allowed the choir to go on in this +way, but stopped them at once, making them begin again after singing the +scale of the key a few times. This, of course, refers to practice. In +church I used to play the organ louder when I heard the pitch going +down; or I would put on a powerful solo stop for the melody, and +slightly prolong the final note of a cadence, in order that when the +choir ceased singing they might hear the difference. When flattening +occurred in the concert room I used to stop the accompaniment, which is, +I think, about all that can be done under those circumstances. When the +choir have been hopelessly bad in a hot practice room I have cured them +by bringing them out into a cold room adjoining." + +Mr. C. Hibberd, of Bemerton, Salisbury, writes:-- + +"To prevent flattening I give great attention to the posture, seeing +that the boys do not stand carelessly. A careless posture, I think, +betokens a careless mind. I am careful not to overtire the children. +They sit immediately one piece is finished, and stand immediately I +sound the first chord of the next piece. I always start the practice +with a few simple voice exercises. When training the choir of a place +far away in the country, I spent more time than usual in giving ear +exercises (dictation), as well as voice-training exercises. I pay great +attention to 'mental effect,' and endeavour to let each boy or girl have +a Tonic Sol-fa copy of the music. The syllables recall the mental effect +to the mind. There should be no uncertainty as to either time or tune, +and both words and notes should be attacked or struck with confidence. I +always practise scales downwards, and have as little to do with the +harmonium as possible at practice. Boy altos I rarely come across. I +tried them once, but found they aided in flattening. We have two men +altos here, who sing in a falsetto voice. The boys here have a name for +singing well in tune, and they are very willing to do anything to keep +up their character." + +Mr. Walter Brooks, in a paper in the _Monthly Musical Record_, expresses +the opinion that the 3rd and 7th of the major scale are often sung +flat. To cure this, each boy must tune up separately, then all should be +tried together. Minor passages are often sung flat. Loss of pitch during +service may, he says, be remedied, not by loud organ stops, but by +playing the boys' part an octave higher. Sharp singing, which often +arises from naturally defective or badly-trained ears, is cured best by +checking those who can only sing loudly, and by insisting on _piano_ +singing. To put on more organ power makes the loud sharp singing worse. + +Herr Eglinger, of Basel, whose qualifications I have referred to +elsewhere, considers that flattening is generally due to fatigue. The +membranes which produce the voice are not yet strong, and they relax, +producing flattening. He works on the principle that children are +quickly tired, and quickly rested, and gives the singing in small doses. +Unfortunately, in church work the length of the dose is not a matter of +choice. He notices, what others have noticed, that when the voices are +divided into three parts, it is the middle part that flattens most; this +is because it plays about the break. To choirmasters whose boys flatten, +Herr Eglinger says:-- + +"Give rest; require a proper use of the registers; get sharp and exact +pronunciation, especially of the consonants; and keep up with a strong +hand the attention and interest of the choir." + +I close this chapter by printing a short paper on the subject kindly +written for me by Mr. W. H. Richardson, formerly trainer of the +celebrated Swanley Orphans' Choir, which gave concerts in all parts of +the country. Mr. Richardson, while he was at Swanley, obtained results +of the most remarkable excellence. At Swanley there was no selection of +voices: all were made to sing, and all were individually trained, as +well as collectively. "My conviction," says Mr. Richardson, "is that +there are no more defective voices than there are eyes and ears." The +Rev. W. J. Weekes, late Precentor of Rochester Cathedral, said of the +Swanley boys:-- + +"The smaller boys were first tested--some thirty or forty little +fellows, some of them new arrivals. Here the tone, though of course not +strong, was pure and sweet, such as would have done credit to cathedral +boys after a couple of years' training, and they 'jumped' their +intervals most clearly, lighting as full and fairly on the correct note +as a bird does on a bough. Thence we moved into the larger schoolroom, +where were assembled some hundred older boys, and such a body of sound, +so full and pure, so free from throatiness, and so true in intonation as +these hundred throats emitted, I certainly never heard from boys' voices +before." + +In 1885 I took the late Signor Roberti, teacher of singing in the Normal +College at Turin, and an Italian composer of eminence, to hear the +Swanley boys, and he afterwards wrote to Mr. Richardson:-- + +"I do not exaggerate in any way by saying that I found there a true +perfection in tune and in rhythm, but above all, in what concerns the +pure and correct emission of voices, the careful and judicious training +of which confers much honour upon you, and I would be happy to see it +even partly imitated by the teachers of the so-called Land of Song." + +These facts are enough to prove the weight that attaches to Mr. +Richardson's utterances:-- + +"My experience has been that flattening will give the teacher very +little trouble after the pupils have been drilled with voice-training +exercises, but until the voices are built and strengthened, he will have +unpleasant surprises of all kinds. If he would have a reliable choir he +must begin, continue, and end with regular voice training based on an +undeniably good system. From the very outset the pupil should be taught +to fear flat singing as a demon. With my boys I was for ever laying down +the self-evident truth, 'People can endure your singing if it be +tuneful, even though all other points of excellence are low, but no one +can put up with your singing out of tune, except as martyrs.' The cause +of flattening is always lack of culture. In the choirs I have trained it +has ceased to trouble me after a few months. The habit of letting the +pitch drop fosters itself in a remarkable manner, until at last the ear +of the performer is perfectly satisfied with the production of a +monstrosity. In proof of this I would mention a case which has come +painfully under my own notice. A number of boys known to me have been in +the daily habit of singing the tune:-- + +[Illustration: key E[b].:d | m:f:r | d:-:m | s:-:l | s:-:s | d1:-:t | +l:-s | &c.] + +and as they have only had a 'go as you please system' to hold them in, +they now commence flattening at once with a _crescendo_ which culminates +in the second line, and creates the effect:-- + +[Illustration::d | m:f:r |d:-:m |s:-:l | s:-:s | 1d1:-:t |l:-:s|| &c.] + +The original quite gone, they quite satisfied! The cause of continued +flat singing is allowing the _bad habit_. I am not, of course, dealing +with exceptional cases of natural inaptitude. These are rare, and I say +this after having had some years of experience in testing individual +voices. I could now with very little difficulty name the few pupils I +had at Swanley who were naturally unable to sing tunefully, and I doubt +not that nearly all my old scholars could do the same. They were in +reality exceptions, numbering, during the whole of the time I was with +them, not more than half-a-dozen. + +"There is one stage in the voice training where the teacher finds his +pupils (boys I am speaking of, my experience with adults not having been +so extensive) habitually _sharpen_. In my own neighbourhood a teacher +who has commenced to properly train his boys to sing, in a conversation +he had with me told me of this, to him, unexpected difficulty. To get +good intonation in part-singing, I found the singing of chords a great +help. The class should be divided rapidly, and one note of the chord +assigned to each section. Then it should be sung softly. This should be +repeated with other chords, and followed by easy phrases. Voices do not +at once blend, and until they do the singing should be never loud. I +look upon the earlier work as tentative--a feeling for the beauty of +perfection of pitch, tunefulness, and intonation. A practice to be +condemned is that of learning the parts of a tune separately, and then +bringing them together. There are, of course, places where it is +absolutely necessary to give special attention to exceptional passages, +but it is a mistake to teach each part as though it were an independent +tune--to give the direction, which I have often heard, 'Now sing your +part, and never mind what the others are doing,' or 'Don't you listen to +any other part.' This system is answerable for the most offending cases +of want of tunefulness, in which one part will sing on with the greatest +of satisfaction in a key a semitone from that in which the part above or +below is moving. The ear should be prepared by a symphony, or by +thinking of the key before a piece is commenced. My own practice has +been to wait after giving the key-note for the pupils to do this. I have +recently come across a method of allowing the pupils to find the tonic +of a song about to be sung, which in nine cases out of ten will make the +opening as 'restless' as the sea waves. The teacher strikes the C fork, +and the tonic being F, all the pupils sing C', B, A, G, F--doh. The C', +B, A, G, F is, I think, as likely to unsettle the ear as anything that +could be imagined. The teacher should give the key-note. He may teach +his pupils to use the fork if he will, but _not_ in a way so exquisitely +calculated to unsettle the ear when it should be strongly decided. + +"With regard to Registers, I do not know whether the nomenclature I +employed with my Swanley choir will be commended by you, but as it was +successful I will describe it. The registers we called, perhaps +inelegantly, 'Top,' 'Middle,' and 'Bottom,' these terms being handier +than Upper Thin, Lower Thin, and Upper Thick. The earliest exercises +were in the Top Register--that is, the Upper Thin. Boys untrained are, +taken in bulk, unconscious of the Thin Register. Having got them to +sing, say C to koo, I have followed it by singing to the same syllable +the tune:-- + +[Illustration: KEY A[b] | m:m |f:f |s:--|m:--|| &c.] + +('Now the day is over,'--_A. & M._), and the delight has been intense +when the pupils have thus discovered how clearly and sweetly they could +sing. When this is done great possibilities seem to open, and the pupil +is on the road to perfection. B[b] and E[b] I found most convenient for +change. The Small Register must have been used, as my lads sang up to +C2 with the greatest ease and finish, though one of our foremost +teachers, in a conference I had with him on the subject, said he would +stake his reputation that the small register was not employed by them. +It received no name in our practices after that authoritative statement, +and ever afterwards I was in dread of being called over the coals for +allowing the Top register to get too high. + +"Boy altos can be made to sing without flattening, though they +invariably give more trouble than trebles on account of their +willingness to let the lower register overlap the one above--to force +upward. They should practise with the trebles such exercises as:-- + +[Illustration: KEY E[b] s f m r d] + +so as to strengthen this part of the voice, which may be termed their +flattening field." + + + + +CHAPTER IX. + +ON THE TRAINING OF BOYS' VOICES. + +By W. H. RICHARDSON, Formerly Conductor of the Swanley Orphanage +Choir.[A] + + +[A] Mr. Richardson has responded to my request for hints with such +fulness and weight that I devote a separate chapter to his essay. In +writing, he has specially had in view the difficulties of choir trainers +in rural districts. + +All that a writer on the training of voices can do is to lay down +general lines, and give comprehensive suggestions. The teacher, to make +any use of them must be indeed a _teacher_, not a mere mechanically +automatic individual of only sufficient calibre to take the directions +of a writer, and give them again. He should be both enthusiastic in his +work, and willing to spend his strength in patience if he would have a +choir of boys to sing _reliably_ well. It is of the greatest importance +that work should be set out on right lines, and that a thoughtfully +prepared scheme should be arranged before commencing. I would here give +my experience of two choirs I had at different times in agricultural +districts, and in one of them I was well satisfied with the progress we +made, while in the other my work was completely thrown away. The reason +for the failure in the second instance (which I foresaw from the outset) +will be gathered from the following account of our plan of campaign. The +choir was a village one which met for rehearsal once a week. The +organist attended and presided at a harmonium, and, _nolens volens_, I +had at the beginning of each practice to take the choir through the +whole of the next Sunday's services. The boys' voices were, at the +beginning of my connection, uncivilised, and at the end of +it--fortunately the question of ways and means not allowing the interval +to extend beyond a few months--were as barbarous as at the commencement. +There was absolutely no chance of making a name through these +youngsters; and as to voice culture! How could it be possible to attempt +it after labouring through such a programme as Canticles, Hymns, Psalms, +Kyrie, and Amens? + +I determined never to take office again unless I could have my own way +in fixing the time-table of work. My success in the other case was owing +greatly to the fact that I had one night a week entirely devoted to +musical training and voice culture. This did not preclude us from +relieving the drudgery of work by the singing of songs and hymns, _but_ +it allowed me the use of an unfettered judgment in the _choice_ of what +should be attempted. A teacher is heavily handicapped if after getting +his boys for the first time to sing in the upper thin register, he is to +follow his delicate work by singing half-a-dozen verses to a tune which +will in the very first verse undo all that he has done, simply because +its melodic progression encourages forcing. Experienced teachers will +appreciate what I say on this point. Take such a tune as:-- + +[Illustration: &c. + +KEY E[b]. {|m:f |s:l |t:d1 |s:f || &c.] + +--a tune which inevitably causes a wrong use of the registers by +inexperienced boys. The tunes selected should further the work of the +exercises, not undo it, and with diligence the teacher can find suitable +tunes and chants for this purpose. My advice to all teachers is that +before commencing work they should insist upon conditions that do not +preclude success, and that they should not spend their labour in +wearying drudgery with the full consciousness that to attain it is +impossible. + +One suggestion I would make is that the choirmaster, if he be not, as is +often the case in villages, also schoolmaster, would do well to enlist +the services of the school teachers in the village. It is not often +practicable to have more than one--or two at the most--meetings of a +choir during the week, and the length of the lesson must be, in +consequence, at least an hour. For voice training in the earlier stages +six lessons a week of fifteen minutes each are preferable to one of an +hour and a half, and therefore I would urge the _necessity_ of getting +hold of the sympathies of the school teacher, and putting him on right +lines to work out the choirmaster's ideas, if the offices be not united. + +Voice work should be begun in the infant school. At Swanley it was my +practice to give, I believe, daily lessons in the Infant Department, and +the remarks made by visitors will bear out what I am about to say as to +the possibility of getting young children to sing, and sing like little +angels. I was always as pleased to exhibit my infants' vocal powers as +to show those of my more advanced boys, and success was, comparatively +speaking, more easily gained with them than with older boys, for +inasmuch as the difficulty of registers and breaks does not exist as +such with these tiny ones, and unless our plans be artificial or formed +of caprice, this is what should be expected. + +In the infant