BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henrg m. Sage 1891 Cornell University Library MT 898.J66 The training of bpvs'vo^^^^^^ 3 1924 022 369 197 ™> The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022369197 THE TRAINING OF BOYS' VOICES BY CLAUDE ELLSWORTH JOHNSON Organist and Choirmaster of the Church of the Holy Cross, New York, N. Y. Teacher at the National Conservatory of Music of America, New -York, N, Y. BOSTON OLIVER DITSON COMPANY New York CHAS. H. DITSON & CO. Chicago LYON & HEALY Philadelphia J. E. DITSON & CO. Copyright, MCMVI, by Oliver Ditson Company TO Zbe TRev. Jobn Swotft THIS VOLUME IS INSCRIBED. TABLE OF CONTENTS. Pack Introduction vii Chapter I. Children's Natural Voices i Chapter II. Beginning Tone Production 7 Chapter III. Voice Training 15 Chapter IV. Vocal Exercises 20 Chapter V. Music in Schools 31 Chapter VI. Boys in Church Choirs 34 Chapter VII. The Selection of Music for Boys' Voices . 37 INTRODUCTION. Never before in the history of music has the singing of children been so much a matter of popular interest as at present. Schools everywhere, both public and private, are providing instruction in music reading, and the choirs of boys are constantly increasing. The natural voices of children for the most part, however, are misused; for, excepting in the few choirs of cultivated boys' voices, children are almost universally permitted to sing without vocal training in both day schools and Sunday schools, and are urged to " sing out," until the strain upon their voices becomes a matter of grave vocal abuse. Every year many voices are irretriev- ably ruined before maturity, according to the testimony of prominent vocal teachers. Nature should be our guide. A correct knowledge of the child-voice, its capabilities and limitations, would enable singing teachers and chorus conductors generally to prevent this wholesale injury and destruction. All children have some natural ability to use their voices aright, and the majority can be taught to sing well. The artistic possibilities of boys' voices have been known for centuries. Beautiful ringing tones could be heard from them everywhere if singing teachers were only able to train them in the right way. Mastery of this training is easily attainable by any painstaking teacher who has a good musical ear, a fair knowledge of music, and the necessary patience. The training of children's voices, however, constitutes a department of voice culture for which some special preparation is required, and to assist in such preparation is the purpose of this little book. THE TRAINING OF BOYS' VOICES. CHAPTER I. CHILDREN'S NATURAL VOICES. In order to deal intelligently with children's voices it is neces- sary to understand their nature and characteristics, for this knowl- edge when clearly grasped points unmistakably toward the proper method of training. There is a prevailing notion that most boys have alto voices, most girls soprano. Since the larynx, however, does not differ in the two sexes in its anatomy and physiology during childhood, up to the time of maturity the child-voice is one, and the voices of boys and girls are alike. Voices are classified not only by their range, but also by the quality of the tones. As to the nature of the child-voice judged by this double test, there is no room for doubt : it is soprano. There are occasional exceptions in mezzo sopranos which only go to prove the rule. Children's voices have often been compared to women's soprano voices. On account of immature and delicate physical conditions they are less powerful than women's voices, but far more flexible, while they possess a freshness, purity, and sweet- ness all their own. Children's voices show three registers. A register is a group or series of consecutive tones which are produced by similar action of the vocal cords. All soprano and alto voices are divided into three principal registers, reckoned respectively upward from the lowest tones to the highest, the thick or lower register, the thin or middle register, and the small or upper register. The thin register 2 THE TRAINING OF BOYS' VOICES. comprises the octave of the scale of F which falls upon the staff. The thick register consists of all tones below this octave, and the small register all above. i p^=p 1-5- ^— •- Thick. Thin. Small. " 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." These three registers are often termed the chest voice, medium voice, and head voice. The two lower registers are subdivided respectively into a lower thick and upper thick, or first and second series of the chest voice, and a lower thin and upper thin, or first and second series of the medium voice, making, with the small register, five in all. Notwithstanding the fact that there are those who declare that voices consist of but one register, any one may hear these registers who will listen to them, and their existence has been proved by means of the laryngoscope. The appliances of modern science now make it possible to view the action of the vocal cords during right and wrong use. In square and upright pianofortes the change from the treble portion to the overstrung bass results in a division or break which the builders study to make unnoticeable in the tones. A dividing, place between the different registers of the human voice is called a " break," or transition place, but the tones of voices at and near the meeting of two registers are capable of being produced in either of them. This is a "movable break," for in singing ascend- ing tones it is possible to extend a lower register several degrees higher, and in singing descending tones an upper register may be; carried several degrees lower. CHILDREN'S NATURAL VOICES. 3 The standard vocal and physiological authorities agree that such optional tones should be produced by the action of an upper regis- ter, rather than a lower. Forcing a lower register upward is always injiirious, causing in the larynx redness, inflammation, and fatigue, so that eventually it becomes impossible to control the production sufficiently to sing in tune. / The larynx of a child is so elastic, so devoid of all rigidity, that the mechanism of each register is cap- able of being extended in either direction far beyond its natural limits. Children's voices are of great range, but they should be trained in the right use of the different registers. It is by strain- ing and forcing them that so many voices are rendered unmusical and harsh. The tones of the thick register in children's voices have a na- turally sweet and musical quality, but are much softer than the corresponding register of women's voices. This natural quality is seldom heard, however, because the thick register is commonly used in conversation, and children too early learn to imitate the coarser, heavier voices of adults. Indeed, many parents and teach- ers wrongly urge their children to "speak