,transcrib]'s ,note3 ,9 ?is e-book1 a macron ov] a "* is repres5t$ ) an equal sign1 ?us3 e4 ,! "* is us$ to d5ote musical octaves1 e4g41 a d5otes ,a above middle ,c4 ,,ess5tials ,,9 ,,conduct+ ,,by ,,k>l ,,wilson ,,gehrk5s1 ,a4,m4 ,,pr(essor ,,( ,,s*ool ,,music ,,ob]l9 ,,cons]vatory ,,( ,,music ,,au?or ,,( ,,music ,,notation ,,& ,,t]m9ology #a4ge ,illu/ration ,,bo/on ,,oliv] ,,ditson ,,company ,,new ,,york ,,*as4 ,h4 ,,ditson ,,co4 ,,*icago ,,lyon ,,healy ,,london ,,w9?rop ,,rog]s1 ,ltd4 ,,made ,,9 ,u4,s4,a4 ,copyright ,,mcmxix ,by ,,oliv] ,,ditson ,,company ,int]national ,copyright ,secur$ ,to ! ,memory ( ,,rob]t ,c4 ,,b$=d = _m ye>s ,,secret>y ,,( ,,! ,,bo>d ,,( ,,tru/ees ( ,,tuskegee ,,in/itute ,,cont5ts ,page ,,*apt] ,i--,introduction #a ,,*apt] ,,ii--,p]sonal ,traits ,necess>y 9 ,conduct+ #h ,,*apt] ,,iii--,! ,te*nique ( ! ,baton #bj ,,*apt] ,,iv--,int]pretation 9 ,conduct+--,introductory #cf ,,*apt] ,v--,int]pretation 9 ,conduct+--,tempo #df ,,*apt] ,,vi--,int]pretation 9 ,conduct+--,dynamics #eg ,,*apt] ,,vii--,int]pretation 9 ,conduct+--,timbre1 ,phras+1 etc4 #fd ,,*apt] ,,viii--,! ,sup]visor ( ,music z ,conductor #gf ,,*apt] ,,ix--,! ,community ,*orus ,conductor #he ,,*apt] ,x--,! ,or*e/ral ,conductor #ic ,,*apt] ,,xi--,direct+ ! ,*ur* ,*oir #ajh ,,*apt] ,,xii--,! ,boy ,*oir & its ,problems #aah ,,*apt] ,,xiii--,! ,conductor z ,voice ,tra9] #aca ,,*apt] ,,xiv--,! ,art ( ,program ,mak+ #adj ,,*apt] ,,xv--,conductor & ,accompani/ #adg ,,*apt] ,,xvi--,effici5cy 9 ! ,rehe>sal #aeb ,,app5dix ,a--,ref]5ce ,li/ #afd ,,app5dix ,b--,score ( second movem5t ( ,haydn's ,symphony1 ,no4 #c #aff ,,index #aha ,,preface ,9 putt+ out ?is little book1 ! au?or is well aw>e ( ! fact t _m musicians feel t conductors1 l poets & tea*]s1 are born & n made2 b 8 exp]i5ce 9 tra9+ sup]visors ( music has l$ him to feel t1 al?\gh only ! elem5t>y phases ( conduct+ c be taught1 su* in/ruction is nev]!less q wor? :ile1 & is (t5 surpris+ly effective 9 its results4 ,he has also come to believe t ev5 ! musical g5ius may pr(it by ! exp]i5ce ( o!rs & may ?us be enabl$ to d effective "w z a conductor m quickly ?an if he reli$ :olly ^u 8 native ability4 ,! book is ( c\rse plann$ especially ) ! amateur 9 view1 & ! au?or1 9 writ+ x1 has _h 9 m9d 8 own fruitless se>* = in=mation ^u ! subject ( conduct+ :5 he 0 j beg9n+ 8 c>e] z a tea*]2 & he has tri$ to say to ! amateur ( today ^? ?+s t he himself s sorely ne$$ to "k at t "t1 & _h to f9d out by blund]+ exp]i5ce4 ,x %\ld p]haps be /at$ t al?\gh ! writ] has himself _h consid]able exp]i5ce 9 conduct+1 ! mat]ial "h pres5t$ is r ! result ( obs]v+ & analyz+ ! "w ( o!rs ?an an acc\nt ( 8 own me?ods4 ,9 prep>ation = 8 task1 ! au?or has obs]v$ _m ( ! bett]-kn[n conductors 9 ?is c\ntry1 bo? 9 rehe>sal & 9 public p]=mance1 dur+ a p]iod ( "s twelve ye>s1 & ! book repres5ts an attempt to put into simple language & practical =m ! ideas ga!r$ f ?is obs]vation4 ,x is hop$ t z a result ( read+ ^! pages ! amateur may n only h become m fully in=m$ conc]n+ ^? practical phases ( conduct+ ab\t :i* he has probably be5 seek+ light1 b may be inspir$ to fur!r read+ & additional music /udy 9 prep>ation = ! l>g] aspects ( ! "w4 ,! writ] wi%es to ackn[l$ge ! mat]ial assi/ance r5d]$ him by ,pr(essor ,john ,ross ,frampton1 ( ! ,i[a ,/ate ,tea*]s ,college1 & ,pr(essor ,osb\rne ,mc,conathy1 ( ,nor?we/]n ,univ]sity1 bo? ( :om h read ! book 9 manuscript & h giv5 invaluable sugge/ions4 ,he wi%es also to ackn[l$ge 8 v l>ge debt to ,pr(essor ,george ,dick9son1 ( ,vass> ,college1 :o has read ! mat]ial bo? 9 manuscript & 9 pro(1 & to ^: po9t$ comm5ts & criticisms _m improvem5ts bo? 9 mat]ial & 9 arrangem5t are due4 ,k4,w4,g4 ,,ob]l91 ,,ohio ,june1 #aiah ,ess5tials 9 ,conduct+ ,,*apt] ,i ,,introduction ,sid5ote3 ,,def9ition ,! ^w conduct+ z us$ 9 a musical s5se n[ ord9>ily ref]s to ! activities ( an or*e/ra or *orus lead] :o /&s be=e a gr\p ( p]=m]s & gives 8 entire "t & ef=t to direct+ _! play+ or s++1 to ! end t a musically effective ensemble p]=mance may result4 ,?is is accompli%$ by means ( c]ta9 conv5tional movem5ts ( a sl5d] /ick call$ a baton 7usually held 9 ! "r h&71 z well z ?r\gh su* *anges ( facial expression1 bodily po/ure1 et cet]a1 z w convey to ! s+]s or play]s ! conductor's wi%es conc]n+ ! r5dition ( ! music4 ,conduct+ 9 ?is s5se involves ! responsibility ( hav+ ! music p]=m$ at ! correct tempo1 ) appropriate dynamic effects1 ) precise attacks & releases1 & 9 a fitt+ _s4 ,?is 9 turn implies t _m details h be5 work$ out 9 rehe>sal1 ^! includ+ su* items z mak+ c]ta9 t all p]=m]s s+ or play ! correct tones 9 ! correct rhy?m2 insi/+ ^u accurate pronunciation & skilful enunciation ( ! words 9 vocal music2 indicat+ logical & musical phras+2 correct+ mi/akes 9 brea?+ or b[+2 &1 9 g5]al1 /imulat+ or*e/ra or *orus to produce a ta/eful r5dition ( ! music z well z an absolutely p]fect ensemble ) all p>ts 9 correct proportion & p]fect balance4 ,9 ord] to h 8 direct+ at ! public p]=mance function prop]ly1 x ?us becomes ! conductor's task to plan & to adm9i/] ! rehe>sals 9 su* a way t ! p]=m]s may become ?or\ghly famili> ) ! music1 bo? 9 te*nique & 9 _s4 ,9 o!r words1 ! conductor mu/ play ! "p ( musical manag] z well z t ( arti/ic inspir]1 & if he does n p]=m 8 task 9 su* fa%ion z to be look$ up to by ! memb]s ( 8 *orus or or*e/ra z ! real lead]1 & if he himself does n feel confid5t ( be+ able to d 8 "w bett] ?an any "o else ^u ! gr\nd1 he _c possibly be successful 9 any v high degree4 ,a conductor mu/ fir/ ( all be a /rong lead]1 & fail+ 9 ?is1 no am\nt ( musical ability or any?+ else w enable him to conduct well4 ,we %all h m to say ^u ?is po9t 9 a lat] *apt]4 ,sid5ote3 ,,summ>y ,,( ,,! ,,hi/ory ,,( ,,conduct+ ,conduct+ ( "o k9d or ano!r has und\bt$ly be5 practis$ = _m c5turies1 b direct+ by ge/ures ( ! h& has n be5 trac$ f>!r back ?an ! f\rte5? c5tury1 at :i* "t ,he9ri* von ,meiss51 a ,m9nes+]1 is repres5t$ 9 an old manuscript direct+ a gr\p ( musicians ) /ick 9 h&4 ,9 ! fifte5? c5tury ! lead] ( ! ,si/9e ,*oir at ,rome direct$ ! s+]s ) a roll ( pap] 7call$ a sol-fa71 held 9 8 h&4 ,by ! latt] "p ( ! sev5te5? c5tury x _h become cu/om>y = ! conductor to sit at ! h>psi*ord or organ1 fill+ 9 ! h>monies f a figur$ bass1 & giv+ any ne$$ signals ) "o h& or ! head z be/ he c\ld4 ,conduct+ dur+ ?is p]iod signifi$ m]ely keep+ ! p]=m]s toge!r2 t is1 ! *ief function ( ! conductor 0 t ( "t beat]4 ,) ! adv5t ( ! conductor 9 ! rle ( int]pret]1 su* direct+ became obsolete1 & f ! e>ly n9ete5? c5tury1 & p>ticul>ly z ! result ( ! impetus giv5 ! art by ! conduct+ ( ,m5delssohn1 ,b]lioz1 ,liszt1 & ,wagn]1 ! conductor has become an exce$+ly important function>y1 9 ^! mod]n days ev5 rank+ ) ! prima donna 9 op]atic p]=mances6 ,x is n[ ! conductor's aim n m]ely to see t a composition is play$ correctly & ) good ensemble2 m ?an t1 ! lead] ( today gives 8 own v]sion or read+ ( ! composition j z ! piani/ or viol9i/ does4 ,in/ead ( be+ a m]e "t beat] he has become an int]pret]1 & 7except 9 ! case ( ! organi/-director ( a *oir7 he attempts to d no?+ except s to manipulate 8 musical =ces z to secure an effective p]=mance4 ,sid5ote3 ,,! ,,psy*ological ,,basis ,,( ,,conduct+ ,! conductor works l>gely ?r\gh ! in/rum5tality ( in/9ctive imitation2 t is1 8 me?ods are f\nd$ ^u ! fact t human be+s h an innate t5d5cy to copy ! actions ( o!rs1 (t5 )\t be+ consci\s t !y are do+ s4 ,?us1 if "o p]son yawns or c\ghs1 a second p]son obs]v+ him has an in/9ctive t5d5cy to d likewise4 ,"o memb] ( a gr\p is radiant ) happ9ess1 & v soon ! o!rs cat* ! infection & are smil+ also2 a s+] at a public p]=mance /ra9s to get a high tone1 & in/9ctively our faces puck] up & our ?roat muscles become t5se1 9 sympa!tic b entirely unconsci\s imitation4 ,9 v mu* ! same way 9 conduct+1 ! lead] sets ! tempo1--& is imitat$ by ! musicians "u him2 he feels a c]ta9 emotional ?rill 9 response to ! compos]'s message1--& ar\ses a simil> ?rill 9 ! p]=m]s2 lifts 8 %\ld]s z ?\gh tak+ brea?1--& causes ! s+]s to phrase prop]ly1 (t5 )\t ei!r ! conductor or ! s+]s be+ aw>e ( h[ ! direction 0 convey$4 ,x is at lea/ p>tly because we in/9ctively imitate ! m5tal /ate or ! emotional attitude ( ! piani/ or ! vocali/ t we are capable ( be+ ?rill$ or calm$ by musical p]=mances1 & x is l>gely = ?is reason t an audi5ce always insi/s ^u see+ ! arti/ z well z he>+ him4 ,9 ! same way ! musicians 9 a *orus or or*e/ra mu/ see ! conductor & cat* f him by in/9ctive imitation 8 attitude t[>d ! music be+ p]=m$4 ,?is po9t w be m fully discuss$ 9 a lat] *apt]1 :5 we take up int]pretation 9 conduct+4 ,sid5ote3 ,,conduct+ ,a ,,comb9ation ,,( ,,sci5ce ,,& ,,art ,9 sett+ out to become a conductor x w be well = ! "y musician to recognize at ! outset t by f> ! l>g] "p ( ! conductor's "w re/s ^u an art basis1 & t only a comp>atively small portion ( x is sci5ce2 h5ce he mu/ n expect to f9d complete in=mation conc]n+ 8 future "w 9 any treatise ^u ! subject4 ,x is "o ?+ to /ate t !re are ?ree prim>y colors1 or t orange is ! result ( mix+ r$ & yell[1 b x is a v diff]5t matt] to give directions = pa9t+ an effective l&scape1 or a true-to-life portrait4 ,"o ?+ involves sci5ce only1 b ! o!r is conc]n$ prim>ily ) art1 & x is always dang]\s to dogmatize conc]n+ matt]s arti/ic4 ,to c>ry ! illu/ration "o /ep f>!r1 we may say t x is comp>atively easy to tea* a pupil to /rike c]ta9 piano keys 9 su* a way z to produce ! correct melody1 h>mony1 & rhy?m ( a c]ta9 composition2 b :o w\ld v5ture1 ev5 9 ^! days ( fr5zi$ adv]tis+1 to promise t 9 s _m lessons he c\ld tea* a pupil to play x z a ,h(mann or a ,pad]ewski w\ld8 ,"h aga9 we see cle>ly ! contra/ betwe5 sci5ce & art1 matt]s ( sci5ce be+ always susceptible ( organization into a body ( pr9ciples & laws :i* w "w 9 e case1 :ile art is intangible1 subtle1 & ev]-v>y+4 ,! application ( our illu/ration to conduct+ %\ld n[ be cle>4 ,we may tea* a beg9n] h[ to wield a baton accord+ to conv5tional practice1 h[ to secure firm attacks & prompt releases1 & possibly a few o!r def9itely e/abli%$ facts ab\t conduct+2 b unless our w\ld-be lead] has musical feel+ )9 him & musician%ip back ( him1 x w be utt]ly futile = him to p]use ^! pages fur!r1 or to make any o!r k9d ( an attempt to le>n to conduct2 =1 z /at$ above1 only a v small "p ( conduct+ c be codifi$ into rules1 directions1 & =mul1 by f> ! l>g] "p ( our task be+ bas$ ^u ea* individual's own innate musical feel+1 & ^u ! g5]al musical tra9+ t he has und]gone4 ,all ?is may be disc\rag+1 b on ! o!r h&1 grant+ a fair degree ( native musical ability1 c\pl$ ) a l>ge am\nt ( solid music /udy1 any "o possess+ a s5se ( lead]%ip c1 aft] a reasonable am\nt ( intellig5t practice1 le>n to h&le a *orus or ev5 an or*e/ra 9 a fairly satisfactory mann]4 ,x is our purpose 9 g5]al to treat ! sci5tific r ?an ! arti/ic side ( conduct+1 & we are tak+ = grant$1 !re=e1 t ! read] is end[$ ) musical feel+ at lea/ 9 a fair degree1 & has acquir$ ! rudim5ts ( musical s*ol>%ip z ! result ( an ext5sive /udy ( piano1 organ1 s++1 e>-tra9+1 music hi/ory1 h>mony1 et cet]a1 & especially by att5tive li/5+ to a v l>ge am\nt ( good music ) score 9 h&4 ,z a result ( comb9+ su* musical ability ) a c>eful read+ ( ^! pages & ) a l>ge am\nt ( practice 9 actually wield+ ! baton1 x is hop$ t ! beg9n] w arrive at 8 goal some:at e>li] ?an he w\ld if he dep5d$ entirely ^u :at ! psy*ologi/ calls ! trial-&-error me?od ( le>n+4 ,sid5ote3 ,,importance ,,( ,,musical ,,s*ol>%ip ,! musical amateur :o is ambiti\s to conduct %\ld !re=e /udy music 9 all its phases1 & if 9 d\bt z to 8 tal5t1 he %\ld submit to a vocational te/ 9 ord] to det]m9e :e!r 8 native musical end[m5t is suffici5t to make x wor? 8 :ile to /udy ! art s]i\sly4 ,if ! result ( ! te/ is enc\rag+1 %[+ a good e>1 a /rong rhy?mic reaction1 & a consid]able am\nt ( :at might be t]m$ native musical ta/e1 let him practise 8 piano en]getically & intellig5tly1 & especially let him le>n to read ?ree & f\r voices on sep>ate /affs 7z 9 a vocal score7 9 ord] to prep>e himself = future read+ ( full scores4 ,let him /udy h>mony1 c\nt]po9t1 =m1 &1 if possible1 composition & or*e/ration4 ,let him "w indefatigably at e>-tra9+1 & p>ticul>ly at h>monic e> tra9+1 s t notes & tones may become closely associat$ 9 8 m9d1 ! pr9t$ page !n giv+ him auditory r ?an m]ely visual imag]y2 9 o!r words1 let him s*ool himself to make ! pr9t$ page convey to 8 m9d ! actual s\nds ( ! music4 ,let him /udy ! hi/ory ( music1 n only z a record ( ! "w ( individual compos]s1 b z an acc\nt ( :at has transpir$ 9 ! v>i\s p]iods or epo*s ( musical art1 s t he may become intellig5t conc]n+ ! ideals1 ! /yles1 & ! =ms ( ^! v>i\s p]iods4 ,& f9ally1 let him he> all ! good music he possibly c1 li/5+ to x f ! ?reefold /&po9t ( s5se1 emotion1 & intellect1 & not+ p>ticul>ly ^? matt]s connect$ ) expression & int]pretation 9 ^! r5ditions4 ,9 z _m cases z possible let him /udy ! scores ( ! compositions be=eh&1 comp>+ !n 8 own ideas ( int]pretation ) ^? ( ! p]=m] or conductor1 & =mulat+ reasons = any diff]5ces ( op9ion t may become manife/4 ,let ! "y musician also =m ! habit ( read+ widely1 n only along all musical l9es 7hi/ory1 biography1 !ory1 e/hetics1 et cet]a71 b ^u a wide v>iety ( topics1 su* z pa9t+ & ! o!r arts1 hi/ory1 lit]ature1 sociology1 p$agogy1 et cet]a4 ,z ! result ( su* /udy & su* read+1 a type ( musical s*ol>%ip w be atta9$ :i* w give ! conductor an au?ority 9 8 int]pretations & criticisms t _c possibly be a*iev$ 9 any o!r way4 ,let u ha/5 to admit at once t ! acquir+ ( ?is sort ( s*ol>%ip w take a long "t1 & t x _c all be done be=e beg9n+ to conduct4 ,b 9 ! c\rse ( sev]al ye>s ( broad & intellig5t /udy a beg9n+ at lea/ c be made1 & lat] on1 z ! result ( cont9u\s gr[? :ile at "w1 a f9e1 solid1 compreh5sive s*ol>%ip may f9ally ev5tuate4 ,,*apt] ,,ii ,,p]sonal ,,traits ,,necess>y ,,9 ,,conduct+ ,sid5ote3 ,,importance ,,( ,,p]sonality ,9 ! introductory *apt] x 0 not$ t ! conductor mu/ build ^u a f\ndation ( musical s*ol>%ip if he is to be really successful2 t he mu/ possess musical feel+2 & t he mu/ g ?r\gh ext5sive musical tra9+1 if he is to conduct ) ta/e & au?ority4 ,b 9 addition to ^! purely musical requirem5ts1 exp]i5ce & obs]vation h demon/rat$ t ! w\ld-be conductor mu/ be possess$ ( c]ta9 def9itely e/abli%$ p]sonal *>act]i/ics1 & t _m a musician :o has be5 amply able to pass mu/] f a musical /&po9t1 has fail$ z a conductor because he lack$ ^! o!r traits4 ,x is n my purpose to give at ?is po9t an exhau/ive li/ ( qualities t mu/ =m ! p]sonal equipm5t ( ! conductor4 ,9 g5]al x w be suffici5t to /ate t he mu/ possess 9 a fair degree ^? p]sonal traits t are advantage\s 9 any pr(ession4 ,b ( ^! desirable qualities ?ree or f\r seem to be s indisp5sable t x has be5 ?\ght be/ to devote a brief *apt] to a discussion ( !m4 ,^! qualities are3 #a4 ,a s5se ( humor4 #b4 ,a creative imag9ation4 #c4 ,a s5se ( lead]%ip comb9$ ) organiz+ ability4 ,sid5ote3 ,a ,,s5se ,,( ,,humor ,! fir/ ( ^! traits1 a s5se ( humor1 may p]haps ^u fir/ ?\ght seem a peculi> quality to include 9 a category ( virtues = ! pr(essional man ( any type1 & especially = ! musician4 ,b ^u reflection x w be admitt$ t ! ability to see ?+s 9 a humor\s light 7:i* v frequ5tly means m]ely see+ !m 9 true p]spective7 has help$ _m a man to avoid wa/+ n]v\s en]gy ^u insignificant occurr5ces1 :ile ! lack ( ?is ability has caus$ m tr\ble among all sorts ( p 7& p>ticul>ly1 x seems to me1 among musicians7 ?an any o!r s+le ?+4 ,sid5ote3 ,,illu/rations ,,( ,,humor ,,9 ,,! ,,rehe>sal ,"s play] or s+] is ei!r ov]-ardu\s or a bit sleepy dur+ ! fir/ /ages ( rehe>s+ a new composition1 & makes a wrong entrance1 p]haps dur+ a pause j be=e ! climact]ic po9t4 ,! occurr5ce is really funny & ! o!r p]=m]s are incl9$ to smile or snick]1 b our s]i\s conductor quells ! outbreak ) a sc[l4 ,! humor\s lead]1 on ! o!r h&1 sees ! occurr5ce z ! p]=m]s d1 jo9s 9 ! laugh t is rais$ at ! exp5se ( ! (f5d]1 & ! rehe>sal goes on ) r5ew$ _s4 ,an in/rum5tal p]=m] makes a bad tone1 & ! conductor laughs at him1 say+ x s\nds l a wolf h[l+ or an ass bray+4 ,if ! rem>k is accompani$ by a smile1 ! p]=m] /raight5s up & tries to ov]come ! fault2 b if ! comm5t is made ) a sn>l !re is a tight5+ up ( muscles1 an increas$ t5sion ( ! n]ves1 & ! p]=m] is m ?an likely to d worse ! next "t4 ,!re is a diff]5ce ( op9ion betwe5 ! conductor & "s p]=m] ab\t f+]+ or b[+1 phras+ or int]pretation1 & a qu>rel seems imm95t2 b ! conductor refuses to take ! matt] too s]i\sly1 &1 hav+ ample au?ority = 8 own viewpo9t1 proce$s z he has begun1 lat] on talk+ x ov] ) ! p]=m]1 & p]haps giv+ him a reason = 8 op9ion4 ,humor is ?us se5 to h ! same effect ^u a body ( musicians z oil appli$ to ma*9]y1 & musical ma*9]y seems to ne$ m ( ?is k9d ( lubrication ?an almo/ any o!r v>iety4 ,b ! conductor mu/ di/+ui% c>efully betwe5 s>ca/ic wit1 :i* laughs at1 & humor1 :i* laughs )4 ,9 a book be>+ ! copyright date ( #ahdi1 ! writ] di/+ui%es betwe5 ! two1 9 ! foll[+ words3#a ,humor orig9ally meant moi/ure1 a signification x metaphorically reta9s1 = x is ! v juice ( ! m9d1 enri*+ & f]tiliz+ :]e x falls4 ,wit laughs at2 humor laughs )4 ,wit la%es ext]nal appe>ances1 or cunn+ly ex*anges s+le foibles into "*2 humor glides into ! he>t ( its object1 looks lov+ly ^u ! infirmities x attacks1 & repres5ts ! :ole man4 ,wit is abrupt1 scornful 4442 humor is sl[ & %y1 ins9uat+ its fun into y\r he>t4 ,footnote #a3 ,:ipple1 ,lit]ature & ,life1 p4 #ia4 ,sid5ote3 ,,! ,,value ,,( ,a ,,*e]ful ,,attitude ,! conductor ) a s5se ( humor w ord9>ily h ! advantage also ( be+ *e]ful 9 8 attitude t[>d ! p]=m]s1 & ?is is an asset ( no mean significance4 ,x is a well-kn[n psy*ophysical fact t ! human body does mu* bett] "w :5 ! m9d is free f c>e1 & t 9 any pr(ession or vocation1 o!r ?+s be+ equal1 ! work] :o is *e]ful & optimi/ic w p]=m 8 labor mu* m effici5tly at ! exp5se ( consid]ably less m5tal & bodily en]gy ?an he :o is ill-humor$1 worri$1 fretful1 & unable to take a joke4 ,b ! =eman :o possesses ?is quality ( *e]fulness & humor is d\bly =tunate1 = he n only secures ! b5eficial results 9 8 own case1 b by 8 attitude frequ5tly ar\ses ! same desirable /ate ( m9d & body 9 ^? :o are work+ "u him4 ,x is p>ticul>ly because ( ?is latt] fact t ! conductor ne$s to cultivate a *e]ful1 ev5 a humor\s outlook1 especially 9 ! rehe>sal4 ,z ! result ( =m+ ?is habit1 he w be enabl$ to give directions 9 su* a way t !y w be obey$ *e]fully 7& consequ5tly m effectively72 he w f9d x possible to rehe>se long] ) less fatigue bo? to himself & to 8 musical =ces2 & he w be able to dige/ 8 food & to sleep s\ndly aft] ! rehe>sal because he is n worry+ ov] trivial annoyances t1 aft] all1 %\ld h be5 dismiss$ ) a laugh z soon z !y appe>$4 ,!re mu/ n ( c\rse be s mu* levity t ! effectiv5ess ( ! rehe>sal w be endang]$1 b !re is n mu* likelihood t ?is w happ52 :]eas !re seems to be consid]able dang] t our rehe>sals w become too cold & =mal4 ,a writ] on ! psy*ology ( laught] /ates t laught] is man's be/ fri5d2#b & 9 ano!r place 7p4 #cdb7 says t ! smile always br+s to ! m9d relaxation f /ra94 ,footnote #b3 ,sully1 ,an ,essay on ,laught]4 ,sid5ote3 ,,! ,,value ,,( ,,imag9ation ,,9 ,,conduct+ ,creative imag9ation is an inborn quality--a gift ( ! gods--& if ! individual does n possess x1 v little c be done = him 9 ! arti/ic realm4 ,con/ructive or creative imag9ation implies ! ability to comb9e kn[n elem5ts 9 new ways--to use ! m9d =w>ds1 z x 74 ,! possession ( ?is trait makes x possible to picture to oneself h[ ?+s are go+ to look or s\nd or feel be=e any actual s5se exp]i5ce has tak5 place2 to see into p's m9ds & (t5 f9d out 9 advance h[ !y are go+ to react to a project$ situation2 to comb9e *emical elem5ts 9 new ways & ?us create new sub/ances2 to plan details ( organization 9 a manufactur+ e/abli%m5t or 9 an educational in/itution1 & to be able to =eca/ h[ ^! ?+s are go+ to "w out4 ,x is ?is quality ( creative imag9ation t enables ! inv5tor to project 8 m9d into ! future & see a cont95t spann$ by railways & telephones1 & ! b>ri] ( an ocean brok5 d[n by means ( wireless & a]oplane2 & 9 e case ! inv5tor works ) old & well-kn[n mat]ials1 be+ m]ely enabl$ by ! p[] ( 8 creative faculties 7z !y are errone\sly call$7 to comb9e ^! kn[n mat]ials 9 new ways4 ,9 ! case ( ! musician1 su* creative imag9ation has always be5 recogniz$ z a s9e qua non ( orig9al composition1 b its necessity has n always be5 s cle>ly felt 9 ! case ( ! p]=m]4 ,^u analyz+ ! situation x becomes evid5t1 h[ev]1 t ! p]=m] _c possibly get f ! compos] 8 real message unless he c foll[ him 9 8 imag9ation1 & ?us re-create ! "w4 ,z = add+ any?