school the teacher can take hold of the good that is +innate, and mould it; in the higher school he has to spend hours and +hours eradicating the bad habits which shouting and untamed license have +allowed to grow. By all means begin with the infants, and let their +songs and nursery rhymes be written so as to "give them a chance." + +But I am asked to say something that may be helpful to the choirmaster +having to train the vocal organs of boys who are beyond infantile +methods. I will therefore suppose myself for the first time before an +ordinary country group of lads with all the vocal faults that now appear +indigenous to the locality. I should first get them to find the Upper +Thin Register, and my plan is to confine the work to this region +[Illustration: musical notation] and get the boys to sing "koo" to D, +E, or F, making my own "Exercises," which are suggested by present +circumstances:-- + +[Illustration: Koo koo koo koo koo koo koo koo koo koo + +KEY D[b]. d1 m1 m1 d1 m1 r1 d1 d1 r1 m1 + +Koo koo koo koo koo koo koo koo koo koo + +KEY D. d1 r1 d1 l t d1 d1 t r1 d1 + +Koo koo koo koo koo koo koo koo koo + +KEY E[b]. d1 r1 t d1 r1 d1 l s d1 + +Koo koo koo koo koo koo koo koo koo koo + +KEY B[b]. s f m r d s m s s s] + +As at this stage the boys know nothing of the diatonic scale, I let them +imitate. The exercises _may_ be played on a pianoforte, if the teacher +cannot sing them, though in the latter case it is preferable that he +should adopt the plan of selecting his best pupils for the models. + +I once had to commence with some uncultured boys, and knowing the +difficulty of getting them to make a start, took with me a few of my own +trained lads, who sang the exercises first, after which I added one or +two of the beginners to them, and sympathetically they soon sang in the +proper register with the others. By continuing the process of addition +gradually I soon got the whole class to sing as I wished. + +At this first lesson the proper production of "oo" (vowel) should be +obtained. I deal with the vowels as they arise, never observing a lack +of clearness and purity without endeavouring to correct it. The +foregoing exercises can next be used for teaching the intervals of the +diatonic scale, for instance:-- + +[Illustration: KEY F. {|d1:--| s:--|| s:--| d1:--||] + +calling the notes by their names, doh soh. Here, again, the proper vowel +production must be sought for, and obtained. The difficulties will be +varied in this respect with the locality. Often I have met with +doh-_oo_. This, as well as ray-_ee_, and other faults that need not be +specified, can be corrected at once. The beautiful intonation we had at +Swanley I attribute in a large measure to the care bestowed on the +production of vowel sounds. There must be no division of opinion among +the singers as to how any particular vowel sound should be emitted. If +there be not unity in this respect the intonation suffers. + +The earlier exercises should be sung in unison, a correct division into +1st, 2nd, and 3rd trebles being impossible until the boys have acquired +sufficient confidence to show _what_ they are naturally. I have for a +long time used with advantage the single chant form for exercises, +making them myself. + +[Illustration: KEY F. {|d1:-|l:t |d1:-||d1:-|t:1 |s:t |d1:-||] + +In order to avoid waste of time in learning exercises they should be +_short_, so that they can be caught up at once. + +To get boys to sing in the register below (the Lower Thin) is the next +step, the exercises now being confined between [Illustration: musical +notation] and formed in the same way as those in the higher region. The +difficulty is greater in getting rough boys to use this part of the +vocal score correctly. The best way I have found to get them to +discover it, is to sing [Illustration: KEY F. s f m r d]--beginning at +C1, to koo. The notes are at first weak, and there is a tendency to +"squork," if I may so term it. These exercises must be sung softly at +first, and at this stage the schoolmaster can render valuable help if he +will get his boys to read from their lesson books in this register +instead of in the one below it. + +I have to acknowledge a debt of gratitude to one of our best and most +painstaking teachers for giving me this hint. The reading will at first +be weak, and in a monotone, and there being no flexibility, the boys +will have difficulty in forming the usual cadence at the end of +sentences, but practice will soon strengthen the weakness, and make this +register as strong as the one below it. Between the one above and the +one below, this "middle" one is apt to be overlooked altogether, and I +have heard some fairly pleasing singing where it has not been recognised +at all. + +The third register (Upper Thick) should now receive attention, and in +order to find it the pupils should cultivate it upwards with such +exercises as-- + +[Illustration: &c. + +KEY A[b]. d_1 r_1 d_1 d_1 r_1 m_1 &c. + +Koo koo koo koo koo koo] + +Within the limits of a short paper, it is impossible to give more fully +all the needful directions for training the voices to cover up breaks, +and to change from one register to another. + +Suitable tunes should now be selected, so that the aim of the exercises +may be extended. Remember that it is easiest to _leap_ from one register +to a higher, a stepwise ascent being an insidious snare. Koo and +afterwards laa such tunes as:-- + +[Illustration: KEY C. + +{| s:m |d1:s |m1:-.r1|d1:s |l:l |s:d1 |s:f |m:-|| + +KEY E[b]. + +{|m:r |f:m |r:-|m:-||l:s |t:d1 |s:-|f:-|| + +{|m:r |f:m |r:-|l:-||d1:s |m:r |d:-|-:-||] + +Many ready-made exercises are to be found in any chant book, which can +be used to strengthen the voice and build it. For voice exercise I like +a high reciting note at the beginning, D1, C1, E[b]1, as by this we +ensure getting the right register for the high notes, which will be a +matter of doubt for some time if the question of suitability of melody +be left out of calculation. + +I strongly recommend the use of the time names. For some years I was +prejudiced against them, but after trying them, believe them to be of +the greatest value. + +The teacher should give manual signs for his short exercises. Time is +wasted unnecessarily if the teacher has to turn and write on the board. +The objection to working through a book, only using prescribed +exercises, is chiefly this--no book writer can provide for all the +permutations and combinations that may arise during the actual work of +teaching; it is impossible for him to anticipate them. This does not in +the least detract from the value of the book, which must be the best +_general_ guide for by far the larger part of our teachers. + +I have referred to the teaching of vowel sounds, and would say a word +about consonants. My practice has been to guard against giving undue +prominence to any individual letter, and to encourage always a _simple +unaffected utterance_ in singing. Rolling "r's" is very well, but to +precede the vowel with a sound not unlike the noise caused by springing +a police rattle is neither artistic nor pleasing. My custom was to first +let the pupils sing a vowel, say _aa_, and require it to be held on as +long as my hand was still. A sharp movement of the hand directed when +the consonant should appear, as _aa--t_, &c., the appearance and +disappearance being as close together as possible. It is a difficulty +with beginners to sing such words as "night," "bright," &c., holding on +the middle part, or vowel. I demonstrated that the singer has nothing +left to sing after having too soon disposed of the vowel. I also gave +exercises in prefixing a consonant to a vowel. Other points of detail +will arise, such as in the word "sing." The habit here is to make the +"ng" sound throughout the greater part of the durance of the singing of +the word. By analysing, and showing by copying the bad model, the +teacher will convince the pupil that "ng" held on is unpleasant. In +singing laa, laa, laa, &c., at first pupils lower and raise the jaw. +This should be at once stopped. But it is impossible to anticipate every +difficulty that will arise under this head. I have said enough to +indicate generally my method. I do not propose to enter into the +question of breathing. One thing I would say--do not try pupils by +requiring them to sing long notes at first, but do get them at the +beginning to "phrase" to your pattern. This will from the first get the +will to control the breath taking. + +By all means introduce certificates. By the examination of individuals, +the teacher will get truer knowledge of his learners' powers, and will +be enabled to give advice of greater value because of its assured need. +Let the examination be in public--before the other pupils--and so help +to beget confidence in the pupil, without which success will be limited. +The teacher should never do anything to destroy the confidence of his +pupils, though I am bound to admit that I have not always been free from +irritability and impatience in my dealings with pupils. The work is +trying, the nerves of a teacher of singing are throughout highly +strung, and very little cause is necessary to upset his equilibrium. He +should therefore be ever on his guard to check any tendency to show +impatience. + +Never get a pupil to sing alone for the sake of showing his defects to +others. No one can _sing_ who does not possess a sense of his power to +do so. There should be encouraged an _abandon_ sort of manner. A +gentleman once said to me, "I see how you make your boys sing; you tell +them they can do it, and that makes them do it." The rigid watching of +the beat of the conductor should not be too closely insisted on. No +machine-like singing should satisfy, even though it be _correct_. The +correctness of a great painter's production is not everything, and +neither is it with the singer. There should an atmosphere of the liberty +of freedom. + +At Swanley my work was lessened by the interest that all my colleagues +took in it. A moral force was constantly brought to bear on the boys, +which made them work with a will and a determination to excel. Their +success was the same in other departments of work, though not so +prominently placed. The music teacher who has in himself the power to +draw out the latent feeling of his pupils is the one who will best +succeed. I would draw my remarks to a close with this advice:--Make your +choir as large as possible. Take all who will come into it, and do not +go through the form of "trying" voices that have never tried themselves, +and of which you can form no opinion. For adults this is a necessity, +but for children it is better to get one or two per cent. of naturally +defective learners, rather than to turn away all but those showing +undoubtedly exceptional ability. + + + + +CHAPTER X. + +THE SPECIAL DIFFICULTIES OF AGRICULTURAL DISTRICTS. + + +My object is to help those whose difficulties are greatest; who, so far +from being able to pick out boys of musical talent and fine voice, are +obliged to accept the material that offers, often of the poorest musical +description. The country boy is a more healthy animal than his brother +of the town, and there is no fault to be found with the natural volume +of his voice provided he can be taught to place his registers rightly, +to avoid straining the thick or chest register, to pronounce and phrase +properly. This is, however, what the Americans call "a large order." + +I have been fortunate in collecting information from several +choirmasters in agricultural districts, who have conquered the +difficulties of this task. First, I quote Mr. W. Critchley, choirmaster +and schoolmaster at Hurst, near Reading:-- + +"The rural choir-boy differs somewhat from his brethren of the town in +the following particulars. As a rule, he is duller, and slower in his +perception; he is attentive and docile, but sluggish; he retains what he +is taught, and therefore, as far as mere knowledge and memory are +concerned, it 'pays' to take him in hand. His voice is strong, but +rough, and this undisciplined strength is the cause of most of the +trouble he gives. Moreover, he is exposed to the weather very largely, +and this causes him to be more influenced by atmospheric changes than +the town boy, and prevents, in a great measure, any great delicacy of +finish from being obtained. So it will be seen that the country +choir-boy requires special treatment in order to produce good results. +Sometimes, when a village lies compactly together, a large amount of +work can be got through similar to that which we find in towns, but +generally the rural district is wide and scattered, and only a limited +number of practices can be secured. Under these circumstances, I have +found the best course to pursue to be somewhat as follows:--First and +foremost, let the Tonic Sol-fa system be taught, it lightens the work of +the choirmaster in a wonderful degree, and the boys bring an +intelligence to their work which is unattainable by any other means. If +the system has not been taught in the day school of the parish, it +should be introduced at once; if that is not practicable, the choir-boys +should be taught at a second practice-night. This second practice is +required in any case, if anything better than mere 'scratch' singing be +aimed at. _All_ practices should be begun by voice exercises. On the +extra night a greater amount of time should be taken up with them, for +to a country choir-boy, who perhaps in the day is shouting to scare +birds, they are vital. The lower register of a country boy is, as a +rule, coarse, so it is important to get him to use his higher register +as soon as possible. Show him first of all that he has, as it were, _two +voices_, and point out that he is required, as Mr. Evans observes, to +use that voice which is most like a girl's. He will be apt for some time +to use this voice in the upper notes of the music only, and there will +be a disagreeable transition to the lower register when the music comes +down on G, or thereabouts. To conquer this, I use exercises which train +the upper register _downwards_, such as:-- + +[Illustration: KEYS A to F. + +d m s m d r [(.d] [(.t]_1 [(.l]_1] + +the object being to strengthen the upper register, and, except where the +music touches D or C, [Illustration: musical notation] to practically +'shelve' the lower thick register in the case of treble voices. In +training upwards I insist on easy singing, no straining. I don't mean +apathetic singing, for this is especially to be fought against in the +case of country boys, as there is naturally a want of 'go' about them. I +mean soft singing, but energetic. I tell the boys to sing like birds, +and they generally understand from this that they are to use the upper +register. I do not find much difficulty with them in the way of +flattening. Except in the case of the younger boys, I often hear them a +little sharp. The Tonic Sol-fa method trains their _ears_, and I get +them to listen, and blend their voices; above all, to get rid of apathy. +And if there should be a tendency with the younger boys to sing flat, I +generally find that the application of the old rules as to position, +loud singing, forcing the voice, faulty breathing, and inattention will +remedy the fault. If it occurs in church, a judicious use of a four-foot +stop on the organ often keeps up the pitch. I find, if the melody of a +chant or tune has a great many of the 'thirds' of the chords in it (I +mean as distinct from the fifth, root, &c.) it is often difficult, +especially on a foggy morning, to keep it in tune, _e.g_.:-- + +[Illustration: KEY G. + +{| [(.m] |m:r |m:--|| [(.m] |r:d |r:r |m:--|| + +or, + +KEY G. + +{| [(.m] |f:m |re:--|| [(.m] |r:d |t_1:r |d:--|| + +or, + +KEY F. + +{| [(.m] |f:l |s:--|| [(.s] |d1:m |r:f |m:--||] + +This is the case in a marked degree when the reciting tone comes about +the natural 'break' of the voice. The remedy for this I find to be +transition into another key, one which I judge to be more congenial to +the state of the boys' voices. Here is where the usefulness of the Tonic +Sol-fa system to an organist comes in. A lot of practice in mental +effects has a surprising result in ear training. Sometimes, however, we +get a clergyman who intones badly, and then it is quite a struggle to +keep in tune. + +"There are a number of other little points which tell against correct +singing in a country choir; the generally thick enunciation, the +provincialism, the difficulty in getting open mouths. I do a lot of +reading by pattern, and pay attention to initial and final consonants. +Country boys neglect these more than town boys. I practise without organ +as much as I can. If an instrument is used, the piano is decidedly the +best. I find Gregorian singing has a strong tendency to injure purity of +tone and delicacy of expression. I do as little of it as possible. + +"On the second choir practice night I spoke of, it is certainly good to +take up glee practice, or a simple cantata. It sustains the interest, +and makes the choir a bond of union in a country village." + + * * * * * + +Not long ago I found myself by chance worshipping in a remote village in +East Somerset, Churchill by name. There was, in the parish church, a +choir of six boys and four probationers, who sang so slowly and sweetly, +not with the luscious fulness of some boys I have heard, but with such +uncommonly good style for agricultural boys, that I was much interested. +These small villages have, from the present point of view, one +advantage. The day schools are "mixed" (containing boys and girls), and +the teacher is a lady. Both these influences tend to the softening of +the boy's voice. Miss Demack, the school-and choir-mistress at +Churchill, has kindly written a few notes on the subject of her work, in +which she says:-- + +"I certainly think that the girls' voices soften the boys'. I admit +probationers at the early age of six if I find they have any voice, as I +think the earlier the better. When I took my boys in hand, I found scale +exercises very useful. I did not teach them any tunes until I had +somewhat altered their rough voices. Another help was this: I had a girl +with a particularly good voice, and made the boys imitate her as much as +possible. This I found answered remarkably well. The boys seemed to +adopt quite a different tone." + +Miss Demack teaches singing in the school and choir by ear only, and +knows nothing of the Tonic Sol-fa system. + + * * * * * + +I next give a short paper kindly sent me by Mr. George Parbery, +choirmaster of the parish church, and master of the National School at +Fordingbridge, Hants:-- + +"Dear Sir,--As choirmaster of the parish church here, and as one who +takes great interest in the subject of singing in schools, I am happy to +respond to your request, as we are essentially a rural district. + +"I have occupied my position now nearly ten years, and am just beginning +to find the benefit of the Tonic Sol-fa movement amongst my adult +members of the choir, having now nine adults who have passed through the +school with a good practical knowledge of the Sol-fa notation. + +"When I commenced work here (coming from north of England) I was struck +with the very disagreeable tone of the boys' and girls' voices. To say +they sang flat does not convey how flat they sang, nor does it convey +any idea of the tone, but the same may be heard any night at the +Salvation Army meetings here. The vicar of the parish told me also upon +my arrival here, that at a church in Bournemouth a former vicar used to +import all his boy voices outside of Hampshire. So that you will gather +that I had not a light task before me to produce a tone satisfactory to +myself or the inspector. But I may safely say I have for some years +satisfied myself, and last year our assistant-inspector spoke of the +very beautiful quality of the boys' voices. I can assure you that it is +only rarely that I find occasion to complain of the tone. The moment I +hear the objectionable tone produced, I immediately stop the singing, +even if in the middle of prayers. Mine is a boys' school, but I teach +the girls singing with the boys. Now as to how I produced the change:-- + +"1. I introduced the Tonic Sol-fa notation. + +"2. I used to practise very frequently for a few minutes upon the +modulator, making abundant use of the upper-- + +[Illustration: KEY C. d1 r1 m1 f1] + +"3. I prohibited all shouting on high notes. + +"4. Particularly was I severe upon loud singing in lower notes, say, + +[Illustration: KEY F. r d t_1 l_1 s_1] + +"5. I established a degree of sound, and have it still, what is known +amongst my scholars as 'singing in a whisper'--_i.e._, to produce +singing as softly as possible. This idea I picked up in Cheshire from a +good Tonic Sol-faist. + +"6. I have one or two favourite hymns, which I always pitch higher than +written, and thus compel the boys to use the upper registers. The boys +know I like these hymns, and I never fail to appreciate them to the boys +at the end of singing. I also have a favourite marching tune--I don't +know the name, but I believe it is often set to the hymn, 'When mothers +of Salem.' This tune is very lofty, and I believe the boys really enjoy +its loftiness, _but there must be no shouting_. When the boys displease +me, I tell them they drop their jaw too much, and they instantly know +what I mean. + +"7. I have very little alto singing in school, for the reason that it +has a tendency to encourage loudness. In my choir I arrange for three or +four of the oldest boys to sing alto. + +"In conclusion, I may say I am thoroughly proud of my boys' singing from +standard I. up to the top of the school, and I believe my success has +been chiefly from abundant use of the modulator for scale practice, and +never allowing loud singing. Proud as I am of my boys, the girls +certainly excel them, and ten years ago their tone was worse, if +possible, than the boys. I have no instrument in school, but +_occasionally_ use a violin." + + * * * * * + +A correspondent from another agricultural county--I will not give his +name--favours me with some rules which he has used more or less for +thirty years. In one school taught by the writer, the inspector said he +could not distinguish the boys from the girls' voices--truly a high +compliment. My correspondent names a new hindrance to church music in +rural places, namely, the clergyman's daughter!-- + +"Practise the scales up and down to the words 'la' and 'ha,' the latter +for the purpose of separating the teeth. Commence at the key of C to +C1, then from D to D1, and so on upwards as high as the voices of the +boys can reach, never resting satisfied until they cover two octaves +firmly. In teaching new music, and, generally speaking, in accompanying +the boys, play the note they are singing and its octave above--on the +stopped diapason and flute if an organ, or the corresponding stops on a +harmonium. Let there be no other accompaniment, and on every occasion +the octave above the note sung. This is very particular. Check one voice +singing above another. Have no leaders. Stop or subdue all harsh voices, +and make them listen to, and try to copy the pure notes of the flute; +let the boys sing well within their strength. If you lack power, +increase the number of choristers, and subdue the voices. I always +choose smooth flowing chants, with the reciting note ranging from F to +C. I do not care to go higher than G above the line in anthems or +services, but have trained them to start on B[b], 'The Sisters of the +Sea,' by Jackson. + +"I never trouble about altos, they are too difficult to get, and +indifferent and troublesome when obtained, but in verse parts of +services or anthems, one of the best boys will supply the deficiency, +and even take up the lead in a chorus. + +"Choirs experience a difficulty which is not included in your list of +points. I have received L60 per annum as an organist, L50 and a house. +On another occasion I was offered the choir-mastership of a church +choral society of 60 members. At this time I was trainer and conductor +of a choral society of 100 voices with string and wind accompaniment, +the subject being _The Messiah_. Yet I was not considered competent at +the church at which I played to put a tune to a hymn, but had to submit +to the parson's daughter, who was qualified through taking three months' +lessons from a German. On one occasion this lady went ten times through +a hymn to please her father in trying to fit a four-lined tune of the +wrong metre to a six-lined hymn! I offered to go through an eleventh +time, but he never interfered again. I could give you many instances +where these ladies themselves are the great drawback of good church +singing, but on the other hand, I could mention cases where they never +come near a practice, or interfere from one year's end to the other." + + * * * * * + +Knowing, as I do, the devoted way in which clergymen's daughters in many +rural places train the choir, I hesitate to endorse this charge. The +work needs to be done with tact and consideration. In the vast majority +of cases these ladies are a great help. I do not approve the plan of +playing the melody in octaves while it is being learnt, which my +correspondent advocates. I give his letter as a record of earnest work. + + * * * * * + +Mr. W. W. Pearson, of Elmham, Dereham, Norfolk, writes to me as +follows:-- + +"I have had, as you say, a great deal of experience in teaching singing, +especially in rural districts; but the neighbourhood I have lived in for +the last twenty years (Norfolk), is a very barren field for musical +culture--the worst in my experience. The voices of those who _do_ sing +in this county are, on an average, a minor third lower than those of +Yorkshire, North Wales, the west of England, and other places where I +have had experience. They are also, for the most part, _flabby_, wanting +in resonance and quality. Tenors are very scarce, and even the few who +can sing in the tenor register, have not got the true tenor quality. +This may be the effect of the low elevation above the sea-level, and +the damp humid atmosphere; or it may be partly due to _race_. + +"The plan I adopt for getting boys to use their upper registers is a +very old-fashioned one; but it is very effective. It is to make them +sing the major diatonic scale, ascending and descending; beginning at a +low pitch, and gradually raising it by a semitone at a time." + + * * * * * + +Mr. C. Hibberd, of Bemerton, near Salisbury, whom I quote also in the +chapter on "Flattening," dwells on the difficulties of the rural +choirmaster. He says:-- + +"I have rarely come across the soft fluty tone in the country. I once +met with a boy with it in the choir at Parkstone, near Bournemouth, and +another here at Bemerton, but in both cases the boys were above the +average of country boys, and the village was close to a larger town. In +both cases, also, the boys had good and careful practice over and above +the ordinary choir practices. At places farther in the country it seems +an impossibility to get the tone. With only a few boys to pick from, it +is a difficulty to find boys enough to fill up ordinary vacancies. With +a great deal of trouble and practice one can get a great part of the +roughness toned down, and, as a rule, that is all." + + * * * * * + +Several of my correspondents, it will be noticed, speak with great +confidence of the use of the Tonic Sol-fa system in rural places. This +system, useful everywhere, certainly attains its greatest usefulness in +places where the task of the choirmaster reaches its highest degree of +difficulty. To those whose only acquaintance with Tonic Sol-fa is a +casual glance at a printed page of the new notation, it naturally seems +strange that the use of a musical shorthand can affect the whole +training of the boy. But behind the letters and punctuation marks, which +go to make up the Tonic Sol-fa notation, there lies the Tonic Sol-fa +method--a fixed and many-sided educational system, founded on the truest +principles of education, carrying on simultaneously the training of the +ear for tune and time, making progress sure because gradually +developing the intelligence along with the voice. With Tonic Sol-fa, +also, is associated a definite system of voice-training. Tonic Sol-fa +teachers are all more or less of educationists, and have caught by +observation or study the teacher's art. This is the cause of their +success. + +[Illustration: Decoration] + + + + +CHAPTER XI. + +NOTES ON THE PRACTICE OF VARIOUS CHOIRMASTERS IN CATHEDRALS, &c. + + +I SUMMARISE here information obtained, chiefly by observation and +conversation, from various trainers of boys' voices at cathedrals and +collegiate churches. + + +CHAPEL ROYAL, ST. JAMES'S. + +Some years ago I attended a practice of the boys, under the late Rev. +Thomas Helmore. It began with slow scales sung to a light pianoforte +accompaniment. These were followed by rapid runs, the key gradually +rising until the highest note touched was C above the treble staff. The +vocable used was "ah." After this came time exercises, solfeggios, the +pointing out of notes by the boys on and between the fingers of their +left hands, which represented the staff. Mr. Helmore declared that new +boys while singing nearly always (1) frown, or (2) hold their heads on +one side. He was strict about avoiding these faults. In going over the +psalms for the day, the boys sang mostly one by one, verse after verse. +This was a searching test for the boy who sang, while all the others +were actively criticising. The boys practised secular music by way of +change. Four of them were monitors, four fags, and two probationers. The +tone was refined and pure, Mr. Helmore himself being a good singer. + + +ST. PAUL'S CATHEDRAL. + +Here, owing to the size of the building, a tremendous volume of shrill +tone has to be cultivated, which in the practice room is sometimes +overwhelming. The practice I heard began with slow scales sung to "ah" +(pianoforte accompaniment) ranging over two octaves, C to C2; each key +between C to C1 was taken, and the scale sung ascending and descending. +This was loud singing, but not shouting. Then came agility exercises in +the form of chords, rapid scales, &c., sung still to "ah." This daily +"tuning-up" lasted ten minutes. Then (incidentally affording rest to the +boys) came a short lesson on theory. Boys were called up in turn to +write notes, signs, &c., on the blackboard. Practice now began. The boys +sing a new piece to words at once, never sol-faing. They seldom try a +piece more than three times before it is heard at the cathedral. They +sit during rehearsal, standing at the Gloria Patri. The boys have a +daily practice of an hour-and-a-half. + + +WESTMINSTER ABBEY. + +The refined style of the boys trained by Dr. Bridge is well known. The +abbey is small enough to allow the graces of singing to be cultivated. +In the music room there are two rows of desks facing the same way, so +that Dr. Bridge, sitting at his cottage piano, can cast a side glance +full upon the boys. Two practices are held daily; one from nine till ten +a.m. is spent in getting up the service music. The afternoon practice, +at the close of evensong, is chiefly devoted to theory. A card hanging +up on the wall shows exactly how the time of the afternoon practice is +apportioned between the study of intervals, and scales, chanting, +responses, manuscript exercises, the singing of Concone's solfeggios, +and the practice of secular music. The excellent phrasing and pure tone +are partly due to the practice of secular music, which gives elasticity +and gentleness to the boys' voices. No formal system of voice-training +is in use. The boys enter at from 9 to 10-1/2, not older. A new boy is +placed in the middle of the row of choristers, so as to excite his +imitative faculty to the utmost. Twenty boys is the full number, but +only twelve of these are full choristers, the others being nominally on +probation, a plan which serves to keep up the discipline. + + +LINCOLN'S INN CHAPEL. + +There are twelve boys here. They come, with a fair knowledge of music, +at about nine years of age, and receive from Dr. Steggall, or his +assistants, three lessons of about two hours each every week. On Sunday, +at the close of the morning service, there is a rehearsal with the men +of the music for the afternoon, and for the morning of the following +Sunday. The boys' practices are held in the choir-room, where Dr. +Steggall, seated at a venerable Broadwood grand, coaches his little men, +with care and neatness. On Saturdays, when half their lesson is done, +the boys walk across to the chapel, and go through the Sunday's music +with the organ. A pupil mounts to the instrument, while Dr. Steggall, +book in hand, paces the aisle, or retires towards the communion table, +constantly interrupting the singing to correct faults, or improve +delivery. Meanwhile, the organ is played quite softly, that the voices +may stand out clearly. Constant care is taken