loud " and " sing loud,": thus causing them to force the thick register in range and power until it becomes reedy, coarse, and harsh, like that of children who scream in the streets. These qualities are not natural but acquired, for children reared in refinement have sweet voices. The loud talking and shouting indulged in by most boys is highly injurious to their vocal organs. After a game of baseball or an hour of bathing, they are often so hoarse as scarcely to be able to speak. Untrained boys, as a rule, sing wholly in the thick register, and the strain of such singing is equally harmful. They waver from the pitch, not because they are incapable of keeping a key, but because they are allovved to sing by wrong methods, and en- couraged to make improper use of the lower register. Such untune- ful efforts do not exhibit "the boy's natural voice," as many persons seem to imagine. Girls generally lead more quiet lives than boys; but many girls play games in which they shout and scream.; 4 THE TRAINING OF BOYS' VOICES. Some girls speak and sing sweetly without cultivation, but the ma- jority only display less vigor than boys in forcing the thick register. The thick register forms but a small portion of the child's voice. Musically it is a valueless portion until strictly confined to its proper limits and restored to its natural quality. Misuse is ac- quired, for nothing short of perfect tone production is natural. Observe a child of two to four years of age. Perfect gracefulness is natural in all its motions. In later years, when awkwardness has been acquired, the efforts of the physical instructor are directed toward bringing back the unconscious, natural grace of childhood. So it is with children's voices. Vocal awkwardness is comparable to physical awkwardness, but is acquired at an earlier age. A thoroughly qualified singing teacher aims to bring back the unconscious purity of the tone of early childhood. The tones of the thin or middle register of children's voices are flute-like or " bell-like," clear and sweet. They are usually lighter than those of women, but pure and more carrying. The tones of the small register have a bright ringing silvery quality. In four- part harmony with men's voices they produce most brilliant chords. Individual children's voices differ : some are full and strong, others light and delicate. Physical health and development favor- ably affect voices. An English musician writes, " Good nourish- ment has something to do with the condition of the voice. Hullah used to say that insufficient nourishment would make a boy sing flat. I believe it would produce a certain harshness and 'twangi- ness' which is easily heard but is difficult to explain." ' A marked characteristic is their capacity for blending. Large choirs are often trained to sing together as one voice. A unity of effect is attainable, and ears accustomed to well-taught choirs of children are not easily satisfied with choruses of adults, where voices of various tone qualities strive for preeminence. Children's voices are delicate and need to be carefully trained with gentle treatment. For the formation of good taste, boys and girls ought to be afforded opportunities to hear the best cultivated C/f/Lr>K£.\-'S XATCKAL rO/CKS. 5 singers. Children learn by imitation, and early tonal impressions are apt to be lifelong. The child voice is a veritable chameleon, which quickly takes on the tone coloring of its surroundings. It is therefore easily spoiled by bad examples of vocal tone. There can be no question as to the healthf ulness of singing. All voices are benefited and improved by use, if exercised in accordance with those natural laws which govern the vocal organs Boys and girls should be taught singing as the foundation of their musical education ; but for any extraordinary efforts, such as those involved in singing before the public in choirs, etc., boys are alto- gether better fitted than girls. The l.-wx-s of general physical health should govern here. The feminine organization is far more delicate than the masculine. Girls ought not to be taxed with seri- ous vocal work until the system has completely settled after the change to womanhood. In bovs, on the other hand, the change at matiu-itv is less radical, and chiefly consists of a gradual growth in strength and development. Boys live more out of doors, take more exercise, and on the average? show better bodil\- development than girls of the same age They are generally stronger, having more healthv lungs, and their voices are therefore fuller, richer, and of more musical A-alue. •• The singing boy has maintained his place in the choir stalls through the long flight of centuries. Even ro}-al decrees were pro- mulgated with especial reference to him, and mider bluff King Hal and good Queen Bess he w.is esteemed of such v.ilue that men were empowered bv warrant to impress him wherever he might be found for the ser\-ice of the Ro\-al Choir. Tusser tells us how, when he \\-as a boy at Wallingford College. • Thence, for my voice I must (no choice) Away of force, like posting horse. For sundry men had placards then Such child to take ; The better breast, the lesser res:. To serve the qaiie now there, now here For time so spent I may r^jent And sorrow m,ike.* " 6 THE TRAIiXIA'G OF BOYS' VOJCEH. The fact that a boy possesses a good voice is no guarantee either that he will or will not have a good voice when he becomes a man. The change in the larynx is so great that a virtually new vocal organ is the result. " We have always maintained that it is not possible to draw any conclusion from a boy's voice as to what it will become in manhood. All medical authorities agree that at the period of break of the voice there is a state of congestion of the vocal organs, i.e., an increased blood supply, without sufficient allowance of return. On the other hand, in the case of a girl, the voice undergoes scarcely any change with womanhood except that of development."