+ orig9al to :at ! compos] has giv51 ?is is pla9ly out ( ! "q unless ! int]pret] is end[$ some:at ext5sively ) creative imag9ation2 & ! possession ( ?is quality w enable him to introduce su* subtle v>iations f a cut-&-dri$1 m]ely accurate r5dition z w make 8 p]=mance seem really spontane\s1 & w inevitably ar\se a m en?usia/ic emotional response 9 ! li/5]s4 ,we+>tn] sums up ! value ( imag9ation 9 ! f9al p>agraph ( "o ( ! few really valuable books on conduct+ at our disposal4#c ,m & m ,i h come to ?9k t :at decides ! wor? ( conduct+ is ! degree ( sugge/ive p[] t ! conductor c ex]cise ov] ! p]=m]s4 ,at ! rehe>sals he is mo/ly no?+ m ?an a workman1 :o s*ools ! m5 "u him s consci5ti\sly & precisely t ea* ( !m kn[s 8 place & :at he has to d !re2 he fir/ becomes an arti/ :5 ! mom5t comes = ! production ( ! "w4 ,n ev5 ! mo/ assidu\s rehe>s+1 s necess>y a pr]equisite z ?is is1 c s /imulate ! capacities ( ! play]s z ! =ce ( imag9ation ( ! conductor4 ,x is n ! transf]5ce ( 8 p]sonal w1 b ! my/]i\s act ( creation t call$ ! "w itself into be+ takes place aga9 9 him1 & transc5d+ ! n>r[ limits ( reproduction1 he becomes a new-creator1 a self-creator4 ,footnote #c3 ,we+>tn]1 ,on ,conduct+1 translat$ by ,erne/ ,newman1 p4 #ef4 ,?is quality is indisp5sable to all musicians1 be !y creators or p]=m]s1 b is especially desirable 9 ! conductor1 = he ne$s x n only f ! /&po9t ( int]pretation1 z already not$1 b f t ( manag] or organiz]4 ,^u ?is latt] po9t we %all h m to say lat]1 b x may be well to /ate j "h t if ! conductor c\ld imag9e :at 0 go+ on 9 ! m9ds ( 8 play]s or s+]s1 & c\ld see ?+s f _! viewpo9t2 if he c\ld =eca/ ! effect ( 8 explanatory directions or ( 8 discipl9>y rul+s1 n9e-t5?s ( all ! qu>rel+1 bick]+1 & g5]al dissatisfaction t s frequ5tly m> ! "w ( any musical organization c\ld easily be elim9at$4 ,we might also add t if ! conductor c\ld only =esee ! effect ^u 8 audi5ces ( c]ta9 works1 or ( c]ta9 int]pretations1 8 plans w\ld probably (t5 be mat]ially alt]$4 ,sid5ote3 ,,organiz+ ,,ability ,,& ,a ,,s5se ,,( ,,lead]%ip ,b ! conductor mu/ be m ?an a humor\s-m9d$ & imag9ative musician4 ,he mu/ also 7especially 9 ^! mod]n times7 be an organiz]1 a bus9ess man1 a lead]4 ,! qualities ( lead]%ip & organiz+ ability are s closely connect$ t we %all = ! mo/ "p treat !m toge!r 9 our discussion1 & !y are s important t a fairly ext5sive analysis w be attempt$4 ,9 an article on ,s*umann 9 ,grove's ,diction>y ,dr4 ,philip ,spitta1 ! well-kn[n hi/orian & critic1 comm5ts ^u ! conduct+ ( ?is fam\s compos] z foll[s3#d ,s*umann 0 sadly want+ 9 ! real tal5t = conduct+4 ,all :o ev] saw him conduct or play$ "u 8 direction are agre$ on ?is po9t4 ,irrespective ( ! fact t conduct+ = any l5g? ( "t tir$ him out1 he _h nei!r ! collect$ness & prompt pres5ce ( m9d1 nor ! sympa!tic faculty1 nor ! ent]pris+ da%1 )\t ea* ( :i* conduct+ 9 ! true s5se is impossible4 ,he ev5 f\nd difficulty 9 />t+ at a giv5 tempo2 nay1 he ev5 sometimes %rank f giv+ any initial beat1 s t "s en]getic pione] w\ld beg9 )\t wait+ = ! signal1 & )\t incurr+ ,s*umann's wra?6 ,besides ?is1 any ?or\gh practice1 bit by bit1 ) 8 or*e/ra1 ) in/ructive rem>ks by ! way z to ! mode ( execution1 0 impossible to ?is great arti/1 :o 9 ?is respect 0 a /rik+ contra/ to ,m5delssohn4 ,he w\ld h a piece play$ ?r\gh1 & if x did n answ] to 8 wi%es1 h x repeat$4 ,if x w5t no bett] ! second or p]haps ?ird "t1 he w\ld be extremely angry at :at he consid]$ ! clums9ess1 or ev5 ! ill-w ( ! play]s2 b detail$ rem>ks he nev] made4 ,footnote #d3 ,grove's ,diction>y ( ,music & ,musicians1 ,new ,edition1 ,vol4 ,,iv1 p4 #cfc4 ,?is e/imate ( ,s*umann's "w z a conductor demon/rates unmi/akably t he fail$ 9 ?is p>ticul> field1 n because 8 musical s*ol>%ip 0 n adequate1 b because he did n h t peculi> ability :i* enables "o man to dom9ate o!rs3 viz41 a s5se ( lead]%ip1 or p]sonal magnetism1 z x is (t5 call$4 ,seidl ass]ts#e t ,b]lioz1 ,mass5et1 & ,sa9t-,sans likewise fail$ z conductors1 9 spite ( recogniz$ musician%ip2 & x is ( c\rse well kn[n t ev5 ,bee?ov5 & ,brahms c\ld n conduct _! own works z well z "s ( _! contempor>ies ^: names are n[ almo/ =gott54 ,footnote #e3 ,seidl1 ,! ,music ( ! ,mod]n ,_w1 ,vol4 ,i1 p4 #ajf4 ,! feel+ t "o has ! p[] to cause o!rs to d "o's w seems 9 mo/ cases to be inborn1 at lea/ c]ta9 *ildr5 display x at a v e>ly age2 & x is usually ! boys & girls :o decide on ! playgr\nd :at games %all be play$ next1 or :at mis*ief %all n[ be ent]$ ^u1 :o lat] on become lead]s 9 _! sev]al fields ( activity4 ,& yet ?is s5se ( lead]%ip1 or some?+ closely approximat+ x1 may also be acquir$1 at lea/ to a c]ta9 ext5t1 by almo/ any "o :o makes a consi/5t & intellig5t attempt 9 ?is direction4 ,x is ?is latt] fact :i* may enc\rage ^? ( u :o are n naturally z gift$ along ^! l9es z we %\ld l to be1 & x is because ( ?is possibility ( acquir+ :at 9 conduct+ am\nts to an indisp5sable qualification t an attempt is "h made to analyze ! ?+ call$ lead]%ip into its elem5ts4 ,sid5ote3 ,,! ,,fir/ ,,elem5t ,,9 ,,lead]%ip ,! prim>y basis ^u :i* a s5se ( lead]%ip re/s is und\bt$ly confid5ce 9 "o's g5]al ability & 9 "o's k ( ! p>ticul> subject be+ h&l$4 ,! lead] mu/ n only "k b mu/ "k t he kn[s4 ,?is makes quick judgm5ts possible1 & ! lead] & organiz] mu/ always be capable ( mak+ su* judgm5ts1 & ( do+ x ) f9ality4 ,! baseball play] mu/ decide in/antly :e!r to ?r[ ! ball to fir/1 second1 ?ird1 or home1 & he mu/ repeat$ly make su* decisions correctly be=e he c become a /rong & respect$ baseball capta94 ,! same ?+ holds true ( ! =eman 9 a factory1 & bo? baseball capta9 & factory =eman mu/ n only "k e detail ( ! "w done "u !m1 b mu/ "k t !y "k x1 & mu/ feel confid5t ( be+ able to cause ^? work+ "u !m to c>ry x on z !y conceive x4 ,s ! conductor mu/ n only "k music1 b mu/ h confid5ce 9 8 e>1 9 8 rhy?mic precision1 9 8 ta/e1 9 8 judgm5t ( tempo1 9 %ort1 9 8 musical s*ol>%ip2 & he mu/ n only feel t he kn[s exactly :at %\ld be done 9 any giv5 situation1 b be confid5t t he c make 8 *orus or or*e/ra d x z he wi%es4 ,?9k = in/ance ( secur+ a firm attack on ! fir/ tone ( su* a song z ! ,m>seillaise4 ,x is an extremely difficult ?+ to d1 & x w\ld be utt]ly impossible to direct any "o else exactly h[ to accompli% x2 & yet1 if ! conductor kn[s exactly h[ x mu/ s\nd1 if he has an auditory image ( x be=e ! actual tones beg91 & if he feels t :5 he beg9s to beat "t ! *orus w s+ z he has he>d !m 9 imag9ation1 !n ! expect$ result is almo/ c]ta9 to foll[4 ,b if he is unc]ta9 or hesitant ^u any ( ^! po9ts1 he w z surely fail to get a good attack4 ,su* confid5ce 9 "o's own ability z we h be5 describ+ usually results 9 ! acquir+ ( :at is call$ an easy mann]1--self-possession1--9 %ort1 poise1 & x is ! possession ( su* a be>+ t gives u confid5ce 9 ! s*ol>%ip & ability ( ! lead]s 9 any type ( activity4 ,b ! influ5ce ( ?is type ( mann] _c be p]man5t unless x re/s ^u a f\ndation ( really solid k or ability4 ,sid5ote3 ,,! ,,second ,,elem5t ,,9 ,,lead]%ip ,! second elem5t includ$ 9 lead]%ip & organiz+ ability is ! p[] to make oneself und]/ood1 t is1 cle>ness ( spee* & ( expression4 ,?is involves probably fir/ ( all1 s f> z conduct+ is conc]n$1 a voice t c be easily he>d1 ev5 9 a fairly l>ge room1 & t c>ries ) x ! tone ( au?ority4 ,b x includes also a good comm& ( language s t "o's ideas may be express$ cle>ly1 & "o's comm&s giv5 def9itely4 ,an important po9t to be not$ 9 ?is connection is t ! conductor mu/ be able to ex]cise rigid self-control1 s z n to become incoh]5t "u /ress ( ang]1 em]g5cies1 or o!r excitem5t4 ,sid5ote3 ,,! ,,?ird ,,elem5t ,,9 ,,lead]%ip ,! f9al elem5t involv$ 9 lead]%ip is a trem5d\s love ( & respect = ! ?+ t is be+ done4 ,napoleon became a great g5]al because ( 8 confid5ce 9 8 own ability1 & because ( 8 v great en?usiasm = 8 "w4 ,l9coln became "o ( ! greate/ /atesm5 ( all times l>gely because ( 8 e>ne/ness1 8 extraord9>y love & respect = ! common p1 & 8 unfalt]+ confid5ce 9 ! ju/ice ( ! cause = :i* ! ,nor? 0 cont5d+4 ,pe/alozzi c\ld nev] h become "o ( ! _w's mo/ influ5tial tea*]s if he _h n felt t ! ?+ he 0 try+ to d 0 a big ?+1 a vital ?+ 9 ! life ( 8 c\ntry1 & if he _h n _h a real love 9 8 he>t = 8 "w among ! ragg$ & untra9$ ur*9s :om he ga!r$ ab\t him4 ,& = ! same reason x is cle> t no "o c become a /rong & =ceful conductor :o does n h an ov]:elm+ love ( music 9 8 he>t4 ,we may g f>!r & say t no conductor c give a really spirit$ read+ ( a musical composition if he does n feel g5u9ely en?usia/ic ov] ! "w be+ p]=m$1 & t "o reason = ! sluggi% response t musicians (t5 make to ! conductor's baton is ! m$iocrity ( ! music :i* !y are be+ ask$ to p]=m4 ,! conductor is n 9 sympa?y ) x 7sometimes )\t realiz+ ?is himself71 & !re is consequ5tly no virility 9 ! play+ or s++4 ,! rem$y = ?is /ate ( affairs consi/s1 fir/1 9 all[+ only ^? :o h "s ta/e 9 ! selection ( music to conduct2 & second1 9 inspir+ all conductors to take mu* m "t & mu* great] pa9s 9 decid+ ^u ! works to be rehe>s$4 ,9 direct+ a *oir "o may exam9e a doz5 cantatas1 or tw5ty-five an!ms1 be=e "o is f\nd t is really di/9ctive4 ,if "o /ops at ! second or ?ird1 & ?9ks t al?\gh n v good yet x is possibly good en\gh1 v probably ! *oir w be f\nd to be sluggi% & unresponsive1 fill$ ) :at ,c[>d calls in]tia4#f ,b if "o goes on look+ ov] m & m selections until some?+ really di/9ctive is discov]$1 x is m ?an probable t ! *orus w respond ) en]gy & en?usiasm4 ,footnote #f3 ,c[>d1 ,*oral ,te*nique & ,int]pretation1 p4 #gc4 ,we h he>d _m argum5ts 9 favor ( tea*+ *ildr5 only ! be/ music1 & "h is yet ano!r1 p]haps m pot5t ?an all ! re/4 ,!y mu/ be taught only good music because y z a musician w f9d x impossible to become en?usia/ic ov] m$iocre or poor works2 & if y d n y\rself gl[ ov] ! music t y are direct+1 y w h>dly succe$ 9 ar\s+ ! *ildr5's int]e/1 = en?usiasm spreads by contagion1 & !re c be no spread+ by contact unless we h a po9t f :i* to />t4 ,a s5se ( lead]%ip consi/s1 !n1 ( a comb9ation ( self-confid5ce & poise1 cle>ness ( spee* & expression1 & en?usiasm = "o's "w2 & if ) ^! ?ree !re is m+l$ ! ability to ?9k cle>ly & def9itely1 we h a comb9ation t is b\nd to produce di/9ctive results1 no matt] :at ! field ( activity may be4 ,let u repeat t ! enc\rag+ ?+ ab\t ! :ole matt] is ! fact t mo/ ( ! ?+s involv$ 9 lead]%ip c be acquir$1 at lea/ to a c]ta9 degree1 if p]si/5t ef=ts are made = a long en\gh "t4 ,be=e go+ on ) ! topic to be treat$ 9 ! next *apt]1 let u summ>ize ! mat]ials out ( :i* our conductor is to be fa%ion$4 ,!y are3 #a4 ,innate musical ability4 #b4 ,a long p]iod ( broad & intellig5t music /udy4 #c4 ,an attractive & engag+ p]sonality4 #d4 ,a s5se ( humor4 #e4 ,a creative imag9ation4 #f4 ,consci\s lead]%ip & organiz+ ability4 ,"s ( ^! qualities are admitt$ly almo/ diametrically oppos$ to "o ano!r1 & x is probably because s few individuals comb9e su* app>5tly opposite traits t su* a small numb] ( musicians succe$ z conductors1 & s few organiz]s & bus9ess m5 succe$ z musicians4 ,b 9 spite ( ?is difficulty1 we mu/ insi/ aga9 t any really tangible & p]man5t success 9 conduct+ involves a comb9ation ( ^! attributes1 & t ! conductor ( ! future1 ev5 m ?an ( ! pa/1 mu/ possess n only ^? qualities ( ! arti/ ne$$ by ! solo p]=m]1 b mu/ 9 addition be a good bus9ess manag]1 an organiz]1 a tactician1 a diplomat1 a task-ma/]--9 pla9 ,engli%1 a good boss4 ,x is prim>ily because ( ! lack ( ^! la/-m5tion$ qualities t mo/ musicians fail z conductors4 ,a writ] 9 ! ,canadian ,j\rnal ( ,music1 sign+ himself ,v>asd91 sums x up well 9 ! foll[+ words3 ,he :o wi%es to c>ry away 8 body ( play]s z well z 8 audi5ce1 ! =m] to a unanim\sly act$ improvisation1 ! latt] to a unanim\sly felt emotion1 ne$s above all comm&+ p]sonal magnetism1 & ev]y?+ else mu/ be subord9ate to t4 ,he mu/ be v mu* alive--7highly accumulat$ vital en]gy1 always ready to dis*>ge1 is ! secret ( all p]sonal magnetism7--& ! al]tness1 ! pres5ce ( m9d1 ! acute & imm$iate p]ception ( ev]y?+ go+ on dur+ rehe>sal or p]=mance1 ! dom9ancy & impressiv5ess ( 8 m9ute/ ge/ure1 ! absolute self-possession & repose ev5 9 work+ up ! mo/ excit+ climaxes & 9 effect+ ! mo/ sudd5 contra/s--all ^! are simply self-evid5t coroll>ies f our fir/ & =emo/ requirem5t4 ,,*apt] ,,iii ,,! ,,te*nique ,,( ,,! ,,baton ,sid5ote3 ,,! ,,baton ,,itself ,be=e giv+ actual directions = ! manipulation ( ! conductor's baton1 x may be well to /ate t ! /ick itself %\ld be light 9 weight1 light 9 color1 & f sixte5 to tw5ty in*es long4 ,x mu/ be ?9 & flexible1 & %\ld tap] gradually f ! end held 9 ! h& to ! po9t4 ,batons ( ?is k9d c be manufactur$ easily at any ord9>y plan+ mill :]e !re is a la!4 ,! k9ds sold at /ores are usually altoge!r too ?ick & too heavy4 ,if at any "t "s adulat+ *orus or *oir %\ld pres5t ! conductor ) an ebony baton ) silv] m\nt+s1 he mu/ n feel t c\rtesy dem&s t x %\ld be us$ 9 conduct+4 ,! prop] ?+ to d ) su* an in/rum5t is to tie a ribbon ar\nd "o end & hang x on ! wall z a decoration4 ,sid5ote3 ,,! ,,conductor',s ,,music ,,/& ,a ^w ab\t ! music desk may also be 9 ord] at ?is "t4 ,x %\ld be made ( wood or heavy metal s t 9 conduct+ "o ne$ n con/antly feel t x is likely to be knock$ ov]4 ,! ord9>y fold+ music /& made ( light metal is altoge!r unsuitable = a conductor's use4 ,a good sub/antial /& ) a metal base & /&>d & wood top c be pur*as$ = f ?ree to five doll>s f any deal] 9 musical in/rum5ts4 ,if no money is available & ! /& is con/ruct$ at home1 x may be well to note t ! base %\ld be heavy1 ! upright ab\t ?ree & a half feet high1 & ! top or desk ab\t f\rte5 by tw5ty in*es4 ,?is top %\ld tilt only slightly1 s t ! conductor may glance f x to 8 p]=m]s )\t too mu* *ange ( focus4 ,our reason = m5tion+ app>5tly trivial matt]s ( ?is k9d is to gu>d aga9/ any possible di/raction ( ! conductor's m9d by unimportant ?+s4 ,if ^! details are well provid$ = 9 advance1 he w be able :ile conduct+ to give 8 entire att5tion to ! real "w 9 h&4 ,sid5ote3 ,,hold+ ,,& ,,wield+ ,,! ,,baton ,! baton is ord9>ily held betwe5 ! ?umb & fir/1 second & ?ird f+]s1 b ! conductor's grasp ^u x v>ies ) ! emotional quality ( ! music4 ,?us 9 a da9ty pianissimo passage1 x is (t5 held v lightly betwe5 ! ?umb & ! fir/ two f+]s1 :ile 9 a =tissimo "o x is grasp$ tightly 9 ! clos$ fi/1 ! t5sion ( ! muscles be+ symbolic ( ! excitem5t express$ 9 ! music at t po9t4 ,all muscles mu/ be relax$ unless a contraction occurs because ( ! conductor's response to emotional t5sion 9 ! music4 ,! wri/ %\ld be loose & flexible1 & ! entire beat s full ( grace t ! att5tion ( ! audi5ce is nev] = an in/ant di/ract$ f li/5+ to ! music by ! conspicu\s awkw>dness ( ! conductor's h& movem5ts4 ,?is grace 9 baton-manipulation ne$ n int]f]e 9 any way ) ! def9it5ess or precision ( ! beat4 ,9 fact an easy1 graceful beat usually results 9 a firm] rhy?mic response ?an a j]ky1 awkw>d "o4 ,= ! fir/ beat ( ! measure ! entire arm 7upp] z well z l[]7 moves vigor\sly d[nw>d1 b = ! rema9+ beats ! movem5t is mo/ly conf9$ to ! elb[ & wri/4 ,9 ! case ( a divid$ beat 7see pages #bc & #bd7 ! movem5t comes almo/ entirely f ! wri/4 ,sid5ote3 ,,position ,,( ,,! ,,baton ,! h& manipulat+ ! baton mu/ always be held suffici5tly high s z to be easily se5 by all p]=m]s1 ! elb[ be+ kept well away f ! body1 almo/ level ) ! %\ld]4 ,! elevation ( ! baton1 ( c\rse1 dep5ds ^u ! size ( ! gr\p be+ conduct$1 ^u ! mann] 9 :i* ! p]=m]s are arrang$1 & ^u :e!r !y are sitt+ or /&+4 ,! conductor w accord+ly v>y its position accord+ to ! exig5cies ( ! occasion1 always rememb]+ t a beat t _c be easily se5 w n be readily foll[$4 ,sid5ote3 ,,pr9ciples ,,& ,,me?ods ,,( ,,"t ,,beat+ ,if "o obs]ves ! "w ( a numb] ( conductors1 x soon becomes evid5t t1 al?\gh at fir/ !y appe> to h absolutely diff]5t me?ods1 !re are nev]!less c]ta9 fundam5tal und]ly+ pr9ciples 9 accordance ) :i* ea* beats "t1 & x is ^! g5]al pr9ciples t we are to deal ) 9 ! rema9d] ( ?is *apt]4 ,x %\ld be not$ t pr9ciples r ?an me?ods are to be discuss$1 s9ce pr9ciples are univ]sal1 :ile me?ods are individual & usually only local 9 _! application4 ,sid5ote3 ,,diagrams ,,( ,,baton ,,movem5ts ,! g5]al direction ( ! baton movem5ts n[ 9 univ]sal use is %[n 9 ! foll[+ figures4 ,illu/ration ,9 actual practice h[ev]1 ! baton moves f po9t to po9t 9 a v mu* m complex fa%ion1 & 9 ord] to aid ! le>n] /ill fur!r 9 8 analysis ( "t beat+ an elaborat$ v]sion ( ! =ego+ figures is suppli$4 ,x is ( c\rse und]/ood t su* diagrams are ( value only 9 giv+ a g5]al idea ( ^! m complex movem5ts & t !y are n to be foll[$ m9utely4 ,illu/ration3 ,,two-,,beat ,,measure ,illu/ration3 ,,?ree-,,beat ,,measure ,illu/ration3 ,,f\r-,,beat ,,measure ,illu/ration3 ,,six-,,beat ,,measure ,illu/ration3 ,,v ,,sl[ ,,two-,,beat ,,measure ,illu/ration3 ,,v ,,sl[ ,,?ree-,,beat ,,measure ,illu/ration3 ,,sl[ ,,f\r-,,beat ,,measure ,illu/ration3 ,,sl[ ,,n9e-,,beat ,,measure ,illu/ration3 ,,sl[ ,,twelve-,,beat ,,measure ,an exam9ation ( ^! figures w %[ t all baton movem5ts are bas$ ^u f\r g5]al pr9ciples3 #a4 ,! /ronge/ pulse ( a measure 7! fir/ "o7 is always m>k$ by a d[n-beat4 ,?is pr9ciple is m]ely a specific application ( ! g5]al fact t a d[nw>d /roke is /rong] ?an an upw>d "o 7cf4 driv+ a nail74 #b4 ,! la/ pulse ( a measure is always m>k$ by an up-beat1 s9ce x is g5]ally ! weake/ "p ( ! measure4 #c4 ,9 ?ree- & f\r-beat measures1 ! beats are s plann$ t !re is nev] any dang] ( ! h&s collid+ 9 conduct+ vigor\s movem5ts t call = ! use ( ! free h& z well z ! "o hold+ ! baton4 #d4 ,9 comp\nd measures ! second>y acc5t is m>k$ by a beat almo/ z /rong z t giv5 ! prim>y acc5t4 ,sid5ote3 ,,numb] ,,( ,,beats ,,det]m9$ ,,by ,,tempo ,! fact t a composition is 9 #d-d measure does n necess>ily mean t e measure is to be direct$ by be+ giv5 f\r actual beats1 & "o ( ! ?+s t ! conductor mu/ le>n is :5 to give m beats & :5 few]4 ,if ! tempo is v rapid1 ! #d-d measure w probably be giv5 only two beats1 b 9 an adagio movem5t1 z1 e4g41 ! fir/ "p ( ! ,messiah ov]ture1 x may be necess>y to beat eight = ea* measure 9 ord] to insure rhy?mic cont9uity4 ,!re are _m examples ( triple measure 9 :i* ! movem5t is s rapid z to make x impracticable to beat ?ree 9 a measure1 & ! conductor is !re=e cont5t m]ely to give a d[n-beat at ! beg9n+ ( ea* measure2 waltzes are commonly conduct$ by giv+ a d[n-beat = ! fir/ measure1 an up-beat = ! second1 et cet]a2 a six-"p measure 9 rapid tempo receives b two beats2 :ile #i-h & #ab-h are ord9>ily giv5 b ?ree & f\r beats respectively4 ,x is n only annoy+ b absolutely fatigu+ to see a conductor g ?r\gh all mann] ( contortions 9 try+ to give a sep>ate beat to ea* pulse ( ! measure 9 rapid tempos2 & ! effect ^u ! p]=m]s is ev5 worse ?an ^u ! audi5ce1 = a /rong] rhy?mic reaction w always be /imulat$ if ! rhy?m is felt 9 l>g] units r ?an 9 small] ones4 ,b on ! o!r h&1 ! tempo is sometimes s v sl[ t no s5se ( cont9uity c be ar\s$ by giv+ only "o beat = ea* pulse2 h5ce1 z already not$1 x is (t5 be/ to give d\ble ! numb] ( beats indicat$ by ! measure sign4 ,9 g5]al1 ^! two ideas may be summ>iz$ 9 ! foll[+ rule3 ,z ! tempo becomes m rapid1 decrease ! numb] ( beats2 b z x becomes sl[]1 increase ! numb]1 at ! same "t elaborat+ ! beat s z to express m tangibly ! idea ( a /eady =w>d movem5t4 ,by c>efully /udy+ ! second s]ies ( figures giv5 on pages #bc & #bd & by mak+ c]ta9 t ! pr9ciple ( cont9u\s movem5t expla9$ on page #bh is obs]v$1 ! /ud5t w be able to le>n ! m highly elaborat$ beats employ$ 9 sl[] tempos )\t v mu* difficulty4 ,^! diagrams1 l ! fir/ set1 are1 ( c\rse1 int5d$ to be sugge/ive only4 ,sid5ote3 ,,%all ,,we ,,beat ,,! ,,rhy?m ,,or ,,! ,,pulse8 ,9 ?is same connection1 ! amateur may p]haps raise ! "q z to :e!r x is wise to beat ! rhy?m or ! pulse 9 su* a measure z music notation4 ,9 o!r words1 is x well to give a d[n-beat on #a1 two small beats t[>d ! left = #b1 :ile #c & #d are treat$ 9 ! ord9>y way8 ,?is "q may be answ]$ by ref]r+ to ! rule giv5 on page #be1 b p]haps x w be saf] to make ! application m specific by advis+ ! "y conductor to adh]e fairly closely to beat+ ! pulse unless a mu* sl[] tempo makes extra beats necess>y4 ,! additional movem5ts may be ( "s s]vice 9 c]ta9 cases1 b 9 g5]al !y t5d to confuse r ?an to cl>ify1 ?is be+ especially true 9 ! case ( syncopat$ rhy?ms4 ,! only exceptions to ?is pr9ciple are3 #a4 ,:5 a phrase beg9s ) a tone t is on a fractional "p ( ! beat2 e4g41 if ! prec$+ phrase ends ) an eigh?1 ?us3 music notation2 = 9 ?is case ! phras+ _c be indicat$ cle>ly )\t divid+ ! beat4 #b4 ,:5 !re is a rit>d&o & x becomes necess>y to give a l>g] numb] ( beats 9 ord] to %[ j h[ mu* sl[] ! tempo is to be4 ,! second po9t is ( c\rse cov]$ by ! g5]al rule already ref]r$ to4 ,! conductor mu/ tra9 himself to *ange in/antly f two beats 9 ! measure to f\r or six2 f "o to ?ree1 et cet]a1 s t he may be able at any "t to suit ! numb] ( beats to ! "* ( ! music at t p>ticul> po9t4 ,?is is p>ticul>ly necess>y 9 places :]e a rit>d&o makes x desirable f ! /&po9t ( ! p]=m]s to h a l>g] numb] ( beats4 ,sid5ote3 ,,! ,,dott$-,,qu>t] ,,z ,a ,,beat ,,note ,al?