to prevent clipping of +words in the most familiar parts of the service. + + +THE TEMPLE CHURCH. + +Dr. E. J. Hopkins, himself an ex-choir-boy of the Chapel Royal, realises +here his ideal of "quality, not quantity." He lays stress on the fact +that he takes his boys at eight years of age. For a year or more, +however, they are probationers. They do not wear surplices, although +they sit close to the choir. They undergo daily drill in musical theory +and voice-training, but in church they have no responsibility, and do +little more than listen. When, however, the voice of one of the elder +boys breaks, a probationer takes his place, and is much better for the +training. The practices occupy an hour-and-a-half every afternoon. They +are held in the little choir vestry, near the organ, where there is a +cottage pianoforte, flanked by a couple of long music desks, at which +the boys stand as they sing. They are taught in groups, according to the +stage they have reached, and spend the lesson time in practising scales, +voice exercises, pieces of music, and studying notation. The voices are +practised up to A. On Saturdays there is a rehearsal in the church, +with the organ and the men of the choir. + + +LINCOLN CATHEDRAL. + +The choir here, directed by the venerable organist, Mr. J. W. M. Young, +is noted for its chanting, which all choirmasters ought to hear. Mr. +Young has made a special study of the Psalms, and changes speed and +force frequently with the change of attitude in the psalmist. The +recitation is delivered at the pace of ordinary speech, with +elocutionary pauses as needed; it is sung neither faster nor slower than +the cadence. Hence the whole effect is reverent and impressive. Mr. +Young's published Psalter and Chants (Novello) should be studied, but +the great excellence of his work can only be appreciated by a visit to +Lincoln. All compilers of Psalters make rules, but Mr. Young carries +them out. Mr. Young, who was a choir-boy at Durham more than fifty years +ago, under Henshaw, tells me that it was no uncommon thing in his day +for the boys to have three practices--8.30 to 10, 11 to 12, and 6 to 8. +This in addition to the two daily services. The elder boys had to attend +all; the younger were excused the evening practice. As far as I know, we +have no such severe training now. Mr. Young likes to get his boys at +eight; for two years, although they wear surplices, they do not sing. +The sixteen boys receive free education, and board, pocket-money, and a +present of L10 when their voices break. The younger boys are called +"choristers," and wear surplices. The four senior boys are called +"Burgersh-chanters," and wear black cassocks of a peculiar shape. In the +town they are familiarly known as "black boys." The choristers attend a +day-school with other boys who speak the Lincolnshire dialect; in this +they suffer, for, as Mr. Young says, purity of vowels and beauty of tone +go together. One of his maxims is, "use the lips as little as possible +in singing; do all you can with the tongue. If you use the lips, then +use them rapidly." The boys practise an hour-and-a-half each day. Mr. +Young puts a high finish on all his work. Mozart's "Ave Verum" was +sung on the day of my visit with infinite refinement. At one point the +boys took a portamento--a grace which very few choirmasters would +attempt with boys. + +[Illustration: A "BLACK BOY" AT LINCOLN CATHEDRAL. + +_Photographed by Mr. George Hadley, Lincoln._] + + +CHRIST CHURCH, OXFORD. + +The boys rehearse in a small but lofty room. There is a double row of +desks and seats down each side, facing each other. Dr. C. H. Lloyd sits +at a small pianoforte, placed across one end of the seats, thus +commanding all the boys with his eye. The "tuning-up" exercises lasted +ten minutes, and began with this exercise to "ah":-- + +[Illustration: KEY C. {|d1:t.l|s.f:m.r|d:r.m|f.s:l.t|d1:-|-:-||] + +This exercise, begun in C, was carried up gradually to B[b] above. It +was sung first with a _dim._ going down, and a _cres._ going up, and +then the opposite. Then came an ascending, followed by a descending +scale, similarly varied in key and expression. The next exercise was-- + +[Illustration: KEY C. {|d.m:r.m |d.m:r.m |d.m:r.m |d:--||] + +which was transposed gradually upwards, being sung to "ah." Next a +triplet exercise-- + +[Illustration: KEY F. d t_1 d r d r to d1 r1 d1 t d1 t] + +At the higher part the second trebles sang a third below. Then followed +the chromatic scale, up and down. Dr. Lloyd is not troubled much with +flattening; when it occurs the men are more likely to cause it than the +boys. They habitually sing the Litany, which lasts fifteen minutes, +unaccompanied, and if they flatten at all, it is not more than a +semitone. There is an unaccompanied service once a week. I noticed that +breathing-places were marked in the anthems, and notes likely to give +trouble were marked with a circle. Dr. Lloyd was by no means tied to the +pianoforte during rehearsal, and frequently left his seat, and paced up +and down, beating time while the singing went on. Theoretical questions +on the pieces in hand were addressed to individual boys. These boys are +the sons of professional men, and come from all parts of the country. +There are now three undergraduates at Christ Church, who have been +choir-boys. In the choir, on the day of my visit, was a boy of +seventeen, who had sung for nine years; his voice had not yet begun to +go. The curious custom is observed here of dividing the Psalms (between +Decani and Cantoris) at the colon, instead of at the verse. It requires +great readiness, and for those Psalms which are written in parallelisms, +it is most effective. + + +CANTERBURY CATHEDRAL. + +The boys here are divided into ten choristers and fourteen probationers. +The choristers are on the foundation, and receive a stipend; the +probationers get their schooling only. The choristers wear trencher caps +and gowns; the probationers flannel caps, bearing the arms of the +cathedral. The boys are nearly all from the city; there is no +boarding-school. The lower floor of the choir-school is used for the +ordinary instruction, which is conducted by Mr. Plant, an alto in the +cathedral choir, and the upper floor is used as a music-room. Here the +boys receive four or five lessons a week from Dr. Longhurst, and the +probationers have also a lesson by themselves. All the choristers learn +the violin; this has been the practice for many years. When, at +festivals, there is a band in the cathedral, the strings are made up +largely from old choristers, most of whom go into business in the city. +A system of rotation is adopted; thus, although there are twenty-four +boys, not more than fourteen sing at any one service, the rest are at +work at their ordinary lessons. A considerable drainage of boys takes +place to the King's School, the leading grammar school in Canterbury. +The choristers often leave to enter this school when their voices are in +their prime. + +Dr. Longhurst takes the boys very young; as soon after seven as +possible. In choosing a boy, he requires both voice and ear to be good. +Sometimes a boy excels in the one direction and not in the other; he can +sing sweetly, but cannot imitate notes struck at random on the +pianoforte, or else he has a poor voice and a good ear. But both +endowments are necessary for a chorister. Dr. Longhurst, who was himself +a boy at Canterbury, had a compass at that time of two-and-a-half +octaves. As his voice changed he passed from first to second treble, +then sang alto for seven years, and at last settled to tenor. He does +not regard boy altos as desirable in cathedrals, but in parish churches, +where no adult male altos are to be had, they are, no doubt, in place. +Dr. Longhurst tells me that as a result of forty-eight years' +experience, he can tell by the look of a boy whether he will make a +chorister. There is something about the brows and eyes, and general +contour of the face which guides him. He is never mistaken. Some time +since a clergyman with whom Dr. Longhurst happened to be staying, +ridiculed the idea that the musical capability of boys can be judged by +their looks. He took Dr. Longhurst into the village school, and invited +him to pick out the boys of the choir as they sat among others at their +lessons. This Dr. Longhurst did quite correctly. He has no knowledge of +phrenology, and the faculty has come to him simply as the result of long +experience. + +On the day of my visit I heard the boys practise in their lofty +music-room. Dr. Longhurst sat at the grand pianoforte, and the boys were +grouped in fours or fives round four music-stands, on which the large +folio voice parts, in type or MS., were placed. These desks stood on +either side of the piano, so that the boys looked towards Dr. +Longhurst. Not many voice exercises are used, nor is there any talk +about the registers. Pure tone is required, and the boys have not "to +reason why." Six or seven of the youngest boys took no part in the +practice of the service music. When the elder boys had done, the younger +came forward and sang some solfeggio exercises. As a help in keeping +time the boys clapped their hands sometimes at the first of the bar, and +beat the pulses of the music. In the single voice parts, with long +rests, this is a help. The boys do not sing any secular music. At one +time they did, but now, with the schooling, the ordinary practices, and +the violin lessons, there is no time. Flattening does not often occur. +As a rule, when they intone on G, the G remains to the end. The practice +of singing the service unaccompanied on Fridays all the year round, and +on Wednesdays in addition during Lent, must have a bracing effect on the +choir. I was myself present on a Wednesday in Lent, and could detect no +falling in pitch. The boys at Canterbury do not appear to receive much +formal voice-training, and I attribute the excellent quality of their +singing to two facts. First, Dr. Longhurst has evidently a knack of +discerning a promising voice; and second, having established a tradition +of good singing, the boys, entering at an early age, insensibly fall +into it. + + +DR. BUCK'S BOYS AT NORWICH. + +I have gathered from Mr. A. R. Gaul, Mus.B., of Birmingham, some +particulars of the work of Dr. Buck, organist of Norwich Cathedral, who +was known forty or fifty years ago all over the country as a trainer of +boys' voices. Mr. Gaul was a boy at Norwich under Dr. Buck, and +underwent the Spartan training which produced such notable results. "No +chest voice above F or G" was his rule, and the flute-like voice, which +goes by so many names, and is yet so unmistakable when heard, was +developed in all the choristers. Dr. Buck had an endless number of +contrivances for teaching his boys right ways. Each of them carried +about him a pocket looking-glass, and at practice was taught to hold it +in his hand, and watch his mouth as he sang. One finger on top of the +other was the gauge for opening the mouth transversely, while nuts were +held in the cheeks to secure its proper longitudinal opening. To look at +the boys during this exercise, one might think they had the face-ache! +However, no joking over these matters was allowed; there was a penny +fine for forgetting the looking-glass once, and a twopenny fine for +forgetting it a second time. To prevent the use of too much breath in +singing, Dr. Buck would take a piece of tissue paper, the size of a +postage stamp, hang it by a fine thread in front of the mouth, and make +the boys sing to it without blowing it away. Tongue-drill consisted in +regular motions of the unruly member, until the boys were able to make +it lie flat down at the bottom of the mouth, and raise it to the upper +teeth as required. It was a daily plan to practise certain passages with +the lips entirely closed, this was done to prevent the objectionable +quality of voice resulting from any stoppage of the nasal organs. There +was no sol-faing; various words were used at scale-practice, chosen to +develop the vowels, while a code of troublesome words and endings of +words was drawn up, and repeated daily by the boys in the +speaking-voice, so as to secure clear enunciation. I have more than once +seen and heard it stated that Dr. Buck used to make his boys sing +through the nose, with closed mouth, in order to get the higher +register, but Mr. Gaul does not remember this. Dr. Haydn Keeton informs +me that they had boy-altos at Norwich in Dr. Buck's time, so that he +must have had more boys than usual to train. + + +SALISBURY. + +A conversation with Mr. C. L. South, the organist and choirmaster, shows +him to be a careful and able worker. The boys, who are boarded in the +choir school, come from various parts. They are received at from 8 to 11 +years; not over 11 unless the boy is very good and forward in music. The +boys are chosen for their voices, but given two boys of equal voices, +the one who knows most music would be selected. The music practice is an +hour a day for five days of the week, under Mr. South himself. "I +recognise," he says, "two registers in boys' voices, chest and head, and +with careful practice you can get the voices so even that you can hardly +tell where one ends and the other begins. The great thing, I believe, is +to make the boys sing softly, and to get their register even +throughout." Mr. South adds that the imitative power of boys is so +strong that the younger ones fall into the habits of the elder ones, and +thus make formal teaching about the registers less necessary. For vocal +practice he uses Stainer's and Concone's Exercises, also solos like +"Jesus, Saviour, I am Thine," and "Let the Saviour's outstretched arm" +(both from Bach's _Passion_), as well as Handel's "Rejoice greatly," +besides florid choruses from the _Messiah_. These are more interesting +than formal studies, and they bring out the same points of breathing, +phrasing, pronunciation, and expression. He sometimes introduces a song +of this kind into the service as an anthem. On one occasion, when +thirteen boys had sung one of the Bach songs in unison, a member of the +congregation asked the name of the soloist. The voices were so perfectly +blended that they sounded like one. The full number of boys is eighteen, +of whom two at least sing solos. Mr. South does not use nor like boy +altos. The service music is selected on eclectic principles, and covers +the ground from Gibbons to Villiers Stanford. The boys sometimes give +concerts, performing such cantatas as Smart's _King Rene's Daughter_, +and Mendelssohn's "Two-part Songs." + +[Illustration: Decoration] + + + + +CHAPTER XII. + +NOTES ON THE PRACTICE OF VARIOUS CHOIRMASTERS IN PARISH CHURCHES. + + +In the course of journeys and interviews extending over many years I +have gathered much experience from choirmasters, and have watched and +noted their plans. Here follow some of the results of this work. The +churches described are some of them small, and but little known. This +fact, however, does not affect the value of the experience. The highest +degree of credit is due to the choirmaster who obtains good results from +poor materials, and this book is especially intended to help those who +have to make the best of ordinary opportunities. + + +LEEDS PARISH CHURCH. + +This church has long been noted for its music, which is sung in +cathedral style. There are about thirty boys, whose voices, even up to +A, are round and clear, and throughout are big, true, and rich. Notable +features of the style of the choir under Dr. Creser, are the long _dim_. +cadences in responses, and the independence which enables the singers to +go on without the organ, if the expression suggests it. At the rehearsal +in the parochial room Dr. Creser sits at the grand piano with the boys +in their cantoris and decani places on each side of him just as in +church. The boys rehearse five days a week after evensong, and the +juniors have an additional practice. After Saturday evensong there is a +full practice with the men. All the boys are trebles. Yorkshire is about +the only district in England which produces adult male altos. The boys +are chiefly promoted from district churches. They live at their homes, +and receive a free education--the seniors in the Leeds middle-class +school, and the juniors in the parish church school. There is also a +small salary paid quarterly, and when a boy leaves he receives from L15 +to L25 if an ordinary chorister, and L50 if a good solo boy. Fines are +imposed by the precentor