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PREFACE. 
 
 The art of training boys' voices for Church Choir singing has yet to be reduced to simple formulae, 
 whereby the chief difficulties which beset the path of the young organist or choirmaster may be removed. 
 
 This present work is intended to perform the duties of a pioneer in this direction. It is hoped that 
 the remarks and hints herein contained (which are the result of observation and experience during the 
 course of many years) may be useful to all interested in the subject, and may be regarded as the nucleus 
 for the further accumulation of both laws and facts, until a system, as perfect as possible, may be formed 
 and founded for future guidance. It is hardly necessary to say that no literary merit has been aimed at. 
 This work merely contains a set of maxims which, it is hoped, may be of use to young teachers who are 
 intrusted with the musical education of choristers. 
 
 Excellent tuition can be obtained in all other branches of the musical profession in almost every 
 part of the Kingdom ; but the art of training boys to sing is one which can only be learnt by. experience 
 in those places where the culture of boys' voices is not neglected. 
 
 Even where the subject is a matter of daily use, it is found that there is often a want of system, 
 and a frequent substitution of "rule of thumb " principles, which in a matter of such importance ought 
 not to be resorted to. 
 
 Many organists of great executive ability, severally masters of the mechanical portion of their art, 
 and collectively more skilful than the members of the same profession in any other country, are 
 altogether wanting in power in the art of training boys' voices,, from the simple fact that they do not 
 know how to set to work. They have never had the means of learning what they are called upon 
 to teach. The remark made by one of our chief choral conductors some years ago as to the great and 
 almost unaccountable dearth of capable choir-trainers, has not aroused the attention which might havt 
 been expected. To this day there are very few skilled labourers employed, although the work is 
 increasing. 
 
 The clergy and others are beginning to feel that, although it is necessary to have a good executant 
 at the organ, yet this is not all that is required to secure satisfactory results in the due performance of 
 music in church. 
 
 It is not proposed to occupy the ground that is already ably filled by many writers of 
 elementary works on the theory of music. The choirmaster may select the Treatise which best 
 commends itself to his wishes. Here it is only proposed to supply him with a few hints to help him 
 in his work of training boys' voices; and as these hints are intended for the choirmaster only, it has 
 been considered desirable to publish a small cheap copy of the vocal exercises alone, for the use of pupils. 
 
 With these, among other considerations, in view, it has been thought proper to offer the remarks 
 and suggestions contained in the following pages as an endeavour to fill the gap existing in musical 
 educational literature. 
 
 The Author desires to acknowledge his great indebtedness to his late friend, W. A. Barrett, Vicar 
 Choral of St. Paul's Cathedral, who not only took a warm interest in this little work, but also supplied 
 much valuable assistance in its arrangement. 
 
 AIRS 
 
CONTENTS. 
 
 CHAPTER I. 
 
 CHAPTER II. 
 
 CHAPTER III. 
 
 CHAPTER IV. 
 
 CHAPTER V. 
 
 The Choirmaster 
 
 Forming a Choir 
 
 Choice of Voices 
 
 Arrangement of Voices 
 
 Quality of Voices 
 
 CHAPTER VI. 
 The Place for, and the Method of Practice 
 
 CHAPTER VII. 
 Further Directions for Practice 
 
 CHAPTER VIII. 
 Method, Tact, and Discipline 
 
 CHAPTER IX. 
 Qualities of a good Teacher 
 
 CHAPTER X. 
 Musical Instruction 
 
 CHAPTER XI. 
 The Breaking of the Boy's Voice 
 
 CHAPTER XII. 
 General Remarks 
 
 EXERCISES FOR VOICE CULTURE, &c 
 
 CHAPTER XIII. 
 Marks of Expression 
 
 CHAPTER XIV. 
 Chanting 
 
 CHAPTER XV. 
 Directions for the Teacher 
 
 CHAPTER XVI. 
 Musical Exercises 
 
 PAGB 
 7 
 
 II 
 
 H 
 15 
 16 
 
 17 
 18 
 
 21 
 22 
 
 24 
 26 
 27 
 27 
 
INDEX. 
 
 Paragraph , 
 
 1. The Choirmaster's Qualities. 
 
 2. His Character. 
 
 3. Corporal Punishment. 
 
 4. Moral Force. 
 
 5. Interest in the Work. 
 
 6. Clearness and Patience. 
 
 7. Errors in Practice. 
 
 8. Interesting the Choir. 
 
 9. Interrupting Rehearsals. 
 
 10. Correcting Mistakes. 
 
 11. Wasting Time. 
 
 12. Teaching and Conducting. 
 
 13. Boys and Men. 
 r4. Art of Training. 
 
 15. Disadvantages of the Young Choirmaster. 
 
 16. Experience. 
 
 17. One of the purposes of this Book. 
 
 18. Value of a Choir. 
 
 19. Effect of Boys' Voices. 
 
 20. Quality of Boys' Voices. 
 
 21. How TO begin. 
 
 22. Further search for Voices. 
 
 23. Advertising for Voices. 
 
 24. Middle-class Boarding Schools. 
 
 25. A Hint to Parents. 
 
 26. The Age to begin Singing. 
 
 27. Bad Habits. 
 
 28. Good Voices often spoiled by Bad Patterns. 
 
 29. Mischief of Bad Singing. 
 
 30. What to avoid. 
 
 31. Shouting at Play- time. 
 
 32. Examination of Voices. 
 
 33. Preliminary Tests. 
 
 34. Complete Scale Practice. 
 
 35. Directions for Trial. 
 
 36. Boys' and Women's Voices. 
 
 37. The Junction of Registers. 
 
 38. Successful Candidates. 
 
 39. Compass of Voices. 
 
 40. Test of a Good Ear. 
 
 41. Practical Ear Tests. 
 
 42. Accuracy of Ear. 
 
 43. Naming Notes. — Ear Tests. 
 
 44. Singing out of Tune. 
 
 45. Exercise for Tuneful Singing. 
 
 46. Remedies for Singing out of Tune. 
 
 47. Opening the Mouth. 
 
 Paragraph 
 
 48. Tired, Sick, and Idle Boys. 
 
 49. Inability to Recognise Sounds. 
 
 50. Head Register. 
 
 51. Knowledge of Music. 
 
 52. Different Qualities of Voices. 
 
 53. Selection of Voices. 
 
 54. Judging Voices. 
 
 55. Changes in the Voice. 
 
 56. Providing for Changes. 
 
 57. Alteration of Voices by P'^.^ctice. 
 
 58. The End of the Trial. 
 
 59. The Practice Room. 
 
 60. Practice in Church. 
 
 61. Training Exercises. 
 
 62. Practice in the Vestry. 
 
 63. Practising with the Organ. 
 
 64. Proper Instrument for Practice. 
 
 65. The Harmonium. 
 
 66. Popular Errors concerning Cathedral Singing. 
 
 67. Training is everything. 
 
 68. Lessons and Exercises. 
 
 69. Regularity in Practice. 
 
 70. Formation of Classes. 
 
 71. How TO Form the Clas? 
 
 72. Promotion in Class. 
 
 73. Method, Tact, and Discipline. 
 
 74. Value of Order and Regularity. 
 
 75. Superior Knowledge of the Subject. 
 
 76. Provision for Teaching Teachers. 
 
 77. Ordinary Errors in Teaching. 
 
 78. Every Lesson should be Prepared. 
 
 79. Method. 
 
 80. Choirmasters. 
 
 81. Tact. 
 
 82. Discipline. 
 
 83. Obedience. 
 
 84. The Law of Habit. 
 
 85. The Qualities of a Good TEACHts, 
 
 86. The Quality of Good Teaching. 
 
 87. Repetition. 
 
 88. Pulling Through. 
 
 89. Like Master, like Boys. 
 
 90. Punishment. 
 
 91. Rewards. 
 
 92. Bullying. 
 
 93. Common Schoolboy Faults. 
 
 94. Musical Education in Choirs. 
 
 8163 
 
INDEX. 
 
 Paragraph 
 
 95. Theory and Voice Culture. 
 
 96. Working in New Fields. 
 
 97. Singing Difficult Music. 
 
 98. Singing as an Art. 
 
 99. Reading at Sight. 
 
 100. .Quality of Tone in Singing. 
 loi. Enunciation. 
 102. Expression. 
 103."^ Accompaniments. 
 
 104. The Pianoforte. 
 
 105. Its Advantage.- 
 
 106. The Breaking of the Voice. 
 
 107. Customary Experiences. 
 
 108. Provision against Accidents. 
 
 109. How TO arrange a Working Choir. 
 no. Uniformity in Choir Singing. 
 
 111. Probationers. 
 
 112. The Broken Voice. 
 
 113. Spoiled Voices. 
 
 114. The Period of the Break. 
 
 115. Symptoms of the Break. 
 
 116. Rare Cases. 
 
 117. Numberless Symptoms. 
 
 118. Opinions of Physiologists. 
 
 119. Ordinary Disappointments. 
 
 120. Bodily Exerpises. 
 
 121. Eating. 
 
 122. Schooling for Choristers. 
 
 123. Weekly Practice. 
 
 124. Faults in Choristers. 
 
 125. Special Caution. 
 
 Paragraph 
 
 126. Soft Singing. 
 
 127. Difficulty of Joining the Registers. 
 
 128. Temper and Temperament. 
 
 129. The Secret of Training. 
 
 130. Hints as to Management of Choristers. 
 
 131. 
 
 132. 
 
 133' 
 
 134' 
 
 135' 
 136, 
 
 137' 
 138. 
 139' 
 140, 
 141, 
 142, 
 
 143' 
 144, 
 
 145' 
 146, 
 147, 
 148 
 149, 
 150, 
 
 151 
 152 
 153 
 
 EXERCISES FOR VOICE CULTURE, &c. 
 
 Signs of Expression. 
 
 Words relating to Steady Pace. 
 
 Loud and Soft. 
 
 Abbreviated Signs. 
 
 Verse and Full. 
 
 Decani and Cantoris. 
 
 The Canticles. 
 
 Chants. 
 
 Reciting Note. 
 
 Difficulties of Chanting. 
 
 Chief Faults to be Avoided. 
 
 Reading before Singing. 
 
 Decency and Order. 
 
 Directions for the Teachek. 
 
 Character of the Exercises. • 
 
 First Stage. 
 
 Lessons in Breathing, &c. 
 
 Further Lessons in Breathing. 
 
 Breathing and Singing. 
 
 Beating, Breathing, and Singing. 
 
 Exercises in Stage One. 
 
 Chest and Head Voice. 
 , The Sound "00. '' 
 
 8163 
 
THE ART OF TRAINING CHOIR BOYS. 
 
 CHAPTER I. 
 
 THE CHOIRMASTER. 
 
 1. His Qualities. — Many qualities are required to make a successful Choirmaster. In the first place, 
 he should be a good disciplinarian, and he should cultivate, if he does not naturally possess, a happy and 
 sympathetic manner in all his dealings with the choir, both men and boys. He must be energetic and 
 hardworking, a musician by nature, and must possess a very accurate ear, so as to be able to detect 
 the very slightest untunefulness in singing. 
 
 2. His Character. — He should bring much enthusiasm to help him in his work, so as to kindle a love 
 for the labour which he is called upon to do among, his pupils. The science of teaching is better understood 
 
 . now than in days gone by. 
 
 3. Corporal Punishment. — The stick and the cane were sometimes employed to cover want 
 of science on the part of the teachers. The man who possesses, or who can acquire, a certain amount 
 of command over himself will seldom find it necessary to resort to corporal punishment to enforce his 
 precepts. 
 
 4. Moral Force. — Moral force will subdue even the stupid. The cane will only be required to check 
 impertinent and rebellious boys. The master must show that he is in earnest. Enthusiasm is 
 indispensable. One who approaches his task in a perfunctory manner will only get a half-hearted response 
 to his teaching. 
 
 5. Interest in the Work.— If he is never interested in what he has to teach, he must not be 
 disappointed if he fails to awaken interest in the minds and demeanour of those who have to learn. The 
 teacher must keep himself under perfect control. He must remember that his pupils are placed under 
 him to acquire knowledge. 
 
 6. Clearness and Patience. — Everything he has to say must be stated clearly and firmly. Above 
 all, he must be patient and kind, and when it is necessary to point out mistakes, his remarks should 
 be made without any show of impatience. 
 
 7. Errors in Practice. — The actual error should be singled out and carefully corrected. A little 
 trouble taken at the outset saves a great amount of labour afterwards, for in the teaching of music, as in the 
 management of domestic concerns, " a stitch in time saves nine." 
 
 8. Interesting the Choir. — If at the outset of the lesson the teacher will take care to make the 
 subject interesting to his choir, he will find his hands strengthened for his duties. The members of the 
 choir will perceive that they are gaining real knowledge, and the teacher will be able to obtain without 
 commanding punctual and ever eager attendance at the time appointed for practice. The lessons will be 
 looked forward to with pleasure, and the teacher will gain special advantages in the daily improvement of 
 his pupils. If he is able to impart some fact that may be remembered, some peculiarity of the composition 
 under study, some historical or other association relative to the work in hand, he will reap the benefit in a 
 more intelligent performance of it when the time comes for which preparation is being made. 
 
 8163 
 
8 
 
 g. Interrupting Rehearsals. — Although it is unwise to allow an error to pass unnoticed, yet 
 it is equally unwise to constantly interrupt the course of a general practice for the sake of pointing out 
 mistakes. At sectional rehearsals the case is entirely different, the errors should be amended whenever 
 they occur. 
 
 10. Correcting Mistakes. — At general rehearsals the choirmaster should carefully note all mistakes, 
 made, and at the conclusion he should clearly point out and rectify such errors as have not resolved them- 
 selves before repeating the piece. This will obviate the unsatisfactory effect produced upon the choristers 
 when they are called upon to repeat their performance without a reason being given. The oft -repeated 
 words " We'll try that over again," without explaining the reason, are the cause of dissatisfaction, if not of 
 rebellion in a choir. 
 
 11. Wasting Time. — It is not only a wilful waste of time to go through a long work in the hope that the 
 choir will mend a mistake by themselves, it is also a source of irritation and the means of weakening the 
 interest in the execution. The choirmaster should make every effort to find words of encouragement, even 
 though the performance does not attain the standard he aims at. 
 
 12. Teaching and Conducting. — His duty is not only to conduct, but to teach. The repetition of a 
 mistake confirms it. If it is necessary to try a movement over again, it is but right to indicate the places 
 where improvement in the performances can be effected. 
 
 13. Boys and Men. — These remarks apply with equal force to the boys as well as to the adult 
 members of the choir. The feelings and thoughts of boys are much more like those of men than is 
 generally supposed. It is the nature of boys to be playful and sometimes inattentive, but as a rule they are 
 possessed of a strong sense of justice, and upon this feeling the choirmaster can work successfully, if he is 
 careful to treat them in such a manner as he would observe towards their elders. 
 
 14. Art of Training. — The art of training choristers does not at present form part of the studies at 
 the recognised seminaries of musical knowledge. Many of the future choirmasters have opportunities of 
 learning every useful branch of their art during their state of pupilage, except that which is most needful. 
 There are no professors, and there are very few, if any, books on the subject. 
 
 15. Disadvantages of the Young Choirmaster. — Everything has to be learned by painful 
 experience. There are no means for ascertaining through treatises the results of the labours of their 
 predecessors, which may serve as guides to young choirmasters at the outset of their work. 
 
 16. Experience. — The successful choirmaster is a man in a hundred, and his success is due to his 
 peculiar aptitude for the work, and his quickness in finding paths for himself over a country where there are 
 few maps or guides. He would be grateful for help did it exist, he would be thankful for hints did he know 
 where to look for them. 
 
 17. One of the Purposes of this Book. — These pages are written to help and to direct those 
 who have had no opportunities of studying this branch of their profession, and it is sincerely hoped that 
 they may in some degree serve so useful a purpose. 
 
 CHAPTER II. 
 
 FORMING A CHOIR. 
 
 18. Value of a Choir. — It is unnecessary in this place to enter into a discussion as to the use of a 
 choir and its value as an adjunct to the celebration of Divine Worship. It is assumed that those 
 who desire to form and instruct a choir are acquainted with, and admit the value of the arguments in 
 its favour. 
 
 8163 
 
ig. Effect of Boys' Voices. — The effect of a chorus of well-trained boys' voices has often been 
 the subject of eulogy. The carrying and sustaining power of their voices renders boys singularly 
 fitted for leading the congregation through those parts of the Service in which the compilers 
 of the Prayer Book intended the people to join. 
 
 20. Quality of Boys' Voices. — The devotional element which the clear and unemotional quality 
 of the boy's voice imparts to those portions of the musical service of the Church reserved for the choir 
 is a recognised beauty, when the voices have been properly trained. 
 
 21. How TO BEGIN. — To form an ordinary church choir, the teacher or organist will make his selection 
 from the boys of the school attached to or in connection with the church. Singing is now taught in nearly 
 every school in the Kingdom, and the boys can be selected during the singing hour, and examined and tested 
 at some convenient time after school. 
 
 22. Further search for Voices. — If there is no school in connection with the church, other schools 
 might furnish the needful contingent, or the parishioners might be invited to send their children to help in 
 the choir, if their musical capabilities are suiilicient for the purpose. 
 
 23. Advertising for Voices. — If the clergy and the choirmaster are unable to make up the requisite 
 number of voices from the schools or parishioners, then, in towns, recourse must be had to advertisement. 
 
 24. Middle-class Boarding Schools.' — Children from middle-class boarding schools, though desirable 
 as an element in the choir by reason of their presumably better training, and so forth, are of little use in 
 forming a choir, as their holidays occur at Christmas, Easter, and other important seasons when their 
 services are most necessary. 
 
 25. A Hint to Parents. — It is not sufficiently known to parents of the middle and higher classes that 
 schools exist in University and many Cathedral towns where children, provided they have good voices, 
 may receive a fair and, in some cases, a good education free of expense. Many of the best composers and 
 musicians of the present day, as well as of bygone generations, have enjoyed the advantages of early 
 musical training in this way. For many reasons it is the best that can be obtained. 
 
 CHAPTER III. 
 
 CHOICE OF VOICES. 
 