\gh cov]$ 9 g5]al by ! prec$+ discussion1 x may p]haps be well to /ate specifically t ! comp\nd measures #f-h1 #i-h1 & #ab-h are ord9>ily tak5 z duple1 triple1 & quadruple measures1 respectively4 ,9 o!r words1 ! dott$-qu>t]-note 7dott$ qu>t]-note symbol7 is ?\ght ( z ! beat note1 "s mod]n editors go+ s f> z to write #b ov] dott$ qu>t] symbol 9 place ( #f-h z ! measure sign2 #c ov] dott$ qu>t] symbol 9 place ( #i-h2 & #d ov] dott$ qu>t] symbol 9 place ( #ab-h4 ,9 conduct+ ^! v>i\s types ( measure1 ! g5]al pr9ciple giv5 on page #be aga9 applies1 & if ! tempo is v sl[1 ! conductor beats #f1 #i1 or #ab1 to ! measure1 b if x is rapid1 ! fl[ ( ! rhy?m is mu* bett] indicat$ by #b1 #c1 & #d beats respectively4 ,sid5ote3 ,,five- ,,& ,,sev5-,,beat ,,measures ,al?\gh only occasionally enc\nt]$ by ! amateur1 five- & sev5-beat measures are n[ made use ( frequ5tly en\gh by compos]s to make "s explanation ( _! treatm5t appropriate4 ,a five-beat measure 7qu9tuple7 is a comp\nd measure compris+ a two-beat & a ?ree-beat "o4 ,sometimes ! two-beat gr\p is fir/1 & sometimes ! ?ree-beat "o4 ,if ! =m]1 !n ! conductor's beat w be d[n-up1 d[n-"r-up4 ,b if x is ! o!r way ab\t1 !n ! beat w naturally be d[n-"r-up1 d[n-up4 ,b h[ am ,i to "k :i* comes fir/8 asks ! tyro4 ,& our answ] is1 ,/udy ! music1 & if y _c f9d out 9 ?is way1 y ought n to be conduct+ ! composition4 ,j z qu9tuple measure is a comp\nd measure compris+ two pulse-gr\ps1 "o ( ?ree & ! o!r ( two beats1 s sev5-beat measure 7septuple7 consi/s ( a f\r-beat gr\p plus a ?ree-beat "o4 ,if ! f\r-beat measure is fir/1 ! conductor's beat w be d[n-left-"r-up1 d[n-"r-up2 i4e41 ! regul> movem5ts = quadruple measure foll[$ by ^? = triple2 b if ! comb9ation is ?ree plus f\r1 x w be ! o!r way ab\t4 ,sometimes ! compos] helps ! conductor by plac+ a dott$ b> betwe5 ! two p>ts ( ! septuple measure1 ?us3 music notation ,sid5ote3 ,,an ,,important ,,pr9ciple ,,( ,,"t ,,beat+ ,! mo/ fundam5tal pr9ciple ( "t beat+1 & ! "o conc]n+ :i* ! "y conductor is apt to be mo/ ignorant1 is ! foll[+3 ,! baton mu/ n usually come to a /&/ill at ! po9ts m>k+ ! beats1 nei!r mu/ x move 9 a /raight l9e f "o po9t to ano!r1 except 9 ! case ( ! d[n beat2 = x is ! free & v>y+ movem5t ( ! baton betwe5 any two beats t gives ! s+]s or play]s _! cue z to :]e ! second ( ! two is to come4 ,we may g fur!r & say t ! prelim9>y movem5t made be=e ! baton arrives at :at might be t]m$ ! bottom ( ! beat is actually m important ?an ! bottom ( ! beat itself4 ,:5 ! baton is br\ght d[n = ! fir/ beat ( ! measure1 ! muscles contract until ! imag9>y po9t :i* ! baton is to /rike has be5 rea*$1 relax+ :ile ! h& moves on to ! next po9t 7i4e41 ! second beat7 gradually contract+ aga9 z ?is po9t is rea*$1 & relax+ imm$iately aft]w>d z ! h& moves on to ! ?ird beat4 ,9 ! diagrams ( baton movem5ts giv5 on prec$+ pages1 ! accumulat+ =ce ( muscul> contraction is %[n by ! gradually increas+ ?ickness ( ! l9e1 proce$+ f ! initial "p ( ! /roke to its culm9ation2 :ile ! light curv$ l9e imm$iately foll[+ ?is culm9ation indicates ! s-call$ back-/roke1 ! muscul> relaxation4 ,x is easy to see t ?is muscul> contraction is :at gives ! beat its def9it5ess1 its bottom1 :ile ! relaxation is :at gives ! effect ( cont9uity or fl[4 ,x w be notic$ t :5 ! baton is br\ght d[n on an acc5t$ beat1 ! beg9n+ ( ! back-/roke is felt by ! conductor z a sort ( reb\nd ( ! baton f ! bottom ( ! beat1 & ?is s5sation ( reb\nd+ helps greatly 9 giv+ po9t to ^! acc5t$ beats4 ,9 ord] to und]/& fully ! pr9ciple t we h j be5 discuss+1 x mu/ be recall$ t rhy?m is n a succession ( j]ks1 b is basically a /eady fl[1 a regul> succession ( simil> impulses1 ! ^w rhy?m itself com+ f a ,greek /em mean+ fl[4 ,l all o!r good ?+s1 ?is !ory ( cont9u\s movem5t may be c>ri$ to excess1 & "o occasionally sees conduct+ t has s mu* back-/roke t !re is no def9it5ess ( beat :atsoev]2 9 o!r words !re is no bottom to ! beat1 & consequ5tly no precision 9 ! conduct+4 ,b on ! o!r h&1 !re is to be obs]v$ also a great deal ( conduct+ 9 :i* ! beats seem to be ?\ght ( z imag9>y po9ts1 ! conductor app>5tly feel+ t x is 8 bus9ess to get f "o to ano!r ( ^! po9ts 9 z /raight a l9e z possible1 & ) no relaxation ( muscle :atev]4 ,su* conductors (t5 imag9e t !y are be+ v def9ite & v precise inde$ 9 _! direct+1 & h sometimes be5 he>d to rem>k t ! s+]s or play]s :om !y 7 lead+ seem$ exce$+ly /upid ab\t foll[+ ! beat1 especially 9 ! attacks4 ,! real reason = sluggi% rhy?mic response & poor attacks is1 h[ev]1 m (t5 to be laid at ! door ( a poorly execut$ beat by ! conductor ?an to ! /upidity ( ! *orus or or*e/ra4#g ,footnote #g3 ,x is b a /ep f ! conclusions arriv$ at above to a coroll>y relat+ to conduct+ f ! organ b5*4 ,h[ does x happ5 t mo/ *oirs direct$ by an organi/-conductor d n attack promptly1 d n foll[ tempo *anges readily1 & d n 9 g5]al pres5t examples ( good ensemble p]=mance8 ,is x n because ! organi/ is us+ 8 h&s & feet = o!r purposes1 & _c !re=e indicate to 8 s+]s ! cont9u\s fl[ ( rhy?m above ref]r$ to8 ,:5 a conductor direct+ ) a baton wi%es to indicate a rit>d&o1 he does s n m]ely by mak+ ! beats foll[ "o ano!r at long] int]vals1 b ev5 m by mak+ a m elaborate & m ext5sive movem5t betwe5 ! beat culm9ations2 & ! musicians h no difficulty 9 foll[+ ! baton1 because x is kept cont9u\sly 9 motion1 ! po9ts :]e ! muscul> contractions come be+ easily felt by ! p]=m]s1 because !y c ?us foll[ ! rhy?m 9 _! own muscles by in/9ctive imitation4 ,b :5 ! organi/-conductor wi%es a rit>d&o1 he m]ely plays m sl[ly1 & ! s+]s mu/ get _! idea ( ! sl[] tempo entirely ?r\gh ! e>4 ,s9ce rhy?m is a matt] ( muscle r ?an ( e>1 x w be readily und]/ood t conduct+ & organ-play+ w nev] g h& 9 h& to any v great ext5t4 ,!re is1 ( c\rse1 ano!r reason = ! failure ( _m organi/s :o try to play & conduct simultane\sly1 viz41 t !y are n able to d two ?+s successfully at ! same "t1 s t ! *orus is (t5 left to "w out its own salvation z be/ x may2 :ile1 if ! conduct+ is done by us+ ! left h&1 ! organ end ( ! comb9ation is n usually manag$ ) any degree ( di/9ction4 ,because ( ?is & c]ta9 o!r well-kn[n reasons1 ! writ] believes t *oral music 9 g5]al1 & *ur* music 9 p>ticul>1 w\ld be greatly b5efit$ by a widespread return to ! mix$ *orus1 l$ by a conductor ) baton 9 h&1 & accompani$ by an organi/4 ,sid5ote3 ,,h[ ,,to ,,secure ,a ,,firm ,,attack ,coord9ate ) ! discussion ( cont9u\s movem5t & back-/roke1 ! foll[+ pr9ciple %\ld be not$3 ,a prelim9>y movem5t suffici5tly ample to be easily foll[$ by ! eye mu/ be made be=e actually giv+ ! beat ^u :i* ! s+]s or play]s are to beg9 ! tone1 if ! attack is to be deliv]$ ) precision & confid5ce4 ,?us 9 ! case ( a composition beg9n+ ^u ! fir/ beat ( a measure1 ! conductor holds ! baton pois$ 9 full view ( all p]=m]s1 !n1 be=e actually br++ x d[n = ! attack1 he raises x slightly1 ?is upw>d movem5t (t5 correspond+ to ! back-/roke betwe5 an imag9>y prec$+ beat & ! actual beat ) :i* ! composition beg9s4 ,:5 a composition beg9s ^u ! weak beat 7e4g41 ! f\r? beat ( a f\r-pulse measure71 ! prec$+ /rong beat itself1 toge!r ) ! back-/roke accompany+ x1 is (t5 giv5 z ! prep>ation = ! actual initial beat4 ,9 case ?is is done ! conductor mu/ gu>d aga9/ mak+ ?is prelim9>y /rong beat s prom95t z to cause ! p]=m]s to mi/ake x = ! actual signal to beg94 ,if ! fir/ phrase beg9s ) an eigh?-note 7music notation71 give a %ort beat = #d & an extra up-beat = ! fir/ note ( ! phrase4 ,if x beg9s ) a sixte5?-note1 d ! same ?+1 b make ! extra up-beat ) :i* ! fir/ tone is to be co9cid5t %ort] & quick]4 ,if a good attack _c be secur$ 9 any o!r way1 beat an entire prelim9>y measure until ! attack goes well1 !n adopt "s su* plan z has j be5 sugge/$4 ,sid5ote3 ,,! ,,release ,! prelim9>y up-beat :i* has j be5 discuss$ is equally valuable z a prep>ation = ! release or cut-(f4 ,! movem5t = ! release is usually a d[n /roke to "r or left1 or ev5 upw>d4 ,x is cu/om>y n to beat out ! f9al measure ( a composition or a complete f9al section ( a composition1 b to br+ ! baton d[n a few in*es = ! fir/ beat ( ! measure1 & !n to hold x pois$ 9 ?is position1 ei!r c\nt+ ! beats m5tally1 or tru/+ to feel+ to det]m9e ! "t = /opp+4 ,a slight upw>d movem5t is !n made j be=e ! tone is to be releas$1 & x is ! w>n+ convey$ by ?is prelim9>y movem5t t enables ! p]=m]s to release ! tone at ! precise in/ant :5 ! baton is br\ght d[n = ! cut-(f4 ,x %\ld be not$ t ! release mu/ come at ! end ( ! duration value ( ! f9al note4 ,9 #d-d a f9al dott$ half-note symbol w\ld !re=e be held up to ! beg9n+ ( ! f\r? beat1 i4e41 until "o is on ! po9t ( c\nt+ f\r2 a f9al :ole note symbol1 until ! beg9n+ ( ! fir/ beat ( ! foll[+ measure4 ,x is because ( c>elessness or ignorance on ?is po9t t compos]s n[ sometimes resort to su* devices z music notation to %[ t ! f9al tone has f\r full beats4 ,9 su* a case1 ! end+ music notation means exactly ! same ?+ z music notation1 ! tone be+ releas$ precisely on "o ( ! foll[+ measure1 9 ei!r case4 ,sid5ote3 ,,! ,,hold ,9 ! case ( a hold 7f]mata71 ! movem5t = ! cut-(f dep5ds ^u ! nature ( :at foll[s4 ,if ! tone to be prolong$ =ms ! end ( a phrase or section1 ! baton is br\ght d[n vigor\sly z at ! end ( a composition2 b if ! hold occurs at ! end ( a phrase 9 su* a way z n to =m a decid$ clos+ po9t1 or if x occurs 9 ! mid/ ( ! phrase itself1 ! cut-(f is n ne>ly s pron\nc$1 & ! conductor mu/ ex]cise c>e to move 8 baton 9 su* a direction z to insure its be+ ready to give a cle> signal = ! attack ( ! tone foll[+ ! hold4 ,?us1 ) a hold on ! ?ird beat1 music notation ! cut-(f w\ld probably be t[>d ! "r & upw>d1 ?is movem5t !n s]v+ also z a prelim9>y = ! f\r? beat to foll[4 ,sid5ote3 ,,! ,,attack ,,9 ,,read+ ,,new ,,music ,= work+ 9 rehe>sal x is conv5i5t to use "s su* exclamation z ,ready--,s+1 or ,ready--,play1 9 ord] t amateur musicians may be enabl$ to attack ! fir/ *ord promptly1 ev5 9 read+ new music4 ,9 ?is case ! ^w ,ready comes j be=e ! prelim9>y movem5t2 ! ^w ,s+ or ,play be+ co9cid5t ) ! actual prelim9>y movem5t4 ,9 prep>+ = a public p]=mance1 h[ev]1 ! conductor %\ld be c>eful n to use ^! words s mu* 9 rehe>s+ t 8 musicians w h difficulty 9 mak+ _! attacks )\t he>+ !m4 ,sid5ote3 ,,l5g? ,,( ,,! ,,/roke ,! l5g? & g5]al "* ( ! baton movem5t dep5d ^u ! emotional quality ( ! music be+ conduct$4 ,a bright1 snappy ,s*]zo 9 rapid tempo w dem& a %ort1 vigor\s beat1 ) almo/ no elaboration ( back-/roke2 :ile = a sl[ & /ately ,*oral1 a long1 fl[+ beat ) a highly-elaborat$ back-/roke w be appropriate4 ,! fir/ beat ( ! phrase 9 any k9d ( music is usually long] & m prom95t1 9 ord] t ! v>i\s divisions ( ! design may be cle>ly m>k$4 ,x is 9 ! l5g? ( ! /roke t ! greate/ div]sity 9 "t beat+ w occur 9 ! case ( v>i\s individual conductors1 & x is nei!r possible nor advisable to give specific directions to ! amateur4 ,suffice x to say1 t if he und]/&s cle>ly ! =ego+ pr9ciples ( h&l+ ! baton1 & if 8 musical feel+ is g5u9e1 !re w be little difficulty at ?is po9t4 ,sid5ote3 ,,non-,,measur$ ,,music ,! directions = beat+ "t ?us f> giv5 h1 ( c\rse1 ref]r$ exclusively to :at is t]m$ measur$ music1 i4e41 music 9 :i* ! rhy?m consi/s ( gr\ps ( regul>ly spac$ beats1 ! size & g5]al *>act]i/ics ( ! gr\p dep5d+ ^u ! numb] & position ( ! acc5ts 9 ea* measure4 ,!re exi/s1 h[ev]1 a c]ta9 am\nt ( non-measur$ vocal music1 & a ^w conc]n+ ! mo/ common v>ieties 7recitative & ,anglican *ant7 w p]haps be 9 ord] be=e clos+ our discussion ( beat+ "t4 ,sid5ote3 ,,recitative ,9 conduct+ ! accompanim5t ( a vocal solo ( ! recitative /yle1 & p>ticul>ly t v>iety ref]r$ to z recitativo secco1 ! mo/ important baton movem5t is a d[n-beat aft] ea* b>4 ,! conductor usually foll[s ! soloi/ ?r\gh ! gr\p ( words f\nd betwe5 two b>s ) ! conv5tional baton movem5ts1 b ?is does n imply regul>ly spac$ pulses z 9 ! case ( measur$ music1 & ! beats d n correspond 9 any way to ^? ( ! ord9>y measure ( rhy?mic music4 ,!y m]ely enable ! accompany+ play]s to tell at approximately :at po9t 9 ! measure ! s+] is at any giv5 "t1 ! up-beat at ! end ( ! gr\p giv+ w>n+ ( ! ne> approa* ( ! next gr\p4 ,sid5ote3 ,,! ,,anglican ,,*ant ,9 ! case ( ! ,anglican *ant1 x %\ld be not$ t !re are two p>ts to ea* v]se3 "o1 a recit+ portion 9 :i* !re is no measur$ rhy?m2 ! o!r1 a rhy?mic portion 9 :i* ! pulses occur z 9 measur$ music4 ,9 ! recit+ portion ( ! *ant1 ! rhy?m is t ( ord9>y prose spee*1 punctuation m>ks be+ obs]v$ z 9 conv5tional language read+4 ,?is makes x f> m difficult to keep ! s+]s toge!r1 & 9 ord] to secure uni=mity1 "s conductors give a slight movem5t ( ! baton = ea* syllable2 o!rs dep5d ^u a d[n-beat at ! beg9n+ ( ea* measure toge!r ) ! lip movem5ts made by ! conductor himself & foll[$ m9utely by ! *orus4 ,! beg9n+ ( ! second "p ( ! *ant is indicat$ by pr9t+ its fir/ syllable 9 italics1 by plac+ an acc5t m>k ov] x1 or by "s o!r simil> device4 ,?is syllable is !n reg>d$ z ! fir/ acc5t$ tone ( ! metrical division ( ! *ant1 &1 beg9n+ ) x1 ! conductor beats "t z 9 ord9>y measur$ music4 ,if no o!r syllable foll[s ! acc5t$ "o be=e a b> occurs1 x is und]/ood t ! acc5t$ syllable is to be held = two beats1 i4e41 a measure's duration4 ,f9al ed is always pron\nc$ z a sep>ate syllable4 ,! mo/ important ?+ = an amateur to le>n ab\t conduct+ ! ,anglican *ant is t be=e he c successfully direct o!rs 9 s++ ?is type ( *oral music1 he mu/ himself practically memorize ea* *ant4 ,! amateur %\ld p]haps also be w>n$ n to h ! words ( ! fir/ "p ( ! *ant recit$ too rapidly4 ,all too frequ5tly !re is s mu* hurry+ t only a few ( ! mo/ prom95t words are di/+ui%able1 mo/ ( ! connect+ words be+ entirely lo/4 ,a m delib]ate /yle ( *ant+ ?an t 9 ord9>y use w\ld be mu* m 9 keep+ ) ! idea ( dignifi$ wor%ip4 ,be=e ask+ ! *oir to s+ a new *ant1 x is (t5 well to h ! memb]s recite x1 ?us emphasiz+ ! fact t ! mean+ ( ! text mu/ be br\ght out 9 ! s++4 ,9 inaugurat+ *ant+ 9 *ur*es :]e ?is =m ( music has n previ\sly =m$ a "p ( ! s]vice1 x w be well to h bo? *oir & congregation s+ ! melody 9 unison = a consid]able p]iod be=e attempt+ to *ant 9 p>ts4 ,sid5ote3 ,,! ,,necessity ,,( ,,practice ,,9 ,,h&l+ ,,! ,,baton ,n[ t we h laid d[n ! pr9ciples ^u ! basis ( :i* our prospective conductor is to beat "t1 let u w>n him once m t "h1 z 9 o!r ?+s1 x is intellig5t practice t makes p]fect1 & t if he is to le>n to h&le ! baton successfully1 & p>ticul>ly if he is to le>n to d x s well t he ne$ nev] give ! slighte/ ?\ght to 8 baton :ile actually conduct+1 h\rs ( practice 9 beat+ "t w be necess>y4 ,?is practis+ %\ld sometimes take place be=e a mirror1 or bett] /ill1 9 ! pres5ce ( "s critical fri5d1 s t a graceful r ?an a grotesque /yle ( h&l+ ! baton may result2 x %\ld also be done ) ! metronome click+ or ) "s "o play+ ! piano mu* ( ! "t1 9 ord] t ! habit ( ma9ta9+ an absolutely /eady1 ev5 tempo may evolve4 ,! phonograph may also be utiliz$ = ?is purpose1 & may well become an indisp5sable factor 9 tra9+ conductors 9 ! future1 x be+ possible 9 ?is way to /udy ! elem5ts ( int]pretation z well z to practise beat+ "t4 ,sid5ote3 ,,baton ,,te*nique ,,n ,,suffici5t ,,= ,,success ,,9 ,,conduct+ ,x mu/ n be imag9$ t if "o is =tunate en\gh to acquire ! /yle ( h&l+ ! baton :i* we h be5 advocat+ "o w at once a*ieve success z a conductor4 ,! factors ( musical s*ol>%ip1 p]sonal magnetism1 et cet]a1 m5tion$ 9 prec$+ pages1 mu/ /ill con/itute ! real f\ndation ( conduct+4 ,b grant+ ! pres5ce ( ^! o!r factors ( end[m5t & prep>ation1 "o may (t5 a*ieve a high] degree ( success if "o has develop$ also a well-def9$ & easily-foll[$ beat4 ,x is = ?is reason t ! te*nique ( "t beat+ is wor?y ( "s degree ( s]i\s inve/igation & ( a reasonable am\nt ( "t sp5t 9 practice ^u x4 ,,*apt] ,,iv ,,int]pretation ,,9 ,,conduct+ ,,introductory ,sid5ote3 ,,! ,,conductor ,,z ,,int]pret] ,int]pretation f ! /&po9t ( ! conductor diff]s f int]pretation 9 s++ & play+ 9 t ! conductor mu/ necess>ily convey ideas or emotions to 8 audi5ce ?r\gh an int]m$i>y1 viz41 ! or*e/ra or *orus4 ,he fur!rmore labors "u ! disadvantage ( hav+ to /& ) 8 back 7c]ta9ly ! lea/ expressive "p ( man's physique7 to ! audi5ce4 ,! piani/1 s+]1 & viol9i/1 on ! o!r h&1 face _! audi5ces2 & because !y !mselves actually d ! p]=m+1 are able to "w mu* m directly ^u ! m9ds & emotions ( _! he>]s4 ,= ?is reason1 int]pretation mu/ be /udi$ by ! conductor f a tw(old basis3 #a4 ,f ! /&po9t ( ! expressive r5dition ( music 9 g5]al4 #b4 ,f ! /&po9t ( secur+ ! expressive r5dition ( music f a gr\p ( play]s or s+]s4 ,we %all devote ?is & ! ?ree foll[+ *apt]s to a discussion ( ^! two phases ( int]pretation4 ,sid5ote3 ,,int]pretation ,,& ,,expression ,! ^w int]pret1 z ord9>ily us$ means to expla91--to elucidate1--to make cle> ! mean+ (1 & ?is same def9ition ( ! ^w applies to music z well1 ! conductor or p]=m] mak+ cle> to ! audi5ce ! message giv5 him by ! compos]4 ,x %\ld be not$ at once1 h[ev]1 t int]pretation 9 music is m]ely ! process or means = secur+ ! l>g] ?+ call$ expression1 & 9 discuss+ ?is l>g] ?+1 ! activity ( two p]sons is always assum$2 "o is ! compos]1 ! o!r ! p]=m]4 ,:i* ( ^! two is ! m important p]sonage has be5 = _m decades a mu* moot$ "q among conc]t-go]s4 ,consid]$ f an intellectual /&po9t1 !re is no d\bt :atev] conc]n+ ! supremacy ( ! compos]2 b :5 view$ 9 ! light ( actual box (fice exp]i5ce1 on an ev5+ :5 ,c>uso or "s o!r popul> idol has be5 slat$ to appe>1 & _c d s because ( indisposition1 x w\ld seem z if ! p]=m] 7 /ill z f> above ! compos] z he 0 9 ! days ( eighte5?-c5tury op]a 9 ,italy4 ,x is ! compos]'s function to write music ( su* a "* t :5 well p]=m$ x w occasion an emotional reaction on ! "p ( p]=m] & li/5]4 ,grant+ ?is type ( music1 x is ! function ( ! p]=m] or conductor to s int]pret ! music t an appropriate emotional reaction w actually ensue4 ,a rec5t writ] calls ! p]=m] a mess5g] f ! compos] to ! audi5ce1 & /ates#h t-- ,z a mess5g] is acc\ntable to bo? s5d] & recipi5t ( 8 message1 s is ! int]pretative arti/ 9 a position ( tw(old tru/ &1 !re=e1 ( tw(old responsibility4 ,! s5d] ( 8 message--creative g5ius--is beh9d him2 be=e him sits an expectant & confid+ audi5ce1 ! sov]eign addressee4 ,! int]pretative arti/ has1 !re=e1 fir/ to ent] into ! _s ( 8 message2 to p5etrate its ultimate mean+2 to read 91 z well z betwe51 ! l9es4 ,& !n he has to tra9 & develop 8 faculties ( deliv]y1 ( vital production1 to su* a degree z to enable him to fix 8 message decisively1 & ) no dang] ( be+ misund]/ood1 9 ! m9d ( 8 auditor4 ,footnote #h3 ,con/ant9 von ,/]nb]g1 ,e?ics & ,e/hetics ( ,piano ,play+1 p4 #aj4 ,?is conception ( ! conductor's task dem&s f him two ?+s3 #a4 ,a c>eful1 pa9/ak+ /udy ( ! "w to be p]=m$1 s z to become ?or\ghly famili> ) its cont5t & to discov] its true emotional significance4 #b4 ,su* display ( emotion 9 8 conduct+ z w ar\se a sympa!tic response1 fir/ on ! "p ( or*e/ra & *orus1 & !n 9 turn 9 ! audi5ce4 ,sid5ote3 ,,emotion ,,9 ,,int]pretation ,real int]pretation1 !n1 requires1 on ! "p ( ! conductor1 j z 9 ! case ( ! actor1 a display ( emotion4 ,coldness & self-re/ra9t w n suffice1 = ^! repres5t m]ely ! intellectual aspect ( ! art1 & music is prim>ily a language ( ! emotions4 ,?is diff]5ce con/itutes ! divid+ l9e betwe5 p]=mances t m]ely ar\se our judicial comm5t ,t 0 exce$+ly well done2 & ^? on ! o!r h& t ?rill u1 c>ry u (f our feet1 sweep u altoge!r out ( our environm5t s t = ! mom5t we =get :]e we are1 lose sight tempor>ily ( our petty c>es & grievances1 & are p]mitt$ to live = a little :ile 9 an altoge!r diff]5t _w--! _w n ( ?