for misbehaviour or mischievous tricks in +church or precincts, but not for mistakes in singing. Dr. Creser teaches +sight-singing on the lines of Curwen's "How to Read Music." The boys use +the old notation, but have learnt it through Tonic Sol-fa, using the +course entitled "Crotchets and Quavers." Occasionally the whole +rehearsal consists of sol-faing. In every difficulty as to key +relationship the Sol-fa makes matters clear. Dr. Creser was first led to +use Tonic Sol-fa by noticing how easy it made the minor mode. The junior +boys are always taught by Dr. Creser. Until the voices settle he would +on no account delegate them to an assistant. The two chief rules of +voice-training are to forbid forcing the chest register above +[Illustration: a music staff with a treble clef and a whole note "E" on +the first line.] and to begin scales at the top. Flattening takes place +occasionally, but it is nearly always the fault of the congregation, who +drag the pitch down. The arrangement of the music-library here is a +model of order. + + +ST. PETER'S, EATON SQUARE, LONDON. + +Here, under the direction of Mr. de Manby Sergison, a very fine Anglican +service is maintained. There are twenty boys, and a few probationers. +The boys have an hour's practice every day, and sing the Psalms and a +hymn at the daily choral service. Formerly a choir boarding-school was +kept up, but this was abolished, being found to be too expensive. Now +the boys are selected from schools in and near the parish, and Mr. +Sergison finds the ordinary London boy equal to all the demands of the +church. When the choir-school was given up he was able within a month to +prepare an entirely new set of boys, so proficient that the congregation +scarcely noticed a difference. The vocal practice of the boys includes +"Concone's Exercises," and their phrasing in the service music is very +good. The full choir sings on Sundays and Saints' Days, and their +rehearsal takes place once a week in the church, Mr. Sergison being at +the organ. In the chapter on the management of choir-boys I have quoted +some wise remarks by Mr. Sergison, which explain his success as a +choirmaster. + + +ST. MARK'S COLLEGE, CHELSEA. + +This is a Training College for schoolmasters, which has long been noted +for its musical services. Mr. Owen Breden, the present organist and +choirmaster, is the successor of Dr. Hullah, Mr. May, and the Rev. F. +Helmore. The choir-boys, who number 26, only sing on Sundays. They are +drawn from the practicing school, which contains 800 boys. They enter +the choir at nine years of age, and there are always six or eight +probationers, who attend the practices and are ready to fill vacancies. +Thus a good style of singing is maintained. People say to Mr. Breden, +"There is no telling one voice from another, your boys are so much +alike." At the bi-weekly practice with Mr. Breden the boys have +voice-training. They sing to _la_ and sol-fa syllables scales gradually +rising. They are not trained above G, but if a boy has a good G he can +always go higher. The boys can all read from the Sol-fa modulator, and +Mr. Breden gives them ear-tests. The alto part is taken entirely by boys +at St. Mark's. The choir-boys, past and present, perform an operetta in +costume every Christmas. Anthems like Macfarren's "The Lord is my +Shepherd," Bennett's "God is a Spirit," Goss's "O Saviour of the world," +&c., are sung unaccompanied. In fact, whenever the organ part merely +duplicates the voices, they take the opportunity at St. Mark's to enjoy +the pure chording of human voices. + + +ST. MARY'S CHURCH, BERLIN. + +My friend, Herr Th. Krause, the organist and choirmaster of this church, +allowed me to attend a rehearsal of the eighty boys and twenty men who +form his fine choir. The large number of boys is explained by the fact +that nearly half of them are altos. The motet of the Lutheran church is +invariably unaccompanied. It closely resembles in form our anthem, but +the German Protestants look upon the _a capella_ style, which continues +the tradition of the Sistine Chapel at Rome, as the purest and highest +in church music. On no account would they use the organ to accompany a +motet. This gives rise to elaborate compositions, often like +Mendelssohn's "Judge me, O God," in eight parts. By treating the boys +and men as separate choirs, each in four parts, and getting responses +between them, a variety of tone colour, which is almost orchestral, is +obtained; and when both choirs unite in solid eight-part harmony, the +result is imposing. As the Germans are usually not sight-singers, the +labour involved in learning these motets is immense. The higher register +of the boys is well trained. They sing up to B flat without effort, and +with purest tone. The same may be said of the Dom Choir, for which +Mendelssohn wrote his motets. At my last visit to Leipzig, I carried an +introduction to Dr. Rust, trainer of the Thomas Church choir, but I was +there just after Whitsuntide, when the yearly shifting of classes had +just taken place, and Dr. Rust, who wished me to hear his boys at their +best, asked me not to come to a rehearsal. Speaking generally, the +voices of German boys are thinner than those of English boys, more like +fifes than flutes. + + +ST. CLEMENT DANES, STRAND. + +The choirmaster here, Mr. F. J. Knapp, is also master of the parish day +school. Here he insists on quiet singing, and stops coarseness directly. +The boys are taught on the Tonic Sol-fa system, which, says Mr. Knapp, +has alone enabled him to produce his results. Some time ago at St. +Stephens, Walworth, he was called upon to produce a choir in a week, and +he did this, by nightly rehearsals, to the satisfaction of everyone. +Complete oratorios, with band, were frequently given by this choir of +sol-faists. At St. Clement Danes he had to produce a choir in five days, +and here again he succeeded by the use of Tonic Sol-fa. "Our +choir-boys," he says, "can now sing at sight almost anything I put +before them. We never have more than two or three practices (one only, +full) for the most difficult anthems we do. There is an anthem every +Sunday, a choral communion once a month, offertory sentences on +alternate Sundays, cantatas and oratorios at Festivals." Mr. Knapp +adopts the useful plan of "tuning-up" his boys before the morning +service. Flattening, when it occurs, is due, he considers, to damp +weather, a cold church, &c. But he is rarely troubled with it. The boys' +voice exercises are taken at the harmonium, first slow notes to +"koo-ah," or to "oo-ay-ah-ee," or to a sentence containing consonants. +This exercise is done both ascending and descending, but especially +descending. He also uses the chromatic scale from B flat up to +F:--[Illustration: A music staff with a treble clef on the left. Two +quarter notes: B flat below the staff and F on the top line.] He tells +the boys nothing about the registers, but watches constantly against +shouting. + + +SALZUNGEN CHOIR. + +This (Protestant) choir of men and boys is well-known in Germany, and +not only sings at Salzungen, but occasionally makes tours, and gives +concerts. Herr Muehlfeld, the trainer, tells me that he takes the boys +from 11 years of age upwards, and that before entering the choir they +have a fair knowledge of notes, and can sing at sight. The voices are +examined on entry, low ones being put to sing alto, and high ones being +put to sing soprano. The boys have two lessons of an hour each per week, +in which they practise exercises, _choraele_, school songs, and church +music. Flattening, according to Herr Muehlfeld, is due to (1) bad ear, +(2) imperfect training, (3) fatigue of the voice. The boys are taught to +listen to each note that they sing, and to make it blend with the +instrument or the leading voice. In order to do this they must sing +softly, and thus hear their neighbours' voices. The 3rd, 6th, 7th, and +8th tones of the scale are, says Herr Muehlfeld, often sung flat, and +exercises should be specially given to secure the intonation of these +sounds. The boys must also learn the intervals, and whenever they appear +to be tired a pause must be made. + + +UPTON CROSS BOARD SCHOOL. + +This is not a church, but a boys' school, from which a good many +choristers are drawn, and where excellent results have been obtained. +The boys have often won prizes in choral competitions. Mr. H. A. Donald, +the headmaster, tells me that he examines the voices of the boys one by +one in his own room, once a year. Those who can take G and A +[Illustration: musical notation] sweetly and easily are put down as +first trebles. Those who can go below C [Illustration: musical notation] +are altos. The rest are second trebles. He finds that after a year a +boy's voice will often have changed--a treble become an alto, or vice +versa. In modulator practice, and as far as possible in pieces of music, +he keeps the trebles above [Illustration: musical notation]. Below this +they get coarse. He never gives on the modulator an ascending passage +which begins below this G. One may leap up, and come down by step, but +not ascend by step. He uses Mr. Proudman's "Voice-training Exercises" +(J. Curwen & Sons) for first trebles, and his contralto exercises for +contraltos. Coarseness he checks at once, and he silences boys whose +voices are breaking. + +[Illustration: Decoration] + + + + +CHAPTER XIII. + +ALTO BOYS. + + +How is the alto part, in a church choir consisting of males, to be sung? +In our cathedrals this part has been given, ever since the Restoration, +to adult men, generally with bass voices singing in their "thin" +register. For this voice our composers of the English cathedral school +wrote, carrying the part much lower than they would have done if they +had been writing for women or boy-singers. For this voice, also, Handel +wrote, and the listener at the Handel Festival cannot but feel the +strength and resonance which the large number of men altos give to the +harmony when the range of the part is low. The voice of the man alto, +however, was never common, and is becoming less common than it was. It +occupies a curious position, never having been recognised as a solo +voice. I have heard of an exceptionally good man alto at Birmingham who +was accustomed to sing songs at concerts, but this is an isolated case. +The voice seems to have been generally confined to choral music. + +This voice is entirely an English institution, unknown on the continent. +Historians say that after the Restoration, when it was very difficult to +obtain choir-boys, adult men learned to sing alto, and even low treble +parts, in falsetto, in order to make harmony possible. + +Let us concede at once that for music of the old cathedral school this +voice is in place. The churches are, however, getting more and more +eclectic, and are singing music from oratorios, cantatas, and masses +that was composed for women altos, and is far too high in compass for +men. We may admit that because the alto part lies so much upon the break +into the thick or chest register of boys, it is very difficult to get +them to sing it well. The dilemma is that in parish churches, especially +in country places, the adult male alto is not to be had, and the choice +is between boy altos, and no altos at all. + +There is no doubt, moreover, that the trouble of voice-management in boy +altos can be conquered by watchfulness and care. At the present time +there are, as the information I have collected shows, a number of very +good cathedral and church choirs in which the alto part is being +sustained by boys. + + * * * * * + +The following is from Mr. James Taylor, organist and choirmaster of New +College, Oxford:-- + +"New College, Oxford, _Dec._ 13, 1890. + +"Dear Sir,--In reply to your letter, I can confidently recommend boy +altos in parish or other choirs, provided they are carefully trained. We +have introduced them into this choir for more than two years, and the +experiment has fully come up to my expectations. We still retain two men +altos in our choir, which now consists of the following:--Fourteen +trebles, four boy altos, two men altos, four tenors, and four basses. I +find boy altos very effective in _modern_ church music, such as +Mendelssohn's anthems, &c., where the alto part is written much higher +than is the case in the old cathedral music. + +"Yours very truly, + +"JAMES TAYLOR." + +Dr. Garrett, organist of St. John's College, Cambridge, writes:-- + +"5, Park Side, Cambridge, _Dec._ 12, 1890. + +"Dear Mr. Curwen,--I have had boy altos only in my choir for some years. +I introduced them of necessity in the first instance. The stipend of a +lay clerk was too small to attract any other than a local candidate, and +no suitable man was to be found. If I could have really first-class +adult altos in my choir I should not think of using boys' voices. At the +same time there are some advantages on the side of boys' voices. + +"I. Unless the adult alto voice is really pure and good, and its +possessor a skilled singer, it is too often unbearable. + +"II. Under the most favourable conditions it is very rare, according to +my experience, to find an alto voice retaining its best qualities after +middle age. + +"III. The alto voice is undoubtedly becoming rare. + +"On the other side you have to consider:-- + +"I. The limitation of choice in music, as there is a good deal of +'cathedral music' in which the alto part is beyond the range of any +boy's voice. + +"II. A certain lack of _brightness_ in the upper part of such trios as +those in 'By the waters of Babylon' (Boyce) 'The wilderness' (Goss), and +many like movements. + +"As regards the break question, the advantage, in my experience, is +wholly on the boys' side. A well-trained boy will sing such a solo as 'O +thou that tellest,' or such a passage as the following without letting +his break be felt at all: + +[Illustration: For Thou hast been my hope, hast been my hope.] + +This passage,[B] which is from the anthem, 'Hear my crying,' by Weldon, +I have heard sung by an adult alto, who broke badly between E flat and +F. The effect was funny beyond description. In fact, if a boys' break is +about C or D (3rd space or 4th line), and he [Illustration: musical +notation] is never allowed to practise above that, there will be no +question of break arising. My alto boys can get a good round G, and five +out of the six can go up without break to C. [Illustration: musical +notation] The advantage of this in chanting the Psalms is obvious. What +can an adult alto be expected to do in a case where the reciting note is +close to his break? These are considerations which may fairly be taken +into account even when the decision is to be made between _possible_ +courses; when there _is_ a choice. In many cases there is none. It must +be (as you say) boy alto, or no alto. I am quite sure that careful +training is all that is needed to make boy altos most efficient members +of a choir. Or rather, I ought to say that careful selection and +training are both needed. To take a young boy as an alto because he +happens to have three or four raucous notes from, say, B flat to E flat +[Illustration: musical notation] while he has a bad break between E flat +[Illustration: musical notation] and F is, of course, to court failure. +I prefer taking a boy whose break lies higher, and training his voice +downwards. If, as a probationer, he can get a fairly good round B +natural [Illustration: musical notation] or B flat; lower notes can +certainly be produced as he grows older.] + +"Yours very truly, + +"GEORGE GARRETT." + +[B] I have transposed the passage from the alto clef.