^ Girls may therefore safely continue their sing- ing, provided it be not more than gentle exercise, during the change. Boys, while capable of much more vocal work before maturity than girls, should rest from singing during their change of voice. ' Brown and Behnke. CHAPTER II. BEGINNING TONE PRODUCTION. The secret of success in beginning with children's voices con- sists m the immediate production of their middle and upper reg- ister tones. For many voice trainers this has proved a difficult task, unless the boys themselves naturally fell into the way of it, which often happens, of course. The difficulties of teachers are usually to be accounted for by their neglect of vocal physiology ; but many cases of failure have been due to inability to recognize the tone qualities of the different registers on hearing them. The following pages aim to render the matter clear. The arts have ever been taught by tradition, but in modem times the best tradi- tions are crystalizing into books. It is purposed to put into print all that can be said as to beginning tone production with children's voices, in order to help not one student, but as many as possible. The thick or "chest register" must be abandoned at first. Now the question always arises : Why not begin with the chest register, since it is most commonly available, and after improving its quality with practice extend the range upward into the higher registers ? Such a plan is contrary to the physiological law of downward extension, which governs the vocal organs. Almost all children so force their voices that such upward transition is difficult, while many find it wholly impossible and the effort painful. When it can be accomplished the result is something very undesirable. The voice than exhibits different qualities totally unlike. It is as if a scale were pla yed, the performer using an oboe from C to A, and then finishing with a flute from B to F, _^^^_^^__^_^____ A definite break in the voice exists, and the thick register will be carried up to A, |^ a | or even higher. 8 THE TRAINING OF BOYS' VOICES. before the break occurs. Voices showing such abrupt changes of quaHty are incapable of rendering musical compositions in a con- sistent and truthful manner. Those vocal teachers who look for quick results are generally better pleased with the chest register, because it is clear and sharp ; but training which begins with the thick register of children's voices will never lead to any artistic musical results. The middle tones of any voice, whether soprano, alto, tenor, or bass, are the tones that are most in use. These are the " bread " tones, for professional vocaHsts, they are the "bread-winners." In beginning, children may be taught the use of their middle or thin register, for it is certain that every child has a thin register of its voice, and it is equally certain that this register is designed for use, else it would not exist. To discover the middle or thin register, individual instruction must be given at .first. A single vowel sound should be used. To assist beginners, it is generally expedient to precede the vowel by some consonant. Taking each child in turn, let the teacher sound the note B I^ ^ = softly upon a piano- forte, and ask him to sing the word "who" on that note as softly as possible. This request almost never fails to bring in response a sweet tone in the thin register of the voice. Some voice trainers use " koo " instead of " who." In training children, the worst possible material consists of those who daily play and scream in the open air, or those who have sung a great deal by wrong methods, as in schools or in choirs needing to be retrained. Nearly every one of such voices, however, wUl produce tones in the thin register by using the vowel "oo." Children differ. A vowel which one child sings well another may sing poorly. Some have peculiar faults of tone production in speech, and much depends upon previous vocal habits. A child's peculiarities of tone production can be discovered in a very few moments by an observant teacher on hearing him speak. One boy has forced his voice more at one pitch, another at another ; BEGINNING TONE PRODUCTION. 9 and that pitch is to be avoided at first. Accordingly, some can begin to best advantage on B :A z:^= : some on D, \^ \ '~ others may even start on F ffi— ^^ . A second exercise consists in beginning with " oh," or, better, with " ho." There must be no hard blowing, the " h '' being a very gentle aspirate. A third exercise which succeeds well with chil- dren who have not excessively forced their voices, is to have them sing "la" very softly in the second series of the thin register. *J la. or ha. Some voice trainers use "ha." Some children are la, or ha. able to produce a fine forward "ah" without preceding it by any consonant. This is the best exercise ; but many do not know how to sing "ah " properly, and require much training in order to do it. In general, the vowel "oo" is to be recommended for begin- ning tone production on lower notes, " oh " on middle and lower notes ; " ah " is best for high notes, and very valuable throughout the entire range of the voice. By using one or more of these exercises, any class of children can be taught to produce tones in the thin register. Each child usually needs but two or three minutes of individual attention in learning how to begin : once learned, it is seldom forgotten. An experienced teacher of sing- ing can judge from the speech and appearance of the child what course to pursue. The voice trainer must be able to recognize the tones of the different registers. The question occurs, " How shall one recog- nize the thin register .' " Let this be answered by another ques- tion. How would a light soprano voice sound at first trial, after having been unused for years on account of sickness or neglect ? Children otherwise healthy, who nevertheless have not used their upper registers in singing and speaking, are to be considered as the vocally sick, whom the teacher is to cure with pure air and vocal exercises designed to restore the voices to their natural con- lO THE TRAINING OF BOYS' VOICES. dition. The thin register tone, when first produced, ought to be clear and flute-liice. Very often it is weak from long disuse, breathy, very light, and uncertain. It is apt to waver in pitch at first, and to lack edge or brightness, — in short, to sound most dis- couraging ; but those discouraging tones are full of promise. The vocally sick cannot begin to sing in a loud and ringing style, or by forcing their voices. Avoid the sharp, clear tones of the chest register. Beautiful, sweet voices can be built up, based exclusively upon the first weak tones of the thin register. " The 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 give the husk ; but the skilful voice trainer will only accept the kernel, evolved from the right register, good timbre, and proper production." The exercises already described will be written as follows : — Exercises for Discovering the Thin or Middle Register OF Children's Voices No. 1 Voice PP -<9-r- Who or Koo Piano Who Koo J J I I ! Who Koo Who. Koo. -rsl d «- 3 ;i -gi— sl - -gy- -^ -<^ ■g^,^rs!- -gi- -=^m- pp U — ^ §ift t- e£ :J=S: F-^= BEGINNING TONE PRODUCTION. II I No. 2 PP ;i W- Ho . Ho . . . Ho Ho. ^^mMM^m^^m^ PP m lEl^E^E i --s>=^ i No. 3 -&-^ w Hah Ah Hah Ah Hah Ah . , Hah. . Ah. fe j#fe"= i:yiriiig^i -d= .etc. -gi,— z^.