+s & ambitions & c>es1 b ( ec/asy4 ,su* p]=mances & su* an attitude on ! "p ( ! li/5] are all too r>e 9 ^! days ( smug intellectualism & hyp]sophi/ication1 & we v5ture to ass]t t ?is is at lea/ p>tly due to ! fact t _m pres5t-day conductors are intellectual r ?an emotional 9 _! attitude4 ,x is ?is faculty ( display+ emotion1 ( entirely subm]g+ himself 9 ! "w be+ p]=m$1 t gives ! vet]an *oral conductor ,toml9s 8 ph5om5al hold on *orus & audi5ce4 ,9 a p]=mance ( *oral works rec5tly direct$ by ?is conductor1 ! li/5] 0 made to feel at "o mom5t ! joy ( spr+time1 ) roses bloom+ & lov]s woo+1 z a light1 tuneful *orus 9 waltz movem5t 0 be+ p]=m$2 !n 9 a trice1 "o 0 :isk$ ov] to ! he>t ( ,russia1 & made to see1 z ?\gh !y 7 actually pres5t1 a gang ( boatm5 z !y toil$ along ! bank ( ! ,volga ) ! t[-rope ov] _! %\ld]s1 tugg+ away at a b>ge :i* mov$ sl[ly up f ! di/ance1 pa/ a clump ( trees1 & !n gradually disappe>$ ar\nd a b5d 9 ! riv]2 & 9 yet ano!r mom5t1 "o 0 ?rill$ ?r\gh & ?r\gh ) religi\s f]vor 9 response to ! gr&eur & maje/ic /atel9ess ( ! ,m5delssohn ,motet1 ,judge ,me1 oh ,god4 ,x 0 int]pretation ( ?is type too t gave ! actor-s+] ,wlln] su* a trem5d\s hold ^u 8 audi5ces a few ye>s ago1 ?is arti/ a*iev+ a v]itable triumph by ! trem5d\s s9c]ity & vividness ( 8 dramatic imp]sonations 9 s++ ,g]man ,li$]1 9 spite ( ! fact t he possess$ a voice ( only av]age quality4 ,x 0 an emotional response ( ?is "* t ! ,greek philosoph]s mu/ h be5 ?9k+ ( :5 !y *>act]iz$ drama z a purge = ! s\l2 & surely x mu/ /ill be good = human be+s to =get !mselves occasionally & to become m]g$ 9 ?is fa%ion 9 ! wave ( emotion felt by p]=m] & fell[-li/5] 9 response to ! message ( ! compos]4 ,x is emotion ( ?is type also t ! great compos]s h s\ght to ar\se ?r\gh _! noble/ compositions4 ,h&el is said to h repli$1 :5 congratulat$ ^u ! excell5ce ( ! ent]ta9m5t af=d$ by ! ,messiah1 ,i am sorry if ,i h only ent]ta9$ !m2 ,i hop$ to d !m good4 ,an ,engli% writ]1 9 quot+ ?is incid5t1 adds3#i ,:at ,h&el tri$ to d 444 by w$d+ f9e music to an inspir+ text1 ,bee?ov5 succe$$ 9 do+ ?r\gh in/rum5ts alone 444 = nev] h in/rum5ts--no matt] h[ pleas+ !y 7 9 ! pa/--be5 capable ( /irr+ ! inmo/ feel+s z !y h done s9ce ! beg9n+ ( ! n9ete5? c5tury4 ,footnote #i3 ,c4,f4,a4 ,williams1 ,! ,rhy?m ( ,mod]n ,music1 p4 #ac4 ,!re is dang]1 ( c\rse1 "h z ev]y:]e1 t "o may g too f>2 & x is entirely conceivable t bo? soloi/ & conductor might g to su* extremes 9 _! display ( emotion t ! music w\ld be entirely di/ort$1 los+ :at is aft] all its ma9 raison d'tre1 viz41 ! elem5t ( beauty4 ,b !re seems at pres5t to be no especial dang] t su* an ev5t w occur2 ! t5d5cy seems r to be t[>d ov]emphasiz+ intellectualism 9 music1 & t[>d turn+ our art into a sci5ce4#aj ,! ?+ t we %\ld l to conv9ce ! prospective conductor ( is t real int]pretation--i4e41 g5u9ely expressive musical p]=mance--dem&s an actual display ( emotion on ! "p ( ! conductor if ! ideal sort ( reaction is to be ar\s$ 9 ! audi5ce4 ,footnote #aj3 ,?is dang] is especially insidi\s j n[ 9 our college & high s*ool c\rses 9 ! appreciation ( music4 ,in/ructors 9 su* c\rses are (t5 s zeal\s 9 caus+ pupils to und]/& ! ma*9]y involv$ 9 ! con/ruction & r5dition ( music t !y sometimes =get to emphasize suffici5tly ! product result+ f all ?is ma*9]y1 viz41 beauty4 ,! idea ( ^! c\rses is mo/ excell5t1 & 9 "t ^? 9 *>ge ( !m w d\btless realize t ! he>+ ( actual music 9 ! classroom is m valuable to /ud5ts ?an le>n+ a mass ( facts ab\t x2 & t if a *oice 7 necess>y betwe5 a c\rse 9 :i* !re 0 opportunity = he>+ a great deal ( music )\t any comm5t1 & "o on ! o!r h& 9 :i* !re 0 a great deal ( comm5t )\t any music1 ! =m] w\ld be inf9itely pref]able4 ,b su* a *oice is n necess>y2 & ! ideal c\rse 9 ! ,appreciation ( ,music is "o 9 :i* ! /ud5t has opportunity = he>+ a great deal ( music ) appropriate comm5ts by ! in/ructor4 ,9 ord] to int]pret a musical "w1 !n1 ! conductor himself mu/ fir/ /udy x s z to discov] :at ! compos] int5d$ to express4 ,hav+ become ?or\ghly p]meat$ ) ! compos]'s message1 he may !n by in/9ctive imitation ar\se 9 8 *orus or or*e/ra s /rong a reflection ( ?is mood t !y w p]=m ! "w 9 ! correct _s1 ! audi5ce 9 turn cat*+ its ess5tial significance1 & ea* li/5] 9 8 own way respond+ to ! compos]'s message4 ,sid5ote3 ,,def9ition ,,( ,,int]pretation ,musical int]pretation consi/s ?us 9 impress+ ^u ! li/5] ! ess5tial "* ( ! music by emphasiz+ ! important elem5ts & subord9at+ ! unimportant ones2 by indicat+ 9 a cle>-cut & unmi/akable way ! phras+1 & ?r\gh skilful phras+ mak+ evid5t ! design ( ! composition z a :ole2 & 9 g5]al by s manipulat+ "o's musical =ces t ! he>] w n only cont9ue to be int]e/$ 9 ! p]=mance1 b w feel or und]/& ! basic significance ( ! "w be+ p]=m$2 w cat* & rememb] ! important ?+s 9 x1 w n h 8 att5tion di/ract$ by comp>atively unimportant details1 & w ?us h deliv]$ to him ! real _s ( ! compos]'s message4 ,?is implies skilful acc5tuation ( melody1 subord9ation ( accompanim5t1 increas+ ! tempo or =ce 9 "s portions1 decreas+ !m 9 o!rs1 et cet]a4 ,cle> enunciation & =ceful declamation 9 *oral music are also includ$1 & 9 x all1 ! p]=m] or conductor mu/ s subord9ate 8 own p]sonality t ! att5tion ( ! li/5]s w be c5t]$ ^u ! composition & n ^u ! ecc5tricities ( dress or mann] ( ! arti/4 ,sid5ote3 ,,! ,,b\nd>ies ,,( ,,music ,x is inevitable t !re %\ld be consid]able diff]5ce ( op9ion among compos]s1 critics1 li/5]s1 & p]=m]s1 z to j :at music may or may n legitimately be expect$ to express4 ,"s mod]n compos]s are app>5tly conv9c$ t x ought to be possible ?r\gh music to sugge/ pictures1 tell /ories1 or depict moral & intellectual /ruggles on ! "p ( ! individual4 ,o!rs cont5d t music exi/s solely because ( its own inh]5t beauty1 t x c ar\se g5]al emotional /ates only1 & t if x is good music1 x ne$s no fur!r mean+ ?an ?is4 ,ev5 pure music1 ! *ampions ( ?is latt] idea urge1 may express an inf9ite v>iety ( emotional tones1 f joy1 enc\ragem5t1 excitem5t1 t5d]ness1 expectancy1 invigoration1 & tranquillity1 to dread1 oppression ( _s1 hesitation1 h>%ness1 & despond5cy4 ,a mod]n writ] on e/hetics treats ?is matt] at l5g?1 & f9ally concludes3#aa ,is ! symbolization p]vasive en\gh to acc\nt = ! /eady cont9u+ *>m ( l5g?y compositions8444 ,! symbolizations 444 mo/ly resemble pat*es2 !y =m no sy/em1 no plot or plan accompany+ a "w f beg9n+ to end2 !y only gu>antee a fitful enjoym5t--a fragm5t "h1 a gleam !re1 b no gr[+ organic exaltation l t actually af=d$ by musical compositions4 ,footnote #aa3 ,gehr+1 ,! ,basis ( ,musical ,pleasure1 p4 #hi4 ,at ano!r po9t 9 ! same "w1 ?is writ] aga9 discusses ?is same matt] 7page #abj73 ,music is pres5tative 9 "*1 n repres5tative4 ,measure1 to be sure1 may correspond to ! beat+ ( ! pulse1 & ! f9al cad5ce may picture ! satisfaction ( desires2 ! coda may simulate a m5tal summ>y2 b ! composition 9 its totality1 ) its p>ticul> melodies1 h>monies1 & rhy?ms1 & ) ! specific union ( all ^! elem5ts *>act]i/ic ( ?is composition1 does n repres5t any def9ite psy*ical or mat]ial fact4 ,! majority ( u w\ld d\btless take a middle-gr\nd position1 admitt+ ! beauty & p[] ( music1 p] se1 b ackn[l$g+ also ! fact t ab/ract beauty toge!r ) a c]ta9 am\nt ( sugge/$ imag]y1 9 comb9ation1 w usually make a /rong] appeal to ! majority ( p ?an ei!r elem5t by itself4 ,_m ( u are entirely will+ to grant1 !re=e1 t a m complex & m vividly color$ emotional /ate w probably result if ! auditor is furni%$ ) ! title or program ( ! "w be+ p]=m$2 b we cont5d nev]!less t ?is music1 reg>dless ( its connection ) imag]y1 mu/ at ! same "t be s\nd music1 & t no matt] h[ vividly descriptive our tonal art may become1 if x _c /& ! te/ ( _m he>+s z music1 entirely ap>t f ! imag]y ar\s$1 x is n wor?y to endure4 ,x is n ! mean+ ( ! music :i* makes u want to he> x repeat$1 b its inh]5t beauty2 x is n usually our intellectual impression1 b our emotional ?rill :i* we recall 9 ?9k+ back ov] a pa/ musical exp]i5ce4 ,^? ( u :o take ! middle gr\nd t we h j be5 pres5t+ cont5d also t descriptive music c only legitimately ar\se its appropriate imag]y :5 ! ess5tial idea has be5 suppli$ be=eh& 9 ! =m ( a title or program1 & t ev5 !n ! effect ^u v>i\s individuals is1 & may well be1 q diff]5t1 s9ce ea* "o has ! music ?r[n1 z x 71 ^u ! scre5 ( 8 own p]sonal exp]i5ce4 ,sid5ote3 ,,expression ,,conc]ns ,,bo? ,,compos] ,,& ,,p]=m] ,x w be not$ t 9 ?is discussion we are con/antly us+ ! ^w expression f ! tw(old /&po9t ( compos] & p]=m]1 ea* hav+ an indisp5sable "p 9 x1 & nei!r be+ able to get along )\t ! o!r4 ,b 9 our treatm5t ( conduct+1 we %all ne$ to come back aga9 & aga9 to ! idea ( expression f ! /&po9t ( int]pretation1 & 9 direct+ a piece ( music we %all n[ take x = grant$ t ! compos] has said some?+ :i* is wor?y ( be+ he>d1 & t z ! int]m$i>y betwe5 compos] & audi5ce1 we are attempt+ to int]pret to ! latt] :at ! =m] has express$ 9 8 composition4 ,x %\ld be not$ 9 ?is connection t wrong int]pretation is possible 9 music1 ev5 z 9 lit]ature4 ,"o may s read a poem t ! he>]1 )\t be+ 9 any way to blame1 w entirely miss ! po9t4 ,s also may "o conduct a musical "w1 :e!r x be a *ild's song or a symphonic poem1 9 su* a fa%ion t nei!r p]=m]s nor audi5ce ga9 a prop] conception ( :at x means4 ,sid5ote3 ,,int]pretation ,,9 ,,vocal ,,music ,9 ! case ( vocal music1 ! key to ! emotional cont5t ( ! "w may almo/ always be f\nd by c>efully /udy+ ! words4 ,9 prep>+ to conduct *oral s++1 ma/] ! text1 !re=e2 read x al\d z ?\gh declaim+ to an audi5ce2 & :5 y come to ! p]=mance1 see t y\r vocali/s s+ ! music 9 su* a way t ! audi5ce w be able to cat* )\t too great ef=t bo? ! mean+ ( ! individual words & ! _s ( ! text z a :ole4 ,! great ,italian t5or ,c>uso express$ himself =cibly ^u ?is po9t dur+ an int]view = ! ,*ri/ian ,sci5ce ,monitor1 9 #aiac4 ,9 reply to ! "q ,:]e d y locate ! s\rce ( expression 9 s++8 he said3 ,i f9d x 9 ! words always4 ,= unless ,i give my he>]s :at is 9 ! text1 :at c ,i give !m8 ,if ,i j produce tone1 my s++ has no mean+4 ,!reupon 7cont9ues ! int]view]71 vocaliz+ a s]ies ( scale passages su* z are us$ 9 /udio practice1 ,c>uso comm5t$3 ,n[1 :5 ,i d t1 ,i don't say any?+4 ,i may make musical s\nds1 b ,i express no?+4 ,i may ev5 execute ! notes ) a good /accato or legato 7aga9 illu/rat+ ) 8 voice7 & /ill1 hav+ no words to g by1 ,i make no effect on my li/5]s4 ,look at ! "q 9 ano!r way4 ,suppose ,i 7 to s+ a l9e ( text ) a mean+ 9 my voice t contradict$ ! idea ( ! words4 ,w\ld n t be nons5se8 ,x w\ld be z mu* z ?\gh ,i 7 to say to y ,?is wood is h>d1 & 7 to say x ) a s(t voice4 ,p h obs]v$ t ,i s+ z ?\gh ,i 7 talk+4 ,well1 t is j :at ,i mean to d4 ,s++1 !n 7! int]view] goes on71 z ,c>uso began to def9e x1 is a sort ( exalt$ spee*1 its purpose be+ to illum9ate ! imag]y & s5tim5t ( language4 ,! m]e music ( s++ he seem$ = ! mom5t to put 9 a subord9ate place4 ,by way ( fur!r emphasiz+ 8 po9t1 he ref]r$ to a !me 9 ,donizetti's ,l',elisir d',amore1 :i* is us$ 9 two oppos+ situations--by ! soprano 9 a mood ( joy1 & by ! t5or 9 a mood ( sorr[4 ,he sang ! measures ( ! soprano z ?\gh laugh+4 ,!n he sang ^? ( ! t5or z ?\gh weep+4 ,b ^? two passages ( melody _c be id5tical1 object$ ! int]view]4 ,oh1 yes1 !y are1 ! t5or decl>$2 & he quickly prov$ x by s++ !m ov] aga9 ) a less m>k$ indication ( ! moods4 ,"h y pla9ly see :]e expression mu/ />t4 ,x has to be f ! words1 ( c\rse4 ,! p]=m] puts 9 ! feel+ ( gladness or sadness )\t reg>d to ! notes1 pay+ att5tion only to ! text4 ,expression 9 *oral music is dep5d5t ^u ! text to j z great an ext5t z 9 ! case ( solo s++2 & *oral conductors may well pond] ^u ! above words ( "o ( ! _w's greate/ s+]s1 & apply ! lesson to _! own problems4 ,! av]age audi5ce is probably m int]e/$ 9 ! words ( vocal music ?an 9 any?+ else2 & s9ce bo? vocal & *oral p]=mances are usually giv5 be=e av]age audi5ces x behooves ! conductor to look into ! m9ds ( ^? be=e :om he is direct+1 & to adapt ! p]=mance to ! attitude ( ! li/5]s4 ,,*apt] ,v ,,int]pretation ,,9 ,,conduct+ 7,cont9u$7 ,,tempo ,sid5ote3 ,,expression ,,9 ,,in/rum5tal ,,music ,9 ! la/ *apt] we discuss$ expression & int]pretation f a g5]al /&po9t1 clos+ ) c]ta9 comm5ts ^u ! int]pretation ( vocal music4 ,b x mu/ be admitt$ at once t expression 9 in/rum5tal music is a va/ly m intricate matt] ?an 9 ! case ( vocal music2 & 9 ord] to get at ! subject 9 any tangible way1 x w be necess>y = u1 fir/1 to analyze music into its expressional elem5ts2 second1 to decide :i* ( ^! elem5ts belong exclusively to ! compos] & :i* are %>$ by ! int]pret]2 & ?ird1 to exam9e ea* ( ^! latt] elem5ts 9 turn f ! /&po9t ( ! conductor z int]pret]4 ,sid5ote3 ,,! ,,elem5ts ,,( ,,expression ,!re are eight elem5ts ^u :i* expression 9 in/rum5tal music re/s4 ,^! are3 #a4 ,rhy?m #b4 ,melody #c4 ,h>mony #d4 ,pit* regi/]s #e4 ,timbre #f4 ,phras+ #g4 ,tempo #h4 ,dynamics ,( ^!1 ! compos] is able to indicate exactly ! fir/ f\r1 to convey 8 mean+ fairly well 9 ! fif? & six?1 b to give only a relative idea ( ! sev5? & eigh?4 ,! int]pret] is ?us conc]n$ ) ! fir/ f\r only z x becomes necess>y = him to f9d out f ! notation :at ! compos] int5d$ to express4 ,on ! o!r h&1 he is consid]ably conc]n$ ) ! fif? & six? factors 7timbre & phras+7 & has ! ma9 responsibility 9 ! la/ two 7tempo & dynamics74 ,?is be+ ! case1 we %all treat tempo & dynamics fir/ ( all1 z be+ ! two prim>y factors ( expression ) :i* ! conductor is conc]n$4 ,sid5ote3 ,,importance ,,( ,,tempo ,wagn]1 9 8 fam\s essay on conduct+1 takes ! r radical gr\nd t ev]y?+ else is dep5d5t ^u ! prop] selection & managem5t ( tempo4 ,he says3#ab ,! :ole duty ( ! conductor is compris$ 9 8 ability always to indicate ! "r tempo4 ,8 *oice ( tempi w %[ :e!r he und]/&s ! piece or n4444 ,! true tempo induces correct =ce & expression4 ,footnote #ab3 ,wagn]1 ,on ,conduct+1 translat$ by ,dannreu!r1 p4 #bj4 ,9 ano!r place 9 ! same "w he treats ! matt] fur!r1 z foll[s3 7p4 #cd7 ,obvi\sly ! prop] pace ( a piece ( music is det]m9$ by ! p>ticul> "* ( ! r5d]+ x requires4 ,! "q !re=e comes to ?is3 ,does ! su/a9$1 ! cantil5a1 pr$om9ate1 or ! rhy?mical movem5t8 ,! conductor %\ld lead accord+ly4 ,x is d\btful :e!r _m mod]n conductors w\ld entirely agree ) ,wagn]'s /atem5t t correct tempo always induces correct =ce & expression4 ,nev]!less tempo is s important t probably no "o w qu>rel ) u if we at lea/ give x fir/ place 9 ! ord] 9 :i* ! elem5ts ( expression are discuss$4 ,9 mod]n music ! compos] indicates ! tempos ( ! v>i\s movem5ts mu* m def9itely ?an 0 true 9 e>li] days1 s x w\ld seem z if n ne>ly s mu* responsibility re/$ ^u ! conductor2 & yet !re is /ill a wide diff]5ce ( op9ion among musicians ab\t ! matt]1 & 9 _m cases ! conductor sub/itutes 8 own judgm5t = t ( ! compos]1 assum+ t ! latt] ei!r made a mi/ake 9 indicat+ ! tempo1 or else t he _h n tri$ ! composition at ! tempo pref]r$ by ! conductor1 & !re=e did n realize h[ mu* m effective x w\ld be t way4 ,sid5ote3 ,,f9d+ ,,! ,,correct ,,tempo ,9 ! ma91 !re are five me?ods ^u :i* ! conductor dep5ds = det]m9+ ! correct tempo ( a composition4 ,^! are3 #a4 ,! metronome indication1 f\nd at ! beg9n+ ( mo/ mod]n scores4 #b4 ,! tempo or mood expressions 7&ante1 allegro1 adagio1 et cet]a71 :i* h be5 9 univ]sal use = two c5turies or m1 & :i* are f\nd 9 practically all music1 ev5 :5 a metronome indication is also giv54 #c4 ,! sw+ &1 9 vocal music1 ! g5]al _s ( ! text4 #d4 ,tradition4 #e4 ,individual judgm5t ( tempo z dep5d+ ^u & result+ f ! quality ( ! music4 ,( ^!1 ! fif?1 viz41 individual judgm5t is mo/ important1 & is ! c\rt ( f9al resort 9 ! case ( ! mature musician2 b ! amateur :o has _h b little exp]i5ce & :o is !re=e )\t any well develop$ musical ta/e mu/ dep5d l>gely ^u 8 metronome1 ^u 8 k ( ,italian tempo t]ms1 & ^u tradition4 ,a brief discussion ( ^! matt]s w accord+ly be 9 ord] at ?is "t4 ,sid5ote3 ,,! ,,metronome ,,z ,a ,,tempo ,,indicator ,! metronome#ac is a sort ( clock ) inv]t$ p5dulum1 ! ticks or clicks ( :i* c be regulat$ z to rate ( spe$ by means ( a slid+ weight4 ,:5 ?is weight is set at ! po9t m>k$ #fd1 = example1 ! metronome gives sixty-f\r clicks p] m9ute2 :5 set at #hd1 or #aab1 correspond+ numb]s ( clicks p] m9ute result2 s t 9 ?is way ! compos] is able to indicate precisely ! rate ( spe$ ( 8 composition by indicat+ ! numb] ( beats p] m9ute4 ,! indication qu>t]-note symbol #hd means t ! slid+ weight is to be set at ! po9t m>k$ #hd1 ! metronome !n click+ eighty-f\r times p] m9ute1 ea* ( ^! clicks indicat+ a qu>t]-note4 ,b if ! m>k+ is half-note symbol #fd1 ?is means t sixty-f\r half-notes are to be p]=m$ 9 a m9ute1--a tempo equal to "o hundr$ & tw5ty-eight qu>t]-notes 9 ! same composition4 ,9 comp\nd measures su* z #f-h1 #i-h1 et cet]a1 ! tempo indication %[s ! numb] ( eigh?-notes p] m9ute if ! composition is 9 sl[ tempo2 b 9 mod]ate & rapid tempos ! direction is usually giv5 by tak+ ! dott$-qu>t]-note z ! beat unit1 ?us3 dott$ qu>t]-note symbol #hd4 ,x is ( c\rse obvi\s t 9 ?is case ! compos] is ?9k+ ( ea* measure z hav+ only two or ?ree beats in/ead ( six or n9e4 ,footnote #ac3 ,! metronome is suppos$ to h be5 inv5t$1 or at lea/ p]fect$1 by a ,bav>ian nam$ ,maelzel1 ab\t #ahae1 & = _m ye>s ! ,maelzel metronome 0 ! only "o 9 exi/5ce4 ,h5ce ! lett]s ,m4,m41 /ill f\nd 9 _m scores1 9 connection ) tempo indications4 ,sid5ote3 ,,! ,,italian ,,tempo ,,t]ms ,_m in/rum5tal compositions 7p>ticul>ly ! old] ones7 are n provid$ by ! compos] ) def9ite tempo directions2 & 9 ?is case ! ,italian tempo t]ms usually give at lea/ a clue to :at ! compos] has 9 m9d4 ,^! t]ms d n ( c\rse give u ! precise tempo1 b by indicat+ ! mood ( a composition !y at lea/ help "o to det]m9e ! rate ( spe$ 7adagio--at ease2 allegro--*e]ful2 l>go--l>ge1 broad2 &ante--go+2 et cet]a74 ,a compreh5sive k ( ^! t]ms f ! tw(old /&po9t ( def9ition & d]ivation is indisp5sable to ! conductor4 ,! mo/ common ( !m are !re=e def9$ at ?is po9t4 ,!y are giv5 9 gr\ps 9 ord] t ! /ud5t may note h[ mu* ! v>i\s t]ms ov]lap 9 mean+4 ,,! ,,v ,,sl[e/ ,,tempo l>ghissimo 7sup]lative ( l>go7 adagissimo 7sup]lative ( adagio7 l5tissimo 7sup]lative ( l5to7 ,a ,,v ,,sl[ ,,tempo l>go 7f ,lat9 l>gus1 mean+ broad1 l>ge7 adagio 7at ease7 l5to 7sl[7 ,a ,,sl[ ,,tempo l>ghetto 7dim9utive ( l>go7 adagietto 7dim9utive ( adagio7 ,a ,,mod]ately ,,sl[ ,,tempo &ante 7go+ or walk+7 &ant9o 7dim9utive ( &ante & !re=e mean+ lit]ally go+ less1 b because ( a misconception ( mean+ n[ (t5 und]/ood z mean+ slightly fa/] ?an &ante7 ,a ,,mod]ate ,,tempo mod]ato ,a ,,mod]ately ,,rapid ,,tempo allegro 7*e]ful7 allegretto 7dim9utive ( allegro2 a little sl[] ?an allegro7 ,a ,,v ,,rapid ,,tempo con moto 7) motion7 vivo 7lively7 vivace 7vivaci\s7 pre/o 7quick7 pre/o assai 7v quick7 ,,! ,,mo/ ,,rapid ,,tempo ,,possible pre/issimo 7sup]lative ( pre/o7 vivacissimo 7sup]lative ( vivace7 allegrissimo 7sup]lative ( allegro7 pre/issimo possibile 7hyp]sup]lative ( pre/o7 ,! expressions giv5 above are frequ5tly us$ 9 comb9ation ) "o ano!r1 & ) c]ta9 auxili>y t]ms1 b to attempt to def9e ^! comb9ations 9 ?is book w\ld be altoge!r impracticable4 ,! conductor %\ld h[ev] und]/& ! significance ( ! foll[+ qualify+ expressions3 non tanto 7n too mu*7 non troppo 7n too mu*7 ma non tanto 7b n too mu*7 ma non troppo 7b n too mu*7 ,^! expressions are us$ by ! compos] z a w>n+ to ! p]=m] n to ov]do any indicat$ effect4 ,?us1 l>go1 ma non troppo means t ! composition is to be tak5 sl[ly1 b n too sl[ly4 ,pre/o 7ma7 non troppo1 on ! o!r h&1 indicates a rapid tempo1 b n too rapid4 ,= a full] discussion ( ^! matt]s1 see ! au?or's text book on t]m9ology4#ad ,footnote #ad3 ,gehrk5s1 ,music ,notation & ,t]m9ology4 ,! ,a4,s4 ,b>nes ,co41 ,new ,york4 ,! ?ird means ( f9d+ tempo has already be5 discuss$1 7see p4 #de7 & ! fif? ne$s no fur!r explanation2 b a ^w %\ld p]haps be said to ! amateur ab\t ! matt] ( tradition4 ,! "y conductor mu/ n fail to take into consid]ation ! fact t !re has gr[n up1 9 connection ) _m ( ! classics1 a well def9$ idea ( ! tempos mo/ appropriate to _! r5dition1 & t any pron\nc$ dep>ture f ?is traditional tempo is apt to result 9 unfavorable criticism4 ,tradition is ( c\rse apt to make u hide-b\nd 9 all sorts ( ways1 & yet 9 _m respects x is a v good ?