--J. S. C. + + * * * * * + +A remark may be interposed here that from a physiological point of view +we must expect voices of different pitch in boys, just as in girls, +women, and men. Boys differ in height, size, and in the pitch of the +speaking voice, which is a sure guide to the pitch of the singing voice. +There is thus no physiological ground for supposing all boys to be +trebles. + + * * * * * + +The following letter is from the Rev. W. E. Dickson, Precentor of Ely:-- + +"The College, Ely, _October 30th_, 1890. + +"_Dear Sir_,--I have much pleasure in replying to your note. If I +resolved to do so in a few words I should be obliged to say that seldom +indeed do I hear boy altos sing with sweet voices and true intonation, +either in my own country, or in those foreign countries in which I am in +the habit of taking my holidays. + +"But I should like to be allowed to explain that, in my opinion, the +coarseness (at any rate) of boy-altos in English choirs is due to +mismanagement by the choirmaster. His usual plan is to turn over to the +alto part boys who are losing their upper notes by the natural failure +of their soprano voices. This saves trouble, for such boys probably +read music well enough, and they are simply told to 'sing alto,' and are +left to do so without further training, until they can croak out no more +ugly noises. Surely this is quite a mistake. Am I not right in +maintaining that a perfect choir should consist of + + FIRST TREBLES TENORS + + SECOND TREBLES BASSES + +well balanced as to numbers, and all singing with pure natural quality? +If I am, then it follows that the second trebles should be precisely +equal to the firsts in number and strength, and should include boys of +various ages, as carefully selected and as assiduously trained as the +others. I cannot but think--and, indeed, I perfectly well know--that +where this has been done by a skilful teacher, whose heart is in his +work, boy altos have been made to sing with sweetness and accuracy. + +"You will probably agree with me--though this is quite by the way--that +secular music should be largely used by such a teacher. The part-songs +of Mendelssohn, for instance, should be trolled out by the two sets of +boys, who may even interchange their parts at practice with the best +results. But of course this is said only in reference to choirs of a +high class. + +"I do not deny that even the best teaching and the best management will +not secure quite the same _timbre_ which you get in choirs with falsetti +in the alto part. A certain silvery sweetness is obtained from these +voices to which our English ears have become accustomed, and which we +should miss if boys, however well-trained, took their places. In the +Preces, Versicles, Litany, &c., of the English Choral Service, we should +be conscious of a loss. In cathedrals, too, the complete shelving of +some or even many compositions, favourites by long association, if not +by intrinsic merit, would be inevitable. But I am unable to doubt for a +moment that when the change had been made, and time had been given for +the new order of things, under a thoroughly competent musician, we +should not regret it. + +"At Ely we have ten men in daily attendance; fourteen on Sundays. We +keep twenty boys in training. If this vocal body were thus +distributed:-- + + 10 FIRST TREBLES 5 TENORS (6 on Sunday) + + 10 SECOND TREBLES 5 BASSES (8 on Sunday) + +we should certainly be stronger and healthier in tone and quality than +we are now, with a disproportionate number of trebles, thus:-- + + 20 TREBLES 3 [4] TENORS + + 3 [4] ALTOS 4 [6] BASSES + +As to rustic choirs in village churches, I fear the case is hopeless, +and I myself should be glad to see editions of well-known hymn-tunes and +chants in three parts only--treble, tenor, and bass. Handel wrote some +truly grand choruses in three parts in his 'Chandos Anthems.' But his +tenor part is not for every-day voices! + +"Believe me, truly yours, + +"W. E. DICKSON." + + * * * * * + +The following, from Dr. Haydn Keeton, organist of Peterborough +Cathedral, is against boy altos:-- + +"Thorpe Road, Peterborough, _December 12th, 1890_. + +"Dear Sir,--I have had about eighteen years' experience with alto boys, +and although I have had some exceedingly good ones, one or two as good +as it is possible, I think, to have, yet I must say that, in my opinion, +it is a bad system to substitute boys for men, especially in cathedral +music. The reason why the change was made here was that about the year +1872 three of our men altos were failing, and I happened to have three +boys with good low voices, who took alto well. In consenting to this +change I had no idea of its being a permanent one, but owing to the +agricultural depression our Chapter have been quite prevented doing what +they would like to do with the choir. The general effect of the change +has been this--that I have been always weak in trebles. We are limited +to Peterborough for our choristers, and, as a rule, there is not one boy +in a hundred who knows even his notes when he enters the choir. It +takes from eighteen months to two years for a boy to learn his work, and +it is not until a boy is at least twelve that one can turn him into an +alto. The result is that four of my senior boys have to be turned into +altos, and I am left with a preponderance of young, inexperienced boys +as trebles. At the present time I have twelve trebles, eight of whom are +quite young. + +"In addition, see what extra work is involved in teaching the boys to +sing alto. Some boys do not take to alto very easily, and the extra work +given to the altos means that quantity taken from the trebles. I am +unable, in consequence, to give the necessary time to the elementary +work that one ought to give. We can only get one hour's practice in the +day, owing to the boys going to school. + +"Then, again, as to tone. The tone of a choir with men altos, if they +are at all fairly good, is so much superior to one with boy altos. In +cathedral music so many anthems and services have trios for A.T.B. There +is not one boy in a thousand who can sing the trio in 'O where shall +wisdom' (Boyce) with a tenor and bass effectively. And how many there +are similar to that! + +"I do not see how boys could work at all in ordinary parish choirs, for +here there are not the opportunities of teaching boys to read well at +sight. It is only by daily practice that one can make anything of boys. + +"Yours faithfully, +"H. KEETON." + +Dr. Frank Bates, organist of Norwich Cathedral, has favoured me with a +copy of a paper on the boy's voice, in which he says:-- + +"The compass of a boy's voice when properly developed is from + +[Illustration: C to A B[b] or C] + +The chest or lower register extends from + +[Illustration: C to C or D] + +The head or upper register extends from + +[Illustration: C or D to B[b] or C] + +No fixed compass can possibly be given to the different registers, as +the older a boy becomes the lower the change occurs; the head register +often being used as low down as A." + +[Illustration: musical notation] + +In a letter to me Dr. Bates says:-- + +"I quite think that, for ordinary parish church services, the effect of +boy altos, if properly taught, is all that one can desire." + +In reply to my remark that the break comes in so awkwardly for boy +altos, Dr. Bates says:-- + +"I fail to understand the reason you quote for the non-usage of boy +altos. There is no change whatever in a boy's voice, _in its normal +state_, until [Illustration: musical notation] is reached. If the change +is made lower down all the brilliancy is taken out of a boy's voice. As +a boy gets older he uses the upper register much lower down. I have +known boys at the age of eighteen with lovely top notes but very poor +chest register. In such cases, when a boy's top register commences at +[Illustration: G] I can quite understand the difficulty." + +There is evidently some conflict of nomenclature here, as the limits of +the registers as given by Dr. Bates differ considerably from those which +are usual. I am glad to learn that Dr. Bates is writing a book on "The +Voices of Boys," which will no doubt clear up the subject. In the paper +before me he recommends practice of the scales to such syllables as La, +Fa, Ta, Pa, in order to bring the tone well to the front of the mouth, +and reinforce it by means of the soft upper palate. He recommends the +teacher to train the boys to use the upper register by making them sing +over and over again, _very softly_, the following notes:-- + +[Illustration: Chest Head Ah....] + +Here again the transition seems to me to be taken much too high. + +Mr. Frank Sharp, of Dundee, trainer of the celebrated children's choir, +which has sung the treble and alto parts, both solos and choruses, of +_Messiah, St. Paul_, and many cantatas, writes to me:-- + +"In part-singing where there are boy trebles, the adult male alto voice +has its charms. The contrast in quality between the open tone of the +boys' voices and the condensed, sometimes squeaky sweetness of the man +alto does not affect the blending, and helps the distinctness of parts. +Considering the growing scarcity of this latter voice, why not use boy +altos? They can be made as effective as ordinary women altos, but they +are as short-lived and need more attention than the boy trebles. Their +chief drawback is a tendency to produce tone without the least attention +to quality or effect save that of noise. Nevertheless, there is nothing +to hinder boy altos doing all that is necessary, or, indeed, all that +can be done by the adult male alto. I have trained boys to sing alto in +_Messiah_, _St. Paul_, and equally trying music, during the past twenty +years, and anyone else who keeps the girl's alto voice before him as a +model can do the same. The boy alto voice may be said to have a husk and +a kernel: the one strident, harsh, and overpowering; the other sweet, +and, with use, rich and round. The average healthy boy, with his +exuberant love of noise, will naturally give the husk, but the skilful +voice-trainer will only accept the kernel, evolved from right register, +good _timbre_, and proper production. Seeing and hearing a process in +voice-training is, however, more satisfactory than much writing and the +reading thereof." + + * * * * * + +Mr. W. W. Pearson, master of a village school in Norfolk, who is +well-known by his excellent part-songs, writes to me:-- + +"I succeed very well in getting boys to sing alto because I always use a +large number of exercises in two parts, making each division of the +class in turn take the lower part. I do not choose boys for altos on +account of age. That, in my opinion, has nothing to do with it. I choose +them by quality of voice. There is no break in the voice of the natural +alto between]--[Illustration: G and C] I find altos out generally when +they are novices, by hearing them trying to sing with the others, and +dropping down an octave in high passages." + + * * * * * + +The following interesting notes are by Mr. W. Critchley, organist, +choirmaster, and schoolmaster in the village of Hurst, near Reading:-- + +"I do not choose the elder boys as altos, as I find that treble boys, as +a rule, are at their very best just before the change of voice. And +moreover, when that change begins, the voice is so uncertain in its +intonation that if the boy were put to sing alto he would be certain to +drag the others down. At present I have one or two boys with round, +mellow voices, who are very effective. Unfortunately, most of the alto +parts in hymn-tunes and chants hover about the place where the break in +the voice occurs, and it requires a lot of practice to conquer the +difficulty. As a rule, I get the alto boys to sing in the lower +register. It is very seldom they get a note which they cannot take in +this register, so I train it up a little, thus-- + +[Illustration: KEYS B to F[#]. + +d_1 t_2 l_2 t_2 d_1 r_1 m_1] + +I do not see any other way of getting over the uncertainty in the boy +alto voice. It is merely a matter of time and trouble." + + * * * * * + +Mr. J. C. E. Taylor, choirmaster of St. Mary's, Penzance, and +head-master of the National School, says:-- + +"I have had one or two pure alto voices, and these are the best, but +very rare. Good voices of trebles unable to take [Illustration: musical +notation] (D) have often become fair alto voices, and my present solo +alto boy is one of these. The trios in the anthems are taken by boy +alto, tenor, and bass. These alto boys are practised from lower G to +C--[Illustration: musical notation] up and down, minding their _p's_ and +_f's_. My trebles, as a rule, last until fifteen years of age, and altos +until sixteen, and even seventeen." + + * * * * * + +Mr. A. Isaac, choirmaster of a church in Liverpool, says:-- + +"For the last twenty years I have been continuously engaged with male +voice choirs in connection with churches too poor to pay for adult help, +and, as you may readily guess, I have never yet had the good fortune to +secure, for any length, the services of gentlemen who could sing +falsetto effectively. I have had, therefore, to rely solely upon my boys +for the alto part. At the present time my choir, which is allowed to be +up to the mark amongst local Liverpool churches, is made up of 22 boys +(18 treble and 4 alto) paid, and 14 adults (5 tenors and 9 basses) +voluntary. There is, I find, no royal road to the alto part. My course +is as follows. I obtain my boys as soon as they are eleven, by which age +they have been made fairly familiar at my school with the old notation +on the movable _do_ plan. Theoretical instruction is continued side by +side with special voice-training exercises. Occasionally I meet with a +boy who has a true mezzo-soprano voice, and he is a treasure, but in the +main my selections are boys with treble voices. As soon as a treble +shows signs of voice breaking, I let him down into the alto part. The +transition is not very difficult, for by this time the boy has become a +fairly good Sol-faist and reader. I have but to adapt the voice-training +exercises to him in company with his fellows, and I have no reason to +regret the issue. I take my boys always together, with two-part +exercises." + +Mr. Stocks Hammond, organist and choirmaster of St. Barnabas, Bradford, +in a published paper on "Boys' Voices," says:-- + +"During many years of choir training, I have experienced very great +difficulty in supplying the alto parts with _good_ men's falsetto voices +(especially in voluntary choirs), and I have therefore been compelled to +have that part sung by boys, and experience leads me to prefer the boys' +voices to men's, unless, indeed, they are real alto voices, which are +seldom to be met with. I have never yet had any great difficulty in +finding boys' voices capable of sustaining that part, and can always +fill up any gaps that occur by the following means. Whenever I find a +treble begins to experience a difficulty in singing the upper notes, and +that in order to sing them he must strain his voice, immediately he is +put to sing alto, which he is in most cases able to do for one or two +years, and during that time he is thus retained as a useful member of +the choir; for otherwise he would very soon have been lost to it +entirely, for nothing hastens so much the breaking of the voice as the +habit of unduly straining it." + +Mr. T. H. Collinson, Mus.B., organist of St. Mary's Cathedral, +Edinburgh, writes to me:-- + +"Boy altos are a fraud and a deception, as a rule, though occasionally +one meets with a natural contralto at an early age. Even then he can +generally be worked up to treble by gentle treatment, developing the +middle and falsetto registers." + + * * * * * + +In order to get to the bottom of this subject, I invited correspondence +in the _Musical Standard_ (until recently the organ of the College of +Organists), and several interesting letters were the result. Mr. R. T. +Gibbons, F.C.O., organist of the Grocers' Company's Schools, where +excellent performances of operettas are given, wrote:-- + +"As soon as a boy's voice reaches only E[b] he is drafted into the +altos, and that preserves his voice much longer." + +To this statement Mr. Fred. Cambridge, organist of Croydon Parish +Church, took exception. He said:-- + +"I do not wish to appear to dogmatise, but I should say 'as soon as a +boy's voice reaches only E[b],' it is quite time he left off singing +altogether, _i.e._, if his voice has previously been a treble. I know it +is the custom in some choirs to make a boy sing alto as soon as his +voice begins to break. In my opinion, such a course is utterly wrong. It +is not only injurious to the boy's voice, but very unpleasant for those +who have to listen to it. + +"In a school of 500 boys, there ought to be no difficulty in finding +sufficient natural altos, without having to rely on broken-voiced +trebles. + +"In my own choir I frequently admit altos at 10 or 11 years of age, with +the result that I get five or six years' work out of them, and the +latter part of their time they are available for alto solos. + +"I think (and I speak from upwards of 30 years' experience) that if Mr. +Gibbons will try this plan, he will find it much more satisfactory than +drafting his trebles into the altos as soon as their voices begin to +break. + +"I do not enter into the question of men _versus_ boy altos, because it +is my experience