 26. The Age to begin Singing. — Some boys exhibit vocal talent as early as the age of six, 
 but, speaking broadly, they should commence voice cultivation at the age of eight. This is the usual time 
 when children are admitted into Cathedral Choirs, though there have been instances where boys have 
 shown capacity at an earlier age. 
 
 27. Bad Habits. — Many choirmasters find that children, even at the age of eight, and sometimes 
 sooner, contract habits of voice production which can never be eradicated and scarcely ever modified. 
 Most of these bad habits are acquired in elementary schools. Children imitate the voice and manner of their 
 teacher, and their style of singing often shows whether the teacher possesses a good or a bad voice. 
 
 28. Good Voices often spoiled by Bad Patterns. — It might be well if more attention were paid 
 to the matter by the Government Inspectors, and those teachers who have not pleasant voices should be 
 directed to be silent, or to give their lessons with the help of an instrument. Schoolmasters and mistresses 
 should be given to understand that the treatment of boys' voices requires care. They should encourage 
 children to sing softly and with a pleasant tone, and never to force the chest register of the voice. Forcing the 
 chest voice often results in permanent injury to the vocal organ. 
 
 29. Mischief of Bad Singing. — The ears of the musically sensitive are frequently shocked, in passing 
 
 S163 
 
lO 
 
 a school at the time of the singing practice, at hearing the merciless manner in which the children are made 
 to yell out their little songs. The method thus acquired influences for evil all their musical performances 
 in after life. 
 
 30. What to avoid. — The choirmaster, in selecting voices from a school, should take care 
 to refuse all those in which the lower thick register is forced up too high in the scale, unless, he 
 has reason to believe that he can cure the defect. As a rule for his guidance, however, it may be asserted 
 that such a production can rarely be cured. It will break out unexpectedly at times when its existence is 
 undesirable. Moreover, in the case of senior boys, it will infect all the juniors. The chest voice should 
 
 not be used above ^ y — b&— 
 
 W 
 
 31. Shouting at Play-time. — Shouting in the play-ground during the progress of exciting games is a 
 fruitful source of temporary and even of permanent injury to the vocal organs. Those boys who ars 
 selected to form the choir, or those with good singing voices, should never be allowed to shout. The 
 schoolmaster, the choirmaster, or the teacher should, without appearing to obtrude advice in a manner 
 
 -which could exalt the self-esteem of young singers, teach them to keep their voices in a healthy condition 
 as carefully as older professional vocalists. 
 
 32. Examination of Voices. — At the examination of voices for the choir, it is necessary first to 
 ascertain the age of the candidate, and to observe his general physical condition. Try his voice by making 
 
 -f r P ^ r _4.. 1^ 
 
 him sing scales ranging from g \ to g 'j — : or when possible as far as ^ 
 
 33. Preliminary Tests. — Take care not to embarrass the child by giving him passages to sing 
 that may disturb his rudimentary ideas and tend to confuse him. Some masters make their candidates 
 sing passages like the following : — 
 
 i 
 
 -y^ 
 
 rd) „ .. ^ '-^ ° '" &<=■ 
 
 La 
 
 This is not wise. It is best to form all vocal training upon scale practice from the very beginning. 
 
 34. Complete Scale Practice. — The major scale, in its complete form, should be used in the trial 
 of voices. Begin them with the scale of C, then D flat, then D natural, and so on through the whole 
 range required, according to the plan on page I. of the Musical Exercises. 
 
 35. Directions for Trial. — The sounds of the several scales should be sung to the syllable " La " 
 for each note, and the duration of each note should be about two beats long, the metronome pace of 92 
 to each beat. Breath must be taken after every fourth note. These directions must be given to the child 
 before he begins to sing. Do not interrupt the course of the scale to correct trivial errors. Note all 
 things mentally, and at the end of the trial record those notes for present satisfaction and future guidance. 
 
 36. Boys' and Women's Voices. — It is a common error to suppose that boys' voices are lower in 
 compass than those of women who sing the same part. Exceptional cases will occasionally be met with, 
 
 but, as a rule, almost all trained boys can reach T T — : , in chorus, and even i? ^ 
 
 ^ F "' """^""' '^"^ """" 1 
 
 is not an impossible note for them. Those who have had much to do with training the voices of women 
 and boys find, by experience, that the upper notes of the voice in women 7& 
 
 ^ 
 
 are difficult to get and, when obtained, are neither so powerful nor so tuneful as the same notes in boys' 
 voices. 
 
 8163 
 
II 
 
 37- The Junction of Registers. — In trying the voices of candidates after the pattern suggested 
 above, the teacher will note that there is a place in the scale where the singer naturally alters the 
 quality of the tone. This takes place in various parts of the scale according to the voice, but is chiefly 
 
 The change is from the " chest " to the " head " voice, and is called 
 
 on or about 
 
 I 
 
 W 
 
 the " Break." Should this be very apparent — especially in a boy over the age often — it might be wise to 
 reject him. The management of the Break is one of the great difficulties which the teacher has to 
 encounter. 
 
 CHAPTER IV. 
 
 ARRANGEMENT OF VOICES. 
 
 38. Successful Candidates. — The choirmaster, having selected the boys required, will now 
 arrange them according to his needs. He will have noted that the boys who are likely to be 
 most valuable to him will possess the following qualifications :— 
 
 39. Compass of Voices. — (a) A voice of fair quality and promise. The quality will be patent upon 
 the trial, the promise will be indicated by the possession of plenty of "ring," free from huskiness and nasal 
 tone, and the possibility of development as to fulness and musical character, (b) A voice of sufficient 
 
 compass and extent. The boy should be able to sing the scales extending from the lower C 
 
 i 
 
 to the upper A 
 
 i 
 
 S 
 
 without difficulty. This should be taken as the limit at the time of trial in , 
 
 ordinary cases. Abnormal instances will of course present themselves ; these may be dealt with as they 
 occur, and the master may see fit to extend the tests above and below. A fair compass may be considered 
 
 to extend from 
 
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 ; a good compass from ek 
 
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 and an excellent compass from 
 
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 ■ but more depends upon the quality of the 
 
 voice than the compass at this age. 
 
 40. Test of a Good Ear. — The candidate must possess a good ear, so as to be able to distinguish 
 and to imitate with readiness a variety of sounds sung or played. One of the best tests of an accurate ear 
 is to play or sing a series of sounds having no scale connection the one with the other, aifter the following 
 manner : — 
 
 41. Practical Ear Tests. — 
 
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 8163 
 
12 
 
 Each note is to be repeated by the voice of the candidate immediately after it has been sounded on 
 the pianoforte. 
 
 42. Accuracy of Ear. — Accuracy of ear will soon be discovered after trial of one or other 
 of the above or similar tests. Very few children will have had sufficient previous training to 
 enable them to name notes, though some may possibly have learned enough music in school to be able to 
 give the names of certain notes taken out of the scale. The experiment might be tried, if desired, with a 
 few groups of notes like the following : — 
 
 43. Naming Notes. — Ear tests. Each section to be sung or played by the master. 
 
 $ 
 
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 321 
 
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 The master might name the first note of each section, the pupils naming the others. Ear tests such 
 as these will be found very useful after the boys have been a little time under tuition, and they can be 
 gradually increased in difficulty. 
 
 44. Singing out of Tune. — Boys sing out of tune for several reasons : {a) When they force the 
 "chest" register beyond its proper limit; (6) When they do not open their mouths properly ; (c) When 
 they are ill ; {d) When they are tired, idle, or inattentive. 
 
 45. Exercise for Tuneful Singing. — To be used after any Exercises in the second part. 
 
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 46. Remedies for Singing out of Tune.— The habit of forcing the " chest " register, as before 
 hinted, may be counteracted by judicious training, provided that the boy is young— that is to say, up to 
 eight years of age. The evil is not then too firmly rooted, and may be eradicated. If the habit continues 
 up to eleven or twelve years of age, it is almost impossible to remove it. If it is not possible to reject the 
 boy who sings in this manner, the labour involved in curing the defect is often thrown away, for by the 
 time the fault is cured the boy's soprano voice has probably left him, and he is then, as he always was, 
 useless for the choir. These remarks apply to solo voices chiefly. A boy with a bad break may be 
 useful as a chorus singer, but he is not desirable even in this capacity. 
 
 47. Opening the Mouth. — Boys should be taught to open the mouth properly, and never tp sing with 
 the teeth closed. The tongue must not be curled up, but must lie naturally in the mouth, the tip slightly 
 touching the lower teeth. Many masters enjoin an unnatural extension of the mouth in singing. 
 Some even insert a shilling held edgewise between the teeth. The best plan is to make each 
 boy place his thumb edgewise as far as the first joint. Then the mouth is opened in its natural position 
 for singing. The thumb is then to be drawn gently away, leaving the teeth in the position they occupied 
 when the thumb was between them. The head should be held erect, and any tendency towards throwing 
 forward the chin should be checked at once. 
 
 48. Tired, Sick, and Idle Boys.— No master would compel boys to sing when they are tired 
 or unwell. If other signs fail, his observation will be aroused by the untuneful singing among 
 those who ordinarily sing well in tune. If a good boy sings out of tune through illness, weariness, 
 or nervous agitation, he should be treated kindly and allowed to be silent for a while. If a boy 
 
 8163 
 
13 
 
 sings out of tune through idleness, obstinacy, or inattention, a severe look is often sufi&cient to restore 
 propriety of conduct. Sarcasm and personal comments are to be strenuously avoided. 
 
 49. Inability to Recognise Sounds. — The inability to recognise and to reproduce sounds is much 
 rarer in boys than is generally supposed. If a boy constantly sings out of tune, either flat or 
 sharp, his services might be dispensed with, supposing him to have been admitted to the choir. If, at the 
 trial of voices, a boy is unable at once to reproduce sounds sung or played- to him, he should not be chosen, 
 as he is never likely to be useful. 
 
 50. Head Register. — A young boy with a good head register should always be accepted, even though 
 his lower notes are weak. In niiie cases out of ten the lower register will develop with time, and its 
 quality will always be superior to that of voices which have the stronger lower register at the outset. If 
 a boy of twelve or thirteen gradually becomes possessed of a powerful head voice, it generally forebodes the 
 equally gradual extinction of his chest register. For this no remedy can be found. With the eventual 
 collapse of the head voice, the whole vocal register will be rapidly transformed into that " gruff " quality 
 which is the transitional stage between the boy's voice and the man's. 
 
 CHAPTER V. 
 
 QUALITY OF VOICES. 
 
 51. Knowledge of Music. — It is hardly to be expected that boys, at the early age of their admission 
 into a choir, should have much knowledge of the grammar of music. It will be as well therefore, to take no 
 consideration of this matter at the time of the entrance examination. If, however, a candidate shows signs 
 of musical talent, either by performing upon an instrument, or by displaying an acute musical ear, 
 or a sense of absolute pitch, he should be considered eligible even if his voice is not up to the standard 
 required. His influence on the general musical taste of the other boys may be of immense advantage. 
 
 52. Different Qualities of Voices. — The qualities of boys' voices may be divided into several 
 classes, of which four are most characteristic. First, there is the large, horn-like tone, which, when it 
 does not develop huskiness, is of great value. Second, there is the light, flute-like voice of high compass 
 and of considerable natural flexibility, which bears a strong likeness to the high soprano possessed by some, 
 though very few, females. Third, there is the voice of a reedy penetrating quality of tone, having many of 
 the peculiarities of the second order. And fourth, the most common voice of all, that of fair compass but 
 almost devoid of ring, and almost incapable of varied expression. 
 
 53. Selection of Voices. — There will be no hesitation on the part of the choirmaster in selecting 
 the first three qualities. If among the candidates there is a preponderance of these, so much the better for 
 the choir and so much greater its prospective advantage. Unfortunately, the master has often no other 
 quality of voice to choose from than that of the fourth and most common order. Provided there is a 
 sufiicient number to produce the necessary strength of tone, there is no reason why such voices should be 
 excluded. 
 
 54. Judging Voices. — It is much easier to judge of tenor or bass voices than of the voices of boys. 
 At the age of twenty-four or so, a man's voice, though likely to improve, is already a settled reality. At 
 the age of eight a boy's voice must be estimated according to its possibility, its compass, and its natural 
 tendency towards good production, rather than from any actual condition at the time of examination. 
 
 55. Changes in the Voice. — The rapid changes which take place in a boy's voice from time to time 
 are quite extraordinary. It frequently happens that a voice, which for a long period has been almost 
 without any special promise, suddenly develops into a most useful one. In no other branches of vocal 
 
 8163 
 
14 
 
 training are such changes observable. The master will see the necessity of constant watchfulness so as to 
 take immediate advantage of these unexpected transitions. 
 
 56. Providing for Changes. — It is good practice to make all the boys occasionally sing solos by 
 turns at rehearsals. By this means the master is hardly likely to overlook the signs of changes in the 
 voices of the boys. Apart from the fact that such a proceeding enables him to provide against failures to 
 maintain the standard of work as far as possible, it inspires the boys with a certain amount of confidence, 
 so that when called upon they are not likely to do the solo work so ill as when they are more or less 
 unprepared. 
 
 57. Alteration of Voices by Practice.— A boy of ten years of age, supposing that he has had thp 
 advantage of good training for about a year, will possess a greater range upwards than he is ever likely to 
 maintain afterwards. Moreover, the quality of tone will, as time goes on, probably alter to such an extent 
 as not to be recognisable. This is owing to the rapid growth and enlargement of the physical system 
 which takes place at this period. 
 
 58. The End of the Trial. — The foregoing paragraphs show the salient features of the various 
 kinds of voices the choirmaster is likely to meet with in the course of trials of candidates for the choir. He 
 is certain to find one or other of the classes enumerated. He will consider himself peculiarly fortunate if 
 he can form his choir out of a fairly, good number of voices which show the best of the charccteristic 
 qualities described above, at the end of the trial of candidates. 
 
 CHAPTER VI. 
 THE PLACE FOR, AND THE METHOD OF PRACTICE. 
 
 59. The Practice Room. — The voices having been selected, the next thing to be considered is the 
 choice of the place for practice. As a rule, it will be best to select the school-room in connection with the 
 church as the proper place. The necessary apparatus, the black-board and the desks, are all handy, and 
 there is a general air of discipline in the arrangements and surroundings which are helpful to the teacher. 
 
 60. Practice in Church. — It is best to avoid general practising in church, unless it is necessary to 
 finish off any work with the assistance of the organ ; even then it is advisable to take care to remember the 
 solemnity of the place, and to say or do nothing that might be considered as inconsistent with proper 
 behaviour. 
 
 61. Training Exercises. — As many of the vocal exercises necessary for the proper training of boys' 
 voices are distinctly secular in character, they cannot be used with propriety in church. As, moreover, 
 they are of the utmost value in developing vocal tone and flexibility of execution, the progress of the 
 children would be more or less retarded if no other place than the church were available for the daily 
 practice. 
 
 63. Practice in the Vestry. — Some churches have a large room or vestry ordinarily used for parish 
 purposes. Where such a room exists the practices may there be carried on successfully. The choir-books 
 might be kept there and the master would be able to make his teaching more effective and interesting than 
 would be allowable or decent in a sacred building. 
 
 63. Practising with the Organ. — There are many hindrances to progress if the organ is employed 
 for accompanying exercises in the customary music lessons. The master cannot always see his pupils, and 
 therefore he cannot teach really well. Besides this particular disadvantage, the organ is not the best 
 itistrument for teaching of this kind, on account of the great difficulty in making and regulating those rapid 
 and subtle changes of tone which are so necessary in forming and guiding the taste of children. 
 
 • 8163 
 
15 
 
 64. Proper Instrument for Practice. — The proper instrument for accompanying the exercises 
 is the pianoforte, and the proper pianoforte is that with horizontal strings, as in the " grands " and 
 " squares." The form of these instruments admits of the arrangement of the children so that they m&j be 
 always under the master's eye. The shape and structure of the " cottage " and " upright " instruments 
 places the master almost at as much disadvantage as if he were at the organ, 
 
 65. The Harmonium. — In many places the harmonium only is available for practice. A good and 
 large instrument may possibly possess some claims to consideration. Many of the large ones are not 
 good, because they simply multiply the undesirable qualities of the instrument as an accompaniment to 
 the voice. If they must be used, they should be employed very sparingly. The master should 
 start the exercise, but should not accompany it throughout, or the children may acquire a nasal production 
 of tone and a drawling style of vocalisation, neither of which can be reasonably considered as desirable 
 qualities in singing. 
 
 66. Popular Errors concerning Cathedral Singing. — A great many people suppose that 
 all the children of the choirs of various Cathedrals sing well because they possess excellent voices. 
 This is a mistake. Almost all the charming quality of vocal tone observed in the choirs of Cathedrals is 
 acquired in the practice-room. The voices which are presented to many country Cathedral organists for 
 selection and training are rarely any better than those which are offered to the choirmaster of an 
 ordinary parish church, and are frequently not so good. 
 
 67. Training is everything. — It is the regular training obtained in the practice room of the 
 Cathedral which produces the result so much admired and so worthy of admiration. The choirmaster who 
 would attain a like effect must resort to like means. He will be able to secure a good chorus-tone in a very 
 short time, if he maintains regular and frequent practice with the assistance of such exercises as are given 
 in the present work, even though the material he has to deal with at the outset is but of mediocre quality. 
 
 68. Lessons and Exercises. — The lessons and exercises given herein are arranged in three sections, 
 graduated in a form which has been dictated by long experience. If they are rightly used, they will be found 
 to be as valuable to the village choirmaster as to the Cathedral organist. The basis of the elementary 
 teaching is the same in either case. 
 
 69. Regularity in Practice. — It is unreasonable to expect good results without careful and regular 
 labour. Spasmodic and intermittent attempts are useless. It is recommended that the exercises be 
 employed in the manner in which they are set out. All must he fairly and properly practised. Regularity in 
 practice must be observed, not only with regard to the days and hours properly appointed, but also with 
 regard to the sequence of the exercises, if real progress is desired. 
 
 CHAPTER VII. 
 
 FURTHER DIRECTIONS FOR PRACTICE. 
 
 70. Formation of Classes. — The selection of voices having been made, the rules for practice 
 carefully studied, the place for practice settled, and other necessary matters attended to, the next step to be 
 taken is to arrange and form the class. 
 