+1 & be=e our conductor attempts to direct /&>d works x w be well = him to he> !m r5d]$ by "s ( ! bett] organizations1 s t he may asc]ta9 :at ! traditional tempo is4 ,9 ?is way he may at lea/ avoid ! accusation ( ignorance :i* might o!rwise be made4 ,?is latt] po9t w rem9d ! read] ( ! advice already s frequ5tly giv5--viz41 /udy music & li/5 to music a long "t be=e y attempt v mu* conduct+4 ,sid5ote3 ,,v>iation ,,9 ,,tempo ,our treatm5t ( tempo ?us f> has tak5 cognizance ( only ! g5]aliz$ tempo ( ! movem5t1 & we h n discuss$ at all ! mu* m difficult matt] ( v>iation 9 tempo4 ,! m evid5t *anges ( ?is sort are indicat$ by ! compos] ?r\gh su* expressions z rit>d&o1 accel]&o1 et cet]a2 & x may be well to give at ?is po9t a li/ ( ! common] ( ^! t]ms toge!r ) _! mean+s4 ,obvi\sly1 su* indications are ( two g5]al types deal+ respectively ) increas+ & decreas+ spe$1 & we %all accord+ly give ! def9itions 9 two classes3 ,,t]ms ,,indicat+ ,a ,,m ,,rapid ,,tempo #a4 ,a gradual accel]ation accel]&o affrett&o /r+5do poco a poco animato #b4 ,a def9itely fa/] tempo at once pi allegro pi pre/o pi animato pi mosso pi to/o pi /retto un poco animato ,,t]ms ,,indicat+ ,a ,,sl[] ,,tempo #a4 ,a gradual ret>d rit>d&o rall5t&o sl5t&o #b4 ,a def9itely sl[] tempo at once pi l5to m5o mosso rit5uto #c4 ,a sl[] tempo comb9$ ) an increase 9 p[] l>g&o all>g&o 7lit]ally1 becom+ broad7 #d4 ,a sl[] tempo comb9$ ) a decrease 9 p[] mor5do p]d5do p]d5dosi 7,usually translat$1 gradually dy+ away7 cal&o smorz&o 7,aft] any ( ! t]ms 9 ! above li/1 a return to ! normal tempo is indicat$ by su* expressions z a tempo1 tempo primo1 et cet]a47 ,sid5ote3 ,,tempo ,,nuances ,b 9 addition to ! v>iations 9 tempo m or less def9itely indicat$ by ! compos] !re are 7p>ticul>ly 9 mod]n music7 innum]able tempo fluctuations ( a mu* subtl] nature2 & s9ce ^! are n[ recogniz$ z a "p ( really arti/ic *oral & or*e/ral int]pretation1 7z !y h long =m$ an indisp5sable elem5t 9 expressive piano p]=mance7 a brief discussion ( _! nature w be includ$ be=e clos+ ?is *apt]4 ,9 "s cases a v>iable tempo is ask$ = by ! compos] by means ( "o ( ! foll[+ expressions3 tempo rubato 7lit]ally1 robb$ "t7 ad libitum 7at pleasure7 a piac]e 7at pleasure7 a capriccio 7at ! caprice7 agitato 7agitat$7 7,! t]m tempo giu/o--9 exact tempo--is ! opposite ( ! above expressions1 & is us$ to indicate t ! music is to be p]=m$ 9 /eady tempo47 ,9 ! majority ( cases1 h[ev]1 ! compos] gives no indication :atsoev]1 & ! :ole responsibility !re=e re/s ^u ! p]=m] or conductor4 ,x is because ( ?is latt] fact t ! amateur mu/ /udy ^! matt]s indefatigably4 ,! adv5t ( a m ela/ic rhy?m & tempo has und\bt$ly made all musical p]=mance inf9itely m pleasurable to ! li/5] ?an x =m]ly 02 b un=tunately 7especially s9ce ! adv5t ( ,*op9's music7 !re has be5 a great deal ( misund]/&+ z to ! use & mean+ ( ?is valuable new expressional elem5t4 ,tempo rubato may be comp>$ to speak+ c]ta9 words m sl[ly or m rapidly 9 ord] t ! ess5tial mean+ ( ! entire s5t5ce may be m /rongly impress$ ^u ! li/5]4 ,x mu/ n h[ev] break up ! cont9uity ( ! tempo2 z "o writ] has said we mu/ b5d ! tempo1 b n break x4 ,ano!r well-kn[n au?or1 9 treat+ ! same po9t1 /ates t#ae ,fre$om 9 tempo does n mean un/ead9ess4444 ,we mu/ h 9 music ! s5se ( equilibrium1 ( /ability4 ,a c>eless1 spasmodic hurry+ & ret>d+ leads only to flabb9ess & inconsequ5ce4 ,footnote #ae3 ,dick9son1 ,! ,education ( a ,music ,lov]1 p4 #ba4 ,! mo/ common k9d ( rubato is probably t 9 :i* ! fir/ "p ( ! phrase 7up to ! climax7 is accel]at$1 ! climact]ic tone l+]$ ^u slightly1 !n ! rema9d] ( ! phrase r5d]$ a tempo or possibly slightly rit>d&o4 ,b !re are _m phrases t dem& a totally diff]5t sort ( treatm5t2 e4g41 a rit>d&o 9 ! fir/ "p in/ead ( an accel]&o4 ,:i* is ! appropriate way ( deliv]+ any p>ticul> phrase mu/ be det]m9$ 9 e case by musical feel+4 ,! ?+ t ! beg9n] is apt to =get at ! p]iod :5 8 musical feel+ ?\gh s9c]e is yet *>act]iz$ by lack ( ref9em5t1 is t ^! nuances mu/ always be subtle1 & t ! li/5] ought n to h fluctuations 9 tempo ?ru/ 9 8 face at e turn4 ,inde$ we may say t he %\ld h>dly "k t !y are pres5t1 unless he is mak+ a def9ite attempt to analyze ! p]=mance4 ,! famili> /ory ( ,*op9's brea?+ t[>d a c&le flame & mak+ x flick] slightly1 ) ! rem>k1 ,t is my rubato1 !n bl[+ x viol5tly out & say+ ,?is is y\rs1 is q to ! po9t 9 ?is connection4 ,x is ( c\rse und]/ood t rubato is to be employ$ almo/ exclusively 9 mod]ate or sl[ tempos1 hav+ little or no place 9 rapid1 /rongly rhy?mic music4 ,x %\ld also be rem>k$ t ! m sev]e ! =m ( ! music1--! m ar*itectonic x is--! less v>iation 9 tempo %\ld !re be 9 its r5dition1 = 9 ?is type ( music ! expression is prim>ily intellectual4 ,su* in/rum5tal works 7( :i* c]ta9 compositions ( ,ba* & ,moz>t are typical7 mu/ n be play$ s5tim5tally1 z a mod]n ,engli% writ] has rem>k$1 & yet !y mu/ be play$ ) s5tim5t4 ,! rem>ks ( ?is same au?or may well be quot$ 9 clos+ ?is discussion3#af ,rubato is necess>y 9 emotional music & is an excell5t means ( pictur+ long+1 p]suad+1 dream+1 et cet]a4 ,t is :y its use is s *>act]i/ic 9 p]=m+ ! works ( ! romantic s*ool & :y x mu/ be us$ ) su* caution 9 ! classics4 ,! classic mu/ be cle> z daylight--! /ructure mu/ be evid5t ev5 on ! surface2 b ! romantic composition ne$s (t5 to be play$ 9 a veil$ mann] 9 ord] to produce atmosph]e4 ,9 su* a case ! rhy?m is veil$ z x 71 drap$ 9 gauze1 b ! rhy?mic design is !re "u ! veil j ! same4 ,to express calmness1 decision1 et cet]a1 avoid rubato4 ,footnote #af3 ,mat?ay1 ,musical ,int]pretation1 p4 #hh4 ,x mu/ n[ be evid5t to ! read] t ?is :ole matt] ( musical nuance is too subtle to be treat$ adequately 9 a book ( ?is "*1 & x becomes necess>y = u once m to advise ! amateur to /udy music1 bo? vocal & in/rum5tal1 9 ord] t 8 lat5t musical feel+ may be develop$ into a ripe & adequate musical ta/e4 ,sid5ote3 ,,tempo ,,record$ ,,9 ,,muscles ,9 conclud+ ! *apt] let u emphasize ! fact t ! e/abli%+ ( a tempo is a matt] ( muscle ev5 m ?an ( m9d1 & t be=e beg9n+ to beat "t ! conductor %\ld h ! tempo record$ 9 8 muscul> memory4 ,be=e ris+ to conduct a composition !n let him feel its tempo 9 ! muscles ( ! arm & h& wield+ ! baton2 = if n ?us felt1 ! "w w r>ely be begun ) a cle>ly def9$ rate ( spe$4 ,?is consid]ation receives add$ weight :5 x is recall$ t if ! conductor does n set ! tempo1 ! *orus accompani/ or fir/ viol9i/ w1 & !y1 n hav+ /udi$ ! music f ?is /&po9t1 w r>ely succe$ 9 hitt+ ^u ! correct rate ( movem5t4 ,,*apt] ,,vi ,,int]pretation ,,9 ,,conduct+ 7,cont9u$7 ,,dynamics ,sid5ote3 ,,importance ,,( ,,dynamics ,ano!r important factor 9 ! expressive r5dition ( music is dynamics1 i4e41 ! relative l\dness & s(tness ( tone4 ,! compos] is suppos$ to h a fairly l>ge %>e 9 ?is phase ( expression1 & 9 mod]n music always indicates 9 ! score at lea/ ! mo/ important dynamic *anges t he has 9 m9d4 ,b our obs]vation ( musical p]=mances t5ds to make u feel t 9 ?is aspect1 ev5 m ?an 9 tempo *anges1 x is ! conductor or p]=m] :o mu/ be> ! great] responsibility1 & t ! am\nt ( dynamic contra/ to be employ$ c]ta9ly dep5ds entirely ^u ! ta/e ( ! conductor or p]=m]4 ,x is safe to say t ! dynamic factor is easi] to control ?an is ! tempo1 & yet 9 spite ( ?is fact1 !re is no "q b t ! r5dition ( mo/ *oral & or*e/ral music c\ld be made mu* m int]e/+ if x c\ld be giv5 ) a great] v>iety ( dynamic %ad+4 ,nor is !re1 9 our op9ion1 any "q b t ! *anges f =te to piano & vice v]sa1 ! gradually work$ up cresc5dos1 ! vigor\s acc5ts on c]ta9 important tones or *ords1 toge!r ) ^? subtl] %ad+s (t5 ref]r$ to z dynamic nuances1 may become j z important & p[]ful a means ( convey+ emotional effects z tempo4 ,joy & triumph & exub]ance are ( c\rse express$ by =te & =tissimo effects 7! cr[d at a football game does n :isp] its approval :5 its own team has made a t\*-d[n71 b ! image ( a "m s++ a lullaby w\ld dem& altoge!r diff]5t dynamic treatm5t4 ,! cresc5do is "o ( ! mo/ p[]ful means ( expression t ! compos] has at 8 disposal--especially 9 writ+ = ! mod]n or*e/ra1 b !re seems to be a good deal ( misund]/&+ on ! "p ( amateur conductors & p]=m]s ab\t ! real mean+ ( ! t]m4 ,cresc5do does n mean =te2 inde$ ,we+>tn] 7op4 cit41 p4 #f7 quotes von ,bl[ z rem>k+ t cresc5do signifies piano1--mean+ ( c\rse t a cresc5do usually implies a s(t beg9n+4 ,x %\ld p]haps be not$ at ?is po9t t !re are two v>ieties ( cresc5do2 "o be+ produc$ by p]=m+ succe$+ tones ea* m l\dly ?an ! "o imm$iately prec$+ x2 ! o!r by prolong+ ! same tone & increas+ its p[] gradually z x cont9ues to s\nd4 ,! fir/ type is mu* common] ?an ! second1 & is inde$ ! "o k9d ( cresc5do t is possible 9 piano play+2 b ! second v>iety c be secur$ 9 ! case ( an organ ) swell box1 ! human voice1 & 9 bo? /r+ & w9d or*e/ral in/rum5ts4 ,s9ce "s ( ! mo/ beautiful musical effects may be produc$ by ! use ( ?is second type ( cresc5do1 x %\ld be employ$ v mu* m ?an x is 9 *oral & or*e/ral music4 ,! ,engli% conductor ,c[>d takes ! gr\nd t ! swell 7a comb9ation ( cresc5do & dim9u5do7 is ! mo/ p[]ful *oral effect 9 exi/5ce4#ag ,footnote #ag3 ,c[>d1 ,*oral ,te*nique & ,int]pretation1 p4 #aab4 ,:5 ! compos] wi%es to build up a really trem5d\s climax & sweep all be=e him by ! int5sity ( ! emotional excitem5t g5]at$1 he frequ5tly indicates an increase 9 ! am\nt ( tone1 c\pl$ ) a v gradual accel]ation 9 tempo1 all proce$+ by sl[ degrees1 & p]haps accompani$ by a rise f a l[ pit* regi/] to high] ones4 ,if on ! o!r h&1 he wants to let d[n 9 emotional int5sity1 he does ! opposite ( all ^! ?+s4 ,! comb9ation ( cresc5do & rit>d&o is also trem5d\sly effective4 ,9 ord] to br+ toge!r 9 fairly compreh5sive array ! t]ms t are ord9>ily us$ by ! compos] to indicate v>i\s expressional effects1 a table ( ! mo/ frequ5tly enc\nt]$ dynamic expressions is "h includ$4 ,pianississimo 7ppp7 pianissimo possibile 7z s(tly z possible7 pianissimo 7pp7 7sup]lative ( piano--v s(tly7 piano 7p7 7s(tly7 pi piano 7m s(tly7 il pi piano 7mo/ s(tly7 piano assai 7v s(tly7 mezzo-piano 7mp7 7mod]ately s(tly7 =te 7f7 7l\dly7 =tissimo 7ff7 7sup]lative ( =te--v l\dly7 =tississimo 7fff7 7z l\dly z possible7 pi =te 7m l\dly7 il pi =te 7mo/ l\dly7 il pi =te possibile 7z l\dly z possible7 mezzo =te 7mf7 7mod]ately l\dly7 =te-piano 7fp7 7l\dly foll[$ imm$iately by s(tly7 =z&o 7z7 7,^! words & signs indicate t s=z&o 7sf or sfz7 a s+le tone or *ord is to be =zato 7fz7 acc5t$1 ! am\nt ( /ress s=zato 7sf or sfz7 dep5d+ ^u ! "* ( ! acc5t hairp9 symbol or passage & ( ! composition7 acc5t symbol r9=z&o 7r9f7 7re9=c$2 a def9ite increase 9 p[] r9=zato 7rfz7 ext5d+ ?r\gh a phrase or passage7 cresc5do 7cresc4 or cresc5do symbol7 7gradually becom+ l\d]7 decresc5do 7decresc4 or decresc5do symbol7 7gradually becom+ s(t]7 dim9u5do 7dim4 or dim9u5do symbol7 cresc5do poco a poco 7becom+ l\d] little by little7 cresc5do subito 7becom+ l\d] imm$iately7 cresc5do molto 7becom+ mu* l\d]7 cresc5do al =tissimo 7becom+ gradually l\d] until ! =tissimo po9t has be5 rea*$7 cresc5do poi dim9u5do 7gradually l\d] !n cresc5do e dim9u5do gradually s(t]7 cresc5do ed anim&o 7gradually l\d] & fa/]7 dim9u5do al pianissimo 7becom+ gradually s(t] until ! pianissimo po9t is rea*$7 mor5do p]d5dosi 7gradually dy+ away1 i4e41 becom+ sl[] smorz&o & s(t] by v small degrees7 cal&o con amore 7) t5d]ness7 con bravura 7) boldness7 con en]gia 7) en]gy7 con espressione espressivo 7) expression7 con brio 7) brilliancy7 con fuoco 7) fire7 con passione 7) passion7 con grazia 7) grace7 con t5]ezza 7) t5d]ness7 dolce 7g5tly7 7lit]ally1 sweetly7 giocoso 7humor\sly7 7cf4 jocose7 giojoso 7joyfully7 7cf4 joy\s7 con mae/ mae/oso 7maje/ically7 pa/orale 79 pa/oral1 i4e41 9 simple & unaffect$ /yle7 pomposo 7pomp\sly7 s*]z&o s*]zo 7jok+ly7 sotto voce 7) subdu$ voice7 ,we %all close our discussion ( ! subject ( dynamics ) a brief pres5tation ( a few practical matt]s ) :i* e amateur conductor %\ld be famili>4 ,! pianissimo ( *oruses & or*e/ras is seldom s(t en\gh4 ,! extreme limit ( s(t tone is v effective 9 bo? *oral & or*e/ral music1 & mo/ conductors seem to h no adequate notion ( h[ s(t ! tone may be made 9 su* passages4 ,?is is especially true ( *orus music 9 ! *ur* s]vice2 & ev5 ! gospel s+] ,sankey is said to h f\nd t ! s(te/ r ?an ! l\de/ s++ 0 spiritually ! mo/ impressive4#ah ,footnote #ah3 ,on ! o!r h&1 ! criticism has be5 made 9 rec5t ye>s t c]ta9 or*e/ral conductors h n suffici5tly tak5 into consid]ation ! size & ac\/ics ( ! auditoriums 9 :i* !y 7 conduct+1 & h made _! pianissimos s s(t t no?+ at all c\ld be he>d 9 ! back ( ! room4 ,9 ord] to satisfy himself t ! tone is z s(t z possible1 & yet t x is audible1 x w be well = ! conductor to /ation "s "o ( good judgm5t 9 ! back ( ! auditorium dur+ ! conc]t1 ?is p]son lat] report+ to ! conductor 9 "s detail ! effect ( ! p]=mance4 ,pianissimo s++ or play+ does n imply a sl[] tempo1 & 9 work+ ) v s(t passages ! conductor mu/ be con/antly on gu>d le/ ! p]=m]s beg9 to drag4 ,if ! same virile & spirit$ response is insi/$ ^u 9 su* places z is dem&$ 9 ord9>y passages1 ! effect w be greatly improv$1 & ! s++ moreov] w n be ne>ly s likely to fall f ! pit*4 ,! mo/ important voice f ! /&po9t ( melody mu/ 9 "s way be made to /& out above ! o!r p>ts4 ,?is may be done 9 two ways3 #a4 ,by mak+ ! melody l\d] ?an ! o!r p>ts4 #b4 ,by subdu+ ! o!r p>ts suffici5tly to make ! melody prom95t by contra/4 ,! second me?od is frequ5tly ! bett] ( ! two1 & %\ld m frequ5tly be made use ( 9 ensemble music ?an is n[ ! case 9 amateur p]=mance4 ,! conductor ( ! ,russian ,symphony ,or*e/ra1 ,mode/e ,alts*ul]1 rem>ks on ?is po9t3 ,a melody runs ?r\gh e piece1 l a road ?r\gh a c\ntry hillside4 ,! art ( conduct+ is to cle> ! way = ?is melody1 to see t no o!r in/rum5ts int]f]e ) ^? :i* are at ! mom5t enunciat+ ! !me4 ,x is some?+ l /e]+ an automobile4 ,:5 ! viol9s1 = in/ance1 h ! tune1 ,i see to x t nobody hurries x or drags x or cov]s x up4 ,9 polyphonic music conta9+ imitative passages1 ! "p hav+ ! subject mu/ be l\d] ?an ! re/1 especially at its fir/ entrance4 ,?is is ( c\rse m]ely a coroll>y ( ! g5]al proposition expla9$ "u numb] ?ree1 above4 ,9 vocal music ! acc5t & cresc5do m>ks provid$ by ! compos] are (t5 int5d$ m]ely to indicate ! prop] pronunciation ( "s "p ( ! text4 ,(t51 too1 !y assi/ 9 ! declamation ( ! text by indicat+ ! climax ( ! phrase1 i4e41 ! po9t ( greate/ emphasis4 ,! dynamic directions provid$ by ! compos] are int5d$ to indicate only ! broad] & m obvi\s effects1 & x w be necess>y = ! p]=m] to introduce _m *anges n indicat$ 9 ! score4 ,pr(essor ,edw>d ,dick9son1 9 ref]r+ to ?is matt] 9 connection ) piano play+1 rem>ks3#ai ,aft] all1 x is only ! broad]1 m g5]al s*eme ( light & %ade t is furni%$ by ! compos]2 ! f9] gradations1 ^? subtle & immeasurable modifications ( dynamic value :i* make a composition a palpitat+1 coruscat+ ?+ ( beauty1 are :olly "u ! play]'s w4 ,footnote #ai3 ,dick9son1 ,! ,education ( a ,music ,lov]1 p4 #abc4 ,9 conclud+ our discussion ( dynamics1 let u emphasize aga9 ! fact t all expression signs are relative1 nev] absolute1 & t piano1 cresc5do1 s=z&o1 et cet]a1 are n int5d$ to convey to ! p]=m] any def9ite degree ( p[]4 ,x is because ( misund]/&+ ) reg>d to ?is po9t t dynamic effects are s frequ5tly ov]done by amateurs1 bo? conductors & p]=m]s seem+ to imag9e t e "t ! ^w cresc5do occurs ! p]=m]s are to b[ or bl[ or s+ at ! v top ( _! p[]2 & t s=z&o means a viol5t acc5t approa*+ ! effect ( a bla/ ( dynamite1 :e!r occurr+ 9 ! mid/ ( a vigor\s1 spirit$ movem5t1 or 9 a t5d] lullaby4 ,b]lioz1 9 ! treatise on conduct+ app5d$ to 8 monum5tal "w on ,or*e/ration1 says3#bj ,a conductor (t5 dem&s f 8 play]s an exagg]ation ( ! dynamic nuances1 ei!r 9 ?is way to give pro( ( 8 ardor1 or because he lacks f95ess ( musical p]ception4 ,simple %ad+s !n become ?ick blurs1 acc5ts become passionate %rieks4 ,! effects int5d$ by ! poor compos] are q di/ort$ & co>s5$1 & ! attempts ( ! conductor to be arti/ic1 h[ev] hone/ !y may be1 rem9d u ( ! t5d]ness ( ! ass 9 ! fable1 :o knock$ 8 ma/] d[n 9 try+ to c>ess him4 ,footnote #bj3 ,b]lioz1 ,a ,treatise on ,mod]n ,in/rum5tation & ,or*e/ration1 p4 #bee4 ,,*apt] ,,vii ,,int]pretation ,,9 ,,conduct+ 7,conclud$7 ,,timbre1 ,,phras+1 ,,et ,,cet]a ,sid5ote3 ,,importance ,,( ,,timbre ,,9 ,,int]pretation ,hav+ devot$ consid]able space to discuss+ ! two expressional elem5ts = :i* ! compos] is ma9ly responsible1 let u n[ pres5t briefly c]ta9 matt]s connect$ ) ! o!r six elem5ts 9 our li/ 7see p4 #df74 ,! two describ$ z be+ p>tly controll$ by compos] & p>tly by ! int]pret] are timbre & phras+1 & we %all accord+ly treat ^! fir/4 ,timbre or tone-quality is less important ?an ei!r tempo or dynamics1 & is obvi\sly less "u ! control ( ! conductor4 ,! vocali/ may be induc$ to s+ m l\dly or ! viol9i/ to play m rapidly1 b x is (t5 impossible to get ei!r to s modify 8 actual tone quality z to make 8 r5dition m expressive4 ,& yet1 9 spite ( ?is difficulty1 !re are _m passages 9 bo? *oral & or*e/ral music 9 :i* ! ess5tial significance dep5ds absolutely ^u beauty or ugl9ess or pla9tiv5ess or boldness ( tone2 & especially 9 *oral music is x possible = ! conductor to induce 8 *orus to br+ out _m m su* effects ?an is usually done4 ,a positively ugly & raspy vocal tone may convey a c]ta9 dramatic effect t no m]e v>iation 9 dynamics is able to br+ ab\t1 an example ( ?is be+ f\nd 9 ! ,*orus ( ,p :o s+ at v>i\s po9ts 9 ! cantata by ,dubois call$ ,! ,sev5 ,la/ ,words ( ,*ri/4 ,ano!r v %ort passage ( ! same sort is f\nd 9 ,/a9]'s ,crucifixion 9 ! sc5e at ! cross4 ,mr4 ,c[>d has writt5 m 9 detail ^u ?is po9t ?an anyone else1 & we may well quote 8 discussion ( ! topic *>act]ization4#ba ,footnote #ba3 ,c[>d1 ,*oral ,te*nique & ,int]pretation1 p4 #gc4 ,"o ( ! di/+ui%+ features ( mod]n *oral te*nique is :at ,i t]m *>act]ization1 or realism ( ! s5tim5t express$ 9 ! music4 ,=m]ly ?is k9d ( s++ 0 taboo$ to su* an ext5t t :5 9 rehe>sals & at conc]ts ,i induc$ ! ,%effield ,musical ,union to s+ ) graphic p[] musicians ( ! old s*ool vot$ me a mad en?usia/1 extravagant1 !atrical1 ultra1 & _m o!r ?+s ( ! same sort4 ,^! p wond]$ :y ,i want$ v>iety ( tone color--:o _h ev] he>d ( su* a dem& f a *oir8--& _m ( my fri5ds ev5 ?\ght ,i 0 dem&+ too mu* :51 9 rehe>s+ ,b]lioz's ,fau/1 ,i ask$ = some?+ h>d] 9 tone ?an ! usual fluty1 melliflu\s s\nd 9 ord] to depict ! he>ty laugh ( ! peasants 9 ! fir/ *orus4 ,!y 7 almo/ sc&aliz$ :5 ,i ask$ = a some:at rauc\s1 devil-may-c>e c>\sal1 tone 9 ! ,au]ba*'s ,w9e-cell> sc5e1 & :5 a fi5di%1 sn>l+ utt]ance 0 call$ = 9 ! ,p&emonium sc5e !y ?\ght ,i 0 mad4 ,h[ev]1 ! p]=mance settl$ all ^! objections4 ,x 0 se5 by contra/ h[ ridicul\s x 0 = a *oir to laugh l ,"l ,dundre>y ) a sort ( ?roaty gurgle2 h[ inane x 0 to depict w9e-cell> revelry ) voices sugge/+ ! s5tim5tal draw+-room t5or1 & h[ insipid x 0 to portray fi5di% glee )9 hell's portals ) ! /aid decorum ( a body ( local prea*]s ( irreproa*able "*4 ,( c\rse ! battle 9 ! rehe>sal room _h to be f\ght /]nly in* by in*1 b frequ5t trials1 approval ( ! progress %[n1 & brilliant success at ! conc]t won ! day4 ,x 0 s conv9c+ t _m said !y c\ld ta/e w9e & smell brim/one4444 ,contra/s ( tone-color1 contra/s ( diff]5tly plac$ *oirs1 contra/s ( s5tim5t--love1 hate1 hope1 despair1 joy1 sorr[1 brightness1 gloom1 pity1 scorn1 pray]1 praise1 exaltation1 depression1 laught]1 & te>s--9 fact all ! emotions & passions are n[ expect$ to be del9eat$ by ! voice alone4 ,x may be said1 9 pass+1 t 9 fulfill+ ^! expectations *oral s++ has ent]$ on a new lease ( life4 ,in/ead ( ! cry be+ rais$ t ! *oral societies are doom$1 we %all f9d t by absorb+ ! elixir ( *>act]ization !y h r5ew$ _! y\?2 & :5 ! %all[ pleasures ( ! picture !at] & ! empty elem5ts ( ! v>iety %[ h be5 discov]$ to be unsatisfy+ to ! normal aspirations ( intellectual1 moral be+s1 ! social1 heal?ful1 /imulat+1 intellectual1 moral1 & spiritual uplift ( ! *oral society w be appreciat$ m ?an ev]4444 ,t5d]-h&$ /roke a nettle1 ,& x /+s y = y\r pa9s1 ,grasp x l a man ( mettle1 ,& x s(t z silk rema9s4 ,be=e /at+ h[ to produce ! laugh1 ! sob1 ! sigh1 ! sn>l1 ! moan1 bell effects1 ejaculations & trick-s++1 all ( :i* come "u ! head ( *>act]ization1 ,i w\ld say t if an ultra ?+ is und]tak5 x mu/ be done boldly4 ,! _s ( ! old rhyme above quot$ mu/ be act$ ^u1 or fe> w p>alyze ! ef=ts put =?1 & failure w be ! result4 ,9 *oral s++1 z 9 o!r ?+s1 ! mascul9ity ( ! do+1 ! boldness1 ! d>+1 ! v audacity ) :i* an extreme effect is produc$1 c>ries success ) x4 ,!re=e d n attempt a d>+ ?