- S" r f-f-r- t=S: 1^ S Exercise for Discovering the Small or Upper Register No. 4 ^ eB 5 «= i Ah tS^ -«'- -«- -f--4 Ah . , Ah . . , Ah f2 ffl - g , Big (2 (2 (Z- *s'-=-igH S — B jg: -SI- I ^^ -S"- =F= /^ « -s-^Tf: £LJL£ =fe =^=& I ^— g- ^^E^ ^ 12 THE TRAINING OF BOYS' VOICES. These exercises are conducive to the immediate production of the upper registers, but it is possible to let them be sung in such a loud and careless manner that they utterly fail of their purpose. Everything depends upon the discernment of the instructor. Wrong practice can be set right with a word or two : elaborate instructions are out of place at the first lesson. There must be sufficient breath taken easily ; the tongue during each vowel sound must lie on the floor of the mouth, hollowed like a spoon, with its tip always touching the lower front teeth. For "Ah " the mouth must be well open, but the singing must be soft and smooth, the loud harsh quality of voice being altogether forbidden and avoided. Children are sometimes unable from embarrassment or lack of musical training to sound a note given them from an instrument. In such cases, where there can be no selection of material, but all must be trained, let the teacher find on the instrument the tone which the boy sings, and from that note lead the pupil to the desired pitch. If the pitch be vocally given to children, it should be sung as quietly and sweetly as possible. Men's voices are, of course, an octave lower, and when a man trains, the children must be instructed to sing higher. In every class one or more children of a quiet nature are sure to be found who will easily produce the desired tones at their proper pitch. These will at once be available as examples, and the others will learn by imitation. No voice must be allowed to sing in the thick register. As soon as each child has found his middle register all may practise together. Require very soft tones, such as a woman of culture and refinement would sing to herself, for loud singing will cause them to change into the mechanism of the thick register. On hearing any voice break into chest tones stop the class at once and train the erring one alone. Be gentle, remembering that this practice is difficult for those unaccustomed to restraint. They are now skating over very thin ice and liable to break through at any moment. Beginning on D, lead them in slow sustained tones downward to F sharp BEGINNING TONE PRODUCTIQN 13 i W- Ah or Ha, Ah, Ah, Ah, Ah, Ah, Careful practice downward, again and again, will give them more and more confidence in sweet tones, which some never before knew they possessed. Refinement of vocal tone is the object, and chil- dren quickly perceive the high ideal. A boy in the slums of New York remarked, between these exercises, " They don't sing like this at our school — they shout ! " The following exercises will bring into proper usage the most refractory voices : Very slowly. i M- m ^"E ^^ ^^ Who Ho . Hah who ho . hah who ho hah , who , ho . , hah i tefe -^^^m I etc. fe2El -sz. Who Ho . Hah . , who . , ho . . , hah who ho hah who ho hah Train the children to sing these exercises with " who " softly and smoothly, with no breaks or abrupt changes of quality. Train them again with "ho," requiring the same soft sweet tones, and again with "ha," and accept nothing but the pure velvety, flute- like quality, growing softer as the voice descends. Next, the scale of F may be practised downward very slowly, first by singing twa notes in a breath, afterwards four. m i ^g— si- ■J^- Ho. . , ho . . , ho . . , ho. . . Ho . . , ho Ha. . , ha. . , ha . . , ha . . . Ha . . , ha . 14 THE TRAINING OF BOYS' VOICES. Finally, the class may be taught to vocalize, with "who," "ho," and "ha," some familiar tune, such as "America," in the key of B flat, or any hymn or short school song. It is best to select a tune which begins on or above B, one which moves by degrees rather than skips, and one whose range is within the F scale on the staff : tunes lower in range may be transposed, as "America," which is usually found in the key of G. Let the phrases or lines be sepa- rated by a breath, and let each phrase begin with the "h." A young man once exclaimed, " They are so particular with our choir that they do not allow us to breathe except at certain places in the music ! " Exactly ; these proper breathing places must be pointed out, and all the children required to take breath there quietly and together, sustaining the tones between. Practice of the sort described should be repeated at a second rehearsal or lesson, and continued until every child can begin at once in the thin register. Forgetful or backward pupils may need to be taught individually again. CHAPTER III. VOICE TRAINING. When the undoubted use of the thin register has been estab- lished, the next step is to train children in bridging over the breaks and blending the registers into one even voice throughout. The break at the upper line of the staff rr f -^^p ^^^^ 1 will soon yield to gentle treatment, but the break at the lower line L^ ''~^ r3 i:j;;S is far more difficult. Children must be patiently taught to carry down towards middle C, the soft quality of the thin register. This must merge and blend into the thick register in such a manner that there shall be no break, and so as to modify and finally to destroy altogether the acquired coarseness and roughness of the lower tones. In singing upward again, the beginning should be particularly soft in order not to lose what has been gained in sweetness by the downward extension of the thin register. This sort of practice needs to be repeated many times at every rehearsal. It is essential that the breaks between the registers be so completely and habitu- ally bridged over, that the transitions are finally rendered impercep- tible : one uniform voice results. The note B M-'^H marks the center of the average range of children's voices. Their singing should extend equally above and below this pitch ; for it is only in this manner that even and well- balanced voices can be evolved. Voices will therefore range at first within the staff. ^^ ^ After some practice they will extend from D to G, or C to A : ^ g)^ | — ^ finally they will reach from B to B, or from A to C. ^ •5 i6 THE TRAINhVG OF BOYS' VOICES. The correct training of the child voice consists of gentle exercise throughout the whole of its range, as opposed to loud singing con- fined to any limited portion of it. Adults often think that it must be difficult for children to sing high tones. This is an error made through judging children's voices by their own, which happen to be lower. It is more difficult for children to sing long and loudly on low tones, maintaining proper tone production, for this requires steady mental and physical efforts ; singing high again rests the voices and relieves the strain. Any method which cultivates the lower tones cf a child's voice, but fails to use the notes above the staff, is one-sided, imposing too great efforts upon him. A method which develops high tones, but leaves the tones around middle C to "regulate themselves," is incomplete and fatal to good singing. Such lower tones become coarse and harsh, for things left to take care of themselves invariably fall into bad condition. Scale exercises and solfeggios (or songs without words), should be employed to extend the range one note at a time in either direc- tion. The first scales may be practised as follows : n / . ^ <, PP ^ ^ . ^ V , F ^ ^ 1 a ^ %\ f S 1 P 1^ ^ " r' 1 1 II \\J ' i 1 ^ ^ INL' 1 \ " eJ ^ ^ 1^ r 1 III ^ p [ ' '1 y. } ' -^ ^ 111' Ha a P=^ Ha - 9 Who ... Ho 9 --— 5E^^ -(S— SI- 3 -^ I ^— z^- -zj^'g- Ha . Ha 1 Who Ha 5 X ;ii -a-^S'- If=pl :jz=3 -si— —'^- -25—5 1 Ho .... ^m VOICE TRAINING. ' ditn. pp 17 SI 3^ Ha Ho Who Ho i 3= pp S=^i i==t -s- si- I |-=F -si — —f^ 5 — (2- ^^ Ha Ha Ha i te -t2^S>- *^ f g— g' a ; , T =1= — zJ— g— !