 71. How to Form the Class. — The class should be formed in three divisions or rows, one behind 
 the other. The senior boys should be placed in the back row, boys about ten years of age should be ranged 
 in the second row, and the younger ones in front. This plan should be adopted betause, among other: 
 reasons, different treatment is sometimes required for boys of different ages. r 
 
 72. Promotion in Class. — A boy who is diligent and attentive should be transferred to a higher rank. 
 
 8163 
 
i6 
 
 if possible, and when this is done it has always been found beneficial to mark the event by some special 
 notice. It will be found most useful to encourage the spirit of emulation, 
 
 73. Method, Tact, and Discipline. — It has already been stated that the master should be possessed 
 of method, tact, and discipline. These three qualities are essentially necessary in all who would succeed 
 in the labour of teaching. Many clever musicians are not good teachers for the simple reason 
 that they have never learned how to set to work. A few observations on this subject will be found in 
 Chapter VIII. 
 
 74. Value of Order and Regularity. — Those who have been present at examinations in large 
 schools where elementary music is taught as part of the system of education, could not fail to observe the 
 value of order and regularity in teaching. An ordinary schoolmaster who has learned the method of giving 
 lessons, with perhaps less than a quarter of the knowledge of the music teacher who has not learned such 
 a lesson, will accomplish much more because he has studied the rationale of his art. 
 
 75. Superior Knowledge of the Subject. — Some music teachers think that their superior 
 knowledge of their subject is sufficient, and that the art of teaching will come of itself without preparation. 
 This is an error. The art of teaching, like the art of performing upon an instrument, must be learned 
 with much pains and trouble. 
 
 76. Provision for Teaching Teachers. — It would be a great advantage if the great institutions for 
 making musicians could be induced to provide means for the instruction of those who propose to become 
 teachers. A man may be well skilled in the technical portion of his art. He may be able to play well 
 and to sing well. He should also be taught to teach scientifically. 
 
 77. Ordinary Errors in Teaching. — Many musicians think that the elements of music are so 
 simpl&Hhat a mere informal and even an unmethodical statement of facts is sufficient. They are impatient 
 and astonished when the results of their lessons are not so complete and satisfactory as they desire. 
 
 78. Every Lesson should be Prepared. — Every lesson should be carefully thought out and 
 prepared beforehand. Every new lesson should be preceded by a recapitulation of the last one. All new 
 facts, all new information should be based upon, or grow out of, that which has been previously taught. 
 The master should take care to see that what has been taught has been learned ; and he should 
 make his pupils discover as much as possible for themselves. 
 
 CHAPTER VIII. 
 
 METHOD, TACT, AND DISCIPLINE. 
 
 79. Method. — Good teaching should be slow and thorough, though not dilatory. " Never hurry, 
 but never rest," is a good motto. Education is a very slow process, and the teaching of a subject 
 should be step by step, and very short steps too. Each lesson in the Theory of Music must be so 
 graduated as to be entirely within the grasp of the minds of the pupils. Be careful to find out what 
 is possible for the children to learn, and adapt the teaching to their capacities. Mark out carefully 
 how much is to be taught in, say, a month or a week, and, as a rule, do not exceed the amount. 
 Children commit to memory very quickly, but forget as quickly ; so it is necessary to revise and re-revise 
 the lessons constantly. As soon as a lesson is learned, turn it to some real practical account — for 
 instance, before trying over a piece of music, make a practice of illustrating as much as possible what has 
 recently been learned. Examine the pupils on the key, time, marks of expression, intervals, &c. Try to 
 make the pupils think for themselves, guiding them, and smoothing the difficulties for them. Endeavour 
 to be in the practice-room some little time before the practice hour. See that all books are ready at hand, 
 
 8163 
 
and appoint two senior boys to give out the music and two others to collect each piece as soon as it is 
 done with, so that not a moment may be lost. " Hard work and short hours " is another good motto. 
 
 80. CHOiRMASTERS.^It may be justly said that the salary which choirmasters and organists usually 
 receive is quite inadequate for the work here laid down as necessary ; but be sure of this, that those who 
 give unstinted and effective labour will most certainly obtain the best appointments ; and remember that 
 really competent choirmasters are much sought after, and, as compared with executants, are exceedingly 
 scarce. In these days of high pressure, method and discipline are all-important factors in the success of a 
 choirmaster. 
 
 81. Tact. — Tact is required not only in the management of the class and the individual boys, but also 
 in dealing with any difficulty that may arise. The true tactician, like the poet, is born not made. Still, by 
 a careful study of the rules of method and a knowledge of the means to establish good discipline, the master 
 may so arm himself as to seem to be a good tactician, and so conduct his class, and be ready for any 
 emergencies that may possibly arise in the course of his work, that his common sense will serve all 
 purposes. 
 
 82. Discipline. — The choirmaster who would maintain good discipline must first know what is 
 necessary to secure it. He should exercise discretion in giving commands, and should insist upon exact 
 obedience. His manner should be dignified and decided, but not obtrusive. He should not be noisy. He 
 should not speak more than is necessary. 
 
 83. Obedience. — The master must avoid talking about order and discipline. He should not threaten 
 punishment if obedience is not rendered. He should behave as though he did not expect transgression or 
 disobedience. The discretion in giving commands will obviate the necessity of retracting them. If a rule 
 is made, it must be obeyed. The master must never waver in obedience to his own law. He should not 
 embarrass the pupil with too many commands. Obedience is as much a habit as attention. All habits are 
 strengthened by frequent repetition. 
 
 84. The Law of Habit. — Dr. Fitch confirms this view when he says " Obedience and attention are 
 habits subject to the same law as other habits. The law is that an act frequently repeated becomes easy to 
 us, one seldom repeated is difficult ; all habits are strengthened by repeated acts. Habits make character, 
 though character again reacts on habits." This law has an important bearing on school work. For every 
 time your pupils come into your presence the habit of obedience is being either confirmed or weakened, they 
 are being trained either to prompt and exact obedience, an orderly and observant mind, or the reverse. 
 
 CHAPTER IX. 
 QUALITIES OF A GOOD TEACHER. 
 
 83. The Qualities of a Good Teacher. — The qualities most noticeable in a good teacher are 
 therefore a quiet yet dignified demeanour, a direct and clear way of expressing ideas either in teaching or 
 giving orders, a kindliness of manner, and a never failing firmness of bearing. He is able to command respect 
 from his pupils for his justice of manner, and this respect is genuine and uninfluenced by fear. 
 
 86. The Quality of Good Teaching. — It has already been said that teaching should be " slow and 
 thorough, though not dilatory." There is no doubt that too little time is given to the teaching of musical 
 grammar, the basis of all sound musical education. The master should not grudge taking pains. He 
 should teach carefully and thoroughly, and not expect his pupils " to manage somehow to pick up the 
 music " under rehearsal. 
 
 87. Repetition. — By repetition, it is true, the lessons are learned ; but no amount of repetition is of 
 any value unless the reason for it is shown. The master who thinks that children can " pick up" knowledge 
 
 8163 R 
 
i8 
 
 as chickens pick up grain, forgets that it is first necessary that the grain should be laid down. The same 
 amount of trouble taken to teach children by rote, would produce more valuable results in the future if they 
 were taught to sing by note. The system of repetition without a basis of knowledge is most unsatisfactory 
 and ought not to be tolerated in teaching music, any more than it would be in any other subject. 
 
 88. Pulling Through. — If the master teaches his boys thoroughly, he will be spared many troubles. 
 If knowledge is combined with practice, boys will learn many things in music that are valuable to them in 
 after life. If the teaching is not thorough and consistent, boys become sick and tired of the constant 
 repetition; the performance is never to be depended upon, and the teacher has to be satisfied with 
 having " pulled through " all right. 
 
 8g. Like Master, like Boys. — If the master does not do his work properly, his boys will not do 
 theirs. They will exercise an extraordinary amount of ingenuity to evade their duties, if they are not well 
 looked after. If he becomes peevish and impatient because of their conduct, similar sentiments will 
 actuate their little actions. 
 
 90. Punishment. — Corporal punishment should only be resorted to in extreme cases. The master 
 should study his pupils well, and learn theu" various dispositions, and mete out his chastisements 
 accordingly. That which will deter one boy will often incite another to commit an offence. If the master 
 knows his boys, corporal punishment will be less effective than moral punishment. 
 
 91. Rewards. — Boys should not be encouraged to work in the hope of attaining any other reward 
 than that which comes from the satisfaction of having done well. The master's privilege of grumbling at 
 unsatisfactory work should, if it is exercised, be balanced by such words of encouragement as he may be 
 able to offer wherever the opportunity occurs. 
 
 92. Bullying, — The teacher must take care to avoid goading boys when they are backward and dull. 
 If a child is unable after trial to perceive the force of what he is told, he must be left alone for a while. 
 Some other subject may be taken up in the meantime, and then when a return is made to the original 
 question, the boy will probably have recovered his intelligence. The master should never bully nor 
 countenance bullying. Offenders against this rule should be made to suffer short, sharp, yet salutary 
 punishment, even though the rule of the school is against punishment. 
 
 93. Common Schoolboy Faults. — The common faults of schoolboys are unpunctuality, laziness, 
 untidiness, insubordination, carelessness, and sullenness. These are often encouraged by a want 
 of knowledge of boys' character in the teacher. In each case the boy should be made to see 
 the injury he is doing to himself by the practice of or continuance in a bad habit, and the master must 
 reason with him and make him see his error rather than resort to hasty punishment. The position which 
 a chorister holds, and the constant association with higher things, will probably do much towards 
 mitigating the practice of these vices, and perhaps will eradicate them altogether. Yet the master should 
 be prepared to deal with them if they present themselves. 
 
 CHAPTER X. 
 
 MUSICAL INSTRUCTION. 
 
 94. Musical Education in Choirs. — It may be regarded as a great misfortune that in so many 
 choirs where elaborate music is performed, the state of real musical education is so low. Much of the 
 time which is set apart to make boys sing, parrot-like, music which can only be well performed when the 
 understanding is also well cultivated, might be devoted to such cultivation as is necessary. It is therefore 
 both right and proper that musical education in choirs should be thorough and complete. 
 
 95. Theory and Voice Culture. — In the practice for boys alone, part of the time should be given 
 
 8163. 
 
19 
 
 to the study of theory, another part to vocal practice and voice culture, and the remainder to rehearsing 
 the music for the next services. The theory should be taken piecemeal. At the outset, the time should be 
 devoted to the names and value of all notes and their corresponding rests — the stave, clefs, and so forth. 
 All the elementary work should be carefully disposed. Then, for another week or so, an explanation of the 
 time signatures should occupy attention, and so on through the various stages of elementary theory. There 
 should be occasional examinations to test the value of the work done, and, if possible, prizes should be given 
 to the most satisfactory pupils. At all events, some special encouragement should be given to those who 
 have done well. 
 
 96. Working in New Fields. — When a choirmaster enters upon a new field of work, and finds 
 his choir much below the mark in knowledge of theory and voice culture, it is a good plan to 
 simplify the singing for a time, until the standard can be raised. If the method of singing is bad, the 
 amount of singing during the service should be lessened for a time. It is during the performance of the 
 music for the service that all the old bad habits are practised unchecked. The choirmaster is unable to 
 prevent them. When a young choirmaster undertakes new duties in a church where a choir is already 
 established, if he finds that the boys sing chiefly or entirely from the chest voice, he should form a probationary 
 choir, and train the new boys according to the instructions contained in this book. After six months or so 
 they may be drafted into the choir as occasion arises, but up to the time of their admission they should be 
 trained separately and kept carefully apart, so that the bad habits of the old choir may not be learned 
 by the probationers. 
 
 97. Singing Difficult Music. — Difficult music should never be attempted while the choir is in 
 such a condition as that named above. Everything should be as simple as possible until matters are 
 placed upon a different basis. In numberless cases far too much is attempted, and the ambition of the choir 
 prompts them to undertake music which is beyond their powers, to the detinment of the service in which 
 they take part. 
 
 98. Singing as an Art. — It is a matter for much regret that too little time is given bj 
 choirmasters to the study of singing as an art. This fact should not be overlooked. If a choirmaster 
 takes an interest in his work, he will so drill his boys that they will be able to sing the ordinary solos in 
 the anthems and services in common use, not only sufficiently well at the ordinary services, but also on 
 festival occasions when special importance is given to the music. 
 
 99. Reading at Sight. — A good choir, men and boys, ought to be able to read ordinary music 
 at sight. It ought not to be necessary to try pieces of moderately difiicult music many times before 
 making it as perfect as circumstances will permit. The black-board should be in constant use, and. 
 at first, at each lesson, the scale of C major should be written out, and the boys requested to sing any 
 note pointed out . by the teacher. This should form part of almost every lesson. Later on, other scales 
 may be taken and accidentals introduced. Another most useful exercise is to distribute a collection of 
 chants, single and double, and sing them through in consecutive order, the teacher explaining the new 
 scale to the pupils when necessary ; but to do this with any success, considerable advance must have been 
 made in the theory of music. 
 
 100. Quality of Tone in Singing. — ^The quality of tone produced by the boys in the practice-room, 
 and by the whole choir combined, should be pure and free from harshness, and the enunciation as clear as 
 possible. The shape of the resonance box formed by the hollow of the mouth materially affects the 
 quality of the tone produced. The master should be careful to check all that kind of singing which is 
 called " throaty," but which might be more accurately described as " tonsillitic," and stop every form of 
 nasal production. (See paragraph 47.) 
 
 loi. Enunciation. — Care should be taken to secure good enunciation of the words to be sung. It is 
 not necessary here to point out all the faults of pronunciation likely to be met with by the choirmaster in 
 
20 
 
 the course of his duties. If he is observant, he will note them for himself. As a general rule, it may be 
 as well to call attention to the value of the consonants in the words which are to be sung, and to endeavour 
 to promote uniformity of pronunciation of the vowel sounds. Boys in and near London pronounce the 
 English a as in " face " as though it were written " foice," or, when there are any pretensions to refinement, 
 as though it were written "fece." Thus "grace " maybe either "groice"or "grece," " no" is "now," " yes" 
 is " yus," and there are other peculiarities of pronunciation which must be checked and corrected. With 
 country boys, the rolling of the letter " r " is not to be counted so great a fault as the peculiar rustic 
 " burr " with which the sound is uttered. A fault common to boys of all kinds, metropolitan or provincial, 
 is that of running words one into the other, or tacking the final consonant on to a following word which 
 begins with a vowel, or omitting important consonants. Thus, " my stony rock, and my defence " 
 becomes " my stonyrockon myde fence " ; " As it was in the beginning, is now," becomes " As it was sin 
 the beginnin' nisnow"; "And ever shall be" is made to sound as though it were written "An dever 
 shalby." Special attention should be paid to clear enunciation in the Confession, the Lord's Prayer, and 
 the Creed. These being so well known and so frequently repeated, become at times, through carelessness, 
 almost unintelligible, and the effect most irreverent. 
 
 102. Expression. — Expression iri music is not only the due observance of light and shade in 
 performance, but also includes the accurate association of the musical sounds with the words, so that the full 
 intention of the composer's music and the meaning of the words may be properly conveyed. Expression in 
 music is regulated oratory guided by defined tones and well ordered rhythm. These qualities are instantly 
 felt by the hearers if they are carefully attended to by the performers. Too much trouble cannot 
 be taken to present them properly; even during a hurried practice they must always be observed 
 carefully. 
 
 103. Accompaniments. — There is no doubt that a good organist can instinctively inspire his choir to 
 the delivery of music expressively. There is always a strong feeling of sympathy awakened in the minds of 
 singers, if they feel that they are well supported in their efforts by the organist. He has much more 
 influence over the performance of the singers than is generally imagined. On his part, therefore, it is ■ 
 necessary that he should play with the greatest care and refinement with regard to expression in the 
 accompaniments. If anything, at rehearsals he should err in making too much of the changes of time and 
 mood indicated by the composer in his music. Besides this, his playmg should indicate, as clearly as 
 possible, all those subtle shades of expression which are understood, but are not always marked in the 
 composition. 
 
 104. The Pianoforte. — As before intimated, the pianoforte has been advocated as preferable to any 
 other instrument for accompanying vocal exercises and the music for the services and anthems in 
 practice time. It responds more readily to the ever-varying ideas of the player, and greatly helps to 
 emphasise those degrees of expression which are necessary in all good singing. 
 
 105. Its Advantage. — In employing the pianoforte in the practices, the choir will instinctively 
 reproduce, in their several parts, those ideas as to expression which have been suggested by the player. 
 The result will be a great assistance towards the highest aims a choir should have in view. On the other 
 hand, the organist is certain that whatever failings he may possess and exhibit in his performance, they will 
 appear in an exaggerated form in his pupils. It is therefore of the utmost importance that he should always 
 play with the greatest care, and keep in view the highest aim to gain a sympathetic rendering 
 of the words associated with music. 
 
 8J(!» 
 
CHAPTER XI. 
 
 THE BREAKING OF THE BOY'S VOICE. 
 
 io6. The Breaking of the Voice. — The most disheartening experience in the work of the choirmaster 
 occurs when his most carefully trained, and perhaps his best boy, suffers that inevitable change 
 which is generally known as the breaking of the voice. For this reason it has been urged that no musician 
 is placed in so unsatisfactory a position as the choirmaster. 
 
 107. Customary Experiences. — Notwithstanding the fact that the breaking of the boy's voice is 
 one of the customary experiences of the choirmaster, it is a matter which always brings with it a great 
 amount of regret. The boy candidate presents himself for trial, say at about eight years, of age. He is 
 admitted to the choir, and for about two years he appears to be of no appreciable value. At eleven, or 
 thereabouts, perhaps, his voice begins to show signs of development and promise. He continues to 
 improve until he is about twelve, then possibly for two years or so his voice is at its best. Then comes 
 total collapse. 
 
 108. Provision against Accidents. — Taking this matter into consideration, it is a mistake to have 
 too many boys of the same age in the choir ; if so, many breaks will occur about the same time, and the 
 choir will be reduced to an inefficient state. The young choirmaster should not overlook this fact, as it is 
 of vital importance. It is therefore necessary to provide against accidents of this sort, and to arrange the 
 choir in manner conformable. 
 
 109. How to arrange a Working Choir. — In a working choir of about sixteen boys, the ages of the 
 children should be thus arranged : — 
 
 4 boys from 12 to 13 years of age. 
 