+ feebly or by halves4 ,sid5ote3 ,,timbre ,,9 ,,in/rum5tal ,,music ,9 in/rum5tal music1 timbre is also a highly pot5t influ5ce 9 ar\s+ emotional /ates1 & we are all famili> ) ! fact t an oboe passage is (t5 associat$ ) ! simplicity ( outdoor rural life2 t a melody = ,engli% horn has someh[ become connect$ ) m\rnful ?\ghts2 ! s\nd ( trumpets1 ) m>tial ideas2 & ! grunt+ ( ! l[] regi/] ( ! bassoon1 ) comic effects4 ,x is well kn[n1 also1 t ! skilful viol9i/ c cause 8 in/rum5t to s\nd an inf9ite v>iety ( %ades ( color4 ,b ^! means ( expression are almo/ :olly "u ! control ( ! individual play]s & ( ! compos] 7z or*e/rator71 & _c !re=e be pr(itably discuss$ 9 a "w on conduct+4 ,sid5ote3 ,,phras+ ,! phrase 9 music is v simil> to ! phrase 9 language4 ,9 bo? cases1 x is a ?\ght 7usually incomplete & =m+ a "p ( "s l>g] idea7 :i* mu/ be slightly sep>at$ f ! prec$+ & foll[+ phrases1 t x may be correctly und]/ood2 yet mu/ be s r5d]$ 9 relation to ! neighbor+ mat]ial z to seem an integral "p ( ! :ole4 ,9 addition1 x is ( c\rse necess>y to emphasize ! important words 9 a language phrase & ! mo/ significant tones 9 a musical "o1 z well z to subord9ate ! comp>atively unimportant p>ts1 9 su* a way t ! real significance ( ! :ole may be cle>4 ,phras+ is ?us readily se5 to be an extremely important factor 9 ! expressive read+ ( language1 s9ce "o c\ld sc>cely int]pret intelligibly if he did n fir/ ( all read z a gr\p ! words t belong toge!r z a ?\ght2 & "o c\ld c]ta9ly n convey ! correct idea ( ! gr\p to a li/5] if ! mo/ important words 9 x 7 n /ress$ s z to /& out m vividly ?an ! o!rs4 ,al?\gh n s readily und]/ood because ( ! abs5ce ( symbolism1 phras+ is q z important an elem5t 9 ! expressive r5dition ( music z x is 9 ! case ( language4 ,9 ord] to int]pret prop]ly ! conductor mu/ fir/ ( all det]m9e :at tones belong toge!r 9 a gr\p2 mu/ make ! individuality ( ^! gr\ps evid5t by slightly sep>at+ !m1 b usually n to ! degree ( di/urb+ ! basic rhy?mic fl[2 & mu/ s manage ! dynamics & tempo ( ea* phrase z to make its cont5t cle> to ! li/5]4 ,_m phrases are s con/ruct$ t _! prop] deliv]y involves a gradual cresc5do up to ! climax 7usually ! highe/ tone7 & a correspond+ dim9u5do f ?is po9t to ! end ( ! phrase4 ,sid5ote3 ,,phras+ ,,9 ,,vocal ,,music ,9 vocal music1 ! matt] ( phras+ is comp>atively simple because "h ! compos] has1 9 g5]al1 adapt$ ! melody to ! phras+ ( ! text2 & s9ce 9 language we h def9ite ideas & concrete imag]y to assi/ u1 all t we usually ne$ to d 9 /udy+ ! phras+ ( vocal music is to foll[ c>efully ! phras+ ( ! text4 ,b ev5 !n a w>n+ ought p]haps to be giv5 ! "y conductor reg>d+ c>elessness or ignorance on ! "p ( s+]s ab\t "s ( ! mo/ fundam5tal pr9ciples ( phras+4 ,! mo/ common mi/akes made are3 #a4 ,tak+ brea? unnecess>ily 9 ! middle ( a phrase4 #b4 ,brea?+ betwe5 ! syllables ( a ^w4 #c4 ,divid+ a long phrase improp]ly4 #d4 ,runn+ ov] brea?+ places :]e a pause is really necess>y 9 ord] to br+ out ! mean+ ( ! text4 #e4 ,pron\nc+ ! unacc5t$ syllable ( a ^w at ! end ( a phrase ) too mu* /ress4 #f4 ,fail+ to /ress ! climax suffici5tly4 ,mi/akes ( ?is k9d are made because ! s+] all too frequ5tly fails to recognize ! fact t ! int]pretation ( vocal music mu/ be bas$ ^u ! mean+ ( ! text r ?an ^u purely musical consid]ations 7cf4 quotation f ,c>uso on page #dd74 ,a comma or re/ ord9>ily indicates ! end ( a phrase 9 vocal music4 ,if1 h[ev]1 ! phrase z m>k$ is too long to be tak5 9 "o brea?1 ! conductor %\ld /udy x c>efully = "s po9t 9 x :]e ano!r brea? may be tak5 )\t too greatly m>r+ ! cont9uity ( ! text4 ,sometimes 9 a l>ge *orus v>i\s sections ( a division may take brea? at diff]5t po9ts1 ?us pres]v+ ! integrity ( ! phrase 9 c]ta9 cases :]e ?is is p>ticul>ly desirable4 ,x %\ld be not$ t :5 a brea? is tak5 9 ! middle ( a phrase or betwe5 ! phrases :]e no re/ occurs1 ! "t = brea?+ mu/ always be tak5 f ! la/ note ( ! prec$+ phrase1 9 ord] t ! cont9uity ( ! rhy?m may n be sacrific$4 ,! importance ( /udy+ phras+ f ! /&po9t ( ! effective r5dition ( sacr$ music w be realiz$ m vividly if "o takes ! tr\ble to inquire ( "s ( ! memb]s ( ! congregation h[ well !y und]/ood ! words ( ! an!m or solo4 ,! replies t w ord9>ily be giv5 to su* a "q w probably a/oni% ! director ( ! *ur* *oir2 & al?\gh he w sometimes be incl9$ to put ! blame on ! e>s & m9ds ( ! congregation1 !re is no d\bt t 9 v _m cases ! difficulty may be trac$ to poor enunciation & faulty phras+ on ! "p ( ! s+]s4 ,! foll[+ examples are report$ to be au!ntic in/ances ( phras+ by *ur* *oirs3 ,jesus lives no long] n[1 ,c ?y t]rors1 ,dea?1 appall u8 ,! poet _h q a diff]5t ?\ght 9 m9d :5 he p5n$ ^! words1 ) ! correct punctuation m>ks3 ,jesus lives6 no long] n[ ,c ?y t]rors1 ,dea?1 appall u6 ,! wild w9ds hu%$ ! angry deep1 ,sank l a little *ild to sleep4 ,:at ?is v]se means is1 ( c\rse1 easily se5 by ins]t+ ! correct punctuation m>ks3 ,! wild w9ds hu%$2 ! angry deep ,sank l a little *ild to sleep4 ,sid5ote3 ,,phras+ ,,9 ,,in/rum5tal ,,music ,9 in/rum5tal music we h no def9ite ideas & no concrete imag]y to guide u2 & ! conductor1 9 company ) all o!r /ud5ts ( in/rum5tal music1 w f9d x necess>y to /udy 8 score mo/ c>efully if he is to unravel ! ?reads t are wov5 toge!r 9 su* complex fa%ion 9 or*e/ral music4 ,z impli$ above1 phras+ 9 in/rum5tal music means3 #a4 ,! gr\p+ toge!r ( tones t belong to ! same musical ?\ght1 ?is imply+ a slight break 9 cont9uity betwe5 phrases1 z 9 language4 #b4 ,mak+ evid5t ! musical significance ( ! gr\p by acc5t+ or prolong+ its mo/ important tones4 ,^! are only g5]al pr9ciples1 h[ev]1 & ! details ( phras+ 9 in/rum5tal music _c be treat$ adequately 9 writ+ because ( _! too great complexity4 ,x is only ?r\gh practice1 re9=c$ by ! intellig5t criticism ( a real musician1 t skill & ta/e 9 ! art ( phras+ c be acquir$4 ,a few concrete sugge/ions are (f]$1 & ^! may be ( "s slight help to ! amateur1 b !y are n to be ?\ght ( z a complete guide4 #a4 ,! fir/ tone ( ! phrase is (t5 /ress$ slightly 9 ord] to m>k ! beg9n+ ( ! new idea4 #b4 ,! f9al tone 7p>ticul>ly ( ! %ort phrase7 is commonly %ort5$ 9 ord] to make cle> ! sep>ation betwe5 phrases4 #c4 ,! climact]ic tone ( ! phrase is (t5 prolong$ slightly z well z acc5t$1 9 ord] to make its relation%ip to ! o!r tones /& out cle>ly4 ,sid5ote3 ,,rhy?m ,closely connect$ ) phras+ is rhy?m1 & al?\gh ! rhy?mic factor %\ld p]haps !oretically belong :olly to ! compos]1 s9ce he is able to express 8 rhy?mic ideas 9 def9ite notation1 yet 9 actual practice ?is does n prove to be ! case because ! amateur play] or s+] s (t5 f9ds t "t is h>d2 & !re are consequ5tly _m occasions :5 ! rhy?m indicat$ by ! compos] is :olly di/ort$1 ei!r because ! p]=m]s are weak 9 _! rhy?mic feel+ or because ! conductor is c>eless & does n see to x t ! rhy?mic response ( 8 *orus or or*e/ra is accurate & incisive & yet ela/ic4 ,rhy?m is ! olde/ ( ! musical elem5ts & !re is no "q b t ! rhy?mic appeal is /ill ! /ronge/ ( all = ! majority ( p4 ,rhy?m is ! sp>k ( life 9 music1 !re=e1 woe to ! compos] :o attempts to sub/itute e!real h>monies = virile rhy?ms z a g5]al pr9ciple ( musical con/ruction4 ,m]e tones1 ev5 ?\gh beautiful bo? 9 !mselves & ?r\gh effective comb9ation1 are mean+less1 & x is only ?r\gh rhy?m t !y become vitaliz$4 ,9 ord] to h int]e/+ p]=mances ( *oral & or*e/ral music ! conductor mu/ see to x t ! p]=m]s play or s+ all rhy?mic figures correctly1 t long tones are su/a9$ = _! correct duration1 & t 9 g5]al ! musical p]=mance be p]meat$ by t /eady ?rob ( regul> pulsation :i* is ! f\ndation ( all rhy?mic coh]5ce4 ,mod]n musical rhy?m is s complex 9 its frequ5t employm5t ( syncopations1 cross acc5ts1 et cet]a1 t ! prospective conductor mu/ /udy indefatigably if he is to unravel its app>5tly inextricably sn>l$-up ?reads4 ,we assume1 h[ev]1 t detail$ /udy ( rhy?m has con/itut$ a "p ( ! /ud5t's "w 9 piano1 s++1 et cet]a1 & %all !re=e n attempt to treat ! matt] fur!r4 ,let u advise ! w\ld-be conductor1 h[ev]1 to cont9ue 8 /udy ( rhy?m & phras+ unceas+ly & nev] to all[ himself to be delud$ into believ+ t an accurate k ( ^! ?+s is less necess>y n[ ?an =m]ly4 ,x has seem$ to u t "s public p]=m]s ( ! pres5t day 7 cloak+ _! inability to play or s+ ) rhy?mic accuracy "u a pret5se ( be+ highly arti/ic & flexible 9 _! rhy?mic feel+4 ,ne$less to say1 ! exi/5ce ( su* a /ate ( affairs is to be greatly deplor$ & ! /ud5t is admoni%$ to make sure t he is able to p]=m e detail ( 8 music ) metronomic accuracy be=e he attempts rubato effects4 ,sid5ote3 ,,melody1 ,,h>mony1 ,,& ,,pit* ,,regi/]s ,! second1 ?ird1 & f\r? ( ! elem5ts ( expression z cit$ 9 our li/ on page #df belong almo/ :olly to ! compos] s9ce he is able to indicate !m precisely1 & ! conductor's *ief conc]n 9 deal+ ) melody1 h>mony1 & pit* regi/]s w be to make c]ta9 t ! compos]'s wi%es are c>ri$ out to ! lett]4 ,= ?is reason no attempt w be made to discuss ^! matt]s fur!r1 ! topic belong+ to composition r ?an to conduct+4 ,sid5ote3 ,,physical ,,means ,,us$ ,,by ,,! ,,conductor ,,= ,,indicat+ ,,expressional ,,effects ,n[ t we h review$ ! elem5ts ( expression some:at fully1 :at ( ! conductor8 ,%all we give him a set ( specific directions = mak+ 8 *orus or or*e/ra s+ or play m l\dly or m rapidly or m dramatically8 ,our reply is--no1 n any m ?an we %\ld attempt to %[ ! /ud5t ( act+ or oratory exactly :at ge/ures he is to make use ( 9 play+ ^u ! emotions ( 8 audi5ce4 ,z impli$ at ! outset1 ! ?+ t is necess>y 9 bo? cases is t ! int]pret] h3 #a4 ,g5]al s*ol>%ip4 #b4 ,an intimate acqua9tance ) ! cont5t & _s ( ! p>ticul> "w to be int]pret$4 ,grant+ ! pres5ce ( ^! two ?+s1 ! actual ge/ures w usually take c>e ( !mselves4 ,! conductor ,alts*ul] rem>ks on ?is po9t3 ,!re is no artificial code ( signals ne$$ betwe5 ! conductor & 8 m52 :at ! conductor ne$s is a cle> conception ( ! composition4 ,we are fully 9 accord ) ?is s5tim5t2 b = ! b5efit ( ! tyro x may be well to note aga9 t1 9 g5]al1 a quick5+ ( tempo is indicat$ by a %ort]1 m vigor\s /roke ( ! baton1 :]eas a sl[+ d[n 9 rate ( spe$1 especially :5 accompani$ by a lett+ d[n ( emotional int5sity1 involves a long]1 m fl[+ movem5t1 ) m back /roke4 ,l\d] tone is (t5 indicat$ by ! cl5*$ fi/1 ! =tissimo effect at ! climact]ic po9t (t5 involv+ a /rong muscul> contraction 9 ! entire body2 :ile s(t] tone is frequ5tly call$ = by hold+ ! left h& out ) palm d[n1 by loos5+ ! grip ^u ! baton1 & by a g5]ally relax$ condition ( ! entire body4 ,dynamic *anges are also indicat$ to a c]ta9 ext5t by ! amplitude ( ! beat & by ! position ( ! h&s4 ,9 call+ = a pianissimo effect1 ! conductor usually gives %ort beats ) ! h&s close toge!r 7if ! left h& is also us$71 b 9 dem&+ =tissimo ! beat is usually ( mu* great] amplitude1 & ! h&s1 !re=e1 widely sep>at$4 ,= ! swell 7cresc5do-decresc5do symbol7 ! h&s are usually close toge!r at ! beg9n+1 are !n gradually sep>at$ z f> z possible1 com+ toge!r aga9 at ! end ( ! decresc5do4 ,*anges 9 quality are p]haps mo/ frequ5tly sugge/$ by v>iation 9 ! facial expression1 poise ( body1 et cet]a1 :ile phras+ is (t5 indicat$ by a movem5t ( ! left h& 7?us signal+ "s "p to beg9 or /op7 or by a lift+ ( ! arms & %\ld]s at ! brea?+ po9t1 ?us simulat+ ! action ( ! lungs 9 tak+ brea?1 & caus+ ! s+]s or play]s actually to take a brea? by in/9ctive imitation4 ,! mann] 9 :i* ! baton is grasp$ & manipulat$ is ( c\rse ano!r way ( indicat+ ^! v>i\s expressional effects1 ?is be+ especially noticeable 9 ! case ( phras+1 :i* is p]haps mo/ (t5 indicat$ by simply rais+ ! baton high] at ! end ( a phrase1 ?us prep>+ x = a long] sweep at ! beg9n+ ( ! foll[+ phrase4 ,b all ( ^! ?+s are done 9 diff]5t ways by v>i\s conductors1 & no set rules c !re=e be =mulat$4 ,! mo/ important po9t to be not$ by ! beg9n] 9 conduct+ is t "o mu/ n direct ) m]ely ! h& & arm1 b mu/ use ! entire body f head to toe 9 communicat+ to 8 *orus or or*e/ra 8 own emotion4 ,facial expression1 ! mann] ( grasp+ ! baton1 ! set ( ! %\ld]s1 ! elevation ( ! *e/1 ! position ( ! feet1 ! poise ( ! head--all ^! mu/ he indicative ( ! emotional tone ( ! music be+ r5d]$4 ,b be sure y feel a g5u9e emotion :i* leads y to d ^! v>i\s ?+s1 & d n play to ! audi5ce by go+ ?r\gh all k9ds ( contortions t are n prompt$ at all by ! mean+ ( ! music1 b are call$ into exi/5ce entirely by ! conductor's desire to h ! audi5ce ?9k t he is a great int]pret]4 ,if ! conductor does 8 "w at any po9t 9 su* a fa%ion t ! audi5ce wat*es him & is fill$ ) m>vel & admiration because ( ! int]e/+ movem5ts t he is mak+1 in/ead ( li/5+ to ! *orus or or*e/ra & be+ ?rill$ by ! beautiful music t is be+ he>d1 !n t conductor is ret>d+ r ?an advanc+ ! progress ( art appreciation2 9 %ort he is fail+ 9 8 mission4 ,"o ( ! s9c]e/ complim5ts t ! writ] has ev] receiv$ came :5 he ask$ 8 wife :e!r he _h conduct$ well at a c]ta9 public p]=mance1 & %e repli$ t %e guess$ x 0 all "r1 b t %e _h be5 s absorb$ 9 li/5+ to ! music t %e _h n ?\ght ( him at all6 ,! developm5t ( mod]n or*e/ral & op]atic music has br\ght ab\t a trem5d\s *ange 9 ! prom95ce ( ! conductor1 & !re is no d\bt b t 8 "p 9 musical p]=mance is n[ m important ?an t ( any o!r type ( int]pret]1 be+ probably second 9 importance only to t ( ! compos]4 ,f hav+ be5 orig9ally a m]e "t-beat]1 he has n[ come to be ! int]pret] p> excell5ce2 & z ,we+>tn] rem>ks 7op4 cit41 p4 #i7 9 ref]r+ to ,wagn]'s conduct+3 ,he is (t5 able to trans=m z if by magic a m or less indef9ite s\nd picture into a beautifully %ap$1 he>t-mov+ vision1 mak+ p ask !mselves 9 a/oni%m5t h[ x is t ?is "w :i* !y _h long ?\ght !y knew %\ld h all at once become q ano!r ?+4 ,& ! unprejudic$ m9d joyfully confesses1 ,?us1 ?us1 mu/ x be4 ,x w soon be discov]$ by ! amateur t 9 e case :]e an effect su* z t describ$ by ,we+>tn] has be5 br\ght ab\t1 x is because ! conductor has /udi$ ! music & has !n made ge/ures :i* 7 prompt$ by 8 sympa!tic response to ! ?\ght ( ! compos]4 ,9 o!r words1 ! conduct+ 0 effective because ! feel+ :i* prompt$ ! ge/ures came f )91 z is always ! case :5 an orator or an actor moves u deeply4 ,?is is :at is meant by int]pretation 9 conduct+2 & we c sc>cely d bett]1 9 conclud+ our discussion ( ! :ole matt]1 ?an to quote once m f a writ] to :om we h already ref]r$4#bb ,footnote #bb3 ,c4,f4,a4 ,williams1 ,! ,rhy?m ( ,mod]n ,music1 p4 #ah4 ,! great int]pret]s ( in/rum5tal music are ^? :o c mo/ ne>ly ent] into ! compos]'s ideals1 or c ev5 improve ^u !m1 & :o are able to give a delicacy or =ce ( acc5tuation or phras+ :i* x is outside ( ! possibility ( notation to express4444 ,! days ( cold1 classical p]=mance ( great works are practically ov]4 ,! executant or conductor n[ seeks to /ir ! deep] emotions ( 8 audi5ce1 & to d s he mu/ pay homage to ! arti/ :o conceiv$ ! "w1 by int]pret+ x ) en?usiasm & w>m?4 ,,*apt] ,,viii ,,! ,,sup]visor ,,( ,,music ,,z ,,conductor ,sid5ote3 ,,! ,,field ,,( ,,s*ool ,,music ,! ph5om5al progress :i* has be5 made dur+ rec5t ye>s 9 ! music dep>tm5ts ( bo? ! grades & ! high s*ools ( our great public educational sy/ems1 toge!r ) ! fact t a l>ge numb] ( "y m5 & wom5 ( real musical ability are ent]+ ! field ( public s*ool music z a life "w1 make x seem wor? :ile to include a *apt] ^u ! "w ( ! music sup]visor z conductor4 ,! writ] has long cont5d$ t ! public s*ool sy/ems ( ?is c\ntry (f]$ ! mo/ significant opportunity = influ5c+ ! musical ta/e ( a nation t has ev] exi/$4 ,if ?is be true1 !n x is highly important t ! tea*]s ( music 9 ^! s*ool sy/ems %all be m5 & wom5 :o are1 9 ! fir/ place1 ?or\ghly tra9$ musicians2 9 ! second place1 broadly educat$ along g5]al l9es2 & 9 ! ?ird place1 imbu$ ) a k conc]n+1 & a _s ( en?usiasm =1 :at free education along cultural l9es is able to accompli% 9 ! lives ( ! common p4 ,9 connection ) ?is latt] k9d ( k1 ! sup]visor ( music w1 ( c\rse1 ne$ also to become some:at intimately acqua9t$ ) c]ta9 basic pr9ciples & practical me?ods ( bo? g5]al p$agogy & music education4 ,we are n writ+ a treatise on music 9 ! public s*ools1 & %all !re=e n attempt to acqua9t ! read]1 9 ! space ( "o *apt]1 ) ev5 ! fundam5tal pr9ciples ( s*ool music tea*+4 ,we %all m]ely call att5tion to c]ta9 phases ( ! sup]visor's "w t seem to come )9 ! scope ( a book on conduct+4 ,sid5ote3 ,,difficulties ,,involv$ ,,9 ,,tea*+ ,,l>ge ,,gr\ps ,! fir/ po9t t we %\ld l to h not$ 9 ?is connection is t tea*+ a gr\p ( f =ty to "o hundr$ *ildr5 all at ! same "t is a va/ly diff]5t matt] f giv+ individual in/ruction to a numb] ( pupils sep>ately4 ,! tea*] ( a class ne$s to be mu* m en]getic1 mu* m magnetic1 mu* m capable ( keep+ ?+s mov+ & ( keep+ ev]yone int]e/$ 9 ! "w & !re=e out ( mis*ief2 he ne$s1 9 %ort1 to possess 9 high degree ^? qualities involv$ 9 lead]%ip & organization t 7 cit$ 9 an e>li] *apt] z necess>y = ! conductor 9 g5]al4 ,9 tea*+ individual pupils "o ne$ n usually ?9k ( ! problem ( discipl9e at all2 b1 9 giv+ in/ruction to a class ( f ?irty to =ty *ildr5 9 ! public s*ools1 "o inevitably f9ds 9 ! same gr\p ^? ) musical ability & ^? )\t x2 ^? :o are int]e/$ 9 ! music lesson & ^? :o are indiff]5t or ev5 op5ly scornful2 ^? :o are full ( en]gy & en?usiasm & ^? :o are lazy & indiff]5t & w d only :at !y are made to d2 ^? :o h _h lessons on piano or viol9 & h acquir$ consid]able pr(ici5cy 9 p]=mance1 & ^? :o h j come 9 f an outly+ rural s*ool :]e no music has ev] be5 taught1 & are !re=e n able to read music1 h no musical p]ception or ta/e :atsoev]1 & are frequ5tly n ev5 able to c>ry a tune4 ,9 deal+ ) su* het]og5e\s classes1 problems ( discipl9e z well z problems ( p$agogy are b\nd to arise1 & x requires r>e tact & skill 9 work+ out details ( proc$ure1 z well z a broad vision ( ! ultimate end to be accompli%$1 to br+ ord] out ( su* musical *aos4 ,& yet precisely ?is result is be+ secur$ by hundr$s ( music tea*]s & sup]visors all ov] ! c\ntry2 & ! musical effects ( a fifte5-m9ute daily practice p]iod are already surpris+ly evid5t1 & w und\bt$ly become m & m manife/ z ! ye>s g by4 ,! outlook = ! future is :olly inspir+ inde$2 & no musician ne$ fe> t 9 tak+ up public s*ool music he is ent]+ ^u a field ( "w :i* is too small = "o ( 8 calib]4 ,! only "q to be ask$ 9 su* a case is :e!r ! tea*] 9 "q is big en\gh & is suffici5tly tra9$ along musical1 g5]al1 & p$agogical l9es to h&le ?is important task 9 su* fa%ion z to insure a result comm5surate ) ! opportunity4 ,sid5ote3 ,,! ,,advantages ,,( ,,an ,,attractive ,,p]sonality ,*>m ( p]sonality has a great deal to d ) ! success ( _m directors ( *ildr5's s++4 ,s*ool sup]9t5d5ts are well aw>e ( ?is fact1 & ( two equally capable c&idates = a s*ool position 7especially "o involv+ "w ) small *ildr57 ! sup]visor :o is attractive 9 appe>ance & neat 9 attire1 is almo/ sure to be *os54 ,we m5tion ?is fact n 9 ord] to disc\rage ^? n possess+ an av]age am\nt ( p]sonal *>m1 b to enc\rage !m to take physical ex]cise1 & by o!r means to increase ! attractiv5ess ( _! physical appe>ance2 to enhance _! *>m fur!r by ta/eful dress2 & mo/ important ( all1 to cultivate a sprightly & *e]ful attitude 7b n a patroniz+ & gu%+ mann]7 t[>d *ildr5 z well z adults4 ,attractiv5ess ( p]sonality may be increas$ fur!r by ! cultivation ( ref9$ language & a well-modulat$ voice 9 speak+1 z well z by s*ool+ oneself 9 ! habitual use ( ! utmo/ c\rtesy 9 deal+ ) all p4 ,sid5ote3 ,,direct+ ,,"y ,,*ildr5 ,9 ! l[] grades1 x is be/ n to conduct =mally ) baton 9 h&1 b r to /& 7or sit7 be=e ! class1 & by facial expression1 significant ge/ure1 bodily pose1 et cet]a1 ar\se an appropriate response to ! expression ( ! song4 ,e song tells a /ory ( "s sort & ev5 little *ildr5 c be caus$ to s+ ) surpris+ly good expression if ! tea*] makes a consi/5t ef=t to ar\se ! correct m5tal & emotional attitude t[>d ea* individual song e "t x is sung4 ,sid5ote3 ,,direct+ ,,old] ,,*ildr5 ,9 tea*+ a class ( old] *ildr51 x is well = ! sup]visor to /& at ! front ( ! room ) baton 9 h&1 giv+ ! conv5tional signals = attack & release & beat+ "t 9 ! usual way dur+ at lea/ a "p ( ea* song 9 ord] t ! *ildr5 may become accu/om$ to foll[+ a conductor's beat4 ,x is n necess>y to beat "t con/antly1 & ! tea*]1 aft] giv+ ! signal = ! attack & sett+ ! tempo1 may l[] ! baton1 until a f]mata1 or a rit>d&o1 or ! f9al tone ( ! song makes its use necess>y aga94 ,a ^w ( w>n+ %\ld p]haps be ins]t$ at ?is po9t aga9/ tapp+ ) ! baton1 c\nt+ al\d1 beat+ "t ) ! foot1 et