^ ■g— si- :t=^ Ha -S"— 1=- - si— g =P I Ha Ha . . m H= &- Ha . . . Ha . » .- ? ^=^ I e — (2- -S—¥^^- w Ha Ha . . ? Ha i . Ha tr iE 3=3— f^-p^ IS'— f2- I s -<=^ (S" p -(2--5- -+- Ha • Ha . -^ Ha . • — Si- Ha . • • F^¥^ -| — —&- f \'^ J-iJ- 1^ P- (T? *fl [$» -1 — 4- cJ ^ — H Ha Ha Ha . Ha In a few lessons voices can be well extended and equalized. A . gradual and uniform course of development then takes place. •This process of development requires time. Boys of twelve years or over often develop full, strong voices within a few months ; younger boys, however, require a year or more. Fulness and 1 8 THE TRAINING OF BOYS' VOICES. brilliancy of tone, roundness, richness, and fine timbre, follow in time as the results of intelligent training. This period of development is the season of hardest work for the singing teacher. Children depend upon the master. He must patiently train them in soft singing with careful attention to details. Tradition has handed down soft singing as the method for children. Since this is based upon the teachings of experience, it leaves no room for difference of opinion. Any individual preference for loud singing prematurely indulged, any forcing of the voices high or low, courts failure. When boys' voices are freely spent in daily prac- tice little is left for development, but if saved they grow in volume and increase in beauty. "A singer who can produce a fine piano tone will have no difficulty in increasing its power, but he who relies upon mere force will never be able to sing a true pianissimo. * * * In the education of children's voices it is very desirable that from a health point of view soft singing should be encouraged."' The voices will be weak for several months. This is a necessary stage of progress. Critics among friends will doubtless inform the teacher that his pupils lack power. Criticism from any and all sources, received before the time of development is passed, may be respectfully heard, but should not cause any change in the method of soft practice. A full rich tone will come in due time — a tone in proportion to the physical development and strength of the child that sings it. Any register of the voices can be forced. Forcing the thin register, or the small register, is as offensive to good taste as coarse chest notes. The temptation to overdo for the sake of bril- liant " effects " should not be entertained. Such singing is never pleasing to cultivated ears, and gives critics another opportunity to apply the so-called Hindu definition, that " Music is the painfully acquired art of making a very loud noise in a very high key ! " ' Brown and Behnke. VOICE TRAINING. 1 9 t Abuse of a voice is unwise ; on a higher plane it is a violation of the moral responsibility resting upon every teacher. During the period of development of children's voices they should be taught the art of phrasing. First, using simple selec- tions where the punctuation of the words agrees with the phrasing of the music ; afterwards, selections in which the phrasing of the words must be broken for that of the music, and, which is more common, instances where the phrasing of the music must conform to the words. Special pieces should be marked and fully ex- plained. Good phrasing is necessary for the attainment of any degree of excellence in singing. Children should be taught to sing with expression. They should be shown that lifeless music may be made spirited, not necessarily by singing fast, but by a proper accent, emphasis, and variety of shading. "The essence of music is sound and motion."' A sense of rhythm is one of the primitive faculties easily awakened, and children will enjoy the study of dynamics. Vocal music is full of delicate shading generally left unmarked. The teacher should plan in advance the force and volume of tone required. He should designate in special pieces just where the climax occurs, specify the character of the beginning and ending, and all the particulars of a tasteful rendering. Children are quick to appreciate beautiful results, and soon acquire a nice perception of musical expression. Where it is desired the voices may be separated into first and second sopranos, should there be any such. In some English choirs the mezzo soprano voice is sought out and cultivated. Sec- ond sopranos may sometimes be taught to sing an alto part, but should not be habitually confined to notes below the staff. Alto work is too difficult, except for older children approaching the period of mutation. The second sopranos should be trained in the same careful manner as the others. ' Hanslick, in " The Beautiful in Music." CHAPTER IV. VOCAL EXERCISES. Teachers of singing who have trained only aduh voices are often in doubt as to just what studies should be employed with children ; while novices who must teach children singing desire to know exactly what exercises should be used. Voice trainers use various exercises, vocalizes, and Etudes, a collection of which doubt- less would fill many volumes. It were manifestly impossible to de- tail them all. Vocal exercises may perhaps be divided into four classes, (i) Sustained tones for voice placement, quality of tone, economy of breath, (2) Syllable exercises for attack, pronunciation, and the singing style, (3) Scales, runs, trills, and arpeggios for flex- ibility, (4) Solfeggios, combining all these purposes with phrasing and expression. In the practice of sustained tones, perfect control of the breath is a primary object. All the vowel sounds should be practised. The great central vowel, best for developing the voice is " Ah," which should be sung throughout the entire range. For bringing the tone to the teeth long " E " is effective. Both these vowels are made easier at first by humming an "m" before them, producing "ma" and "me," or by using the words "mine" and "mean," prolonging them well. The practice of sustained tones should" form a part of every lesson or rehearsal, and in course of time embrace every variety of shading. Economy of the breath is of great importance. Too great a pressure of the breath is particularly destructive of musical quality in voices, producing hard and harsh singing. The small register especially is easily disturbed by forcing, so that it becomes sharp, and disagreeable. VOCAL EXERCISES. 