 4 „ II to 12 „ 
 
 4 „ 10 to II ,, 
 
 4 ., 9 to 10 
 
 There should also be at least four probationers from eight to nine years of age. 
 
 no. Uniformity in Choir Singing. — It may not always be found possible to follow this scheme 
 entirely, but if it were kept in view, and an earnest endeavour made to adhere to it as far as possible, a great 
 uniformity of singing in the choir would be obtained and a regular succession of voices kept up. The 
 teaching of the choirmaster would show more even effects, and the tradition he has established would be 
 more equally maintained. 
 
 111. Probationers. — The choirmaster should recognise the necessity of having plenty of young 
 probationers under training so as to supply yacant places, and separate practices may be organised for 
 them. Immediately a voice shows decided symptoms of change or of breaking, its place should be supplied 
 by one or other of the probationers. 
 
 112. The Broken Voice. — Some choirmasters retain a boy in the choir after the voice is broken. This 
 should never be done. It is likely to injure the vocal tone for ever after. Many otherwise fair musicians 
 have been deprived of vocal power by this reprehensible practice. A boy whose voice is changed or broken, 
 ought no more to be allowed to sing than a man with a fractured limb ought to be permitted to walk or use it. 
 There is no doubt that many valuable voices are lost through overstraining their powers at the period of the 
 break. The custom of retaining boys in the choir after the change has commenced, although it has some 
 scientific defenders, is to be deplored. 
 
 113. Spoiled Voices. — It is almost a certainty that boys who are permitted to overstrain the vocal 
 organs at this period will never, as men, possess good voices. They may be able to sing well, it is true, because 
 they have learned the principles of voice production, but in most instances all vocal tone has been 
 destroyed. The practice of allowing boys to sing while their voices are in a transitional state is unartistic 
 
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 (as the tone is unnatural), and the effect is so painful that all pleasure in the music they perform is totally 
 extinguished. An apparent exception to this rule sometimes occurs with very light or thin voices, which 
 never appear to break (in the ordinary sense of the word) at all. These generally develop gradually into 
 alto voices. 
 
 114. The Period of the Break. — The breaking of the voice takes place between the ages of thirteen 
 and sixteen. Cases outside these limits are exceptional. Voices have been known to retain their treble 
 quality up to the age of twenty-four years ; others have collapsed at twelve. The process is sometimes 
 rapid, and occupies only a few days. With some boys it is extended over a year, and even over two years. 
 
 115. Symptoms of the Break. — Sometimes the higher notes disappear for a considerable time before 
 the lower ones are affected. Sometimes the lower register becomes unnaturally weak and unmanageable, 
 while the upper notes retain their usual quality. Sometimes the voice becomes very hoarse, and the boy 
 is under the impression that it is under the influence of a bad cold. Frequently there is a separation 
 
 between the upper and the lower registers of the voice, with ^y r as the point of parting. 
 
 116. Rare Cases. — There are cases which may possibly fall within the experience of young choir- 
 masters, although they are very rare. One, where the voice is only slightly affected, and without any 
 apparent reason remains without further change for a year or more. Another where the voice never seems to 
 break at all, but the lower register becomes thicker and more manly in tone. Another where the singing 
 
 i 
 
 voice retains the register of an octave between 
 
 ZZ3Z 
 
 of the "childish treble," while the 
 
 speaking voice only becomes fuller and gruff in tone. 
 
 117. Numberless Symptoms. — In almost every case new notes of chest quality are developed from 
 
 i| ^ downwards, while the notes between ^ ^ — c^ . ^j.g liable to "fly." Again, the 
 
 y 
 
 speaking voice frequently changes before the singing voice is affected. In fact, there are numberless 
 symptoms which may present themselves in the ordinary course of voice changing. Probably no two are 
 entirely alike. 
 
 118. Opinions of Physiologists. — Various opinions are advanced by physiologists as to what 
 actually takes place in the vocal organs at the period of the breaking of the voice. They are all very 
 interesting, but as they do not come within the scope of the present work, it is unnecessary to do more than 
 allude to them. The young choirmaster, however much he may be attracted by the subject, is advised 
 not to waste his time in studying it, more especially as physiologists, with all their knowledge and their 
 worthy anxiety to advance the cause of science, are at present unsuccessful in agreeing with each other. 
 
 CHAPTER XII. 
 
 GENERAL REMARKS. 
 
 119. Ordinary Disappointments. — One of the most ordinary disappointments experienced by the 
 young choirmaster is when he finds that boys do not always fulfil early promise. This may proceed 
 from several reasons. The great physical changes already mentioned, which take place in the first years 
 of boy life, may deteriorate instead of developing the voice. Health, nervousness, want of musical taste 
 or of intellect, and many other causes may affect the culture of the voice, and give rise to disappointment. 
 
 120. Bodily Exercises. — All exercises which tend to promote the health of the body, provided that 
 they are not too violent, are believed in the long run to be beneficial to the voice. In choir schools, where 
 
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23 
 
 singing forms the principal part of the boy's duty, special care should be taken in the choice of suitable 
 games. Those games in which shouting is considered a necessary element should not be indulged in. 
 The exercise of the voice in shouting overstrains it and brings on hoarseness, and perhaps loss of vocal 
 power. 
 
 121. Eating. — Great care should be taken to feed singing boys properly, and all indigestible and 
 harmful food should be avoided and forbidden. Eating nuts should not be permitted at any time. Some 
 masters permit the indulgence after work is over and singing is finished for the day. But nuts are not 
 easily digested, and may throw the eater out of health and incapacitate him for his work for days 
 to come. 
 
 122. Schooling for Choristers. — Where a special chjoir school is found to be too expensive, it is a 
 good plan to make arrangements with an ordinary school in the neighbourhood to take the choristers for 
 the purpose of education apart from music. The choirmaster should arrange to attend immediately the general 
 school work is done, either daily or at specified intervals, not less than three times a week for half-an-hour's 
 practice in vocal exercises and for instruction in the grammar of music. 
 
 123. Weekly Practice. — There should be two evening practices in each week besides those mentioned 
 above : both should be held in the choir room or vestry, one for the boys alone and the other for the full 
 rehearsal of all the choir. These rehearsals should be carefully planned with regard to the allowance of 
 time for each subject- The music for the service will, of cqurse, claim chief consideration. 
 
 124. Faults in Choristers. — The most noticeable faults in imperfectly trained choristers are those 
 
 ^ o .-V — r 
 which arise from the lack of power to sustain certain notes, such as (^) for any length of 
 
 time, the coarseness of tone, and the want of control over the junction or " break " in the voice between the 
 " chest " and " head " registers. 
 
 125. Special Caution. — The present little book is intended to serve as a monitor to all choirmasters 
 who may recognise the difficulty spoken of in the preceding paragraph and desire to remedy it. It is 
 therefore worth while here to repeat the caution heretofore given and to make it special by repetition, 
 namely : that the master should be ever on the watch to guard against forcing the lower register too high in 
 
 the scale beyond its proper compass, ^^ rjz^B. 
 
 and to guard against coarseness of production. 
 
 126. Soft Singing. — He should also make every endeavour to obtain soft singing and a good quality of 
 tone. This demands great watchfulness. Every time the voice is used carelessly, the chances of ever 
 improving its quality are greatly reduced. Should the practice of using the chest voice to an undue extent 
 be persisted iti after the age of ten, the case may be considered hopeless. 
 
 127. Difficulty of Joining the Registers. — Some boys can never conquer the difficulty of joining the 
 registers of the voice in a smooth and even manner. They cannot pass from one register to another in the 
 imperceptible way which marks the good singer. Boys with large, full, horn-like tone are those 
 who experience most trouble, and their voices are most likely to be ruined by imprudent use. Soft singing is 
 a palliative if not a cure, and constant practice of exercises on the vowel sound " 00 " is the only remedy 
 known to prevent the undue forcing of the chest register. To obtain evenness of tone throughout the 
 
 compass, the boys should be made to sing the lowest octave of the lower notes ^) ^ softly, 
 
 TT 
 
 so as to blend with the upper register in point of quality. After a time the strength may be increased a 
 little, but special care must be taken not to force notes from ^^ — bs* ~ in obstinate cases good 
 
 results have been obtained by practising all scales from the upper note downwards, as the voice is more 
 easily changed in this way than in the ascending scale. 
 
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24 
 
 128. Temper and Temperament. — The temper and temperament of certain boys greatly influence 
 their singing. Some boys become excited, and exert themselves beyond their natural powers, and so 
 destroy their voices. Others, from love of singing, or from a sense of duty, do more than their share of the 
 vocal work, and so injure their voices. It is sad, but it is true, that the boys who possess the most acutely 
 musical dispositions are those who are most likely to be affected by this ruinous practice of singing too loud. 
 
 129. The Secret of Training. — The golden rule in training choir boys may therefore be said to be — 
 
 Never force the chest voice at any time, and especially above ^ \ bo ^^ - It is not too much to say 
 
 w- 
 
 that the whole secret of training boys successfully depends upon the observance of this canon ; therefore- 
 the master should be ever on the alert to enforce this rule. If he observes this and other rules 
 contained in these pages, and adapts them to his own experiences, he will soon distinguish himself in this 
 branch of his profession. 
 
 130. Hints as to Management of Choristers. — One of the great trials of a choirmaster is when he 
 finds that a boy, whose traiiiing has cost him much time and trouble, suddenly departs to another church 
 where he is more highly paid. Any hints to prevent this disaster will therefore be welcome. In some 
 quarters the following plan has beeii found successful. Choristers are paid merely a small nominal sum 
 per quarter as salary. In addition to this a certain sum is set apart every month, and credited to each boy 
 according to the number of marks gained by him for usefulness, behaviour, &c. This money, which 
 must be called a free gift or Bonus, is given to the boy, provided : First, that he remains in the choir as 
 long as his voice is useful ; second, if he leaves with a satisfactory character. It will be seen by this that, 
 as each month passes by, and the bonus money has been regularly added to, it becomes more and more to 
 the advantage of the chorister to behave well and be as useful as possible. At any time this bonus, or part 
 of it, may be forfeited by bad behaviour or unsatisfactory work, and this gives the choirmaster a strong 
 hold over the boys. This bonus must never be spoken of as salary, otherwise the boys could legally claim 
 it at any time. Each chorister is provided with a book, in which his bonus money is written at the end of 
 every month. Another system is to have an agreement drawn up, binding the parents or guardians of the 
 boj' to pay a stipulated sum in the event of his withdrawal from the choir without the consent of the 
 choir authorities. 
 
 CHAPTER XIII. 
 
 MARKS OF EXPRESSION. 
 
 131. Signs of Expression. — The chief words employed in music to indicate expression are Loud and 
 Quick, with their contrasts Soft and Slow. These are sub-divided into many degrees by the addition of 
 words which modify them thus : moderately loud, rather quick, very soft, or somewhat slow. These 
 expressions are sometimes written in EngHsh and sometimes in Italian. 
 
 132. Words relating to Steady Pace : — 
 
 Grave, largo, very slowly and solemnly. 
 
 Adagio, slowly and expressively. 
 
 Lento, slow. 
 
 Andante, moderately slow and smoothly (literally, " going ")» 
 
 Vivace, quick and lively. 
 
 Presto, very quickly. 
 
 Allegro, cheerfully. 
 
 A llegretto, moderately quick. 
 
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25 
 
 These words are often modified by other words, such as : — 
 
 Mosso, Con moto, with movement. 
 
 Molto, much. 
 
 Piu, more'. 
 Altering pace is indicated by the words — 
 
 Stringendo, hurrying. 
 
 Ritardando, keeping back. 
 
 Accelerando, hastening or quickening. 
 
 Rallentando, slackening. 
 133. Loud and Soft : — 
 
 Forte, loud, written /or /or. 
 
 Fortissimo, as' loud as possible, 'ff. 
 
 Piano, soft, written / or /««. 
 
 Pianissimo, as soft as possible, pp. 
 
 Crescendo, gradually increase from soft to loud. 
 
 Decrescendo, gradually decreases from loud to soft. 
 
 Crescendo is sometimes indicated by the sign — =:::i 
 
 Decrescendo is sometimes indicated by the sign '- ' — 
 
 Staccato, taken off, sometimes indicated by placing dots or dashes over the notes 
 
 . J J . i 
 
 5 
 
 This signifies that the notes lose a quarter of their duration power and should be sung as though 
 
 H — I — t — -. — H 
 
 written 
 
 W: 
 
 ■qp-qi^-q^-gi ^ 
 
 When the dash is used 
 
 half their duration power and should be sung as though written e^ 
 
 9' r r r r 
 
 the notes lose 
 
 S 
 
 =^=#=^ 
 
 a slur 
 
 Legato, tied, the opposite to staccato. It is usually expressed by the bowed line or sign called 
 
 when this same bowed line connects two notes of the same sound 
 
 i 
 
 9' r i ri^^-j 
 
 together 
 
 i 
 
 s 
 
 ^^ 
 
 it is called a bind. 
 
 134. Abbreviated Signs : — 
 
 Accel, for accelerando, hastening or quickening. 
 Ad lib. for ad libitum, at will. 
 Cres. for crescendo, increasing. 
 Dim. for diminuendo, diminishing. 
 D. C. for da capo, from the beginning. 
 
 D. S. for dal segno, from the sign S, and to mark a place for repetition to begin. 
 f iov forte, loud. 
 ff iov fortissimo, loudest. 
 fz for sforzando, forcing the sound. 
 mf iox mezzo-forte, rather loud {mezzo, meaning half). 
 p for piano, soft. 
 pp for pianissimo, the softest. 
 Rail, for rallentando, getting slower. 
 Rit. for ritardando, keeping back. 
 Str. for stringendo, hurrying. 
 Other terms may be seen in the Primer of " Musical Terms." 
 
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26 
 
 135- Verse and Full. — In services and anthems, certain portions intended to be sung by a single 
 voice to a part are marked " Verse." Those parts intended to be sung by the whole of the voices are 
 marked " Full " or Chorus. When more than one voice to a part is required, but not the whole choir, the 
 music is marked Semi-chorus. 
 
 136. Decani and Cantoris. — In all Cathedrals and in many churches arranged upon the Cathedral 
 model, the choir is divided into two sections, one sitting on the South, the other on the North side of the 
 church. That on the South is called Decani, from Decanus a dean, because the Dean usually sits on that 
 side ; that on the North is called Cantoris, from Cantor the singer, because the Precentor or the leader of 
 the singers sits on that side. 
 
 CHAPTER XIV. 
 
 CHANTING. 
 
 137. The Canticles. — Certain of the Canticles — namely, the Venite, Jubilate, Benedicite, Benedictus, 
 Magnificat, Nunc dimittis, Deus Misereatur, Cantate Domino, and sometimes the Te Deum, are recited 
 to a set composition called a Chant. Chants are Single and Double. A Double Chant is a double repetition 
 in form of the single chant. The extra length is used for the purpose of extending the melodic phrase. 
 
 138. Chants. — The Single Chant is employed for one verse of the Canticle or Psalm. The Double 
 Chant takes two verses for its complete performance. There are also Quadruple Chants, which are sung to 
 four verses. Each chant, single or double, is written in phrases of seven bars of two minims each, or their 
 value. The first half of a chant, called the Mediation, has three ; the second, called the Cadence, has four 
 bars. The double chant is this arrangement repeated. 
 
 139. Reciting Note. — The verses of the Psalms or Canticles are arranged in a peculiar way for the 
 purposes of singing. This arrangement is called pointing. Each choir selects its own " Pointed Psalter." 
 The first note of each half of the chant is called the Reciting Note, and it is found that the smoothest 
 chanting is attained when as much as possible of the verses is given to the reciting note. 
 
 140. Difficulties of Chanting. — The difBculties of obtaining good chanting may be overcome with 
 care. Every attention should be paid to the sense and meaning of the words. The recitation should 
 never be hurried. Due attention should be paid to stops, but it should be added that too long a pause is 
 frequently made at commas. The very slightest pause is all that is necessary. Every word should be 
 clearly and distinctly delivered, and a slight rest should be made on those words which form the starting- 
 point from recitation to the rhythmical part of the chant. Where the Cathedral Psalter is used, periodical 
 attention should be called to the examples given in the Preface, in which will he found specimens of all 
 difficult cases. 
 
 141. Chief Faults to be Avoided. — The reciting note should not be hurried. The pause or accent 
 before entering upon the rhythmical portion of the chant should never be long, or too much emphasized. 
 When there are words between the accented word and the bar, take care to enunciate them clearly. Ex. : 
 " He shall f6ed me in a | green | pasture." If a "pointed " book is chosen, adhere to its principles, and 
 avoid making impromptu alterations. Nothing affects the integrity of chanting so much as want of 
 uniformity. 
 
 142. Reading before Singing. — It will be found to be very useful if the Psalms and Canticles for the 
 day are read over first before singing them in the practice room. If it is possible to give some general idea 
 of their meaning and intention it will greatly help the intelligent performance of them. 
 
 143. Decency and Order. — The choirmaster should be careful to impress upon the minds of his 
 
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27 
 
 pupils, by example even more thaft by precept, the importance of the service in which they are engaged. 
 The temptation to make personal display should at all times be checked. The good effect of many a choir 
 is marred by the persistent effort of a single member to give undue prominence to his voice. Everything 
 should be done with the highest aim and in the quietest manner, and so the decency and order necessary 
 for the due performance of Divine Service will be maintained. 
 
 CHAPTER XV* 
 
 DIRECTIONS FOR THE TEACHER. 
 
 144. (a) Each pupil should have a copy of the vocal exercises in order that his eye may follow the 
 notes. 
 
 (&) The teacher should not write out the singing lesson for the day on the blackboard, for he will 
 embarrass himself and make his lesson inelastic and hampered by a boundary which will be found inconvenient 
 at times. 
 
 (c) It may be advisable in the course of the work to be done in voice training, to take lessons from 
 various parts of the book as more suitable for the purpose. 
 
 (d) This cannot be done if the lessons are written upon the blackboard beforehand, and much valuable 
 time will be wasted while the lesson is being written out. 
 
 (e) For ordinary demonstrations in theory lessons, such as teaching the signs and characters in music, 
 the blackboard must be used. 
 
 (/) It is recommended, however, to have a white board made which can be written upon with a black 
 crayon or cha.rcoal. This has many advantages over the black-board, inasmuch as the characters are 
 presented to the eye in the manner most frequently met with in practice. 
 