cet]a1 on ! tea*]'s "p4 ,^! v>i\s activities may occasionally be necess>y1 9 ord] to prev5t dragg+1 to *ange ! tempo1 to get a cle> & incisive rhy?mic response 9 a c]ta9 passage1 et cet]a2 b _! habitual employm5t is n only exce$+ly in>ti/ic1 b is positively injuri\s to ! rhy?mic s5se ( ! *ildr51 because x takes away f !m ! opportunity 7or r necessity7 ( ea* "o mak+ 8 own individual muscul> response to ! rhy?m ( ! music4 ,! m responsibility ! tea*] takes1 ! less ! pupils w assume1 & 9 ?is way !y are depriv$ ( ! practice :i* !y ne$ 9 work+ out ! rhy?m = !mselves1 ! result (t5 be+ t a gr\p ( *ildr5 get to ! po9t :]e !y _c keep "t at all unless "s "o c\nts al\d or p\nds ! desk ) a rul] z an accompanim5t to _! s++4 ,sid5ote3 ,,! ,,selection ,,( ,,music ,,= ,,grade ,,*ildr5 ,a v l>ge elem5t 9 ! success ( all public p]=mances is ! selection ( j ! "r type ( music4 ,9 ! case ( small *ildr51 unison songs ) attractive music & *ildlike texts %\ld be *os54 ,:5 ! *ildr5 are some:at old] 7f eight or n9e to twelve7 long] & m elaborate unison songs provid$ ) musicianly accompanim5ts may be select$1 :ile r\nds & unaccompani$ "p songs are effective by way ( contra/4 ,9 ! case ( upp]-grade *ildr51 "p songs 7sometimes ev5 ) a bass "p1 if !re are en\gh *ang$ voices to c>ry x successfully7 are be/4 ,b x %\ld be not$ t ! voices 9 ^! upp] grades are n usually s cle> & brilliant z !y h be5 9 ! two or ?ree prec$+ ye>s1 ! beauty & brilliancy ( ! *ild's voice culm9at+ at ab\t ! ,six? ,grade4 ,sid5ote3 ,,! ,,high ,,s*ool ,,*orus ,,9 ,,public ,9 plann+ public p]=mances = a high s*ool *orus1 _m difficult que/ions arise4 ,%all ! program consi/ ( miscellane\s selections or ( a connect$ "w8 ,if ! latt]1 %all x be ( ! op]atic type1 involv+ action1 sc5]y1 & co/umes1 or %all x be ( ! cantata or oratorio type8 ,& if ! latt]1 %all heavy works l ! ,messiah & ,elijah be giv51 or %all our ef=ts be conf9$ to pres5t+ ! %ort] & simpl] mod]n works :i* are musically int]e/+ & 9 ! r5dition ( :i* ! immature voices ( adolesc5t boys & girls are n s likely to be /ra9$8 ,a discussion ( ^! matt]s prop]ly belongs 9 a treatise on public s*ool music1 & we c only /ate our belief "h t1 9 g5]al1 ! musical developm5t ( ! *ildr5 w be m directly fo/]$ by practice ^u *oral r ?an ^u op]atic works2 & t extreme c>e mu/ be ex]cis$ by ! high s*ool *orus director 9 h&l+ immature voices le/ !y be /ra9$ 9 ! en?usiasm ( s++ music writt5 = mature adult voices4 ,:e!r ?is implies ! entire elim9ation ( ! ,messiah & o!r simil> works1 is left to ! discretion ( ea* individual sup]visor1 x be+ our task m]ely to po9t out ! responsibility ( ! high s*ool *orus director = recogniz+ ! diff]5ce betwe5 mature voices & immature ones4 ,sid5ote3 ,,! ,,public ,,p]=mance ,9 giv+ public p]=mances ) a l>ge gr\p ( small *ildr51 ! director w ne$ to le>n t x is necess>y to tea* 9 advance ! precise %ad+ to be employ$ at ! p]=mance4 ,9 work+ ) an adult *orus1 ! conductor expects e s+] to wat* him closely ?r\gh\t ! selection1 & _m slight *anges ( tempo & dynamics are made at ! p]=mance t h p]haps nev] be5 ?\ght ( dur+ ! rehe>sal4 ,b *ildr5 are usually n able to keep _! m9ds on ! task 9 h& to ?is ext5t1 & if !re is to be a rit>d&o or a cresc5do at a c]ta9 po9t1 ! only safe ?+ is to tea* ?is *ange 9 tempo or dynamics :5 fir/ tak+ up ! song1 s t ! expressional elem5t may become a habit 9 ! same way z ! tones & rhy?ms4 ,?is is p>ticul>ly necess>y 9 tea*+ ! same songs to sev]al diff]5t gr\ps sep>ately 9 prep>ation = a public p]=mance 9 :i* v>i\s gr\ps t h n practis$ toge!r are to s+ ! same numb]s4 ,sid5ote3 ,,attitude ,,( ,,! ,,conductor ,,at ,,! ,,p]=mance ,! conductor mu/ always appe> *e]ful & confid5t :5 conduct+ *ildr5 7or = t matt]1 adults7 9 public1 = if he seems anxi\s & di/ress$1 or worse yet1 if he in=ms ! s+]s t he is afraid t !y w n d well1 8 uneas9ess is almo/ sure to be communicat$ to ! p]=m]s & !re w probably be a panic & p]haps ev5 a breakd[n4 ,if ! conductor s]i\sly feels t ! compositions to be p]=m$ h n be5 rehe>s$ suffici5tly1 x w be f> bett] = him ei!r to insi/ ^u extra rehe>sals 7ev5 at consid]able inconv5i5ce71 or else ^u a po/ponem5t ( ! p]=mance4 ,a good rule to foll[ 9 prep>+ = a public p]=mance ( any k9d is ?is3 ,g ?r\gh ! "w ov] & ov] until x is done correctly2 !n g ?r\gh x en\gh times m to fix ?is correct way 9 m9d & muscle z a habit4 ,too _m p]=mances are giv5 ^u an inadequate rehe>sal basis1 & x has happ5$ aga9 & aga9 t p]=m]s h be5 s busy wat*+ ! notes t !y h _h no "t to wat* ! conductor1 & ! r5dition ( really beautiful music has be5 made 9 a tame1 grop+1 & consequ5tly un9t]e/+ mann]4 ,our ,am]ican impati5ce ) sl[ processes ( any sort is z (t5 to blame "h z ! neglig5ce ( ! conductor1 ! latt] (t5 arrang+ to h a p]=mance at an e>li] date ?an he really wi%es to because he kn[s t 8 *orus w become impati5t ) ! l>ge numb] ( repetitions t a really arti/ic p]=mance requires4 ,sid5ote3 ,,! ,,high ,,s*ool ,,*orus ,9 direct+ a l>ge high s*ool *orus 7sometimes numb]+ f five hundr$ to fifte5 hundr$ s+]s71 ! conductor w f9d x necess>y to /udy 8 score 9 advance ev5 m ?an usual1 = "h he is deal+ ) l>ge numb]s ( bright & lively ,am]ican boys & girls1 _m ( :om are n p>ticul>ly int]e/$ 9 ! *orus practice & all ( :om love to indulge 9 mis*iev\s pranks ( v>i\s sorts4 ,! conductor :o is likely to be mo/ successful 9 h&l+ su* a *orus is he :o1 o!r ?+s be+ equal1 has prep>$ 8 "w mo/ ?or\ghly & is able to conduct )\t look+ at 8 music at all1 & :o c1 !re=e1 keep ?+s mov+ ?r\gh\t ! rehe>sal p]iod4 ,we might add t if he does n keep ?+s mov+ musically1 ! /ud5ts 9 8 *orus w keep !m mov+ along o!r & probably less desirable l9es6 ,sid5ote3 ,,seat+ ,,! ,,high ,,s*ool ,,*orus ,_m o!r topics might be discuss$ 9 ?is *apt] b ! subject is too complex = adequate treatm5t except 9 a "w deal+ ) ?is "o subject alone4 ,let u1 !re=e1 close ! *apt] by giv+ a plan = seat+ ! high s*ool *orus t has be5 f\nd effective 9 v>i\s s*ools :]e x has be5 us$4 ,illu/ration3 ,,seat+ ,,plan ,,= ,a ,,high ,,s*ool ,,*orus -------------------------------------- ,mezzo-soprano ,mezzo-soprano girls girls s++ soprano s++ alto ------------------------------------- ,girl ,b>itones ,girl ,sopranos ,t5ors & ,altos --------- ,basses ------- ,boy ,boy ,sopranos ,altos ----------------------------------- -------- ----- ,director ,piano -------- ----- ,! advantages ( ! plan giv5 above are3 #a4 ,t x places ! boys 9 front :]e _! less develop$ voices & (t5 small] numb]s w insure bett] balance1#bc & :]e also ! tea*] c m easily see :at is go+ on 9 _! mid/4 #b4 ,x places all ! boys 9 ! same "p ( ! room & ?us removes ! *ief objection t boys ) un*ang$ voices make to s++ soprano & alto4 ,!re w probably n be a great numb] ( ^! un*ang$ voices 9 any ord9>y high s*ool *orus1 b !re are almo/ c]ta9 to be a few1 & ^! few %\ld n be attempt+ to s+ t5or or bass :5 _! voice-range is /ill t ( soprano or alto4 #c4 ,by plac+ ! mezzo voices 7( :i* v>iety !re are usually m ?an ( any o!r7 betwe5 ! sopranos & altos1 !y c be us$ on ei!r ! soprano or alto "p1 z may be necessitat$ by ! range & dynamic dem&s ( ! composition 9 h&4 ,9 seat+ ^! mezzo-soprano girls ! tea*] may fur!rmore all[ ^? :o1 al?\gh hav+ mezzo voices1 pref] to s+ ! alto "p1 to sit on ! side next to ! alto section & ! o!rs on ! side next to ! soprano section4 ,if !re are any boys ) un*ang$ voices :o are mezzo 9 range1 !y may be seat$ directly back ( ! bass section1 ?us keep+ !m 9 ! boys' division & yet giv+ !m an opportunity ( s++ ) ^? :o h ! same range z !mselves4 ,footnote #bc3 ,! ess5tials ( ?is same plan ( seat+ are recomm5d$ to adult *oruses = a l reason2 viz41 9 ord] to enable a small] numb] ( m5's voices to balance a l>g] numb] ( sopranos & altos by plac+ ! m5 9 ! mo/ prom95t position1 in/ead ( seat+ !m back ( ! wom51 z is s frequ5tly done4 ,z w be not$ 9 ! plan1 ! conductor /&s directly 9 front ( ! basses1 ! piano be+ plac$ on ei!r side z may be mo/ conv5i5t1 ! piani/1 ( c\rse1 fac+ ! conductor4 ,9 direct+ a l>ge *orus1 x is a great advantage to h two pianos1 "o on ei!r side4 ,,*apt] ,,ix ,,! ,,community ,,*orus ,,conductor ,sid5ote3 ,,! ,,significance ,,( ,,community ,,music ,! rec5t rise ( community music has evok$ no little controv]sy z to :e!r art c be made free z air & its satisfactions ?r[n op5 to all1 poor z well z ri*2 or :e!r x is by its v nature exclusive & ari/ocratic & !re=e necess>ily to be conf9$ l>gely to ! few4 ,we are incl9$ to ! =m] belief1 & w\ld !re=e express ! op9ion t 9 our ef=ts to br+ beauty into ! lives ( all ! p1 we are engag$ 9 "o ( ! mo/ significant musico-sociological ent]prises ev] inaugurat$4 ,= ?is reason we %all discuss at ?is po9t ways & means ( secur+ satisfactory results 9 "o ( ! mo/ int]e/+ phases ( community music1 viz41 ! community *orus4 ,! developm5t ( ! community *orus 7& inde$ to a c]ta9 ext5t1 ! :ole movem5t to br+ music & ! o!r arts into ! lives ( ! prolet>iat7 is due to a comb9ation ( arti/ic & sociological impulses2 & x und\bt$ly owes its orig9 & success z mu* to ! int]e/ 9 ! liv+ & social problems ( ! middle & l[] classes1 :i* ! rec5tly develop$ sci5ce ( sociology has ar\s$1 z x does to purely musical impulses4 ,because ( ! fact t community music is a sociological ph5om5on z well z an arti/ic "o1 ! director ( a community *orus mu/ possess a comb9ation ( arti/ic & p]sonal traits n necess>ily pres5t 9 ! case ( o!r musicians4 ,9 p>ticul>1 he mu/ be a good mix] z well z a good musician2 & if "o or ! o!r ( ^! qualities has to be sacrific$ 9 "s degree 9 favor ( ! o!r1 we %\ld be incl9$ to insi/ fir/ ( all ^u ! "r sort ( p]sonal traits 9 ! lead] ( community music4 ,9 ord] to be really successful 9 work+ among ! common p1 ! lead] mu/ be "o ( !m 9 all s9c]ity ( _s1 & mu/ be g5u9ely 9 sympa?y ) _! po9t ( view4 ,?is fact is especially p]t95t 9 ^? types ( "w 9 :i* "o deals ) l>ge masses ( m5 & wom54 ,! director ( community s++ mu/ !re=e1 fir/ ( all1 be a good mob lead]4 ,b if1 hav+ met ! p ^u _! own level1 he c n[ call ^u 8 arti/ic in/9cts & 8 musical tra9+1 & by means ( a purely e/hetic appeal raise 8 cr[d a degree or two high] 9 _! appreciation ( music z a f9e art1 ev5tually p]haps f9d+ x possible to int]e/ !m 9 a high] type ( music ?an is repres5t$ by ! songs sung 9 ?is fri5dly & in=mal way1 !n he has inde$ p]=m$ 8 task ) di/9ction1 & may well be elat$ ov] ! results ( 8 labors4 ,sid5ote3 ,,! ,,social ,,effect ,,( ,,community ,,s++ ,"o ( ! fundam5tal reasons = enc\rag+ ! use ( c>ols at community ,*ri/mas tree celebrations1 z well z o!r simil> =ms ( gr\p s++1 is its b5eficial effect ^u ! attitude ( ! p t[>d "o ano!r & t[>d _! social gr\p or _! c\ntry4 ,?r\gh s++ toge!r 9 ?is in=mal way1 ea* individual 9 ! cr[d is apt to be drawn clos] to ! o!rs1 to feel m int]e/$ 9 8 neighbors2 & 9 ! case ( s+s1 :]e ! dom9at+ note is patriotism1 to become imbu$ ) a deep] _s ( loyalty to c\ntry4 ,9 v _m cases1 individuals :o =m]ly w\ld h no?+ to d ) "o ano!r h be5 drawn toge!r & h become really fri5dly1 z ! result ( sitt+ toge!r at a community s+4 ,ref]r+ to ! effect ( ! fir/ ,song & ,light ,fe/ival 9 ,new ,york ,city1 a well-kn[n arti/ rem>k$3#bd ,! movem5t illu/rates pla9ly to me ! com+ =? ( a new consci\sness4 ,outside ! p>k1 /rikes1 s$ition1 an>*y1 hatr$1 malice1 envy2 )91 beauty1 peace1 ! s5se ( bro!rhood & h>mony4444 ,community s++ is tea*+ m5 to f9d !mselves1 & to d x 9 unity & bro!rly love4 ,footnote #bd3 ,kitty ,*ea?am1 ,musical ,am]ica1 ,octob] #g1 #aiaf4 ,?is same sort ( an effect has be5 not$ by u & by innum]able o!rs 9 _m o!r places1 & v>i\s te/imonies to ! b5eficial social effect ( community s++1 neighborhood b&s1 s*ool or*e/ras1 *ildr5's conc]ts1 & simil> types ( musical activity h come f all p>ts ( ! c\ntry s9ce ! inception ( ! movem5t4 ,! impulse to br+ music into ! lives ( all ! p is n a fad1 b is ! result ( ! work+ out ( a deep-seat$ & trem5d\sly significant innate t5d5cy--! in/9ct = self-expression2 ! same in/9ct :i* 9 ano!r =m is mak+ u all feel t democracy is ! only sure road to ultimate satisfaction & happ9ess4 ,x behooves ! musician1 !re=e1 to /udy ! und]ly+ bases ( ! community music movem5t1 & to use ?is new tool t has be5 ?us provid5tially ?r[n into 8 h&s = ! advancem5t ( art appreciation1 r ?an to /& alo( & sc(f at c]ta9 imp]fections & crudities :i* inevitably are only too evid5t 9 ! pres5t phase ( ! movem5t4 ,sid5ote3 ,,qualities ,,( ,,! ,,community ,,song ,,lead] ,if ! social b5efit ref]r$ to above1--viz41 ! gr[? ( gr\p feel+ & ( neighborly int]e/ 9 "o's fell[s1 is to result f our community s++1 we mu/ fir/ ( all h lead]s :o are able to make p feel *e]ful & at ease4 ,! community song lead] mu/ be able to raise a he>ty laugh occasionally1 & he mu/ by ! magnetism ( 8 p]sonality be able to make m5 & wom5 :o h n rais$ _! voices 9 song = ye>s pa/ =get _! %yness1 =get to be afraid ( ! s\nd ( _! own voices1 =get to wond] :e!r anyone is li/5+1 & jo9 he>tily 9 ! s++4 ,!re is no "o way ( secur+ ?is result2 9 fact1 ! same lead] (t5 f9ds x necess>y to use diff]5t tactics 9 deal+ ) diff]5t cr[ds1 or = t matt]1 diff]5t me?ods ) ! same cr[d at diff]5t times4 ,! crux ( ! matt] is t ! lead] mu/ 9 "s way succe$ 9 break+ up ! =mality1 ! /iffness ( ! occasion2 mu/ get ! cr[d to loos5 up 9 _! attitude t[>d him1 t[>d "o ano!r1 & t[>d s++4 ,?is c (t5 be accompli%$ by mak+ a po9t$ rem>k or two ab\t ! song1 & ?us1 by conc5trat+ ! att5tion ^u ! mean+ ( ! words1 make ! s+]s =get !mselves4 ,sometimes hav+ v>i\s sections ( ! cr[d s+ diff]5t /anzas1 or diff]5t p>ts ( a /anza antiphonally w br+ ! desir$ result4 ,by way ( v>iety1 also1 ! wom5 may be ask$ to s+ ! v]se :ile ! entire *orus jo9s 9 ! refra92 or ! m5 & wom5 may alt]nate 9 s++ /anzas2 or ^? 9 ! back ( ! balcony may repeat ! refra9 z an e*o2 or ! lead] & ! cr[d may s+ antiphonally4 ,9 ^! v>i\s ways1 consid]able rivalry may be ar\s$ 9 ! v>i\s sections ( a l>ge *orus1 & ! /iffness & unfri5dl9ess w usually be f\nd to disappe> l magic4 ,b if ! director is cold & =mal 9 8 attitude1 & if "o song aft] ano!r is sung 9 ! conv5tional way ) no comm5t1 no anecdote1 & no division into sections1 ! p w be m ?an likely to g away criticiz+ ! lead] or ! accompani/ or ! songs or ea* o!r1 & ! next "t ! cr[d w probably be small] & ! project w ev5tually die out4 ,! *ronic fault-f9d] w !n say1 ,i told y x 0 only a fad & t x w\ld n la/2 b he is wrong1 & ! failure mu/ be attribut$ to poor managem5t r ?an to any inh]5t weakness 9 ! idea itself4 ,sid5ote3 ,,v>iety ,,( ,,song ,,mat]ial ,,made ,,possible ,,by ,,community ,,s++ ,! majority ( p h no opportunity ( s++ except :5 !y g to *ur*2 b _m d n g to *ur* (t51 & ev5 ^? :o g d n always s+1 & only h ! opportunity ( s++ "o type ( music :5 !y d take "p4 ,moreov]1 = v>i\s reasons1 ! s++ ( *ur* congregations is n z he>ty z x us$ to be a g5]ation or two ago4 ,! opportunity to sp5d an h\r 9 s++ patriotic hymns1 s5tim5tal songs1 & occasionally a really f9e composition1 su* z ! ,pilgrims' ,*orus f ,tannhus]1 is !re=e eag]ly welcom$ by a great _m m5 & wom5--^? belong+ to ! upp] classes z well z ! prolet>iat4 ,:5 once ! b>ri] ( =mality has be5 brok5 d[n1 su* ga!r+s1 especially :5 direct$ by a lead] :o is a good musician z well z a good mix]1 may well become ! means ( int]e/+ _m ?\s&s ( m5 & wom5 9 ! m arti/ic phases ( music2 may inde$ ev5tually trans=m _m a community1 n only f a cr[d ( individuals into a homog5e\s social gr\p1 b may actually *ange ! city or village f a spot :]e ugl9ess has reign$ supreme to "o :]e ! dom9at+ note is beauty--beauty ( s]vice z well z beauty ( /reet & g>d5 & public build+2 & :]e drama & music1 pictures & lit]ature1 are ! mo/ *]i%$ possessions ( ! p4 ,9 a place :i* has be5 s trans=m$1 ! eight h\rs ( leisure t h s tr\bl$ our sociologi/s w pres5t no problem :atev]2 = ! community *orus1 ! neighborhood or*e/ra1 ! music & dramatic clubs1 & ! spl5did libr>ies & art gall]ies w assume mo/ ( ! burd5 ( provid+ a wor?y use ( leisure4 ,sid5ote3 ,,! ,,necessity ,,( ,,adv]tis+ ,community s+s 7l ev]y?+ else t is to a*ieve success 9 ?is age7 mu/ be adv]tis$1 & to ! lead] usually falls ! lot ( act+ z adv]tis+ manag]4 ,x w be well to beg9 ! campaign a mon? or m be=e ! fir/ s+ is to be held1 s5d+ %ort articles to ! local pap]s1 9 :i* is describ$ ! success ( simil> ent]prises 9 o!r places4 ,!n a week or s be=e ! s+1 c>efully word$ ann\ncem5ts %\ld be read 9 *ur*es1 ,sunday s*ools1 lodge meet+s1 & high-s*ool assemblies4 ,9 connection ) ?is g5]al publicity1 ! lead] w d well also to talk p]sonally ) a l>ge numb] ( m5 & wom5 9 v>i\s walks ( life1 ask+ ^! p n only to agree to be pres5t !mselves1 b urg+ !m to talk ab\t ! project to o!r fri5ds & acqua9tances1 invit+ !m to come also4 ,on ! day ( ! fir/ s+ x may be well to circulate attractively pr9t$ h&bills z a f9al rem9d]1 ^! ( c\rse giv+ 9 unmi/akable language ! "t & place ( ! meet+ & p]haps /at+ 9 bold type t admission is entirely free & t no funds are to be solicit$4 ,^! v>i\s adv]tis+ activities w naturally necessitate ! exp5diture ( a small am\nt ( money2 b x is usually possible to secure donations or at lea/ r$uctions ( price 9 ! case ( pr9t+1 hall r5tal1 et cet]a1 & ! small am\nt ( actual ca% t is ne$$ c usually be rais$ among a gr\p ( int]e/$ p )\t any difficulty4 ,x is our belief t ! :ole project is m likely to succe$ if ! lead] himself is s]v+ )\t remun]ation1 = he w !n be easily able to refute any *>ge t he is urg+ ! project out ( selfi% or m]c5>y consid]ations4 ,sid5ote3 ,,provid+ ,,! ,,words ,,( ,,songs ,! lead] ( community s++ mu/ n make ! mi/ake ( suppos+ t ev]ybody kn[s ,am]ica1 ,swanee ,riv]1 & ,old ,black ,joe1 & t no words ne$ !re=e to be provid$4 ,z a matt] ( fact1 n m ?an "o p]son 9 tw5ty-five c repeat correctly ev5 "o ( ^! songs t ev]ybody kn[s1 & we may z well recognize ?is fact at ! outset & ?us prev5t a probable fiasco4 ,!re are ?ree ways ( plac+ ! songs be=e our cr[d ( p3 #a4 ,hav+ ! words ( all songs to be sung pr9t$ on %eets ( pap] & pass+ "o ( ^! out to ea* p]son 9 ! audi5ce4 #b4 ,furni%+ a book ( songs at a co/ ( five or t5 c5ts & ask+ ea* p]son 9 ! audi5ce to pur*ase ?is book be=e ! s+ beg9s1 br++ x back ea* succe$+ "t4 #c4 ,fla%+ ! words 7sometimes ! music also7 on a scre5 9 front ( ! assembly4 ,! disadvantage ( ! la/ nam$ me?od is ! fact t ! auditorium has to be d>k5$ 9 ord] t ! words may /& out cle>ly2 b 9 out-(-door s++ ! plan has v great advantages1 be+ = ?is purpose p]haps ! be/ ( ! ?ree4 ,aft] ! *orus has gott5 well on its feet1 x w probably be be/ to pur*ase copies ( "s l>g] & m elaborate book1 ! copies be+ ei!r own$ by individual memb]s or else pur*as$ out ( treasury funds1 & !re=e belong+ to ! organization4 ,at ! fir/ s+ x w be a di/9ct advantage if no f9ancial outlay :atev] is requir$ ( ! individuals compos+ ! *orus4 ,sid5ote3 ,,! ,,advantages ,,( ,,plann+ ,,9 ,,advance ,9 conclusion1 let u urge ! lead] ( community s++ to decide be=eh& j :at songs are to be us$1 & to /udy ! words ( ^! songs c>efully s z to be able to imbue ! *orus ) ! correct _s ( ea* "o1 hav+ at 8 tongue's end ! /ory ( ! song & o!r po9t$ rem>ks ab\t x t w enliv5 ! occasion & keep ?