21 Syllable exercises for attack consist of staccato tones ; these may be sung with "koo," thus %- t 45 !#- itzzlz Koo, koo, koo, koo, koo. Koo, koo, koo, koo, koo ; also i«=i= rj- I IE Koo, koo, koo, koo, koo, koo, koo, koo, koo, koo, koo, koo, koo. Staccato tones may be practised with " ha." The method of attack will need careful watching to see that children avoid such results as mmmm^' w Ha, ha. ha. ha. ha. any or all of which are apt to be prodused by careless singers. This is called "scooping" and is common among adults as well as children. Finally, pupils may be taught to sing staccato tones with "ah, " avoiding a hard stroke in the beginning however (as for the word " earth "), which is injurious to the vocal organs. Syllable exercises for confirming the vowel sounds in pronunciation should be practised with the consonants b, d, f, m, p, r, s, and t, thus J_J_J_J-J- -l -&- -J- I J- Boo, bo, bah, ba bee, etc.; also Bah, dah, fah, mah, pah, rah, sah, tah,etc. Syllable exercises to avoid "the talking" and to acquire the singing style should be practised without breaking the continuity of the tones. Singers must learn to "promenade the jaw," and still give the proper vowel quality. The idea may be represented with continuous writing. The Italian syllables, do re mi fa so la si, I5=E X-- I Lah, lah, lah, lah, lab. 22 THE TRAINING OF BOYS' VOICES. should be practised slowly in the singing style on one note at first, then on the scales. For blending the registers let the following be used. mf dim. tnf dim. P^=^- 3 *— ^ Ah Ah. ^ -^3 Verv slowlv. "•" '2^' I ~ — 'I "»" "•" "P" "•"5^=^ rT-fr §fBE ±: 3: "^P^ ^^ -to- ^1^ fc&= m m ^=t :=]; E|^ itbt Ah Ah. a^EgEEt jPJgf -9rM :S: eSee^: r-^: r^ ?a- 9ife P=i: i|E^:^^.§§^^i^asE£E^; ± i -s^ V*'- _ - ■ - ^ -. ^_^ Transposing this exercise gradually higher we come to the upper transition point on F sharp, where the " break " is easily bridged over and the voice rendered pure and even with these melodious phrases. mf Uli^ Ah mmm^^ Ah. . . -J— J-M -A-^- T=-i- ^^ Very slowly. ^^i^i^fig r i etc. :!?=: a VOCAL EXERCISES. 23 After the downward practice just described, runs of five notes should he sung as given below, extending possibly to the A flat above the staff. a 33EESEi?JE^ ^m Who i P=t^-tti= — ^- ^ i_7re, Alfred J. 8,709 0£Sce of the Holy Communion, The Farrant, Richard 792 Lord, for Thy tender mercies' sake 9365 Piay for the peace of Jerusalem Field, J. T. 7.232 Benedictus, in D 7.233 Jubilate Deo, in D 7,235 Magnificat and Nunc Dimittis, in D 7,23J Te Deum Laudamus, in D * Morning and Evening Service, in D Fisher, William Arms 10,124 Give peace in our time, O Lord 10,368 Now pray we for our country Fletcher, Percy E. 1 1,379 Lord, Thou hast been our dwelling place Foster, Myles B. 1,257 O ! for a closer walk with God (Whitsuntide) 7,829 Ring, happy bells (Christmas trio) II, 361 Souls of the righteous. The (Elegy) 10,901 There were shepherds Forde, Thomas * Almighty God who hast 46 THE TRAINING QF BOYS' VOICES. Frey, Adolph 10,466 I will extol Thee, my God, O King Gadsby, Sir Henry 3,490 Blessed be the name of the Lord 353 I will lay me down in peace 3,431 O Lord our governor Gale, Clement R. 10,351 Bless the Lord, O my soul (Harvest) Garrett, George M. 435 In humble faith and holy love (Trinity) 3,670 Our soul on God with patience waits Gaul, Alfred R. 3,325 No shadows yonder 6,896 O God, who hast prepared 9,751 Remember now thy Creator 1,248 Silent land, The Gauntlett, Henry 3,245 Christ is born (Christmas carol) 422 Thou wilt keep Him in perfect peace Gibbons, Orlando * Almighty and everlasting *" Glorious and powerful * Hosanna (Advent) * O clap your hands * O Lord, increase my faith Gilchrist, W. W. 11,333 Jesus, I my cross have taken Goss, Sir John 384 Behold I I bring you good tidings 795 Christ our Passover 786 God so loved the world 581 I will magnify Thee, O God (Harvest) 1,240 O give thanks unto the Lord (Easter) 77 O Saviour of the world (Good Friday) 196 O taste and see how gracious the Lord is 9,244 Wilderness, The Gounod, Charles 393 Blessed is He who cometh in the Name of the Lord (Advent) 65 By Babylon's wave (Lent) 301 Grant us Thy peace 8,483 Jerusalem (O turn Thee unto the Lord) 265 Jesu, Word of God Incarnate (Ave Verum) LIST OF CHOIR MUSIC. 47 Gounod. Chari.es, Contitmed. 998 Lovely appear ^" Redemption ") 1,574 O saving Victim (Lent) 3,308 O sing to God i^XoeH (Christmas) 1,593 Praise ye the Father ^Arr. by J. P. Weston) 68 Send out Thy Light (Lent) 60 Te Deum, in C (We praise Thee, O God) 995 Unfold, ye portals ('• Redemption ") (Ascension) Grant, Ronald M. 9,235 Thou art the way Greene, Maurice * God is our hope and strength * I will sing of Thy power * Let God arise * O clap your hands * Thou visitest the earth (Harvest) Baking, R. 20S Doth not wisdom cry- Haix, Kixg 9,152 Hear me when I call 3,893 JuKlate Deo, in B|> (O be joyful in the Lord) 3,879 O Lord, my trust is in Thy mercy 3.S92 Te Deum Landamus, in w 10.932 To Thee do I Bit up my soul Handsl, George Frideric 11,406 Holy art Thou (Largo from " Xeixes") Hatton, John L. 1,186 All the ends of the world (Christmas) 3.370 Like as a Father pitieth His own children 1.1S5 Lord vaked as one out of sleep, The (Easter) Ha¥ks, Philip * The Lord descended Hates, Wiluam * O worship the Lord * Praise the Lord, O Jerusalem * Save, Lord, and hear us (Lent) HiLES, Henry 207 Blessed are the merciful ( Lent) 6,87 7 Evening shadows, gently falling 312 I will lay me down in peace 363 Lord is my li^t. The eS-S O Zion ! bist city (Templar's March) 48 THE TRAINING OF BOYS' VOICES. Hopkins, E. J. 381 Why seek ye the living among the dead ? (Easter) Hopkins, J. L. 360 Lift up your heads (Ascension) 8,183 Save me, O God 1,145 Te Deum Laudamus, in G Humphreys, Pelham * Hear, O Heavens James, B. Percy 10,213 Ponder my words, O Lord (Lent) Jamohneau, Arthur J. 1 1,342 Magnificat and Nunc Dimittis, in E|7 11,279 Te Deum Laudamus, in Et? Kent, James 376 Thine, O Lord, is the greatness (Arr. by Wm. Shore) King, Charles * Hear, O Lord (Lent) * Service in F, Te Deum, Jubilate, Sanctus, Kyrie * Credo, Magnificat, and Nunc Dimittis King, Oliver 11,368 I am He that liveth (Festival Anthem) Lahee, Henry 413 Now on the first day of the week (Easter) Lambord, Benjamin ii>337 Now from the altar of our hearts 11,302 O little town of Bethlehem (Christmas) 11,222 Rejoice in the Lord, O ye righteous Le Jeune, George F. 2,979 Jerusalem, the golden (Hymn) Leslie, Henry 10,126 Light of our way 9,636 O Lamb of God (Arr. by W. F. Sudds) Lawes and Farrant * Not unto us, O Lord Macfarren, Sir George 781 Day in Thy courts, A 14 Hosanna to the Son of David (Advent) 203 Hosanna to the Son of David 798 O Lord, how manifold are Thy works (Harvest) 216 O taste and see 371 Te Deum Laudamus, in G 7,294 This day is born (Christmas) LIST OF CHOIR MUSIC. 