 (g) A square of white or light grey American cloth stretched over a board, similar to the black-board, 
 on which the five lines of the stave are drawn with black paint will be found most convenient. 
 
 (h) The notes and signs can be written with charcoal or soft crayons. When the lesson is over the 
 cloth may be wiped with a wet sponge or a damp cloth. 
 
 (i) It may be suggested that four staves be painted on the American cloth, so that if the class is 
 advanced sufficiently to enter upon the study of harmony, the chords may be set out in four parts, each 
 part in its proper clef. 
 
 CHAPTER XVI. 
 
 MUSICAL EXERCISES. 
 
 145. Character of the Exercises. — These exercises, original and selected, have been arranged in 
 stages. There are exercises in intervals, and for the cultivation of expression, and the development of 
 the vocal organs generally. Among them will be found songs by Purcell, Scarlatti, Handel, and 
 Mendelssohn. The tenor songs referred to in the list will be found most valuable for the development 
 of that part of the voices of boys in which the compass of the melody lies, while the airs which follow the 
 exercises in each stage, besides being interesting in themselves, will conduce to good phrasing and 
 development of voice and musical expression. 
 
 146. First Stage. — This stage is intended for small choirs where elaborate music is not used, but 
 
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 only chants and hymn tunes, with an occasional easy anthem or chanted canticles. Only so much theory 
 should be taught as will enable choir boys to read at sight simple tunes in keys up to four sharps and four 
 flats. As suggested in the Preface, the choirmaster must select the system for teaching which best 
 commends itself to his fancy.* 
 
 147. Lessons in Breathing, &c. — It may be assumed that the boys are arranged in three rows as 
 advised in Section 71. The first part of the lesson must always be devoted to some branch of elementary 
 theory. This may be taught while the boys are sitting. Then for some few weeks after the formation of 
 the class, the next part of the lesson will be occupied in teaching the proper manner of breathing. At the 
 outset of this, the boys must be made to stand in an upright position, both feet being firmly planted on the 
 floor. During the breathing exercises, the hands should be placed behind the b^ck in as easy an attitude 
 as possible, so as not to cramp the body in any way. The mouth must be slightly opened, and the air drawn 
 gently in. When a full breath is taken, the chest, ribs, and abdomen must be enlarged and expanded. 
 Any tendency to raise the shoulders must be considered a sign of bad breathing. Four slow 
 beats should be counted during this process, and the breath should be taken slowly, silently, and 
 very evenly. The breath thus drawn must be carefully retained in the body without the slightest escape, 
 while four is counted. Then with a strong effort of will and command of the muscles, the breath must be 
 evenly and gradually expired while another four of equal measure is counted. Thus twelve beats will 
 be used. Four to take breath, four to hold it, and four to let it gently forth. The greatest care and 
 patience is required at the beginning of the expiration so as to prevent too great an escape of air at first. 
 Five minutes' practice each lesson will soon make the matter comparatively easy, and at all events effect a 
 great improvement. The master must not be tempted to shirk this lesson, as it is of vital importance. 
 
 148. Further Lessons in Breathing. — First see that the air is taken evenly and quietly, filling 
 the chest, ribs, and abdomen, which will enlarge themselves if the breathing is properly done. Then see 
 that not an atom of air escapes. It is most important that the teacher should explain to the boys that 
 considerable mental force is required to prevent the air from rushing out too quickly at the beginning of 
 the process of expiration. The rate of respiration should be at the same pace as that of retention and of 
 expiration of the breath. 
 
 149. Breathing and Singing. — After the breathing lessons, the boys are ready to begin 
 
 singing, softly, any of the following notes 
 
 i 
 
 5 
 
 ^^ c '' ■ ' 
 
 Each note taken should be 
 
 previously sounded upon the pianoforte. Four should be counted for the inspiration of the breath, then 
 the note should be sung very softly, care being taken to reserve the breath, and not allow too much to 
 escape at first. Each note should be sung while four is counted. 
 
 150. Beating, Breathing, and Singing. — Beating time must be practised separately at first, without 
 the breathing or singing exercises. Begin with two in a bar, then three, then four, and when this can be 
 done easily, automatically, and without mental effort, then six in a bar should be learnt. It should be an 
 inflexible ruje that the beating be done in such a manner as to be seen by the master during the exercise, 
 and without labour or violent effort. The body must be kept steady, and not shaken or jerked by the 
 movement of the hand, so that when beating is combined with singing or breathing, or both, a perfect 
 steadiness of tone should be maintained. The beating or describing time must always be insisted on 
 during the singing at practice. 
 
 151. Exercises in Stage One. — After these exercises, which will only occupy a few minutes in each 
 lesson, the pupils may advance to the studies given in Stage I. At first only a few exercises will be sung, 
 
 * As a theoretical and practical book " A Manual of Singing," by Richard Mann, can be strongly recommended ; while 
 " Rudiments of Music," No. 2 of the present series, will be found to contain everything necessary in the matter of theory. 
 
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29 
 
 and after a short time they should all be taken at every practice. The position most suitable for singing 
 the exercises in Stage I. is standing with the back of the left hand placed behind the small of the back, 
 while the right hand is raised in front to about the height of the elbow, so that the boy may beat time 
 with ease. This position, of course, implies a desk for the music. In a school-room, this will be easily 
 supplied ; but in a vestry or choir-room, desks must be specially made. They should be of moderate 
 height, so as to enable a boy to see his copy, even when sitting down. A sitting posture, of course, is not 
 the best ; but the master must reniember that standing during a long practice is exceedingly fatiguing, 
 and it is most desirable that the pupils should have opportunity of sitting for a few minutes now and then. 
 These exercises should be sung to all the vowel sounds, but especially to " La," the mouth being opened 
 as explained in Section 47. In an ascending scale above C, the mouth should be gradually opened wider. 
 
 152. Chest and Head Voice. — The master must remember what has been already said so 
 often, that the lower register, chest voice of boys, must not be forced upwards. This quality of 
 voice must only be used softly, and the head voice must be strengthened and increased in compass. 
 
 I22Z 
 
 The notes from A to E ^^g-^—^rz : must always, during the early stages, be taken in the head voice 
 
 only. The choirmaster's most difficult work will be found at this period, when the training and 
 development of these few notes has to be undertaken. It will be observed that these five notes, and of 
 course the intermediate semitones, can be sung in two ways — that is to say, either by chest or 
 head voice. If the chest voice is used strongly the tone is coarse and unmanageable, and the remaining 
 portion of the compass of the voice is of a totally different quality, so that the hearer is led to believe that 
 the vocal sounds are produced by two singers. The effort necessary to force the higher notes from the 
 chest involves an amount of physical exertion beyond the capacity of the pupil, so that painful contortions of 
 the face are the result, and the exertion may be attended with serious effects. On the other hand, boys who 
 take these notes with the head voice not only possess a complete and uniform compass, but they are able to 
 sing as much as four hours in a day without the slightest sign of hoarseness or fatigue. 
 
 153. The Sound " 00." — The master should be ever on the watch when these five notes form the 
 exercise. He should remember what has been said in Section 127, that (on account of previous bad training) 
 should these notes be sung loudly in chest tone, one of the best means of checking it is to have all the 
 exercises sung to the sound " 00," as in spoon. While using this sound it is absolutely impossible for boys 
 to sing the notes mentioned in any other than the head voice, consequently this again is a matter always 
 to be borne in mind by the master. 
 
 In vocalising the following exercises, the notes must be very ev&nly articulated ; and from No. 27 to the 
 end, special care must be taken to sing so slowly that each quaver can be heard distinctly. To slide over these 
 notes indistinctly is merely a waste of time. 
 
 The exercises in the Third Stage — Nos. i to 10 — are by Sir John Stainer, and by his great courtesy 
 the author is permitted to include them in this book. They have stood the severe test of twenty years' 
 daily use, and the writer is quite convinced that, if choristers are properly grounded in the first two stages, 
 these ten exercises contain all that is necessary for daily practice, always taking care that scale practice is 
 daily maintained. 
 
 81P.4 
 
No. 1. 
 
 r Voice. 
 
 30 
 
 FIRST' STAGE. 
 
 SCALES AND EXERCISES. 
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 8163. 
 
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 ^-rr— g =af-P 
 
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 ^ 
 
 E^ 
 
 4=ti=1: 
 
 ^c/ 
 
 No. 35. 
 
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 i?irrrf ic ,^i ^p ffl]jB^ 
 
 dim. 
 
 H^ ^ ir M i ^ f 
 
 :^E^ 
 
 31 
 
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 No. 36. 
 
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 8163. 
 
i 
 
 ,No. 37. 
 
 40 
 
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 No. 38. 
 
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 816&. 
 
41 
 
 No. 39. Slowly at first — then quicker. 
 
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 No. 40 
 
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 !): Or the Accompaniment may be played by crotchets, as in the preceding. 
 
 8163. 
 
No. 41. 
 
 42 
 
 MU^j- 
 
 
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 b^H-^^-^^i^i-^ frf p fr pFff 
 
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 No. 42. Very slowly at first — then quicker. 
 
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 No. 43. 
 
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 8163. 
 
43 
 
 No. 44, 
 
 CI p 
 
 p 
 
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 f^Cf/ | Ci: r:fr i ri :r ^ 
 
 / dim. ^^ ^*J 
 
 ^ \ } ^ \ i ^ 
 
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 fe 
 
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 No. 45. Very slowly at first — then quicker. 
 
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 ,No. 46, 
 
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 No. 47. 
 
 <{im. 
 
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 ^ 
 
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 8163. 
 
44 
 
 No. 48. Air.—" but THOU DIDST NOT LEAVE HIS SOUL IN HELL." 
 
 FROM " THE MESSIAH." 
 
 ^^ 
 
 Andante Larghetto. 
 
 Handel. 
 
 Voice 
 
 Piano. 
 
 f 
 
 Andante Larghetto. 
 
 
 =^S^ 
 
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 But Thou didst not leave His soul in . . hell, 
 
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 Thou didst not leave His soul in . . hell, nor didst Thou suf-fer, nor didst Thou suf - fer Thy 
 
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 8163. 
 
45 
 
 soul in hell, 
 
 
 nor didst Thou suf-ferThyHo - ly One 
 
 to see cor-rup-tion, 
 
 
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 nor didst Thou suf - fer, nor didst Thou suf - fer Thy Ho - ly One to 
 
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 see cor - rup - tion. 
 
 nor didst Thou suf- fer, nor didst Thou suf- fer Thy 
 
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 8168. 
 
46 
 
 No. 49. 
 
 Air.— "HOW BEAUTIFUL ARE THE FEET." 
 FROM "THE MESSIAH." 
 
 ^ 
 
 Larghstto. 
 
 Handel. 
 
 Voice. 
 
 ^^ 
 
 Larghetto 
 
 VWr 
 
 
 :^ 
 
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 Piano. 
 
 #= 120. 
 
 w/ 
 
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 How beau - ti- fill are the feet of them that preach the gos-pel of peace, how 
 
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 beau - ti- fill are the feet, how beau- ti- ful are the feet of them that preach the gos-pel of peace. 
 
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 how beau - ti- fill are the feet of them that preach the gos- pel of peace, 
 
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 8163. 
 
47 
 
 
 off 
 
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 bring glad ti 
 
 d — » 1^—0 
 
 dings, and bring glad ti 
 
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 ^3= 
 
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 dings, glad ti - dings of gaod things, 
 
 and 
 
 
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 bring glad ti 
 
 dings, glad ti- dings of good things, and bring 
 
 glad ti - dings, glad 
 
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 ti - dings of. . good things, glad ti - dings of 
 
 good things. 
 
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 816.3. 
 
No. 1. 
 
 Moderato. 
 
 48 
 
 SECOND STAGE. 
 
 EXERCISES. 
 
 ^^^. 
 
 1 ^- 
 
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 p^ 
 
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 8163. 
 
50 
 
 
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 8163. 
 
No. 3. 
 
 51 
 
 ^ 
 
 J-^ ^'M- U 
 
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 -t^#- 
 
 i 
 
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 S163. 
 
52 
 
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 The scales are now to be practised according to this model : — 
 
 Moderato. ^ : — ^ • ^ 
 
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 Moderato, # = 92. 
 
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 8163. 
 
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53 
 
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 No. 4. 
 
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 rr ff 
 
 — >— • 
 
 ^Jl ^JJ?^ 
 
 ^^ 
 
 33 
 
 
 1^: 
 
 i 
 
 4-,— 1- 
 
 -r «- ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 
 ^ 
 
 8163. 
 
No. 5. 
 
 Slowly. 
 
 54 
 
 
 
 M 
 
 I 
 
 i 
 
 i 
 
 -4 r- 
 
 S 
 
 f=t*: 
 
 ga^ 
 
 »i 
 
 *: 
 
 ii 
 
 j=i 
 
 ^F " MiJJ'dff''^ 
 
 IE 
 
 - S^tH ^ 
 
 i 
 
 :l==t 
 
 EEEp 
 
 ( 
 
 ^,j . jlj . /l-j-.^ 
 
 i 
 
 s 
 
 jf 
 
 ?^5^ 
 
 dim. 
 
 ^ 
 
 It 
 
 i 
 
 :=£ 
 
 
 «= 
 
 ^ 
 
 ^ 
 
 ^ 
 
 ^ 
 
 No. 6. 
 
 Slowly at.first, then.f astir.- 
 
 ^^ 
 
 :R=T 
 
 'WV» ' 
 
 ^*^'^-i 
 
 -rt-M- 
 
 ^ 
 
 S 
 
 ^ 
 
 a^^ 
 
 ^l=i 
 
 fi> 
 
 P 
 
 W=¥^ 
 
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 pt > 4 r 
 
 i 
 
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 feft 
 
 i^ 
 
 816a 
 
55 
 
 fr^^r\ ^^^\Mr\^'^ 
 
 0~ II 
 
 ^¥^ 
 
 m 
 
 SS 
 
 ^ 
 
 i 
 
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 ^^ 
 
 ^ 
 
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 5 
 
 ^S 
 
 ^ 
 
 ffi 
 
 ^^g^^p 
 
 s^ 
 
 ^^ffi 
 
 p^-i-j-w'jgsj i >g^j II 
 
 fe 
 
 ^ 
 
 P 
 
 r ! 
 
 y^feia 
 
 ^ 
 
 5 
 
 yi :«i y ? 
 
 i 
 
 ^^3^ 
 
 e 
 
 a^ 
 
 J I J I 1 ^ 
 
 ^ 
 
 p«(«. 
 
 No. 7. 
 
 Slowly at first, then faster.- 
 
 §''i^^^j I ^JTOJ I J^^tjii I ^^T I f^ m 
 
 M 
 
 ^ 
 
 i 
 
 ^s 
 
 p 
 
 ^ 
 
 ^ei^ 
 
 4t 
 
 ^ 
 
 a 
 
 ?^ 
 
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 l^ t£L^ [rr r: I ^tffQierr I ^[Isl U ^[1:!^ k^::^I^ES 
 
 is 
 
 fEEf 
 
 ^ 
 
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 f=^ 
 
 r^ 
 
 f 
 
 ^ 
 
 feig 
 
 ^fcF* 
 
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 i 
 
 "^ 
 
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 8163. 
 
^ 
 
 No. 8. 
 
 Allegretto. 
 
 56 
 
 
 TJ^m^ 
 
 3t^ 
 
 ^ 
 
 fe 
 
 ^^ 
 
 Pfe 
 
 Allegretto. 
 
 S 
 
 ^ 
 
 f 
 
 i 
 
 JJPEJJ 
 
 *! 
 
 1 
 
 S£AJl_j ^ j^^ 
 
 y — y 
 
 ^ 
 
 t— v 
 
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 ^^ 
 
 5 ^ 
 
 ^ 
 
 ^^^& 
 
 * I ^ 
 
 ^H^ 
 
 ri-'cJ ^i^ji 
 
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 -=i — 
 
 z*=t 
 
 g: l r«y 
 
 f^ — ="^ 
 
 -^^ 
 
 1^ 
 
 ^ 
 
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 ^ 
 
 ^ 
 
 r" — ^-r- 
 
 r-: — -f 
 
 i 
 
 i 
 
 ^ 
 
 f 
 
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 1^ 
 
 J. I ^^ [• \\ 
 
 t^, "• ^ 
 
 S 
 
 1 ^ 
 
 NO. 9. 
 
 ^rrr r— ^ 
 
 i 
 
 ^ 
 
 i& 
 
 g^ 
 
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 -q 3 1 - 
 
 ^ 
 
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 f 
 
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 S163. 
 
57 
 
 m 
 
 b [* J* 
 
 t-ztrj^ 
 
 
 P 
 
 ^1-^ 
 
 ^ 
 
 s 
 
 >rr 
 
 S: 
 
 S 
 
 J ^ 
 
 3E^ 
 
 ^ 
 
 ^ 
 
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 rjL J '^-^ 
 
 ^' — »i J -* — if^- 
 
 I 
 
 p 
 
 9^=^ 
 
 / 
 
 l! 
 
 -^ I 1 ^ 
 
 ^ 
 
 NO. 10. 
 
 
 1^ 
 
 =«(= 
 
 m » 
 
 -r-=r 
 
 Tf=i. 
 
 s 
 
 i 
 
 ^;=t: 
 
 ^ 
 
 si 
 
 -^^— ^ 
 
 3^s 
 
 9i ii j ^ fe- ^^^1^ 
 
 ^^^^sp 
 
 s 
 
 ^ 
 
 p 
 
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 eI 
 
 zfe 
 
 1 ' p 1 r g > 
 
 ? 
 
 8163. 
 
5.8 
 
 No. 11. 
 
 , Slowly at first — then quickly. 
 
 ». <g= 
 
 m 
 
 
 N 
 
 ' ^ I JJ^ 
 
 ^ 
 
 ^ 
 
 rfiwi e «}/Z. 
 
 mf dim. e rail. 
 
 ^•° if II L 1 :lL 1 ^ -|=g~ ''"^C 1 1 I j 1 1 g 1 1 [-£ 1 1 %^=^^ 
 
 
 I 
 
 ii 
 
 ^ 
 
 =f 
 
 ^ 
 
 a tempo. 
 