that in a voluntary choir, especially in the country, a +really _good_ adult alto is such a _rara avis_, that one is obliged to +rely on boys, and if they are carefully chosen and trained, they are, I +think, quite satisfactory. The only place when one misses the man alto +voice is in anthems with a verse for A.T.B., such as 'Rejoice in the +Lord' (Purcell), 'The Wilderness' (Goss), &c." + +Mr. C. E. Juleff, organist of Bodmin Parish Church, wrote:-- + +"Allow me to say that I have found men altos infinitely preferable to +those of boys. In short, one good man alto I have experienced to be +equal to half-a-dozen boy altos as regards tone; and in respect to +phrasing and reading I have found men altos decidedly superior. The two +gentlemen altos who were in my choir at SS. Michael and All Angels, +Exeter, were acknowledged by London organists to be 'second to none' in +the provinces." + + * * * * * + +On the other hand, Mr. Thomas Ely, F.C.O., of St. John's College, +Leatherhead, gave a warm testimony to boy altos:-- + +"I may say that in my choir at this College I have four or five very +good boy altos. One is exceptionally good, possessing a natural alto +voice of remarkable richness and beauty. In our services and anthems he +takes the solo alto parts, and in my opinion he is far superior to a man +alto, except in such anthems as Wesley's 'Ascribe unto the Lord' +(expressly written for choirs possessing men altos), in which he cannot +take some of the lower notes. The compass of his voice is from F to +E[b]." + + * * * * * + +In these letters and experiences there are evidently two underlying +ideas. First, that the boy alto has a naturally low voice; second, that +the boy alto is a broken-down soprano. For both these notions there is +some physical foundation, because there is no doubt that the lower notes +of boys of 12 to 14 are rounder and fuller than those of boys of 9 to +12. Herr Eglinger, of Basel, to whose mastery of the subject in theory +and practice I can testify, from personal intercourse, distinctly +recognises this. He says:-- + +"It is only when boys and girls approach the period of change, say a +year or two before the voice begins to break, that a clear chest-voice, +corresponding to that of women, is perceptible. In boys at this stage, +the head-voice rapidly declines in volume and height; and what there is +of middle register is not much, nor of great service much longer. On the +other hand, the chest-tones acquire a resonance, and in boys a certain +gruffness, which, mixed with other voices, imparts a peculiar charm to +the chorus." + +Thus although here and there a boy may be found with a naturally low +voice from the first, the majority of altos will be obtained from older +boys, who are approaching the period of change. It is, however, of much +importance to watch these boys, and stop their singing when their voice +really gives way, because it then becomes uncertain in its intonation, +and is apt to spoil the tuning of the choir. + + * * * * * + +The idea that boys must not use the thick or chest register is also a +mistake. It is the straining of this register, which produces a hard, +rattling sound, that is objectionable. Boy altos have as much right to +use the chest register, in its proper place and with proper reserve of +power, as women altos. + +[Illustration: Decoration] + + + + +CHAPTER XIV. + +SCHOOLS FOR CHORISTERS. + + +Music is now recognised as one of the professions, taking its place by +the side of Law, Medicine, and Divinity. Parents who have boys to start +in life look for avenues of entrance to these various occupations. And +there can be no doubt that to be a chorister-boy is one of the very best +ways of serving an apprenticeship to music. Hear what the late Sir +George Macfarren says on the subject:-- + +"A cathedral choir is the best cradle for a musician our country +affords. I say this from the conviction, many times confirmed, that, as +an average, by very far the best practical musicians, those I mean whose +musical readiness gives them the air of having music as an instinct or +of second nature, those who are ever prompt with their talent to produce +or to perform without preparation at the requirement of the moment; +those whose ears are quick, whose wits are sharp, and whose utmost +ability is ever at their fingers' ends--are they who have passed their +art infancy in one of our ecclesiastical arenas for constant practice. +The very early habit of hearing and performing music stimulates the +musical sense, and gives musical tendency to all the youthfully supple +faculties which bear upon the use of this sense. The habit in almost +first childhood of associating sight with sound, written characters with +uttered notes, the office of the eye with that of the ear or of the +voice, which is the ear's agent, does more in favourable cases to +develop some of the best essentials in an artist, than can be +accomplished by the unremitting study of after life. I say this +feelingly: I had not the advantage to which I refer, but I observe its +influence upon the majority of others whose talent claims my best +respect." + +These words put the case with emphasis and truth. A list of former choir +boys in the musical profession, if it could be compiled, would afford +further evidence in this matter. Among composers the list would include +Arthur Sullivan, Alfred Cellier, John Stainer, and Alfred Gaul; among +singers, Edward Lloyd and Joseph Maas, while the ranks of the teaching +profession are largely recruited from this source. "Literature," says +Mr. Herkomer, "does not help art much. Art is learnt by doing." You +cannot become a musician by reading the matter up, or listening to +lectures. Musicianship is imparted more after the style of a moral than +of an intellectual power--like good breeding rather than like +arithmetic. + +A striking proof of the fact that the chorister boy gravitates easily +into the musical profession, and makes his mark there, is afforded by +the history of Rochester Cathedral boys. These include the late Mr. +Joseph Maas, the tenor singer, and the following organists of +cathedrals, all of whom are living:--Dr. Armes (Durham), Dr. Crow +(Ripon), Dr. Bridge (Westminster), Dr. J. C. Bridge (Chester), and Mr. +Wood (Exeter). + +These facts make parents anxious for information as to how to get their +sons into church and cathedral choirs. Enquiries of this kind are +constantly reaching me. I have therefore thought it well to add to the +completeness of this work by collecting information from all available +sources, and I have to express my thanks to the Rev. Precentors who have +so readily responded to my circular of appeal. + +The result is in some respects disappointing. Choir _boarding_ schools +are not numerous, and are not increasing in number. The agricultural +depression has reduced the revenues of cathedrals and colleges, and they +are likely in the future to seek out cheaper rather than more expensive +modes of working. A few town churches which place music in the front, +have started boarding schools, but, as a rule, the choristers live in +their homes. I have no desire for these boarding schools in the +abstract. I question if the boys get more musical education by living +together than they do by coming for it day by day. But the boarding +school affords the only opportunity for parents who do not live in a +cathedral town to get their boys educated as choristers. The day schools +suit the townspeople well enough, and here and there a boy from a +distance may board with relatives or friends and get into the choir, but +this is exceptional. + +I now give the results of my enquiries. + + +CHOIR BOARDING SCHOOLS. + +WORCESTER CATHEDRAL CHOIR SCHOOL.--A preparatory school for the sons of +professional men. Boys admitted as probationers nine to eleven, on +passing examination. The ten choristers and eight probationers are +lodged, boarded, and taught together at the Choir School. Charge L26 per +annum for probationers, and L16 for choristers, plus 7s. 6d. a quarter +for washing. Pianoforte lessons 15s. per quarter. Boys can compete, when +their voices break, for a scholarship at the Cathedral Grammar School. +Several have done this with success. Apply Rev. H. H. Woodward, M.A., +Mus.B. + +WESTMINSTER ABBEY CHOIR HOUSE.--Candidates must produce certificate of +baptism and be at least eight years of age. Expected to possess good +voice, moderate knowledge of rudiments, to be able to read and write +fairly, and to pass medical examination. All boys taught vocal music, +and facilities given for learning instruments. Master of choir house +responsible for their general education, which includes English +subjects, French, German, and drawing. Parents must supply clothing, and +usual appointments, school books, pocket money, travelling expenses, and +medical attendance. All other fees paid by the Chapter. + +EXETER CATHEDRAL CHOIR SCHOOL.--Fourteen choristers are boarded and +educated for L10 a year, and provided with a suit of clothes each year. +There are always two probationers in the school from eight to ten years +of age paying L35 exclusive of usual extras. Vacancies in choristers +usually filled by probationers, but no pledge given. Possible grants to +deserving choristers when they leave; school fees sometimes paid for +six months or so after the voice has failed. Head master and experienced +matron. + +ALL SAINTS, MARGARET STREET, LONDON, W.--Twelve choir boys and two +accepted boys waiting for vacancies live in west wing of vicarage under +care of one of the clergy, who gives them lessons each morning, a +certificated master taking them in the evenings. Afternoon, cricket and +football in Regent's Park. Whole holiday Saturdays, and those who live +near enough can go home. Vacations--a week in January and at Easter, and +34 days in August and September. Each boy separate cubicle in dormitory. +Boys have meals in dining hall with clergy (but at separate table). Each +boy pays L12 in first year, L8 in second year, and nothing afterwards. +Gratuity of L10 when voice breaks. Probationers pay L5 per quarter, and +do everything except sing in church. No boy received unless parents wish +him to be brought up in Church of England. Correct ear and brilliant +voice count more at examination than knowledge of music. Apply Vicar. + +CHAPEL ROYAL, ST. JAMES'S PALACE.--The ten choristers reside with +Master, who is a priest of the Chapel Royal. Free board and education +and greater part of clothing. Grant of from L30 to L40 on leaving choir +if conduct good. Latin, French, Mathematics, and usual English subjects. + +OXFORD, MAGDALENE COLLEGE SCHOOL.--Sixteen choristers, board and +education free. Admitted by open competition. The school is not confined +to choristers; it contains at present 70 boys, many of whom pass on to +the University. + +OXFORD, NEW COLLEGE.--Eight senior and eight junior choristers take part +in the services. These all receive free education at the College School, +but provide their own books. They are prepared for Oxford Local +Examinations, the College paying fees. Twelve choristers are boarded in +the School House with the master. These are arranged in two divisions +according to musical ability. The first division boarded free, the +second division pays about 6s. a week for the 40 weeks of the school +year. Some fees paid to senior boys and boys of special value as +soloists. Choristers whose parents reside in Oxford receive from 10s. to +L5 a year according to merit and seniority. Gratuity or apprentice fee +not exceeding L40 occasionally given. + +FROME, SOMERSET.--St. John Baptist College. Founded by late Rev. W. J. +E. Bennett 36 years ago. Number of boys usually 15; maintained, clothed, +and educated on payment of 7s. a week under twelve, and 8s. above. No +regular holidays. Boys not allowed to leave till they have made their +first communion. + +LINCOLN MINSTER.--Boys boarded and educated at Northgate Schools at +expense of Chapter. English subjects, French, Latin, German, Drawing, +Shorthand, Chemistry. All school books found. Parents pay travelling, +clothing, and washing only. Small allowance of pocket-money. Four weeks' +holiday in the year. + +EASTBOURNE, ST. SAVIOUR'S CHURCH CHOIR SCHOOL.--Established 1878. Boys +admitted as boarders or day pupils from eight years of age, choristers +(boarders) pay 32 guineas a year, day choristers 14 guineas. +Instrumental music, German, and Drawing are extras. Other subjects as +for Cambridge local exams. Ten weeks' holiday in the year. Scholarships +of from L5 to L15 a year are awarded to efficient choristers. + +RIPON CATHEDRAL CHOIR SCHOOL.--Day boys under 14, L6 per annum; over 14, +L8. Boarders under 12, L40 per annum; over 12, L45. Laundress, L2. Usual +subjects, including modern languages and science. Instrumental music +extra. Four choral scholarships at L30, eight at L25, and six for +probationers at L20. Pupils prepared for University Local Examinations, +Preliminary Law, and Medical, &c. Playground, workshop, cricket field, +library, school magazine. + +ST. PAUL'S CATHEDRAL CHOIR SCHOOL.--Board and education free: parents +provide clothes, travelling, and pocket money. Good voices and musical +talent necessary. Easy preliminary examination in Scripture, three R's, +and Latin. Candidates must be between 8 and 10. Two or three +examinations are held each year according as there are vacancies. Course +of study as usual for public schools. Piano and violin extra. Holidays +at Christmas, Easter, and Summer. Weekly half-holiday. Private field in +suburbs for games. Rev. W. Russell, Succentor, is head master. + +SALISBURY CATHEDRAL.--Boarding school for choristers in the Close. +Eighteen boys. Parents pay L15 a year. School has also some pupils who +are not choristers. Usual subjects of secondary school. One ex-chorister +is now a scholar of Trinity College, Cambridge. The master is a Minor +Canon. Boys admitted by competition; those from neighbourhood of +Salisbury preferred. Endowment of nearly L1,000 a year for the choir. + +ALL SAINTS, CLIFTON.--Choir school for the choristers of All Saints +Church, who can be prepared for public schools or commercial life. There +are twenty choir scholarships, ranging in value from L10 to L25 a year. +A boy holding a junior scholarship may at any time be elected to one of +higher value. School fees for choristers 7 to 10 guineas a term. +Choristers may remain at the school after voice breaks at discretion of +head-master. Holidays at Summer, Christmas, and Easter. The school is +open to boys generally, whether choristers or not. + +THE VICAR'S CHOIR SCHOOL, HULL.--Intended for the choristers of Holy +Trinity Church. School fee, L10 10s. per annum. Boarders L40 per annum. +Ten scholarships of the value of L10 10s., ten value L8 8s., and twenty +value L5 5s. Amount of scholarship deducted from boarding fee in case of +those who are admitted into choir. Thirteen weeks' holiday during the +year. + +OXFORD, CHRIST CHURCH CATHEDRAL SCHOOL.--Boys are all sons of clergymen +or other professional men. Eight choristers educated, boarded, and +lodged free of expense. Eight probationers, who, if approved, become +choristers as vacancies occur. Probationary period usually from 2 to +2-1/2 years. Probationers pay L25 a year. A few extras, and fee of L3 +3s. on election of probationer to choristership. Every boy is, if +possible, passed through the Oxford Local Examinations. Month's holiday +in summer, and short leave of absence either at Christmas or Easter, if +particularly desired. Election by competition after trial of voice and +ear. + +WINCHESTER CATHEDRAL.--Sixteen choristers sing in the services. These +receive education free, a clothing gratuity of L5 a year, and a leaving +gratuity of from L5 to L20, according to merit and length of service. +There are four boarding scholarships, which leave the parents only L5 a +year to pay. Six of the choristers are foundation boys. Of these, the +two seniors receive L4 a year, and the two juniors L2 a year, but +boarding scholarships and foundation money are not given to the same +boys. There are also four to eight probationers who supply vacancies, if +on second trial their voices are approved. These receive free education. +There are sixty boys in the school. + +TENBURY, ST. MICHAEL'S COLLEGE.