49 Mann, Arthur H. 8,733 Magnificat, and Nunc Dimittis, in AJ? Manney, Charles Fonteyn 11,228 Alleluia 1 Alleluia! (Easter) 11,300 Arise, shine, for thy Light is come (Christmas) 11,233 Awake, Thou that sleepest (Easter) 11,358 Day of Resurrection, The (Easter) 11,502 Ring out. Ye Bells (Easter) 10,251 Send out Thy Light (Lent) 11)357 Welcome, happy morning I (Easter) Marks, J. Christopher 11,237 Magnificat, and Nunc Dimittis, in G Martin, Sir George C. 11,108 As it began to dawn (Easter) 9,954 Holiest, breathe an evening blessing 9,246 Whoso dwelleth under the defence of the Most High Marzo, Eduardo 11,304 Brightest and best of the sons of the morning (Christmas) 1 1,162 O little town of Bethlehem (Christmas) Mendelssohn, Felix 975 As the hart pants 979 Come, let us sing 350 Grant us Thy peace (Da Nobis Pacem — English and Latin text) 926 Happy and blest are they (" St. Paul ") 7,2io Hear my prayer 927 How lovely are the messengers (" St. Paul ") 79 Judge me, O God 11,182 Judge me, O God (Arr. by P. A. Schnecker) 3,488 Lord, how long wilt Thou forget me ? 937 See what love hath the Father ("St. Paul") Monk, William H. 785 If ye love Me, keep My commandments Mori, Paul 10,846 Praise the Lord, O my soul MoRLEY, Thomas * Te Deum, in F Mozart, W. A. 66 Almighty God 42 Jesu, Word of God Incarnate (Ave Venim) ^,519 Praise the Lord (Arr. by G. Leach) Nares, John * Souls of the righteous, The (All Saints) 50 THE TRAINING OF BOYS' VOICES. Neidlinger, W. H. 11,380 Lift up your voices now 1 (Easter) NovELLO, Vincent 209 Call to remembrance 42 Like as the hart (In Manus Tuas) (Lent) 2,540 Rejoice in the Lord (Arr. by G. J^each) 224 Sing unto the Lord (Christmas) 201 Therefore with angels Osgood, George L. 8,531 Blow golden trumpets (Easter carol) 703 Christmas bells (Carol) 535 Listen, lordings (Christmas carol) OwsT, W. G. 11,241 I am He that liveth (Easter) 10,725 I will greatly rejoice 11,299 Sing, O Heavens (Christmas) Page, Arthur 10,796 Rejoice in tlie Lord, O ye righteous Palestrina, Giovanni 3.069 Adoramus te Christe (Motet) 2,265 Hodie Christus natus est (Christmas Noel) 1,037 Magnificat, in F (Latin words only) 3,645 Mass, in F (Missa Brevis, — Latin text only) 3.070 O bone Jesu (Motet) (Arr. by Hans Harlhan) 7,408 Oh, have mercy, Lord, upon me I (Miserere) 3,403 We adore Thee (Arr. by Dudley Buck) Parker, Horatio W. 11,372 I shall not die, but live (Easter) 11,320 It came upon the .midnight clear (Christmas) 7,861 O 'twas a joyful sound (Processional) Peace, F. W. 11,407 O let the nations be glad and sing PuRCELL, Henry * I will sing unto the Lord * Magnificat and Nunc Dimittis, in G minor * My beloved spake * O give thanks * O God, Thou art my God * Praise the Lord, O 'my soul. * Rejoice in the Lord * Sing unto God * Te Deum, in D LIST OF CHOIR MUSIC. $1 PuRCELL, Henry, Continued. * Thou knowest, Lord (Burial) * Thy word is a lantern unto my feet Reading, John i6 O come, all ye faithful (Christmas) (Arr. by Vincent Novello) Redford, John * Rejoice in the Lord Reed, William 11,221 Awake, Thou that sleepest (Easter) 11,220 Bright sunbeams deck the sky (Easter) 11,218 Te Deum Laudamus, in D 11,180 These are they (All Saints Day) Richardson, Vaughan * O how amiable are Thy dwellings Rimbault, Edward F. * O Lord, Thou art my God Roberts, J. Varley 788 Lord, we pray Thee 7,756 Peace I leave with you 367 Seek ye the Lord Rogers, Benjamin * Behold, now praise the !Lord * O pray for the peace of Jerusalem * Teach me, O Lord Rogers, James H. 11,174 Arise, shine, for thy Light is come (Christmas) 10,220 Every day will I give thanks 11,163 Look on the fields (Harvest) V 11,175 Sing unto the Lord with thanksgiving (Harvest) RUTENBER, C. B. 10,790 He that hath My commandments 1 1,203 Hosanna, Blessed is He SCHNECKER, P. A. 11,299 Christ, the Lord, is risen to-day (Easter Sewell, John 390 This is the day Shackley, Frederick N. 11,185 Thou didst leave Thy throne (Christmas) 11,184 While shepherds watched (Christmas) 52 THE TRAINING OF BOYS' VOICES. Shepherd, John * O Lord, the Maker of all (a version of hymn 2l) (music attributed to King Henry VIII) Simper, Caleb 11,388 Communion service, in EP 10,133 I-'^y °^ Pentecost, The Smallwood, William 11,369 I have set God always before me (Easter) Smart, Sir Henry 417 Angel Gabriel was sent from God, The 7,058 Be glad, O ye righteous * O God, the King of Glory 189 Lord is my Shepherd, The 383 Lord is my strength, The (Easter) 1,561 Up in that home of glory Smith, J. S. * Almighty and everlasting God Spohr, Louis 343 As pants the hart (Lent) (Arr. by James Simpson) * From the deep I call * God is my Shepherd 419 How lovely are Thy dwellings fair * Jehovah, Lord God of hosts * The earth is the Lord's (Harvest) Stainer, Sir John 423 Awake, awake ; put on Thy strength (Installation) 8,684 Fling wide the gates (" The Crucifixion ") Processional to Calvary 8,621 God so loved the world (" The Crucifixion") 10,116 Grieve not the Holy Spirit of God 783 Hosanna in the highest (Advent) 352 I am Alpha and Omega (Trinity) 420 Leave us not, neither forsake us (Ascension) 387 O Zion that bringest good tidings (Christmas) 3,656 Sevenfold Amen, and Dresden Amen 295 They have taken away my Lord (Easter) 386 Thus speaketh the Lord of Hosts (Christmas) 378 What are these that are arrayed in white robes? (All Saints) 246 Ye shall dwell in the land Stanford, Sir Charles Villiers 10.169 Magnificat and Nunc Dimittis, in BP 10.170 Te Deum Laudamus, in Bb LIST OF CHOIR MUSIC. Starnes, Percy J. 1,086 Grant, we beseech Thee, merciful Lord Stephens, Charles E. 428 Te Deum Laudamus, in C Storer, H. J. 11,393 Eternal God, we look to Thee 11,310 Lighten our darkness (Response) 10,916 Like as the hart desireth 11,309 O for a closer walk with God 11,274 Sing and rejoice, O daughter of Zion lo,8oz Turn Thy face from my sins (Lent) 11,2914 Ye shall go out with joy (Harvest) Sullivan, Sir Arthur 316 Hearken unto Me, My people 184 I will mention the loving kindnesses 354 I will sing of Thy power 3 Lead, kindly Light 3,324 O gladsome light (" The Golden Legend ") 780 O love the Lord 7 Say, watchman, what of the night ? 786 Son of God goes forth to war, The 373 Te Deum Laudamus, in D 788 Turn Thy face from my sins (Lent) 1,599 Welcome, happy morning (Easter) 249 Yea, though I walk (Arr. by W. M. Richardson) Syndenham, E. a. 2,923 Be merciful unto me, O God 9,245 O give thanks unto the Lord (Harvest) Tallis, Thomas * All people that on earth 2,913 Gloria in Excelsis (Chant in C) * If ye love Me, keep My commandments Tchaikovsky, Piotr Ilyitch * Cherubim song TOPLIFF, Robert 9,563 Consider the lilies (Arr. by W. F. Sudds) Tours, Berthold 9,045 Agnus Dei, in F 1,149 Benedictus Qui Venit, and Agnus Dei, in F 796 Blessed are they that dwell in Thy house 1,521 Gloria in Excelsis, in F 10,634 I lay my sins on Jesus (Arr. by Geo. B. Nevin) 53 54 THE TRAINING OF BOYS' VOICES. Tours, Berthold, Continued. 