 5 Fine. 
 
 ^^^ 
 
 -w^ -i~rT~F 
 
 Q^^Trrcrf 
 
 ^ ^•n r 1 = 
 
 ^ 
 
 ^ 
 
 tJ pp 
 
 mf 
 
 i 
 
 
 ^ 
 
 Fine. 
 
 5tt=:^ 
 
 3^ 
 
 r^ 
 
 S d d d-it 
 
 ^B'^ 
 
 s 
 
 :5ei 
 
 gfta tempo. 
 
 ^ 
 
 iiLii|Cii£ii | -|,ii 
 
 ^ 
 
 3H 
 
 ^ 
 
 II '^ 
 
 I 
 
 r^^ 
 
 ■^ * *^ j- 
 
 * ' ^ 
 
 i 
 
 IE 
 
 ^^ 
 
 r=i— ^ r 1 
 
 £;a^ ^3 ^ 
 
 j^a 
 
 3' >.^l^- 
 
 f^ 
 
 f 
 
 r- 
 
 13 
 eyes. 
 
 i 
 
 =^ 
 
 5 
 
 ^^ 
 
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 s^ 
 
 - !• 1 
 
 i 
 
 "tf J ! 
 
 ^' ' 1 — =1 1 1^ — I *- — rn^ I 
 
 ^ 
 
 ^ d » d 
 
 *-•-*- 
 
 dim. 
 
 P 
 
 
 ^| si 1 r ==^ 
 
 f^H^?^ 
 
 t^ 
 
 pf 
 
 K 
 
 ^ 
 
 ^ 
 
 --i[ ^ 1 ^ ''-^p T 
 
 y • m 
 
 ^ 
 
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 ^ ' 
 
 ^m 
 
 D.C. 
 
 m 
 
 D.C. 
 
 W 
 
 ' cres. 
 
 ■^ 
 
 w 
 
 m. 
 
 ^ 
 
 ^^^ 
 
 p 
 
 ^ 
 
 P !. 
 
 ^^ 
 
 i 
 
 F^^J 
 
 8163. 
 
59 
 
 No. 12. 
 
 ^ 
 
 
 ; r^ 
 
 d • ^ *— 1^ 
 
 -*-»!- 
 
 rfJOT e rail. 
 
 ^)\?l g 1 ilg«i .1 1=3 ^ i«g 1 1 |~j T 1 g ^'TT l j^i 1 rfi ^^ "f^"^^^ ^ j:^^Z:^ ^ 
 
 S^ 
 
 /- -^ 
 
 i 
 
 fe 
 
 ijm. « rail. 
 
 
 ^3 
 
 ^^ 
 
 2=3z 
 
 -'I— 4- 
 
 5^ 
 
 ty^^y\i 
 
 a tempo. 
 
 ^ 
 
 Fine, 
 
 ^ 
 
 7=:^ 
 
 £ 
 
 f* r H' 
 
 S 
 
 -'I =1 r 1 
 
 fP 
 
 / 
 
 I 
 
 j^^ J JiJJ 
 
 ^ "i iftg« 
 
 ^ 
 
 J. 
 
 .Fine. 
 
 
 ±3*3=^3^=3 
 
 g 1 1 I a - 1 1 g 1 1 — ^ f. . _ ^ 
 
 ^ 
 
 8y-- 
 
 a temio. 
 
 f, 
 
 rrrrr 
 
 ^ f.^fr rr g 
 
 -ic- 
 
 ^ 
 
 1 - 1 1* 1 -^-i*-^ 1 > 1 1 
 
 ^ 
 
 1 1 i^ 1 1 
 
 ■^ 
 
 ^ 
 
 i 
 
 ^ ff ^ 
 
 V-J—^ 
 
 ■J-J '> " '> 
 
 1^ 
 
 s 
 
 p 
 
 i 
 
 -— H-^— r 1 
 
 J~-r|-]T=^ 
 
 t 
 
 S^ 
 
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 r ^ 
 
 f I ' I I 
 
 7-r; — ■ l-'i J-: 1 — 1 1 — K ^ 
 
 ^^ 
 
 
 i 
 
 ^ 
 
 1 — 1 — I — :M — -: ^ ^=^. 
 
 ^ 
 
 3o: 
 
 dim. 
 
 1^ 
 
 
 ^ 
 
 I ^ 
 
 £==& 
 
 ^^ 
 
 1 1 r ^ 
 
 s 
 
 ri--; — ;S 
 
 |- ^ 
 
 dim. 
 
 i^^ 
 
 p 
 
 
 ^ 
 
 ? 
 
 n 
 
 T ^ r -^ 
 
 *- _ _i-r s,— - 
 
 i 
 
 D.C. 
 
 ^ 
 
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 t/ 
 
 (ISJ ^ ^— ^ 
 
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 J ^ Li 
 
 -r— r 
 
 s 
 
 
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 i 
 
 P 
 
 8163. 
 
6o 
 
 No. 13. 
 
 ^^h^ 
 
 ■ tt B i 
 
 Andante, 
 ml 
 
 ^ 
 
 " FAIREST ISLE." 
 
 FROM " KING ARTHUR." 
 - 5 ,- 
 
 -~ J 
 
 i^as 
 
 FURCELL. 
 J 
 
 iToiCE. 
 
 JS 
 
 f 
 
 ^^ 
 
 44 
 
 Fair-est Isle, all isles . , ex - cell - ing, Cra - died 'mid . . the west - em seas, 
 Andante. 
 
 iOii'Ui'M''ir"vV 
 
 ^ 
 
 m 
 
 f 
 
 Piano. 
 
 .r^ft 
 
 ^a 
 
 «S=!t 
 
 is 
 
 iMMjJ=^ 
 
 
 ^ 
 
 Fnrfr ^ 
 
 ^ 
 
 ^ 
 
 3* 
 
 3. 
 
 i 
 
 -yt 
 
 ^, 
 
 m 
 
 ^s^^ 
 
 m 
 
 «=F= 
 
 ?=^ 
 
 22 
 
 ^ 
 
 S 
 
 Where sweet Peace hath made . . her dwell - ing. Where she sport - eth at . . her ease ! 
 
 i 
 
 ».*- J ^ 
 
 *=p 
 
 ^^ 
 
 4. 
 
 ^ 
 
 
 m 
 
 '^'T^ 
 
 •^ fr' ^' ' r r f 'r r f 
 
 ^ i 
 
 I I 
 
 Hf-^t*- 
 
 ^)=fij i ' I r ^ 
 
 J_J 
 
 J J -^,4.^ i{^ . ^1^ 
 
 r if/r fir f 
 
 ^ 
 
 e 
 
 -"rr — r 
 
 f^=r 
 
 M 
 
 ?2= 
 
 E 
 
 IS 
 
 :^ 
 
 1=2= 
 
 ^ 
 
 i — '-t 
 
 Bless- ed Isle, where glad-ness reign - eth. Where . . the wand' - rer find - eth rest, 
 
 — u 
 
 ^m 
 
 ^ 
 
 IS 
 
 ^ 
 
 5 
 
 1 V 
 
 ■f^ 
 
 rf^r 
 
 ten. 
 
 mf 
 
 ores. 
 
 ^ 
 
 H^f l i f i F. f i 
 
 ^ 
 
 TP^ 
 
 ^f=¥- 
 
 ^ 
 
 ff^ 
 
 ■^ 
 
 mj 
 
 ores. 
 
 raM. e dim. 
 
 s 
 
 IE 
 
 f 4 s ^^ 
 
 ^ 
 
 s 
 
 Where the churl a - lone . . com - plain - eth, Where the brave and true . . are blest ! 
 
 j , .'.fj i ,rMr^^ i ,^ ,M;y;i, '" :i,'^/;' 
 
 mf ^ ' ores. rail, e dim. 
 
 ,,. 11 J s . — ■ .^_;J J.^ J.J J J 
 
 wrj i r r l r t lL L[r ^ l r7Trrlr-rr l i^ i 
 
 s 
 
 ^^ 
 
 ^ 
 
 T" 
 
 Thtse words are copyright. 
 8163. 
 
6i 
 
 
 »*/, 
 
 ^ 
 
 =F= 
 
 ^ S 
 
 J .^ 
 
 r i :;^ ^ i ^^- 
 
 ■»! *- 
 
 May thy flag for ev - - er glo - rious, In . . the cause of truth un - furl'd, 
 
 (ti) "• J ^~ ' 
 
 m. 
 
 H3^ 
 
 » 
 
 S 
 
 
 22 
 
 mf 
 
 » P 
 
 r r ¥ 
 
 gfV'C "I -H' 
 
 
 ^ 
 
 1- 
 
 i 
 
 :S=I 
 
 ^ 
 
 3 
 
 ^ 
 
 Wt 
 
 ^ 
 
 ^^ 
 
 t^ 
 
 O - ver wrong and hate . . vie - tor - ious, Shine a bea - con o'er . . the world ! 
 
 
 % 
 
 5J 4^J JJJi^' n 
 
 ^ 
 
 Sat! 
 
 5 
 
 a"^^^^=^^f=r^^=r^^ 
 
 
 i jT^^ 
 
 f> 
 
 (gj=V^ J r 
 
 ^ 
 
 ^ 
 
 ^ 
 
 r 
 
 >»/ 
 
 
 ^ — 
 
 I * r I * 
 
 ^ 
 
 ^ 
 
 Fffl^ 
 
 ^ 
 
 May thy sons be al - ways dar ing, May . . thy daugh - ters all . . be fair, 
 
 i 
 
 -5J- 
 
 —M I r 
 
 ^ 
 
 ir J^jij 
 
 ^ 
 
 5t=^ 
 
 =S=i 
 
 -SK 
 
 ??1 
 
 1" 
 
 ' ten. 
 
 mf 
 
 ite 
 
 
 m 
 
 ^ 
 
 m. 
 
 ^ 
 
 i 
 
 -^ 
 
 >»/ 
 
 raW. e dim. 
 
 ■^uT 
 
 — *Vt — s — r*! 1 — =-^ — a — I ^ ^:-- -Pn- 
 
 ^M J J Jj_j r r7r r [/r ^ 
 — I — ^ — # I ■'d* — ' — ' ■—J — I — ' ^ — I — 
 
 our car - ing, Then to harm thee, none shall 
 
 :?== 
 
 IE 
 
 ^ 
 
 ■jci2 
 
 For their coun - try's hon 
 
 I- 
 
 dare! 
 
 i>'r rjk rsiTj- jijtj: 
 
 si iS^ — 
 
 -a 
 
 ^ 
 
 i:3= 
 
 ^ 
 
 r r ' r ^ -^ 
 
 f^ 
 
 ^ 
 
 F • 
 
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 ^^E 
 
 -^ 
 
 A. 
 
 r^^ 
 
 J^^ i-A- 
 
 cj-ir rjid^ir [j¥ 
 
 -• » F 
 
 r 
 
 SlU'i. 
 
62 
 
 No. 14. 
 
 " FAR IN THE VALLEY SO DEAR." 
 
 AndanU con moto. 
 
 Alessandro Scarlatti. 
 
 Voice, 
 
 Piano. 
 
 dolce. 
 
 j)'" «* Hj 
 
 ^ 
 
 f r f 
 
 f r =^ 
 
 :*^=tz 
 
 val - -Ley . . so dear, 
 
 Hard by a streamlet clear, 
 
 tijt^- 
 
 i-Vv \ i JTI;]^^ 
 
 ^ 
 
 .dolce. 
 
 3 
 
 ^^ 
 
 ^ 
 
 ^ 
 
 ^'Li ^ 
 
 ^ 
 
 fr 
 
 i 
 
 ^ f r 
 
 dim. 
 5 ^ 
 
 ^ 
 
 5=^^=P 
 
 ^^ 
 
 r p- 
 
 ^ 1^ P C I '^ 
 
 s 
 
 a stream - :let xlear, 
 
 2?ar in the val- l&y, Tar, yet .dear, 
 
 ^^ 
 
 -f=T 
 
 m 
 
 m 
 
 ^ 
 
 ^^ag; 
 
 r^'iv^ 
 
 £r 
 
 1— ' )p_ 
 
 1^^ 
 
 -e-t>g 
 
 g [UP 
 
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 r 
 
 ^ 
 
 d= 
 
 ^ 
 
 i 
 
 ^^ 
 
 ^ 
 
 U I '-' 
 
 Hard 
 
 by a stream - let so clear. 
 
 fey; j.ffl^^i^-,JI^J=^bJ^ 
 
 ^ 
 
 ^ 
 
 S 
 
 d^ 
 
 8163. 
 
P3 
 
 ^FWB. 
 
 Ped. *' 
 
 8163. 
 
6-1 
 
 No. 15. 
 
 Andante. 
 
 *' LORD, AT ALL TIMES." 
 
 FROM " LAUDA SION." 
 
 F. Mendelssohn Barthoi,dy. 
 
 ^ 
 
 M 
 
 m 
 
 rjiA[ m 
 
 g 
 
 p 
 
 E± 
 
 ^ 
 
 ,__^ l ' ^Zl \ f 
 
 Piano. 
 J =69. 
 
 (p 
 
 PJjJ 1,'TJjTj : 
 
 ?> 
 
 ^ 
 
 ^^ 
 
 ^ 
 
 ■CT r tzj 
 
 i 
 
 ^ 
 
 ^ 
 
 r ^ J 
 
 J I *- f * 
 
 ^i^ 
 
 s 
 
 a^ 
 
 i 
 
 Lord, at all times I 
 
 will bless Thee, And in songs of praise ad- dress Thee,Yea, and 
 
 s 
 
 ^=^- 
 
 m 
 
 r I* :?=F 
 
 ^m 
 
 
 =F 
 
 t^^ .=L-*-2-^ 
 
 r a 
 
 ^p 
 
 i 
 
 J j J l J^ J 1.^ ^ 
 
 s* 
 
 ^ 
 
 f 
 
 zs 
 
 r'^ -fr 'r t^ 
 
 P«(i. 
 
 3^ 
 
 I u 
 
 i 
 
 I is h 
 
 :?i=fs 
 
 i-f-^"Jt fe 
 
 -1^4--. 
 
 ^^^ 
 
 =«?»= 
 
 ^ 
 
 ^^ 
 
 ^=^ 
 
 make myboastin Thee; Let the hum-ble glad - ly hear me, Let the god-lygath er near me, And ex- 
 
 ^^'^iiJJ.^ ^niips^['^ 
 
 i 
 
 & 
 
 X 
 
 s^ 
 
 s 
 
 w 
 
 ^ 
 
 i^ 
 
 i 
 
 S^j ^jn-u^ j J I j. » ^ V 
 
 p 
 
 ?t?^ 
 
 Sf 
 
 s 
 
 i 
 
 ^^^=-^ 
 
 .5 ^-■ 
 
 ?i=^ 
 
 ^ 
 
 fcl 
 
 S 
 
 i»-=F 
 
 ^ 
 
 ^ 
 
 ?*==?= 
 
 I l^p-k 
 
 t± 
 
 ^ 
 
 - alt Thy Name, with me, 
 
 and ex alt. 
 
 ex - alt Thy Nam e, ex alt Thy Name with me. When the 
 
 J 
 
 poor man suc-cour crav - ed, From his trou - ble he was sav - ed . When . . he call-ed, he was heard, 
 
 g ^ bs J i Jg g i I ^ J 3 * i \ hi 
 
 5a 
 
 
 J=^- 
 
 g^ 
 
 =3:*= 
 
 :S=g= 
 
 r-r 
 
 * L-T ' r ^ 
 
 P dim. 
 
 P 
 
 ^^:J 
 
 y^:,. '^^ 
 
 p 
 
 ^ 
 
 
 816!). 
 
65 
 
 ^ 
 
 ^ J h 
 
 ^ 
 
 ^ r r 
 
 ^E=^ 
 
 when he call-ed, be was hsard. 
 
 Come, ye chil - dren, 
 
 be seech you, Hearken, 
 
 I 
 
 m 
 
 S- . -i J ; J . 
 
 ^^ 
 
 f 
 
 ^^^ 
 
 Mzm-^ 
 
 UJlr^Tf^ 
 
 W=^ 
 
 ^^=5 
 
 iF^ 
 
 pp: 
 
 ^ 
 
 :^ 
 
 PP, 
 
 r 
 
 dim. 
 
 i 
 
 i 
 
 ^ 
 
 s* 
 
 — I H't &1- 
 
 ^ 
 
 ^^^ 
 
 =f5=F 
 
 ^J'JIJ^J \Uj^ 
 
 h| I r 
 
 h— ]v 
 
 S: . , ^ , 
 
 «^ when I fain wou ld teach you From your hearts to fear the Lord. Taste, and see the Lord is gra-cious, Boun-teous 
 
 i=fc3C 
 
 ^tlt^ 
 
 He .our cry in pi -t y hear - eth. Here -gard - ethhimthatfeareth, He doth send, Hedothsend usneedful 
 
 816d. 
 
66 
 
 No. 16. 
 
 Andante. 
 
 ' HOW VAIN IS MAN WHO BOASTS IN FIGHT." 
 
 FROM "JUDAS MACCABjEUS." 
 
 HAKBBt.. 
 
 Voice 
 
 Piano. 
 
 8163. 
 