--Founded by the late Rev. Sir Frederick +Gore-Ouseley in 1856. There are eight choristers, boarded and educated +free. Also eight probationers, from whom the choristers are selected, +who pay 40 guineas a year. Commoners, _i.e._, boys who do not hold +scholarships, and are not probationers, pay 60 guineas a year; two or +more brothers 55 guineas a year. Preference is given in all elections to +the sons of clergymen. Thirteen weeks' holiday in the year. Sound +classical and mathematical education, to fit for scholarships and the +higher forms at public schools. Healthy situation, in country. + + +EDUCATION ONLY. + +BRISTOL CATHEDRAL.--Boys attend Cathedral Grammar School, where there +are 100 boys. + +GLOUCESTER CATHEDRAL.--Boys educated and paid up to L10 per annum. + +ST. ASAPH.--Boys educated at Grammar School. + +WELLS.--Boys educated at Cathedral Grammar School. + +YORK.--Boys sent to Archbishop Holgate's School. + +TRURO.--Probationers, after serving at least three months, may be +admitted choristers, and receive small quarterly payment. From these are +elected the "choir scholars," of whom there are now ten. These receive +free education and a quarterly gratuity. One boy, with remarkable +contralto voice, comes from a distance, and is boarded and educated at +expense of Dean and Chapter. Enlarged number of boarders contemplated. + +ST. PETER'S, EATON SQUARE, LONDON, W.--Special day school with master. +Boys have midday dinner, with tea on practice and late service nights. +Boarding school formerly existed, but is given up. + +DURHAM CATHEDRAL.--No boarding school. + +ELY CATHEDRAL.--No boarding school. + +BANGOR.--Choristers brought up in National or Grammar School. + +TEMPLE CHURCH, LONDON.--Boys attend Stationers' School. + +PETERBOROUGH CATHEDRAL.--Boys educated at King's School. + +CHICHESTER CATHEDRAL.--Boys taught at Prebendal School. + +INVERNESS CATHEDRAL.--No boarding school. + +ARMAGH CATHEDRAL.--A day school for the choir boys. + +HAMPTON COURT, CHAPEL ROYAL.--No boarding school. + +NEWCASTLE-ON-TYNE CATHEDRAL.--No boarding school. + +MANCHESTER CATHEDRAL.--A special day school for the choir boys, taught +by a lay clerk. Eighteen to twenty boys receive education free, and four +foundation boys receive L20 per annum. The Precentor likes to have the +boys at nine. + +LICHFIELD CATHEDRAL.--Day school taught by a deputy lay clerk, the +succentor taking Latin, English, and Divinity. + +DUBLIN, ST. PATRICK'S CATHEDRAL.--No boarding school. + +PERTH CATHEDRAL.--No school. + +LINCOLN'S INN.--Choristers educated, but not boarded. + +NORWICH CATHEDRAL.--No boarding school. + +CARLISLE CATHEDRAL.--No boarding school. + +ROCHESTER CATHEDRAL.--Boys live at home, and attend Cathedral School, +which is not especially for choristers. + +LIVERPOOL CATHEDRAL.--No boarding school. + +SOUTHWELL MINSTER.--No boarding school. + +ST. ALBAN'S CATHEDRAL.--No boarding school. + +From these particulars it will be gathered that the prevailing custom is +for chorister boys to live at home and give their voices in return for +free education. The various boarding schools described differ much in +the terms they offer, and it may be said generally that only an +exceptionally good voice and a personal introduction are likely to +succeed in those cases where free board and education are given. The +number of candidates is so large that selection is difficult. + +[Illustration: Decoration] + + + + +CHAPTER XV. + +CONCERT SONGS FOR BOYS. + + +In this list I have included songs with innocent, hopeful, joyous words +such as boys may honestly sing. Words dwelling with sadness on the past, +or speaking of life as bitter, I have excluded. Convivial and amatory +sentiments have also been ruled out. As to the music, I have excluded +songs with difficulties of vocalisation. The keys chosen are those best +suited to treble boys, bringing the melody as nearly as possible between +F and F{1}, with an occasional G{1}. The list is by no means +exhaustive, and must be regarded merely as a dip in the ocean of +ballads. I shall be much obliged to correspondents who will suggest +suitable additions. + +Composer. Title and Key. Publisher. + +Abt, Franz ... O little thrush (C) ... R. Cocks + +Adams, Stephen ... Song of the sailor boy (E flat) R. Cocks + +Adams, Stephen ... The cry of the little ones (E flat).... Boosey + +Addison, R. B. ... Violets (F) ... Stanley Lucas + +Allen, G. B. ... The little drummer (F) ... Ashdown + +Almond, E. ... Buttercups and daisies (D) ... Ashdown + +Anderton, T. ... The bells of Shandon (D) ... Chappell + +Andre, F. A. ... A British cheer for England's Queen (F) ... Chappell + +Bailey, W. J. ... Make-believes (E flat) ... Ashdown + +Barker, Geo. ... A health to the outward-bound (B flat) ... Chappell + +Barnby, Joseph ... An evening melody (F) ... Morley + +Barnby, Joseph ... That haven fair (E flat) ... Morley + +Barnett, J. F. ... The Minstrel (G) ... Stanley Lucas + +Barri, Odoardo ... In the cloisters (B flat) ... Morley + +Barri, Odoardo ... The beauteous song (F) ... Cramer + +Barri, Odoardo ... The child and the flowers (E flat) ... Ashdown + +Behrend, A. H. ... Gentleman Jack (C) ... Patey & Willis + +Behrend, A. H. ... The angel's promise (F) ... Boosey + +Behrend, A. H. ... The Gift (F) ... Boosey + +Behrend, A. H. ... Two children (A) ... Patey & Willis + +Bennett, Sterndale ... Dawn, gentle flower ... Novello + +Bevan, Fred ... Gladsome tidings (E flat) ... Patey & Willis + +Bevan, Fred ... I'll be a soldier, mother (A) ... Patey & Willis + +Bevan, Fred ... The Admiral's broom (F minor) ... Enoch + +Bishop, R ... Chime again, beautiful bells (B flat) ... R. Cocks + +Botterhill, Jessie ... Pack clouds away (C) ... Stanley Lucas + +Botterhill, Jessie ... The Lark (F) ... Stanley Lucas + +Buck, Dudley ... When the heart is young ... Boosey + +Cherry, J. W. ... Gentle Spring (G) ... Ashdown + +Cherubini ... Ave Maria ... + +Chesham, E. M. ... Fire (G) ... Cramer + +Cobb, G. F. ... Mary, Queen of Scots ... London Music Pub. Co. + +Cobb, G. F. ... Versailles ... London Music Pub. Co. + +Cobb, G. F. ... Kenilworth ... Metzler + +Costa, Michael ... Morning Prayer [_Eli_](alto) ... J. Williams + +Cowen, F. H. ... Children's dreams (E minor) ... R. Cocks + +Cowen, F. H. ... The Children's Home (D) ... Morley + +Cowen, F. H. ... Tears (alto) ... + +Cowen, F. H. ... The watchman and the child (F) ... Morley + +Coward, J. M. ... The butterfly and the humble bee ... Metzler & Co. + +Davis, Miss ... What is that, mother? (A flat) ... Ashdown + +Dick, Cotsford ... The Angel's Gift (F) ... Morley + +Diehl, Louis ... Dear England (C) ... R. Cocks + +Elmore, Frank ... Child and the sunbeams (C) ... Stanley Lucas + +Farebrother, B. ... Reine d'amour ... + +Flood, Edwin ... The gipsy's life (C) ... R. Cocks + +Foster, M. B. The mother's grave (E minor) [alto] Stanley Lucas + +Frost, C. J. ... Youthful Songs ... Novello + +Gabriel, V. Children's voices [alto] ... + +Gatty, A. S. ... Three little pigs (A flat) ... R. Cocks + +Gibsone, Ignace ... The man-o'-war's man (D) ... Patey & Willis + +Gilletto, Paul ... Lead, kindly light (A minor) ... Phillips & Page + +Glover, Stephen ... The flower gatherers (E) ... R. Cocks + +Gounod, C. ... For ever with the Lord (D) ... Phillips & Page + +Gounod, C. ... Glory to Thee, my God (D) ... Phillips & Page + +Gounod, C. ... The King of Love (E flat) [alto] ... Phillips & Page + +Grazia, E. N. ... Laugh while you may (D) ... Ashdown + +Greenhill, J. ... The Canadian herd-boy (F) [alto] ... Stanley Lucas + +Gyde, Margaret ... The song of the robin (D) ... Ashdown + +Hatton, J. L. ... The cause of England's greatness (F) ... R. Cocks + +Hatton, J. L. ... Song should breathe of scents and flowers ... Ashdown + +Hatton, J. L. ... Blossoms ... Ashdown + +Hawthorne, Alice ... Hearth and home (G) ... R. Cocks + +Hecht, E. ... The innocent child (C) ... Stanley Lucas + +Hobson, M. ... The peaceful Sabbath bell (F) ... Chappell + +Horner, B. W. ... In the cloisters (E flat) ... Stanley Lucas + +Jackson, J. ... Cathedral Memories (E flat) ... Morley + +Kjerulf, Halfdan ... Asleep (E) ... Stanley Lucas + +Lemoine, E. ... The ship-boy's prayer (C min.) [alto] ... Stanley Lucas + +Liebe, Louis ... The stripling's armour (C minor) ... Stanley Lucas + +Loehr, F. N. ... Suffer the little children (F) ... Cramer + +Maccabe, F. ... Buttercups and daisies (D) ... Chappell + +Mackenzie, H. ... The lion flag of England (G) ... Patey & Willis + +Marzials, Theo ... The fairy Jane (B flat) ... Enoch + +Mendelssohn ... The Savoyard's Return ... Novello + +Moffat, Douglas ... The child's prayer (F) ... Stanley Lucas + +Moir, F. L. ... Children asleep (F) ... Boosey + +Moir, F. L. ... He will forgive (C) ... R. Cocks + +Molloy, J. L. ... Home, dearie, home (F) ... Boosey + +Molloy, J. L. ... The little match girl (G minor) ... Chappell + +Molloy, J. L. ... The sailor's dance ... Boosey + +Molloy, J. L. ... Dresden China ... Boosey + +Morgan, Franz ... A fairer garden (C) ... Cramer + +Offenbach ... Spring, spring _(Babil and Bijou)_ ... + +Parker, Henry ... Jerusalem (G) ... Cramer + +Pattison, T. Mee ... Blossoms, fair blossoms ... Curwen + +Piccolomini, M. ... Dolorosa ... Orsborn + +Piccolomini, M. ... Eternal rest ... Orsborn + +Piccolomini, M. ... In Manus Tuas (F) ... Morley + +Piccolomini, M. ... Ora pro nobis ... Orsborn + +Piccolomini, M. ... Salva nos, domine ... Orsborn + +Piccolomini, M. ... Sancta Maria ... Orsborn + +Piccolomini, M. ... The soldier of the cross ... Orsborn + +Piccolomini, M. ... The two choirs ... Orsborn + +Pinsuti, Ciro ... Heaven's chorister (C) ... R. Cocks + +Pinsuti, Ciro ... The old cathedral (D) ... Morley + +Pinsuti, Ciro ... The touch of a vanished hand (G) ... Cramer + +Pinsuti, Ciro ... Welcome, pretty primrose ... Ricordi + +Randegger, A. ... Save me, O God (B flat) ... Stanley Lucas + +Randegger, A. ... Joyous Life ... + +Rawlings, A. J. ... The distant city [alto] ... Marshall + +Robinson, J. ... A Hush Song (F) ... J. Williams + +Rodney, Paul ... Alone on the raft (G) ... Enoch + +Rodney, Paul ... Calvary (D) ... Enoch + +Rodney, Paul ... The bells of St Mary's (D) ... Enoch + +Rodney, Paul ... Via Dolorosa (G) ... Enoch + +Rodwell, G. H. ... Your boy in blue (F) ... R. Cocks + +Roeckel, J. L. ... Captain Dando (E flat) ... Enoch + +Roeckel, J. L. ... Crowning the seasons (D) ... R. Cocks + +Roeckel, J. L. ... Hark! the dogs do bark! (A) ... Cramer + +Richards, Brinley ... Let the hills resound (E flat) ... R. Cocks + +Richards, Brinley ... Mother, thou art far away (F) ... R. Cocks + +Smallwood, W. ... A song for the land I love (C) ... Chappell + +Smart, Henry ... Victoria (B flat) ... R. Cocks + +Smart, Henry ... By the blue sea [alto] ... Metzler + +Smart, Henry ... Dropping down the troubled river ... Novello + +Smart, Henry ... The birds were telling one another (F) ... Ashdown + +Somervell, Arthur ... Four songs of Innocence ... Stanley Lucas + +Songs for Boys (20 songs, price 6d.) ... ... Boosey + +Songs for Young Girls (18 songs, 1s.) ... ... Boosey + +Stericker, A. C. ... The Ivy Green (B flat) [alto] ... Stanley Lucas + +Street, A. ... The birdie's ball (D) ... R. Cocks + +Streleski, Anton ... Violets (G) ... R. Cocks + +Sullivan, A. S. ... The chorister (alto) ... Metzler + +Sullivan, A. S. ... What does little birdie say ... Ashdown + +Sullivan, A. S. ... The Sailor's Grave (E flat) ... Ashdown + +Tours, Berthold ... Jesu, lover of my soul (D) ... R. Cocks + +Tours, Berthold ... The dog and the shadow (G) ... R. Cocks + +Tours, Berthold ... The new kingdom (D) ... Morley + +Trotere, H. ... Three men in a boat (C) ... R. Cocks + +Wallace, W. V. ... Scenes that are brightest (F) ... Hutchings + +Walsh, Marian ... The sailor boy (C) ... Stanley Lucas + +Watson, M. ... An Englishman's house is his castle (C) ... R. Cocks + +Watson, M. ... Little birdie mine (D) ... Ashdown + +Watson, M. ... Little Lady Bountiful (F) ... Ashdown + +Watson, M. ... Loved and saved (B flat) ... Enoch + +Watson, M. ... Our dear old home (D) ... Patey & Willis + +Watson, M. ... The Powder-monkey (G) ... Patey & Willis + +Watson, M. ... There's a Friend for little children (A) ... Patey & Willis + +Watson, M. ... Trafalgar (E flat) ... Patey & Willis + +Watson, M. ... Two bells (G) ... Patey & Willis + +West, J. E. ... The roseate hues (alto) ... Ashdown + +West, W. ... I am a honey-bee (G) ... Ashdown + +Wrightson, W. T. ... Be happy, and never despair (G) ... R. Cocks + +Wrightson, W. T. ... Cottage and throne (E flat) ... R. Cocks + +Old Song ... Sir Guy of Warwick (F) ... Chappell + + " ... The Minstrel Boy ... Boosey + + " ... Charlie is my darling ... Boosey + + " ... Love was once a little boy ... Boosey + +.... ... The Skipper and his Boy (F) ... Hutchings + + + + +INDEX. + + +PAGE + +Abuse of the voice, 1 + +Agricultural districts, 49 + +Alto boys, 75 + +Altos, Adult male, 75 + + +Balance of parts, 16 + +Barnes, Rev. W. M., 23 + +Barnicott, Mr., 15 + +Bates, Dr. Frank, 81 + +Behnke, Mr., 14, 17 + +Berlin, St. Mary's, 71 + +Boarding Schools, Choir, 92 + +Breaking of the boy's voice, 3 + +Breath, Management of the, 6, 67 + +Breden, Mr. Owen, 71 + +Bridge, Dr., 60 + +Brooks, Mr. Walter, 15, 34 + + +Cambridge, Mr. F., 87 + +Canterbury Cathedral, 64 + +Cathedral choirmasters, 59 + +Change to man's voice, 3 + +Chanting, 62 + +Chapel Royal, St. James's, 59 + +Chest voice, 24 + +Choir Guild, 9 + +Choosing boys, 21 + +Choristers, Schools for, 90 + +Churchill, 52 + +Clement Danes, St., Strand, 72 + +Clergyman's daughter, The, 55 + +Cold, Singing during a, 2 + +Collar-bone breathing, 6 + +Collinson, Mr. T. H., 17, 86 + +Concert songs for boys, 99 + +Consonants, 27 + +Country boys, 49 + +Creser, Dr., 69 + +Critchley, Mr. W., 49, 84 + +Curwen, John, Register names, 12 + + +Day Schools, Choir, 96 + +Deacon, Mr. H., 27 + +Demack, Miss, 52 + +Diaphragm breathing, 6 + +Dickson, Rev. W. E., 25, 78 + +Discipline, Preserving, 8 + +Donald, Mr. H. A., 33, 74 + +Dunn, Sinclair, Voice exs., 13 + + +Edinburgh, St. Mary's, 17, 86 + +Eglinger, Herr, 15, 35, 88 + +Ely, Mr. Thomas, 88 + +Ely, The choir at, 78 + +"E," The vowel, 17 + +Evans, Mr., 50 + + +Feeble voice, A, 1 + +Fines, 17 + +Flattening, 31, 32 + + +Garrett, Dr., 76 + +Gaul, Mr. A. R., 66 + +Gibbons, Mr. R. T., 86 + +Gilbert, Mr. Bernard, 3, 16 + +Girls, Imitating, 50, 53 + + +Hammond, Mr. Stocks, 16, 86 + +Health and singing, 2 + +Helmore, Rev. F. J., 23 + +Helmore, Rev. Thomas., 59 + +Hibberd, Mr. C., 34, 57 + +Hopkins, Dr. E. J., 61 + +Husband, Rev. E., 10 + + +Indistinctness, 27 + +Infant School, The, 42 + +Intoning, 17, 52 + +Isaac, Mr. A., 85 + + +Juleff, Mr. C. E., 87 + + +Keeton, Dr. Haydn, 67, 80 + +Knapp, Mr. F. J., 72 + + +Lady teachers, 52 + +Leeds Parish Church, 69 + +Lincoln Cathedral, 62 + +Lincoln's Inn Chapel, 61 + +Lloyd, Dr. C. H., 63 + +Longhurst, Dr., 65 + +Long services, 8 + + +Macfarren, Sir George, 90 + +Mackenzie, Sir Morell, 3 + +Managing choir boys, 8 + +Mann, Rev. W., 24 + +Mark's, St., Chelsea, 71 + +Martin, Dr. G. C., 2 + +Mental effects, 32, 34 + +Mixed schools, 32 + +Muehlfeld, Herr, 73 + + +Norfolk voices, 56 + +Norwich, Dr. Buck at, 66 + + +O'Rell, Max, 8 + +Oxford, Christ Church, 63 + + +Parbery, Mr. George, 53 + +Parish church choirmasters, 69 + +Paul's, St., Cathedral, 59 + +Pearson, Mr. W. W., 33, 56, 84 + +Peter's, St., Eaton Square, 9, 70 + +Pianoforte for rehearsal, 32 + +Prizes for choir boys, 9 + +Pronunciation in singing, 27, 46 + +Puberty, Age of, 3 + + +Registers, The, 12 + +Rib breathing, 6 + +Richardson, Mr. W. H., 35, 40 + +Roberti, Signor, 36 + +Roney, Mr. H. B., 9, 16 + +Rural districts, 49 + + +Salisbury Cathedral, 67 + +Salisbury Diocese, 23 + +Salzungen Choir, 73 + +Saxton, Mr. R. H., 3, 19 + +Schools for choristers, 90 + +School teacher, The, 41 + +Sentiment about choir boys, 11 + +Sergison, Mr. de Manbey, 9, 70 + +Sharpening, 35 + +Sharp, Mr. Frank, 83 + +Sight-singing, 30 + +Singing by ear, 29 + +Singing by note, 29 + +Singing out of tune, 31 + +Songs for boys, 99 + +South, Mr. C. L., 67 + +Stainer, Sir John, 13 + +Steggall, Dr., 61 + +Stewart, Rev. C. H., 25 + +Stone, Alfred, 29 + +Strakosch, M., 15 + +Swanley boys, 35, 40 + + +Taylor, Mr. James, 76 + +Taylor, Mr. J. C. E., 20, 85 + +Temper, Uncontrolled, 10 + +Temple Church, 61 + +Thick register, 12, 89 + +Thin register, 12 + +Tonic Sol-fa certificates, 9, 20, 29, 47 + +Tonic Sol-fa system, 30, 50, 51, 53, 57, 70, 73 + +Training of boys' voices, 40 + +Tuning boys up, 16, 73 + + +Upton Cross School, 74 + + +Voice training, 12 + + +Weekes, Rev. W. J., 35 + +Westminster Abbey, 60 + +Working class boys, 10 + + +Yorkshire voices, 14 + +Young, Mr. J. W. M., 26, 62 + + + + + +End of the Project Gutenberg EBook of The Boy's Voice, by J. 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