357 Jubilate Deo, in F 1,148 Kyrie Eleison, Gloria Tibi, Gratias, Sursum Corda, Nicene Creed, Sanctus, and Gloria in Excelsis 1,150 Magnificat and Nunc Dimittis, in F 412 O saving Victim (Good Friday) 3,880 Pillars of the earth are the Lord's, The 3,484 Praise God in His holiness TUCKERMAN, SaMUEL P. 10,367 And they rest not day and night (Trinity) 3,825 God bless our native land (American National Hymn) 10.365 Lighten our darkness 10.366 Thou shalt show me the path TuRLE, James * ( Service, Te Deum, Benedictus, Jubilate, Kyrie, ! Sanctus, Credo, Magnificat, Nunc Dimittis * The Lord that made heaven and earth * This is the day which the Lord hath made ( Easter) Tye, Christopher * Mock not God's Name * Sing to God Vicars, George R. 361 Lord, for Thy tender mercies' sake VlTTORIA, TOMASO LUDOVIC * Behold, I bring you glad tidings (Christmas) Vincent, Charles J. 3,905 As it began to dawn (Easter) 8,705 Far from my heavenly home 8,717 Nearer home (unison chorus) 10,456 There were shepherds (Christmas) Wagner, Richard 11,326 Marriage Hymn (Father to Thee, Throned on High) (Arr. by F. R. Webb, " Lohengrin ") Walmisley, Thomas Attwood * Hear, O Thou Shepherd * If the Lord Himself * Magnificat and Nunc Dimittis, in D * Magnificat and Nunc Dimittis, in D Minor * ( Service in D. Te Deum, Benedictus, Kyrie, Credo, I Sanctus, Magnificat, and Nunc Dimittis 3,489 Not unto us, O Lord * Remember, O Lord LIST OF CHOIR MUSIC. 55 Ward, Frank E. ".336 Jubilate, in El? 1 1.194 Magnificat and Nunc Dimittis, in F 1 1,33s Magnificat and Nunc Dimittis, in Ei> Wareing, H. W. 3,491 Sing praises to God Warren, John C 8,256 Choir invisible (Easter carol) 8,368 Hail I Hail the Christmas Day (Carol) 8.349 I^t us now go even unto Bethlehem (Christmas) 8.350 O joyful Light ! (Evensong) Watson, Michael 1,430 Come near, ye^nations 1,518 Hear, O Lord 10,254 O give thanks unto the Lord (Easter) 1,576 O worship the Lord (Harvest) 3,540 Praise the Lord, O my soul (Harvest) 10,799 Unto Thee, O God, do we give thanks (Thanksgiving) Weldon, John * In Thee, O Lord Wesley, Samuel Sebastian * Ascribe unto the Lord * Blessed be the God and Father * O Lord, Thou art my God * Thou wilt keep him in perfect peace * Wash me thoroughly * Wilderness, The West, John E. 362 Lord is exalted. The 7.766 Magnificat, in A 7.767 Nunc Dimittis, in A 3,628 Te Deum Laudamus, in B|7 Whitney, S. B. 7,822 All hail the power of Jesus' Name (Recessional hymn) 11.195 Bridal Hymn (Wedding Processional) 7,613 Magnificat, in E|? 7,627 Nunc Dimittis, in B7 7,639 Peal forth, O Christmas bells (Christmas) <5'6 THE TRAINING OF BOYS' VOICES. Wise, Michael * Awake, awake, put on thy strength * Prepare ye the way (Advent) * The ways of Zion do mourn Woodward, Rev, H. H. 8,707 Far from their home (Advent) 245 Radiant mom hath passed away, The 3,548 Sun shall be no more thy light, The LIST OF SECULAR MUSIC SUITABLE FOR BOYS' VOICES, CONSISTING OF UNISON, TWO-PART, THREE-PART, AND FOUR-PART SONGS The numbers that precede the titles refer to the catalog of the Oliver Ditson Company, and this music may be ordered by the numbers given. Abt, Franz p^^.^ 6,456 Boatman's song 2 Bright are the flowers (Marching Song) Hear the postilion riding by Home th«t I love Joy of the wanderer Like the lark Our native lat/d Wanderer's joy, The 7,582 6,146 5,161 7.536 4,862 6,464 6,646 Arne, Thomas A. 5,210 Which is the properest day to sing? Barn BY, Sir Joseph 4,010 Sweet and low (A Lullaby) 7,274 Voice of the western vrind Benedict, Sir Julius 10,295 Our victorious banner (solo and cho.) Bishop, Sir Henry 6,336 Let us haste to the fields 5,764 Let us twine the clustering roses 4,118 Sleep, while the soft evening breezes CONCONE, GUISEPPE 5,818 Harvest day CooKE, Benjamin 4,043 Hark I the lark Costa, Sir Michael 921 With sheathed swords (Damascus Triumphal March) De Pearsall, R. D. 4,592 Oh, who will o'er the down so free EiCHBERG, Julius 10,305 To thee, O Country I (National Hymn) 4 or unison 3 4 or unison 58 THE TRAINING OF BOYS' VOICES. Fanning, Eaton 9,022 Daybreak Fisher, William Arms 10,296 Flag of the constellation, The (Patriotic) 10,301 Freedom of the seas, The (Patriotic) Foster, Myles B. 7.611 Happy hours 7.612 Homeward down the stream we float 7,700 Racing we go 7,759 Sweet hope Gade, Niels W. 4,850 In autumn (S.A.T.) Gaul, Alfred R. 7,537 Homeward on the flowing tide 7,534 O lovely month of roses (June) Glover, Stephen 5,705 Beautiful moonlight Gounod, Charles 6,532 Hark 1 'tis the evening bell Hall, King 7,990 April Hatton, John L. 4,149 Belfry tower, The 4,590 He that hath a pleasant face 4,743 Jack Frost 5,054 Ocean's lullaby 4,594 Red, red rose. The 4,599 Stars of the summer night 5,254 When evening's twilight 5,755 Wood thrush, The Kalliwoda, Johann W. 5,492 Boatman, The KjERULF, HaLFDAN 5,121 Last night (Arr. by J. C. Macy) Lahee, Henry 5,755 Come away, the sunny hours Leslie, Henry 4,086 How sweet the moonlight 4,109 Primrose Part 4 4 or unison unison 3 3 4 4 4 4 4 4 3 3 4 4 3 4 4 LIST OF SECULAR MUSIC. 59 Leslie, Herbert 10,303 Flag they loved so well Macfarren, Sir George A. 4,731 Break, break 4,029 Harvest home 5,003 Three fishers, The Mendelssohn, Felix 9.031 Autumn song 4,871 Maybells and the flowers, "fhe 4,767 Nightingale, The 5,754 O vales with sunlight smiling 9.032 O wert thou in the cauld blast MORNINGTON, EARL OF 4,083 Here, in cool grot PiNSUTI, Giro 4,148 An autumn song 7,182 Eldorado 7,614 Merry world is free. The 10,134 Rhine-raft song. The 5.469 Silent tide. The 4,122 Spring song, A 5,040 Where wavelets rippled gaily Richards, Brinley 4,005 Let the hills and vales resound Rossini, GlOACHINO 4.376 Carnovale, The 4,208 Charity 4.057 Hope 6,081 Humming bird. The (S. A. B.) 7.786 Revel of the fairies S.7S4 Softly the echo RUBINST] EiN, Anton 5.'3o Angel, The 4.553 Song of the birds, The Smart, Sir Henry 4,347 Down in the dewy dell 5,004 Hunting song' 5,709 Merry is the dawn 6,837 Oh, skylark, for thy wing 4,456 Queen of the night (Arr. by C. H. Morse) Part 4 4 4 4 4 4 4 4 4 or upison 4 3 3 3 3 3 6o THE TRAINING OF BOYS' VOICES Smart, Sir Henry, Continued. Part 7,391 Stars look o'er the sea 3 4,725 Stars of the sammer night 4 9,803 Valley of summer flowers 4 Spofforth, R. 4,332 Hail, smiling morn 4 Stephens, Richard J. S. 4,150 Blow, blow, thou winter wind 4 Stevenson, Sir John 4,595 See our oars with feathered spray 4 Sullivan, Sir Arthur 4,187 Song of peace 4 Tours, Berthold 8,985 Swift the shades of eve are falling 4 8,984 Vikings and the Northwind, The 4 TUCKEKMAN, SaMuEL P. 10,308 God bless our native land 4 c Vincent, Charles J. 8,706 Blow, soft winds (Vocal Waltz) 2 10,066 Bright summer 2 8,718 Holiday, A (Vocal Galop) 2 9,169 Jolly winter (Vocal Polka) 2 9,955 Lovely rose 2 8i7i9 Merry June (Vocal Polka) 2 8,716 Sailor lad's song (Vocal Hornpipe) 9,154 Sailor's lullaby, The -> Wagner, Richard 4,656 Faithful and true we lead you forth (Bridal Chorus) 4 Webbe, Samuel 4,381 Swiftly from the mountain's brow 4 B5-24