67 
 
 ^S if iff l Pff-J gf wL O.g: ^# 
 
 -^— P- 
 
 boasts in fight, who boasts in fight, The va ■ lour of gi - gan-tic might ; 
 
 
 
 ■i] — — 1^ 
 
 i 
 
 fr-r-tfr-r 
 
 ^ 
 
 ^ 
 
 s— sz 
 
 V^^ I * 
 
 fm^m m f 
 
 
 r 1 1 * ^ 
 
 C I VjJ .^ Q^ 
 
 Isctfet 
 
 --V ,»^ now 
 
 r^^ES 
 
 How vain is man who boasts in fight, who boasts in fight, . . who boasts in fight, The 
 
 a/i-iJi;'ii5M^|3^ 
 
 g^ 
 
 15 
 
 ^ 
 
 ,q^, /T3 
 
 Ph 'T^^^ 
 
 ^ 
 
 J J y 
 
 m 
 
 i 
 
 gfr^^rr 
 
 ^^ 
 
 t2=&^ 
 
 ^s 
 
 ^ 
 
 ^s 
 
 ^m 
 
 1 lI 
 
 \jj\ii\ '•{! i^H^^ g 
 
 It 
 
 a^ 
 
 valour of gi- gan 
 
 T3 
 
 tic might, the valour of gi- gan 
 
 
 &W^^ 
 
 ^ 
 
 S' UT-^ 
 
 srr 
 
 6r 
 
 B^ 
 
 ^ 
 
 fl^|,»»V^J , ^ ^ 
 
 ^bi'gJ v^ a 
 
 V— r 
 
 ^^ 
 
 i^rJ 1" 
 
 i 
 
 5q5=F?^=i 
 
 ;e=?E 
 
 ^s 
 
 ^^ 
 
 t t t t 
 
 tic might, 
 
 I 
 
 L » ■ L 
 
 M 
 
 ' f Mif,r'r^,r,?^ 
 
 b r r 1^ ^ 
 
 ^ 
 
 :^^ 
 
 fT^ 
 
 Jia^-£fe 
 
 -ift 
 
 ^ Flfh I f f F =^=?=Mf=^ 
 
 i 
 
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 :&=: 
 
 cair'gar^g 
 
 a=t^fes^3 
 
 -r — si- 
 
 zar 
 
 s 
 
 ^^a 
 
 How vain, how vain, how vain is man who boasts in fight, .. '*^^° ^°^^^^ in fight. The 
 
 M F M V ^ \ l»i ^ 1^ J^ J I- J « J J 1- 
 
 
 ^ 
 
 ^ 
 
 ^3 
 
 8163. 
 
 ^^ 
 
 -* »i- 
 
68 
 
 i'^h C' rJrf^'^'JiJHU^^^^f^^i^ 
 
 ^ 5 '' 
 
 &=fe 
 
 3^ 
 
 ^^ 
 
 valour of gi -gan - tic might, the valour of gi -gan 
 
 tic might, the 
 
 \U 
 
 5fe^ 
 
 ~N J 
 
 & 
 
 ¥ ir 
 
 E 
 
 ^ 
 
 ^S 
 
 ^ 
 
 tV hand un - seen Di-rects and guides this weak machine, 
 
 And dreams riot that a hand un-seen 
 
 ^*-*- ifwi-ar 
 
 ^ 
 
 ! *• f 
 
 ^ 
 
 =sl= 
 
 :^ 
 
 =^ 
 
 ^ 1 ' .^" 
 
 rail. 
 
 U 
 
 m 
 
 =s=* 
 
 jDa/ Segno. 
 
 m 
 
 se 
 
 ^^:^ 
 
 =t 
 
 rTp~p~c~ E^ 
 
 * * 
 
 =i^ 
 
 -p-n-(»- 
 
 Di-rects andguides.this weak ma- chine, di- rects and guides, directs and guides this weak . .ma-chine. How 
 ,.-^1^ ,~-nn nV l , I 1 ^"7^ ■ ' I »» ■ Dal Segno. 
 
 
 tfc 
 
 iTS:?^*^ HSXS 1 :gi^f i • 
 
 ! I rr' 
 
 S 
 
 'io r 
 
 ^ — >*- 
 
 J k- 
 
 
 rail. 
 
 f 
 
 ^S 
 
 £fc 
 
 =JfF 
 
 "^ 
 
 
 --g--t 
 
 ZZ5b 
 
 S163. 
 
No. 17. 
 
 
 Larghefto. 
 
 69 
 
 " WISE MEN FLATT'RING MAY DECEIVE YOU." 
 
 FROM " JUDAS MACCABEUS." 
 
 Handel, 
 
 Voice. 
 
 ^ 
 
 Lar ghetto. 
 
 M 
 
 
 ^ 
 
 4 
 
 S£ 
 
 f^ 
 
 ^^ 
 
 Piano, 
 
 mf 
 
 ^ 
 
 ^ 
 
 ^ 
 
 =^^^^ 
 
 ^ 
 
 i 
 
 _ 
 
 5 
 
 ^^a^^a^£Q3^ 
 
 ^m. 
 
 i 
 
 B 
 
 ^i 
 
 <c- 
 
 ^ 
 
 ^^ 
 
 «>•■ 
 
 mf 
 
 m 
 
 W^ 
 
 r 
 
 p^ 
 
 ^ 
 
 J -^ 
 
 u^ 
 
 ..L^ 
 
 .*L 
 
 \^ 
 
 S 
 
 I 
 
 £^e=:Pr 
 
 -P--P- 
 
 -F— F- 
 
 Wise men . . flatt - 'ring may de 
 
 m 
 
 '^t 
 
 ceive you With their vain . . my s - te , rious 
 
 art, 
 
 ^^^^^^^m 
 
 ^F 
 
 ! I p 
 
 t 
 
 -^ r I* I ^ i > -I — I— I" 
 
 =^=^ 
 
 ■~- 5 
 
 — 5 
 
 iS 
 
 &m 
 
 q=V 
 
 :i^:*: 
 
 -H tf 1- 
 
 ceive you With their vain . ■ my s te - rious 
 
 Wise men 
 
 fill 1 ^ 
 
 flatt 'ring may de 
 
 art, 
 
 
 P^^ 
 
 i 
 
 J *" 
 
 ^ 
 
 ^ 
 
 •T^T-; 
 
 8163. 
 
[m 
 
 ''j ; -^ , j ; -i ,j 
 
 3t 
 
 
 ^ 
 
 ^ r F- 
 
 •^^ 
 
 > '^ 
 
 ^^ _' 
 
 m 
 
 r ^ir J 
 
 3^ 
 
 ^Ei 
 
 i£ 
 
 s 
 
 * I r^ 
 
 ^ 
 
 charms can ne'er re - lieve you, Nor can heal the . . wound- ed heart. No ! Ma - gjc 
 
 g 
 
 ^ 
 
 s 
 
 ^ 
 
 iE^ 
 
 #=?s^ 
 
 ^ I 3 ^ g 
 
 ^ 
 
 f=M=^ 
 
 s 
 
 -i J. ^ 
 
 -i-i 
 
 ^ 
 
 s 
 
 ^ 
 
 ?= 
 
 ,r !• 
 
 P^ 
 
 ^ 
 
 -p — p- 
 
 -P — F- 
 
 *=t= 
 
 ^=-*!- 
 
 37^ J ^ ' ^:'^*^^rj^"'T 
 
 * i j i ^ j^ 
 
 charms 
 
 ^ -\ 
 
 g r*^ l g £Jlf!/ 
 
 can ne'er re - lieve you, Ma - gic . . charms can ne'er re 
 
 # 
 
 s 
 
 =iS= 
 
 3^ 
 
 lieve you. 
 
 ^ 
 
 g :gg: ^g 
 
 int 
 
 g»l— p p 
 
 =F 
 
 ^ 
 
 :i 
 
 51-ii ^/i 
 
 ^ 
 
 ^ 
 
 ^ 
 
 -P— -F- 
 
 -F F- 
 
 -F F- 
 
 ; 
 
 mil. 
 
 :P==J 
 
 J j^ I «!• * a z=z^ 
 
 m 
 
 V 
 
 Nor . . can heal the 
 
 J J I i J 
 
 , wounded heart, can - not heal ' the wound 
 
 ed heart. 
 
 ^^Ji.l J 
 
 ¥ 
 
 :;s 
 
 ^ 
 
 » 
 
 
 F=3=^ 
 
 h r ^'tjT^ 
 
 m 
 
 --LJ 
 
 rail. 
 
 m 
 
 m 
 
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 r 
 
 sE 
 
 
 f 
 
 ?^ 
 
 . r f i f r f : 
 
 ^T 
 
 S163. 
 
 ^ 
 
 
 ^ 
 
 E^ 
 
71 
 
 Fine. 
 
 ^ 
 
 tr- 
 
 ^ 
 
 W" f.** 
 
 i 
 
 ^ 
 
 tr' 
 
 1^ 
 
 -i^^^^-jd 
 
 ^?f i ^^ J i J 
 
 ^X^ g -T^^ ^ 
 
 :^ 
 
 <»• 
 
 /Ts 
 
 Fine. 
 
 r 
 
 ^ 
 
 ^ 
 
 ^ 
 
 mf 
 
 ^ 
 
 i 
 
 ^ 
 
 ^ 
 
 
 i 
 
 ^ 
 
 6=1^ 
 
 g 
 
 ^ 
 
 i^^ 
 
 ^ 
 
 das 
 
 ^ 
 
 But true 
 
 wis ■ dom can 
 
 
 d^ 
 
 J -J- 
 
 re - lieve you, God - like 
 tr 
 
 wis - dom from a 
 
 bove, 
 
 ^ 
 
 ^ 
 
 f^ 
 
 ' ^:ai. -Ji ' j>-ii-< 
 
 a 
 
 g 
 
 ^ 
 
 -f=- 
 
 :^=^ 
 
 :^ 
 
 S 
 
 1^ 
 
 i 
 
 -~. 5 
 
 i 
 
 ^ 
 
 n 
 
 1=!:^ 
 
 =f=± 
 
 ^ 
 
 ^ 
 
 God - like 
 
 dom from a - bove; 
 
 A 
 
 
 This a - lone can ne'er de 
 
 tr 
 
 ceive you, 
 
 ^ 
 
 
 S 
 
 P==r=g= 
 
 ^^ 
 
 m^ 
 
 f 
 
 -h 
 
 :<-);,, r ¥ 
 
 ^ 
 
 ff=:?2 
 
 ^ 
 
 ^S 
 
 m 
 
 a 
 
 ^ ^=n^r ^r I }} 
 
 ?t:q« 
 
 ^ 
 
 ^ 
 
 this a 
 
 lone can ne'er de ceive you, this a - lone . . all pains re 
 
 M 
 
 m^^^ 
 
 i 
 
 ^^ 
 
 * 
 
 ^ 
 
 rs 
 
 -g^; ^ -gi 
 
 ^ 
 
 ^ 
 
 ^ 
 
 i^^j 
 
 :sd 
 
 -s"-^ 
 
 
 Dal Segno. 
 
 tr Dal Segno, 
 
 m 
 
 rr I'rpi' r r 1 ' ^ 
 
 ^ 
 
 # f - 
 
 ^ 
 
 22 
 
 -P P- 
 
 The following can also be recommended at this stage :— i. " And He shall purify " (Messiah), Handel ; 3. " His yoke is easy " 
 (Messiah), Handel; 3. "Thou shalt break them" (Messiah), Handel; 4. "Now sweetly smiling peace descends." (Deborah), 
 Handel; 5.^ " If with aU your hearts" (Elijah), Mendelssohn; 6. "Jerusalem" (St. Paul), Mendelssohn. 
 
 Slo3. 
 
72 
 
 THIRD STAGE. 
 
 Scales to be practised according to this model : — 
 At first rather slowly — then quickly. 
 
 i 
 
 ^ 
 
 ^=^ 
 
 »t=SC 
 
 S^'^-i J 
 
 :st=iii 
 
 ^—^ 
 
 E ) 4 J 
 
 ^^ 
 
 S 
 
 S 
 
 ^ 
 
 ^^^^ 
 
 :^ 
 
 i 
 
 ^ 
 
 rb4- 
 
 "^'^ 
 
 ^ 
 
 ■ ! > — »| - 
 
 -Jt* tK" 
 
 m 
 
 ^ 
 
 ^ 
 
 I n 
 
 3t=S: 
 
 ^ 
 
 ^ 
 
 -^ ^J*'~J- ],A A 
 
 ^ 
 
 ^ 
 
 -^ 
 
 ^ 
 
 i 
 
 A 
 
 -g — p-4 
 
 P 
 
 ^ 
 
 ^ 
 
 i 
 
 J ^ ' 
 
 ^ 
 
 ^ 
 
 ^ 
 
 s 
 
 I 
 
 i 
 
 =F==t 
 
 s^ 
 
 ^ 
 
 =%. 
 
 il^ 
 
 ^* -*- b*- 
 
 J- 
 
 J f^ 
 
 ^ 
 
 i 
 
 A 
 
 J2^ 
 
 r g ftS ^3 
 
 ^s- 
 
 5fc 
 
 ^ 
 
 ^ l j 
 
 il 
 
 s 
 
 i 
 
 s 
 
 1 
 
 ^ 
 
 ^^ 
 
 j -^-^a: 
 
 ^ 
 
 irW^ 
 
 ■^T- 
 
 ^ 
 
 ^^ 
 
 S- 
 
 ■^ 
 
 E^ 
 
 ^ 
 
 ^ 
 
 m 
 
 dkk 
 
 S 
 
 ^S 
 
 -^•^ 
 
 f I* ^ ■ 
 
 =t=t 
 
 5 
 
 m 
 
 s 
 
 1 
 
 3 
 ^^^ 
 
 
 ^ J- 
 
 j ~.j iJ I '^ 
 
 t 
 
 ^ 
 
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 8163. 
 
 Continue up to the key of Bj^. 
 
No. 1, 
 
 ni# 
 
 legato. 
 
 73 
 EXERCISES. 
 
 Sir John Stainbr. 
 
 :(-i)^i ; 
 
 ^^ 
 
 J-J \j J -^ J 
 
 7 5 
 
 J J h*-^^ 
 
 ^ 
 
 i 
 
 No. 2. 
 
 
 S 
 
 ^ 
 
 ^ 
 
 :p=p: 
 
 6 ^ 
 
 ^ 
 
 ? 
 
 ^^ 
 
 ^P^ 
 
 ^ 
 
 Ei 
 
 SSt 
 
 I I 
 
 ^^ 
 
 ^^ 
 
 ^5^ — T 
 
 -X — *^ 
 
 (^•bUi f r=p= 
 
 -p— — p- 
 
 ^ 
 
 - r r 
 
 r r 
 
 r r 
 
 tf^^'t r r r r r Ifl^^T 
 
 =?»=ft 
 
 i 
 
 •# — r — 1» 
 
 SS 
 
 I ■ I 
 
 S* 
 
 i 
 
 rr rr i rOltu^ ^B ^ 
 
 m-0- 
 
 b^ I* r 
 
 ^ 
 
 ^ 
 
 ^ ^ J J 1^ ^ 
 
 A —\- 
 
 H 1- 
 
 s 
 
 j-T" — r 
 
 ? 
 
 *"^ ^" 
 
 =r 
 
 ^ 
 
 -! * r — -p- 
 
 ^^ 
 
 J ^ 
 
 5 n^ 
 
 ^V-j^ 
 
 t! ^m*r0. 
 
 -w-r f , 
 
 3=^F^ 
 
 ^ 
 
 J ; ^ J j-j J j^^ J I J j^ ^ 
 
 f 
 
 ^^FfT 
 
 rrrrFr i rrrffr^ J^^ J i j 'J^^^jjjJj'J"^ j J^ 
 
 4^1^ r i,j , J.u-^ 
 
 g 
 
 ^ 
 
 r r 
 
 r p— : j i r ~f" 
 
 r r |J_-p F^=^=_ j__^ 
 
 8163. 
 
74 
 
 No. 3. 
 
 i 
 
 At first slowly — taking breath at end of every second bar; then faster — taking breath at end of every fourth bar. 
 Sempre legato. 
 
 No. 4. 
 
 ^ 
 
 *^^^2* 
 
 ^^^^^^^^^^ 
 
 D'^A: A * ^ 
 
 ^ 
 
 I 
 
 ± 
 
 f 
 
 ^ 
 
 3 
 
 ^ 
 
 1^ 
 
 ^ 
 
 tS: :r 
 
 (£^^^_ O; f r = 
 
 r ^ ~ r '' '' Q 
 
 -p^-^-p- 
 
 -p p- 
 
 =^^^ 
 
 i 
 
 q?te 
 
 
 ^ 
 
 s 
 
 i * #i * r 
 
 E? 
 
 a 
 
 ^ 
 
 i 
 
 ^ 
 
 :^*=i 
 
 tf^TFffi - r I si;£rtt&?q:^g^£te 
 
 rP^ 
 
 iE 
 
 5 
 
 (jfi^'i ^ a JH-^ i> j ^=^=^ 
 
 nt 
 
 g 8 
 
 s^ 
 
 "• »- 
 
 I * r T ' ? r =^^ 
 
 ^ 
 
 r F- 
 
 r t' 
 
 r r 
 
 ^S^^^i^ 
 
 ^' M"' 
 
 frrJ l . ^.rr ,J I OjS^^ g EtES a 
 
 *z±=i-*:!^5tit 
 
 i 
 
 ^^^^^^ 
 
 9 f 7 r 
 
 ^ 
 
 r d 
 
 
 -p p- 
 
 » r 
 
 -V. p- 
 
 r p- 
 
 8163. 
 
 -*■ 
 
 p r ^^^^ 
 
 - r p- 
 
 E*=g 
 
No. 5/ 
 
 75 
 
 No. 6 
 
 S 
 
 m 
 
 ^ 
 
 SJiac 
 
 ^3^ 
 
 m ' ^4: 
 
 ^ 
 
 ^ 
 
 I 
 
 m 
 
 'WfF 
 
 :^ 
 
 S 
 
 — m— 
 
 
 1^5 
 
 i 
 
 te 
 
 i 
 
 IE 
 
 i^ 
 
 i 
 
 i 
 
 i 
 
 *^ 
 
 ^s 
 
 ? 
 
 S 
 
 ^ 
 
 
 =p=;« 
 
 * No. 5 may be taken after No. lo. 
 
 8163. 
 
76 
 
 No. 7 
 
 ^ 
 
 S 
 
 ^^ 
 
 S 
 
 ^ 
 
 ;:?«^ 
 
 ^ 
 
 5 
 
 3 3 
 
 No. 8. 
 
 3 
 
 r J* 
 
 ^^ 
 
 ^S 
 
 ^s 
 
 =P:rac 
 
 ■ * ^ 
 
 ^^P^ 
 
 <*-a^ 
 
 i 
 
 J I J J I i J 
 
 ^ 
 
 ^ 
 
 ^'i* J; I* J" 
 
 ^^^^ 
 
 =5=5= 
 
 :f- ^r 
 
 
 r p- 
 
 -P-— — 5- 
 
 .^ r =F 
 
 r 1^ 
 
 - r r 
 
 M^-h 
 
 I 
 
 rr^ 'i^rfrrr 
 
 ^f:^ 
 
 bb rrr^ 
 
 e^ 
 
 ^ mf 
 
 m 
 
 *^ 
 
 H imimi h 
 
 ^^ 
 
 ^ 
 
 m 
 
 i 
 
 I^Sl! 
 
 g 
 
 dl'''^ I* J 
 
 -g* g^ 
 
 ^ 
 
 ^=1 
 
 i^ 
 
 s 
 
 -< — g- 
 
 ^ 
 
 r F- 
 
 r r 
 
 ^ 
 
 -p p- 
 
 F r ^^ 
 
 - !• r 
 
 ^^ 
 
 _^j 
 
 ^ 
 
 •t — ^r^- 
 
 ^ nL.[j^jjjQ£).j-jj i jjjj^jj7 i i ,n] : 
 
 fc^tg y Lu ro' l fg 
 
 itft^t*:^ 
 
 :i^ 
 
 ^ 
 
 ^m 
 
 ^ 
 
 ^ 
 
 '^^^ 
 
 !S 
 
 ati= 
 
 -^j-^-^-J^^. 
 
 II 
 
 Y^^ i ig, g^ 
 
 i^ 
 
 ^^^^^^m 
 
 ^ 
 
 :£-—£- 
 
 r r - J r r j*^ r . r 
 
 r r 
 
 ^ 
 
 8163. 
 
No. 9. 
 
 77 
 
 ^ 
 
 ^ 
 
 j ! I I !. i 
 
 ,i£=; 
 
 » 
 
 -y^r^r 
 
 ri l l K := 
 
 No. 10. 
 
 ^A'lj'-^P^^hi'-^I^S^i J'^'J^PT^ 
 
 '■^ ■ ^ M p m - -^ 
 
 ^Stp 
 
 ^'•^-" i i 1 ^ i j 1^ j i ^-j 
 
 i 
 
 ? 
 
 ^» — * 
 
 (ai 'jif ^ E 
 
 ! r F 
 
 ^$^r4; 
 
 r p- 
 
 - r r =F 
 
 :t=^t 
 
 ^^ 
 
 r r r 
 
 r r I ^ . -r- 1^ - 
 
 & 
 
 l-^J J l ^ 
 
 s 
 
 ^r^^^ 
 
 ;^rr^%- i r^ 
 
 ^^^^^^ 
 
 i?i > I *, .f 
 
 ?cpF 
 
 f^f^ 
 
 m 
 
 ^ff 
 
 :t± 
 
 ijr^'' j S 
 
 ^ 
 
 rp^ i l M =^ 
 
 ^ g* 
 
 t^ 
 
 S 
 
 »^=^ 
 
 r r 
 
 r r 
 
 ^ 
 
 - r r 
 
 -p — — P- 
 
 - r r 
 
 ^^P 
 
 if^q ^^j j, ^ 
 
 s^ 
 
 s^ 
 
 ^ 
 
 it=±: 
 
 ^fff^ 
 
 J I T I 
 
 3-rrr i rrr 
 
 Ii^ 
 
 :^*^ 
 
 ^afc 
 
 -=i=F^ 
 
 ^^^^^^ 
 
 Hr 1 1 j. 
 
 « 
 
 ii ' " i i ' i.i ^ 
 
 r^^^r p — =F 
 
 J — F — 1^=-! * r ==p^ 
 
 ^ 
 
 r r 
 
 -F p- 
 
 ^^ 
 
 These Ten Exercises may also be sung in the keys of E and F. 
 
 8163. 
 
78 
 
 MINOR SCALES. 
 
 i ^^ ^^^'^ I r ^^^'^~n;'j^ I J 
 
 ^ 
 
 s 
 
 J^.*^ J 
 
 J ' J. h » m • !* .j : 
 
 =^B= 
 
 ^TT^W 
 
 P 
 
 :£2^ 
 
 ^r f" 
 
 ^ 
 
 
 
 ^^S:-(^ 
 
 t>cr 
 
 I J j i J ^J "^^"^ I 'r ''c^ "^ ^^^ ;JtJ^^ 
 
 ^' .i.b;iJ^al 
 
 -i>i^ 
 
 m 
 
 ^ 
 
 its 
 
 ^^ 
 
 >^ 
 
 =^ 
 
 t^- 
 
 ^ 
 
 b/TJ i >i>!:? 
 
 
 f^ 
 
 U g tt «^ 
 
 ^ 
 
 m 
 
 5^ 
 
 i^ 
 
 ^^f 
 
 zzz 
 
 4 J ,^] J J^^ I r ' cJir -.U:^ 
 
 1 ' ! 
 
 J *>~^ 
 
 J — r-| 
 
 ^ 
 
 b*u i » =a 
 
 -^^ 
 
 FS^ ^ 
 
 ^ 
 
 J^^J-J^ 
 
 /^ 
 
 A 
 
 ^ 
 
 ^^^F 
 
 '¥^=^ 
 
 -^^ 
 
 8163. 
 
79 
 
 
 ^ 
 
 I J i^^lD 
 
 i 
 
 ^ 
 
 :^ 
 
 
 ^i=i^t 
 
 ^^^ 
 
 ^m 
 
 
 r^-jiJ I J i i '^^ 
 
 fe 
 
 j^,-j- fa^i= 
 
 f 
 
 f ^^r ' ^T 
 
 1^ 
 
 n 
 
 A 
 
 ^ 
 
 f -J P 
 
 ^^ 
 
 bi b/"^-^p. 
 
 "C?" 
 
 I 
 
 =tlpfe 
 
 T^^ 
 
 jupfry I'lf^^r i k^ 
 
 1^^ 
 
 -F — -- 
 
 zzmzz n^iSOT^ !^ = z =11=^ 
 
 r - 
 
 ^ 
 
 «^±»a 
 
 ^g 
 
 ■jJ-g- 
 
 
 ^ 
 
 SF^ 
 
 isS: 
 
 ^^ 
 
 ' F r ' rv^3 'W=^ 
 
 p=^ 
 
 -V- 
 
 A=- A 
 
 ^ 
 
 X^ 
 
 ^ ^ b|» ^ 
 
 sigi 
 
 ^ 
 
 y^ q^ it^ 
 
 it=^ 
 
 i!a^ 
 
 ^ 
 
 ^^ 
 
 -^ 
 
 ^ 
 
 igj2^. 
 
 m 
 
 w 
 
 LJOfi 
 
 ^ 
 
 r - 
 
 M 
 
 r^vD l JbbJ^ 
 
 — M — W-lr»t: 
 
 _C-£ kS ^ 
 
 ^ 
 
 ■?s- 
 
 ^ 
 
 
 
 "F 
 
 ^^s^ 
 
 r 
 
 
 ^ 
 
 ^ 
 
 :/5fe 
 
 r- ^' 
 
 f^. 
 
 I 
 
 £z2: 
 
 ^^=^¥ 
 
 % 
 
 i 
 
 jpy i f it ^ 
 
 r- - 
 
 e 
 
 us: 
 
 ^ 
 
 •T^ 
 
 
 
 s 
 
 /^ 
 
 •T^r- 
 
 ^'^ 
 
 i^ 
 
 f= 
 
 ^ 
 
 f- .-g- 
 
 ^ 
 
 Ped: 
 
 816a 
 
8o 
 
 No. 11, 
 
 " LET THE BRIGHT SERAPHIM." 
 
 FROM "SAMSON." 
 
 Haki-'EI., 
 
 Voice. 
 
 Piano. 
 
 * = 76. "j 
 
 Andante. 
 
 ^ 
 
 Andante. 
 
 - I u I '■^ i r Lr r r i rr fr r r'^rrjf 
 
 nunF-' 
 
 c^r r 
 
 n'^rrr^ 
 
 i'-te^ 
 
 ffe 
 
 g^:=£g^ 
 
 i 
 
 I 
 
 i 
 
 $=?£ 
 
 m f p 
 
 ^ 
 
 I *- • ! 
 
 IE 
 
 ^— t^ 
 
 -12 ^ 
 
 ^ 
 
 Let the bright Se. - raphimin burn - ing row, 
 
 Their 
 
 ±^ 
 
 m 
 
 J nj .i.^it-ii.m/^ j 
 
 1— ^ — I — — h— 
 
 ^h=t 
 
 ^ 
 
 r a y O ^ 
 
 ^ 
 
 -^ — ^ — f 
 
 p 
 
 f 
 
 gjjff. . ^ r r '" ^^ 
 
 ^ 
 
 ^ 
 
 ^rf^H^f^f 
 
 ShE 
 
 1 — r 
 
 ?^ 
 
 i 
 
 F r 7 L' 
 
 1t?2: 
 
 loud up - lift - ed An - gel-trum-pets blow, 
 
 8163. 
 
^ 
 
 s 
 
 rc^t^ •'/ I 
 
 L <| U* ig=:^ 
 
 I * ( * 
 
 ^ 
 
 ing row, Their loud up - lift ■ ed An ■ gel - trum - pets blow, 
 
 ^P 
 
 their 
 
 4'"j j ^j ^ i^,m^^^^^ ^ i ^^^^j 
 
 m 
 
 iS 
 
 J f r 
 
 «=*= 
 
 i 
 
 1/ 1^ 1^ — fa» 
 
 ^ ^ 
 
 >fi< 
 
 g' Tffi 
 
 rg^.,^g^H^gj^^S£ 
 
 J 
 
 tat 
 
 loud up - lift-ed An -gel -trum - pets' blow. 
 
 -ti u^^J^^.^^:^^\M^JJ^ 
 
 ^ 
 
 v«># 
 
 i 
 
 m 
 
 ^^0 
 
 fJ =gz 
 
 ^ 
 
 r 1 
 
 their loud, 
 
 P 
 
 3 
 
 II J J J J ] J IJ. J J ^glii^=^^g 
 
 H^-^ 
 
 »»/ 
 
 ^ 
 
 ^ 
 
 ^iP^l!^ 
 
 S^ 
 
 »j/ 
 
 ^ 
 
 ^^S 
 
 ?^ 
 
 tt„ # ^ » r» .i r* ffT 
 
 their loud up - lift - ed An 
 I 
 
 gel - trum - pets blow, 
 
 Xj> '': i \ H fclB ^L^^ 
 
 ^^ 
 
 8163. 
 
82 
 
 i 
 
 E 
 
 ^^ 
 
 S 
 
 A.V-- -t 
 
 J^ J j UL^h' I P 
 
 _ Let the bright Se-raphim in burn - ing row, 
 
 d( 
 
 it 
 
 • 
 
 £&£ 
 
 ;r W f 
 
 l&'CiS' 
 
 s 
 
 i«=^ 
 
 ^ 
 
 ^^ 
 
 h g I* 
 
 f ^^^^. 5 r =^=^ =F 
 
 r 1 «> 
 
 in burn ing, bum 
 
 ing row, Their loud 
 
 up- 
 
 $ 
 
 ^ 
 
 ^ 
 
 ^S 
 
 i 
 
 m 
 
 r 1 
 
 5=^ 
 
 fF 
 
 ^ ' ^ 
 
 =*? 
 
 y 
 
 ^ 
 
 i 
 
 t=^=^ 
 
 f^^ r 
 
 Jir^rffr?rj'ic-jLs gr-tftf i 
 
 fc=t^ 
 
 lift - ed 
 
 An- gel-trumpets blow, their loud . - up - lift - ed An - gel- trum-pets blow. 
 
 ^SM 
 
 nil 
 
 ^ 
 
 ^ 
 
 =F^ 
 
 £^ 
 
 ^ t r 1 ^ 
 
 ^^ 
 
 1 «> """tei !q 
 
 {^=ii.|i - I - fr rfv . - I ~ ^ 
 
 i 
 
 ■JL ' =?^ 
 
 e?q5 
 
 ^ 
 
 IM F — r ^ I * r L I ^ ' 
 
 ^ — (^ 
 
 iE 
 
 their loud 
 
 i 
 
 TfS^ 
 
 --J.. 
 
 up-lift-ed An-gel-trum- pets blow. 
 
 ^G^LJlrrrrrrif'; -^^T 
 
 ^ 
 
 S^ •• 6^£££r ' 
 
 l=t±i 
 
 ^^g^li ^ ^ Q^ 
 
 ^^ 
 
 B 
 
 w^ 
 
 ^^ 
 
 ^ 
 
 ^r^= 
 
 i 
 
 1 
 
 6-ft: 
 
 i 
 
 iE 
 
 M.;^f?,f ^i/?^^ j ;^i.^'^r''? ^ 
 
 -rrrrr 
 
 :ft^ 
 
 ^ 
 
 S 
 
 ^ 
 
 ^ 
 
 
 ^^^^ 
 
 Stt= 
 
 ^ 
 
 ±=L 
 
 :1S±± 
 
 8163. 
 
83 
 
 I 
 
 ^ Fine. 
 
 ^ t P 
 
 5 
 
 *B 
 
 r^^ 
 
 ^ 
 
 I 
 
 ^ f^ , t..,t, , ;^ ^ 
 
 Let the Cheru-hic host, in 
 
 
 ^ 
 
 f 
 
 »00m 
 
 m 
 
 m 
 
 .n 
 
 ^ 
 
 9 
 
 S 
 
 I r i * <i 
 
 Si^ 
 
 -«i — F- 
 
 E^ 
 
 V ^i^ 
 
 f r '\ C\0 f^z t 
 
 E 
 
 ^ 
 
 5t: 
 
 1^ 
 
 ±— S 
 
 qt3^ 
 
 m 
 
 rtjci 
 
 ^ 
 
 Let the Cheru-bic host, in 
 
 tune fill choirs, Touch their itrt -mor^tal harps . . with gold - en wires, 
 
 ^^m 
 
 j j jT^ja 
 
 U l{lU\{H^ m 
 
 3 3 ff 
 
 rr 
 
 i* 
 
 * * 
 
 D" 
 
 S 
 
 
 
 rr rrrp Fnr r^^ 
 
 #=?=F 
 
 I * 
 
 t=F=P 
 
 i^^ 
 
 aSfpj f i^E,r-j:-pJ^J^££ef i Q ^CEC^cerafl^ 
 
 y 
 
 * 1 * 
 
 tune - fvil choirSjTouch their im -mortal harps, touch their im mortal harps 
 
 (f " ^j-^- iU\i j^-^J-:5S^il^^^te 
 
 ^^ p r r 
 
 -T: 
 
 ^ ^ ^ -^- 
 
 
 :^3'=^ 
 
 S 
 
 with gold - en wires. 
 
 touch their im-mortal 
 
 , f/. ,rm ^j;_^. i ,jTr3 ■sscp i Qt; j ^ .j j i j_ ', ^ ^^ 
 
 D.C 
 
 (( /'r^C ;, ^.J 
 
 s^ 
 
 harps . . with gold - en wires, 
 
 D.C. 
 
 8163. 
 
84 
 
 No. 12. 
 
 " FROM MIGHTY KINGS HE TOOK THE SPOIL." 
 
 FROM "JUDAS MACCABEUS." 
 
 Voice. 
 
 
 Andante. 
 
 Handsl 
 
 S 
 
 Andante. 
 
 dl^ 
 
 if^ 
 
 fii 
 
 ^-i^-i r-rPi 
 
 Piano. 
 
 mf 
 
 '^ M i^i^t^'^nj.! riuL 
 
 i 
 
 ^ 
 
 r I* 
 
 ^ 
 
 ^ 
 
 -P^^ 
 
 ^^ 
 
 err ^-n f ^ g 
 
 rr rr .r? ^ 
 
 i 
 
 M: 
 
 r 1 r =^ 
 
 =F==^ 
 
 V ^ * -^—m 
 
 r 
 
 From mign 
 
 ty kings 
 
 he 
 
 r-^p/c:^ 
 
 ■ j j J " J ^ • J 
 
 j [^ > P-— 
 
 ^# 
 
 s? 
 
 f- -p-r 
 
 ^ 
 
 ^ 
 
 f jjr rr^Jl^rO^ ^ 
 
 /5 
 
 ±=3=^: 
 
 =?=fe 
 
 
 r l -F- 
 
 S^ 
 
 took 
 
 i 
 
 JJ: 
 
 the spoil, And with his acts made Ju- dah smile, r^" 
 
 ^ 
 
 From 
 
 "^r gi''^'^ i iL^ii?G?J^ 
 
 ■ I * * 
 
 §>"!; i: <:V 
 
 r 
 
 W^ 
 
 ^' r cLfrr-^ ^ 
 
 ^ 
 
 ^ 
 
 '— i l iii« J I L i LmJ 
 
 J m * '"i^f I * ^^ j"l* I* I* 
 
 .f^gfH^ 
 
 5 
 
 r ! » 
 
 7^ 
 
 I* I * _-'» i * I * I* 
 
 r I* 
 
 S^ 
 
 ? 
 
 migh - ty, migh - ty kings, 
 
 f-«»*-*- 
 
 r^nji 
 
 i^ 
 
 g=g 
 
 from migh ty, migh - ty kings 
 
 h = =^m I ^ I. 
 
 g::?^^ 
 
 he took 
 
 the sp oil, And 
 
 1 _ ^- - i .i^j^j j ,, — ,^^ 
 
 3* 
 
 ^^ 
 
 J w Cl/t-i J ^ 
 
 £^ 
 
 ^ 
 
 i 
 
 Jjz 
 
 ^ 
 
 IE 
 
 =s=* 
 
 5; 
 
 * ^J « r 
 
 :t 
 
 ^ 
 
 W 
 
 1 
 
 with his acts made Ju - dah smile, 
 
 ^ 
 
 ■I J' J > J 
 
 ^1* 
 
 made Ju - dah smile, 
 
 gyy I — K 
 
 ^^ 
 
 J. j: Jii=t 
 
 r 
 
 ^ 
 
 ^^ 
 
 
 
 r 
 
 ^^ 
 
 --f>-^ 
 
 3^^ 
 
 siea. 
 
S5 
 
 ^/'^j.j>r-jTflT rfr irYrrrT rfrrrr^'^-WW i J 
 
 r 1 r 1 r 
 
 Ei 
 
 ^r/j. >J: i- k \i. ^ 
 
 
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 NO. 13. 
 
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 The following will also be found excellfent practice :—i . "With verdure clad" (Creation), Haydn; 2. "Then shall the 
 righteous" {Elijah), Mendelssohn; 3. " As when the Dove " {Ads and Galatea), Hundel; 4. " Let's imitate her notes above " 
 —Duet— (Alexander's Feast), Handel; 5. "W^ldome, welcome, mighty King"— Trio— (SawQ, Handel 
 
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