+s f /agnat+4 ,he w1 ( c\rse1 frequ5tly f9d x necess>y to modify 8 plan z ! s+ progresses1 = "o ( ! mo/ necess>y qualifications 9 ! lead] is flexibility & quick wit4 ,b if he has a def9ite program 9 m9d & kn[s 8 mat]ial s well t he does n ne$ to look at 8 book1 he w be mu* m likely to succe$ 9 hold+ ! int]e/ ( 8 *orus ?r\gh\t ! s+4 ,let him be sure t a skilful accompani/ is at h& to play ! piano1 p]haps ev5 go+ to ! tr\ble ( meet+ ! accompani/ be=eh& & go+ ?r\gh all mat]ial to be us$ s z to insure a mutual und]/&+ ^u su* matt]s z tempo1 et cet]a4 ,9 out-(-door gr\p s++ a brass qu>tet 7consi/+ ( two cornets & two trombones1 or two cornets1 a trombone1 & a b>itone7 is m effective ?an a piano1 b if ?is is to be done be sure to f9d play]s :o c transpose1 or else write out ! p>ts 9 ! prop] transpos$ keys4 ,:5 su* an accompanim5t is to be us$1 ! lead] %\ld h at lea/ "o rehe>sal ) ! qu>tet 9 ord] t !re may be no hit*es4 ,sid5ote3 ,,! ,,meet+ ,,place ,if possible1 let ! s+ be held1 9 "s hall n connect$ ) any p>ticul> gr\p ( p1 s t all may feel equally at home 7!re are decid$ objections to us+ ei!r a *ur* or a lodge room72 &1 9 giv+ ! invitation = ! fir/ meet+1 make sure t no gr\p ( p %all h any gr\nd :atsoev] = feel+ slight$1 ev5 9 ! smalle/ degree4 ,grant+ ! v>i\s factors t we h be5 recomm5d+1 &1 mo/ important ( all1 hav+ provid$ ! "r type ( lead] to take *>ge ( ! s+s1 ! ent]prise _c b h significant results along bo? musical & sociological l9es4 ,,*apt] ,x ,,! ,,or*e/ral ,,conductor ,sid5ote3 ,,difficulties ,,involv$ ,,9 ,,conduct+ ,a ,,l>ge ,,or*e/ra ,conduct+ an or*e/ra f full score is a va/ly m complicat$ matt] ?an direct+ a *orus s++ f\r-"p music1 & ! tra9+ necess>y 9 ord] to prep>e "o = ?is task is long & complicat$4 ,9 addition to ! po9ts already rehe>s$ z necess>y = ! conductor 9 g5]al1 ! lead] ( an or*e/ra mu/ 9 ! fir/ place "k at lea/ sup]ficially ! me?od ( play+ ! *ief or*e/ral in/rum5ts1 ! advantages & disadvantages involv$ 9 us+ _! v>i\s regi/]s1 ! difficulties ( c]ta9 k9ds ( execution1 & o!r simil> matt]s :i* are (t5 ref]r$ to by ! t]m in/rum5tation4 ,9 ! second place1 he mu/ und]/& ! comb9ations ( ^! v>i\s in/rum5ts t are mo/ effective1 & also :at regi/]s 9 c]ta9 in/rum5ts bl5d well ) o!rs2 9 o!r words1 he mu/ be famili> ) ! sci5ce ( or*e/ration4 ,9 ! ?ird place1 he mu/ und]/& ! complicat$ subject ( transpos+ in/rum5ts1 & mu/ be able to detect a play]'s mi/akes by read+ ! transpos$ "p z readily z any o!r4 ,& f9ally1 he mu/ be able to p]=m t mo/ difficult task ( all1 viz41 to read an or*e/ral score ) at lea/ a fair degree ( ease1 kn[+ at all times :at ea* p]=m] is suppos$ to be play+ & :e!r he is do+ ! "r ?+ or n4 ,?is implies be+ able to look at ! score z a :ole & get a fairly def9ite impression ( ! total effect2 b x also involves ! ability to take ! score to ! piano & assemble ! v>i\s p>ts 7includ+ ! transpos$ ones7 s t all important tones1 h>monic & melodic1 are br\ght out4 ,a glance at ev5 a v simple or*e/ral score su* z t f\nd 9 ,app5dix ,b w probably at once conv9ce ! read] ( ! complexity ( ! task1 & w p]haps make him hesitate to ru% 9 :]e angels fe> to tread until he has sp5t a numb] ( ye>s 9 prep>ation = ! "w4 ,sid5ote3 ,,direct+ ,a ,,small ,,or*e/ra ,! above description has ref]5ce1 ( c\rse1 to conduct+ an or*e/ra ( approximately symphonic dim5sions1 & does n ref] to ! comp>atively easy task ( direct+ a gr\p consi/+ ( piano1 viol9s1 cornet1 trombone1 & p]haps "o or two o!r in/rum5ts t happ5 to be available4#be ,9 organiz+ an or*e/ra ( ?is type1 ! two mo/ necess>y factors are a fairly pr(ici5t read] at ! piano 7:i*1 ( c\rse1 n only supplies ! complete h>mony1 b also cov]s a multitude ( s9s bo? ( omission & ( commission71 & at lea/ "o skilful viol9i/1 :o mu/ also be a good read]4 ,giv5 ^! two indisp5sable elem5ts1 o!r p>ts may be add$ z play]s become available2 & al?\gh ! l>g] ! numb] ( w9d in/rum5ts admitt$1 ! great] ! likelihood ( out-(-tune play+1 yet s great is ! fasc9ation ( tonal v>iety t our incl9ation is always to secure z _m k9ds ( in/rum5ts z possible4 ,footnote #be3 ,let u n be misund]/ood at ?is po9t4 ,we are n sne]+ at ! het]og5e\s collections ( in/rum5ts t are ga!r$ toge!r "u ! "n ( or*e/ra 9 _m ( ! public s*ools ?r\gh\t ! c\ntry4 ,on ! contr>y1 we reg>d ?is rapidly increas+ int]e/ 9 ensemble play+ z "o ( ! mo/ significant t5d5cies t has ev] appe>$ 9 our ,am]ican musical life1 & z a result ( x we expect to see ! e/abli%m5t ( _m an additional or*e/ra ( symphonic rank1 z well z ! fill+ 9 ( exi/+ organizations ) ,am]ican-born & ,am]ican-tra9$ play]s4 ,!re is no reason :y w9d play]s %\ld n be tra9$ 9 ?is c\ntry z well z 9 ,europe1 if we w only make a consi/5t attempt to int]e/ our *ildr5 9 ! /udy ( ^! in/rum5ts :ile !y are "y1 & provide suffici5t opportunity = ensemble practice 9 connection ) our music dep>tm5ts 9 ! public s*ools4 ,! *ief value to be d]iv$ f ensemble practice ( ?is type is n1 ( c\rse1 9 any public p]=mances t may be giv51 b is to be f\nd 9 ! effect ^u ! p]=m]s !mselves1 & ! pr9cipal reason = enc\rag+ ! organization ( all sorts ( in/rum5tal gr\ps is 9 ord] to (f] an opportunity = ensemble play+ to z _m amateur p]=m]s z possible4 ,= ?is reason1 unavoidable false intonation mu/ n be too s]i\sly reg>d$4 ,an or*e/ra su* z we h be5 describ+ is frequ5tly direct$ by "o ( ! p]=m]s2 b x is our belief t if ! gr\p consi/s ( t5 or m play]s x w be f> bett] to h ! conductor /& be=e ! play]s & direct !m ) a baton4 ,! type ( music t is available = amateur ensemble practice is un=tunately n (t5 accompani$ by a full score = ! conductor's use1 & he mu/ usually cont5t himself ) /udy+ ! v>i\s p>ts z well z he may be=e ! rehe>sal1 & !n direct f a fir/ viol9 "p 79 :i* ! beg9n+s ( all important p>ts play$ by o!r in/rum5ts are cu$ 974 ,direct+ f an incomplete score is1 ( c\rse1 extremely unsatisfactory f ! musician's /&po9t1 b ! necessity ( do+ x has ?is advantage1 viz41 t _m p]sons :o h *>ge ( small or*e/ras ( ?is type w\ld be utt]ly unable to foll[ a full score1 & might !re=e be disc\rag$ f organiz+ ! gr\p at all4 ,sid5ote3 ,,seat+ ,,! ,,or*e/ra ,symphony or*e/ras are always seat$ 9 approximately ! same way1 & if our small ensemble gr\p consi/s ( tw5ty play]s or m1 x w be well = ! conductor to arrange !m 9 some:at ! same mann] z a l>g] or*e/ra4 ,9 ord] to make ?is cle>1 ! ord9>y arrangem5t ( ! v>i\s p>ts ( a symphony or*e/ra is "h suppli$4 ,! position ( ! wood w9ds & ( ! l[] /r+s z well z ( ! p]cussion in/rum5ts & h>p v>ies some:at1 ?is dep5d+ ^u ! composition be+ p]=m$1 ! idiosyncrasies ( ! conductor1 ! size & %ape ( ! plat=m1 et cet]a4 ,illu/ration3 ,,seat+ ,,plan ,,( ,a ,,symphony ,,or*e/ra ,9 deal+ ) a small] gr\p 7n ( symphonic dim5sions71 x w be well to h ! piano 9 ! middle1 ! l[] /r+s at ! left1 ! w9ds at ! "r1 & ! viol9s 9 _! usual position4 ,! diagram w make ?is cle>4 ,x is to be not$ t ?is seat+ plan is only sugge/ive1 & t "s o!r arrangem5t may frequ5tly prove m satisfactory4 ,illu/ration3 ,,seat+ ,,plan ,,sugge/$ ,,= ,a ,,small ,,or*e/ra ,sid5ote3 ,,proportion ,,( ,,in/rum5ts ,9 a symphony or*e/ra ( ab\t "o hundr$ play]s1 ! proportion ( in/rum5ts is approximately z foll[s3 #a4 ,,/r+s3 #ah fir/ viol9s #af second viol9s #ad violas #ab violoncellos #aj d\ble basses #b4 ,,wood ,,w9d3 #c flutes #a piccolo 7,usually only ?ree play]s7 #c oboes #a ,engli% horn 7,usually only ?ree play]s7 #c cl>9ets #a bass cl>9et 7,usually only ?ree play]s7 #c bassoons #a d\ble bassoon 7,usually only ?ree play]s7 #c4 ,,brass ,,w9d3 #d horns 7,sometimes #f or #h7 #b or #c trumpets 7,sometimes #b cornets also7 #c trombones #a bass tuba #d4 ,,p]cussion3 #a bass drum #a sn>e drum 7,"o play]7 #c kettl$rums 7,( diff]5t sizes--"o play]7 #a triangle #a glock5spiel 7,"o play]7 #a pair cymbals et cet]a #a h>p 7,sometimes #b7 ,x w be not$ t out ( ab\t "o hundr$ play]s almo/ ?ree-qu>t]s are p]=m]s ^u /r+$ in/rum5ts1 & x is ?is v l>ge proportion ( /r+s t gives ! or*e/ral tone its *>act]i/ic smoo?ness1 its inf9ite possibilities ( dynamic %ad+1 its almo/ unbelievable agility1 &1 ( c\rse1 its inimitable sonority4 ,! w9d in/rum5ts are useful *iefly 9 supply+ v>iety ( color1 & also 9 giv+ ! conductor ! possibility ( occasionally obta9+ enorm\s p[] by means ( :i* to ?rill ! he>] at climact]ic po9ts4 ,our reason = supply+ ! above in=mation is ma9ly 9 ord] to direct att5tion to ! small proportion ( w9d 7& especially ( brass7 in/rum5ts1 & to w>n ! amateur conductor n to admit too l>ge a numb] ( cornets & trombones to 8 organization1 le/ ! result+ effect be t ( a b& r ?an t ( an or*e/ra4 ,if !re are available a great _m w9d in/rum5ts & only a few /r+s1 x w probably be bett] to admit only a few ( ! be/ w9d in/rum5t play]s to ! or*e/ra 7ab\t two cornets & "o trombone7 & to organize a b& 9 ord] to give ! re/ ( ! play]s an opportunity = practice4#bf ,x w probably be necess>y = ! conductor to w>n 8 w9d play]s to aim at a m mell[ tone ?an !y use :5 play+ 9 a b&1 9 ord] t ! brass tone may bl5d ) ! /r+ tone4 ,9 ! case ( ! re$ in/rum5ts1 ?is w sometimes mean a ?9n] re$ 9 or*e/ra "w ?an is us$ 9 b&s4 ,footnote #bf3 ,9 mak+ plans = ! organization ( a gr\p ( w9d in/rum5t play]s into a b&1 x %\ld be not$ by ! conductor t "h ! entire h>mony mu/ be suppli$ by ! individual in/rum5ts 7no piano be+ us$7 ?us mak+ x necess>y to h alto1 t5or1 & b>itone saxhorns 9 addition to cornets1 cl>9ets1 flutes1 & trombones4 ,! tuba is also almo/ indisp5sable1 :ile ! inclusion ( two or ?ree saxophones w greatly increase ! mell[ness ( ! effect z well z provid+ an additional color to make ! tonal textures m int]e/+4 ,sid5ote3 ,,transpos+ ,,in/rum5ts ,9 deal+ ) any ensemble gr\p t includes w9d in/rum5ts1 ! conductor mu/ ma/] ! intricacies involv$ 9 ! subject ( transpos+ in/rum5ts1 & al?\gh ?is book is n ! place to get su* te*nical k z 0 ref]r$ to 9 ! introductory p>agraph ( ?is *apt]1 yet p]haps a brief explanation ( ! mo/ important po9ts w n be :olly out ( place1 s9ce we are writ+ m especially f ! /&po9t ( ! amateur4 ,by a transpos+ in/rum5t we mean "o 9 ! case ( :i* ! p]=m] ei!r plays f a "p t is writt5 9 a diff]5t key f t ( ! composition1 or t s\nds pit*es an octave high] or l[] ?an ! notes indicate4 ,?us1 e4g41 9 a composition writt5 9 ! key ( ,e-flat1 & actually play$ 9 t key by ! /r+s1 piano1 et cet]a1 ! cl>9et "p w\ld probably be writt5 9 ! key ( ,f1 i4e41 x w\ld be transpos$ a :ole /ep upw>d2 b1 ( c\rse1 ! actual tones w\ld be 9 ! key ( ,e-flat4 ,! play]1 9 ?is case1 w\ld p]=m ^u a ,b-flat cl>9et--i4e41 a cl>9et s\nd+ pit*es a :ole /ep l[] ?an indicat$ by ! notes4 7,x is call$ a ,b-flat cl>9et because its fundam5tal gives u ! pit* ,b-flat--?is pit* be+ a :ole-/ep l[] ?an ,c2 & x is because ! pit* s\nd$ is a :ole /ep l[] t ! music has to be transpos$ a :ole /ep high] 9 ord] to br+ x into ! correct key :5 play$47 ,9 ! case ( ! cl>9et 9 ,a1 ! pit*es produc$ by ! in/rum5t are actually a m9or ?ird l[] ?an ! notes indicate 7,a is a m9or ?ird l[] ?an ,c1 j z ,b-flat is a :ole-/ep l[]74 ,9 writ+ music = cl>9et 9 ,a1 !re=e1 ! music w ne$ to be transpos$ upw>d a m9or ?ird 9 ord] t :5 play$ x may be 9 ! "r key2 j z 9 ! case ( ! cl>9et 9 ,b-flat1 x has to be transpos$ upw>d a :ole-/ep4 ,cl>9et or cornet 9 ,b-flat means1 !re=e1 an in/rum5t t s\nds pit*es a :ole-/ep l[] ?an writt52 cl>9et or cornet 9 ,a means "o t s\nds pit*es a m9or ?ird l[] ?an writt52 horn 9 ,f means an in/rum5t s\nd+ pit*es a p]fect fif? l[] ?an writt5 7because ,f is a p]fect fif? bel[ ,c72 :ile ! cl>9et 9 ,e-flat s\nds pit*es a m9or ?ird high] ?an writt54 ,:e!r ! pit*es s\nd$ are high] or l[] ?an ! notes indicate w h to be le>n$ by exp]i5ce or /udy4 ,if ! passage m>k$ ,fig4 #a 7 to be or*e/rat$ s z to give ! highe/ voice to ! cl>9et & ! l[e/ to ! horn1 ! cl>9et & horn p>ts w\ld appe> z %[n 9 ,fig4 #b4 ,music3 ,fig4 #a ,music3 ,fig4 #b ,cl>9et 9 ,b-flat ,horns 9 ,f ,9 ord] to make ?is in=mation m specific1 we add a table %[+ ! keys ( ! orig9al & transpos$ p>ts4 ,! practical b& man expresses ! sub/ance ( ?is table t]sely by say+1 subtract #c %>ps or #b flats4 ,,orig9al ,,key ,,transpos$ ,,key ,,k9d ,,( ,,in/rum5t ,c ,d ,b-flat ,g ,b-flat ,a ,d ,f ,a ,a ,c ,a ,e ,g ,a ,b ,d ,a ,f-%>p ,a ,a ,c-%>p ,e ,a ,f ,g ,b-flat ,b-flat ,c ,b-flat ,e-flat ,f ,b-flat ,a-flat ,b-flat ,b-flat ,d-flat ,e-flat ,b-flat ,g-flat ,a-flat or ,a ,b-flat or ,a ,c-flat ,d-flat ,b-flat ,sid5ote3 ,,reasons ,,= ,,transpos+ ,,in/rum5ts ,! pr9cipal reasons = ! use ( transpos+ in/rum5ts are3 fir/1 because c]ta9 sizes ( in/rum5ts produce a bett] quality ( tone ?an o!rs 7e4g41 ! ,b-flat cl>9et s\nds bett] ?an ! ,c cl>9et72 & second1 because x is easi] to play 9 keys hav+ a small] numb] ( %>ps & flats1 & by transpos+ ! p>ts to o!r keys1 we c usually get rid ( sev]al %>ps or flats4 ,9 ! case ( p]=m]s on ! cl>9et1 ea* play] is necess>ily provid$ ) two in/rum5ts 7an ,a & a ,b-flat--! ,c cl>9et be+ almo/ obsolete1 & ! ,e-flat be+ us$ only 9 milit>y b&s72 b 9 play+ ^u ! brass w9d in/rum5ts ! same in/rum5t may be tun$ 9 v>i\s keys1 ei!r by means ( a tun+ slide or by ins]t+ sep>ate %anks or crooks1 ^! latt] be+ m]ely additional l5g?s ( tub+ by ! ins]tion ( :i* ! total l5g? ( ! tube con/itut+ ! in/rum5t may be increas$1 ?us ?r[+ its fundam5tal pit* into a l[] key4 ,9 ord] to ga9 facility 9 deal+ ) transpos$ p>ts1 ! amateur is advis$ to try 8 h& at arrang+ simple music 7hymn tunes1 folk songs1 easy piano pieces1 et cet]a7 = 8 gr\p ( play]s1 transpos+ ! p>ts = cl>9ets1 cornets1 et cet]a1 into ! appropriate keys4 ,9 ?is way he w also get an insight into ! my/]ies ( in/rum5tal comb9ation t _c be secur$ 9 any o!r way4 ,sid5ote3 ,,pit* ,,/&>ds ,! fir/ difficulty t ! conductor ( an amateur ensemble gr\p usually enc\nt]s is t ! in/rum5ts own$ by 8 play]s are tun$ accord+ to v>i\s pit* /&>ds2 & he is v likely to f9d at 8 fir/ rehe>sal t 8 fir/-cl>9et play] has an in/rum5t tun$ 9 high pit*1 i4e41 :at is commonly kn[n z conc]t pit* 7ab\t "o half /ep above /&>d71 :ile 8 second-cl>9et play] has an in/rum5t 9 l[ pit*1 i4e41 int]national1 a hav+ #dce vibrations p] second4 7,!re is also a ?ird pit* :i* is us$ by _m ( ! /&>d symphony or*e/ras--?is pit* be+ bas$ ^u a vibration rate ( #ddj = a74 ,if ! conductor attempts to h 8 or*e/ra p]=m "u ^! conditions1 disa/] w surely ov]take him1 & he w n only f9d 8 e>s suff]+ tortures1 b w be m ?an likely to he> uncomplim5t>y rem>ks f ! neighbors1 & w be =tunate inde$ n to be ord]$ on to ! next block or ! next t[n by ! police =ce6 ,! difficulty arises1 ( c\rse1 because ! oboe1 ,engli% horn1 cl>9et1 & o!r wood-w9d in/rum5ts are built 9 a c]ta9 fix$ pit*1 & s9ce ! l5g? ( ! tube _c be alt]$1 !y mu/ ei!r play 9 ! pit* int5d$ or else n at all4 ,9 ! case ( ! cl>9et & flute1 ! pit* c be alt]$ a v little by pull+ out "o ( ! jo9ts slightly 7! tube is made 9 sev]al sections7 ?us mak+ ! total l5g? slightly great] & ! pit* correspond+ly l[]2 b :5 ?is is done ! high] tones are v apt to be out ( tune1 & 9 g5]al1 if ! play] has an in/rum5t tun$ 9 high pit*1 he _c play ) an ensemble gr\p hav+ l[-pit*$ in/rum5ts1 especially :5 ! piano supplies ! fundam5tal h>mony4 ,9 ! case ( ! brass in/rum5ts1 a tun+ slide is usually provid$1 & ! same in/rum5t c !re=e be utiliz$ 9 ei!r l[ or high pit* comb9ations4#bg ,footnote #bg3 ,high pit* is employ$ mo/ly 9 b&s2 ! reason = its use be+ t ! w9d in/rum5ts are mu* m brilliant :5 tun$ to ! high] pit*4 ,x is enc\rag+ to be able to /ate1 h[ev]1 t m & m in/rum5ts are be+ built 9 philh>monic pit* 7a #ddj71 & ! conductor :o is organiz+ a b& or or*e/ra is advis$ to see to x t all play]s :o are pur*as+ new in/rum5ts insi/ ^u hav+ !m built 9 ?is pit*4 ,sid5ote3 ,,tun+ ,! conductor ( an amateur ensemble gr\p w f9d x v greatly to 8 advantage to be able to tune ! v>i\s in/rum5ts1 or at lea/ to help ! play]s to d x accurately4 ,?is involves n m]ely a me*anical k ( :at to d to ! in/rum5t to *ange its pit*1 b1 :at is mu* m important1 a v high degree ( pit* discrim9ation on ! conductor's "p4 ,x is at ?is latt] po9t t assi/ance is mo/ (t5 necess>y1 & ! conductor :o c tell 8 cornet play] :5 he is j a %ade high or l[1 & c det]m9e precisely :5 ! viol9i/ has 8 /r+s tun$ to an absolutely p]fect fif?1 w h f> less tr\ble ) out-(-tune play+ ?an o!rwise2 = a great deal ( %>p+ & flatt+ 7p>ticul>ly 9 ! case ( w9d in/rum5ts7 is ! result ( inaccurate tun+4 ,sid5ote3 ,,b[+ ,s9ce an or*e/ra conta9s su* a l>ge proportion ( /r+$ in/rum5ts x w be v greatly to ! int]e/ ( ! conductor to take up ! /udy ( "s in/rum5t belong+ to ! viol9 family1 & to le>n to play x at lea/ a little4 ,if ?is is altoge!r impracticable at ! beg9n+1 ! next be/ ?+ = him to d is to /udy b[+1 le>n+ n only ! b[+ signs & _! mean+1 b famili>iz+ himself ?or\ghly ) ! pr9ciples und]ly+ ! art4 ,= ?is purpose "s good "w on b[+ %\ld be /udi$1 b mean:ile a few words on ! subject at ?is po9t w give ! absolute beg9n] at lea/ a small am\nt ( indisp5sable in=mation4 ,! signs commonly employ$ 9 music = viol91 viola1 violoncello1 & d\ble-bass1 to indicate v>i\s mann]s ( b[+1 are z foll[s3 d[n-b[ symbol ,d[n-b[3 i4e41 f nut to po9t4 up-b[ symbol ,up-b[3 i4e41 f po9t to nut4 slur symbol ,slurr$3 i4e41 all notes "u ! sign play$ 9 "o b[4 slur ov] /accato symbol ,/accato3 i4e41 all notes 9 "o b[1 b ! tones sep>at$4 ,! ord9>y /accato m>k 7dot /accato symbol or w$ge /accato symbol7 means a long quick /roke1 ei!r up or d[n z ! case may be4 ,! abs5ce ( slurs indicates a sep>ate /roke ( ! b[ = ea* tone4 ,sometimes ! play] is direct$ to use ! l[] half1 ! upp] half1 or ! middle ( ! b[1 su* directions be+ giv5 by pr9t+ ! words l[] half1 et cet]a1 above ! passage1 or by giv+ ! initials ( ^! words 7sometimes 9 ,g]man74 ,:5 no b[+ is indicat$1 a phrase beg9n+ ) a weak beat commonly has an up-b[ = ! fir/ tone1 :ile "o beg9n+ on a /rong beat has a d[n-b[2 b ?is pr9ciple has _m exceptions4 ,x is p]haps ne$less to /ate t correct phras+ 9 ! case ( ! /r+$ in/rum5ts dep5ds ^u ! employm5t ( suitable b[+2 & s9ce ! fir/ viol9 "p is mo/ prom95t & mo/ important 9 or*e/ral music1 x becomes ! bus9ess ( ! conductor to obs]ve mo/ c>efully ! b[+ ( 8 conc]t-ma/] & to conf] ) him ab\t possible *anges 9 b[+ :]ev] necess>y4 ,x w save a great deal ( confusion if play]s und]/& t ! b[+ is to be exactly z indicat$ 9 ! score unless a *ange is def9itely made4 ,! fir/ play] 9 ea* gr\p 9 po9t ( position on ! plat=m is call$ ! pr9cipal1 & is suppos$ to be ! mo/ skilful p]=m] 9 t section2 & he is responsible1 9 conf]5ce ) ! conductor :5 necess>y1 = select+ ! be/ b[+1 et cet]a1 all o!rs 9 ! gr\p wat*+ him1 & all phras+ z he does4 ,9 actual practice1 ?is means t ! play]s at ! second desk b[ l ^? at ! fir/1 ^? at ! ?ird desk foll[ ^? at ! second1 et cet]a4 ,absolute uni=mity is ?us secur$ 9 ea* section4 ,x %\ld p]haps be rem>k$ at ?is po9t t :5 diff]5t gr\ps are play+ ! same phrase1 e4g41 violoncellos & basses1 or second viol9s & violas1 ! b[+ mu/ be uni=m 9 ! two sections1 if absolute uni=mity ( phras+ is to result4 ,9 addition to ! b[+ signs expla9$ on page #ajc1 ! conductor %\ld also be famili> ) c]ta9 o!r directions commonly f\nd 9 music = /r+$ in/rum5ts4 ,"s ( ! mo/ important ( ^!1 toge!r ) _! explanations1 are !re=e add$4 ,pizzicato 7pizz47 7pluck ! /r+ in/ead ( b[+7 ,col arco 7or arco7 7play ) ! b[ aga97 ,con sord9o1 or ,avec s\rd9e 7affix ! mute to ! bridge7 ,s5za sord9o1 or ,sans s\rd9e 7remove ! mute7 ,divisi 7div47 7divide1 i4e41 let "s ( ! play]s take "o ( ! two tones indicat$ & ! rema9d] ( !m ! o!r "o4 ,?is direction is ( c\rse us$ only 9 case two or m notes appe> on ! /aff = simultane\s p]=mance4 ,x is cu/om>y to divide su* passages by hav+ ! play]s seat$ on ! side next ! audi5ce take ! high] tone1 :ile ! o!rs take ! l[]4 ,if ! section is to be divid$ into m ?an two p>ts1 ! conductor mu/ designate :o is to play ! v>i\s tones47 ,sid5ote3 ,,score ,,read+ ,read+ an or*e/ral score is a matt] = ! pr(essional r ?an = ! amateur2 & yet ! great increase dur+ rec5t ye>s 9 ! numb] ( amateur or*e/ras probably means t m & m ( ^! gr\ps w cont9ue _! practice until !y are able to play a m difficult class ( music--?is involv+ ! necessity on ! "p ( _! conductors ( le>n+ to read an or*e/ral score4 ,= ?is reason a few sugge/ions ^u score read+ are add$ z a f9al p>agraph 9 ?is *apt]1 & an example ( a score is suppli$ at ! end ( ! book--,app5dix ,b 7p4 #aff47 ,! ma9 difficulties involv$ 9 read+ a full score are3 fir/1 tra9+ ! eye to read f a numb] ( /affs simultane\sly & assembl+ ! tones 79 ! m9d or at ! keybo>d7 into *ords2 & second1 transpos+ into ! actual key ( ! composition ^? p>ts :i* h be5 writt5 9 o!r keys & includ+ ^! z a "p ( ! h>monic /ructure4 ,?is latt] difficulty may be at lea/ p>tially ov]come by practice 9 arrang+ mat]ial = or*e/ra z recomm5d$ on page #aja2 b = ! fir/ "p ( ! task1 ext5sive practice 9 read+ voices on sev]al /affs is necess>y4 ,! /ud5t :o is ambiti\s to become an or*e/ral conductor is !re=e advis$1 9 ! fir/ place1 n to neglect 8 ,ba* dur+ ! p]iod :5 he is /udy+ ! piano1 b to "w assidu\sly at ! two- & ?ree-"p inv5tions & at ! fugues4 ,he may !n pur*ase m9iature scores ( "s ( ! /r+ qu>tets by ,haydn1 ,moz>t1 & ,bee?ov51 tra9+ himself to read all f\r p>ts simultane\sly1 sometimes m]ely try+ to he> m5tally ! successive h>monies z he looks at ! score1 b mo/ (t5 play+ ! p>ts on ! piano4 ,aft] ma/]+ f\r voices 9 ?is way1 he is ready to beg9 on "o ( ! sl[ movem5ts ( a ,haydn symphony4 ,9 exam9+ an or*e/ral score1 x w be not$ at once t ! /r+ p>ts are always toge!r at ! bottom ( ! page1 :ile ! wood-w9d mat]ial is at ! top4 ,s9ce ! /r+s furni% ! mo/ important p>ts ( ! h>monic /ructure = s mu* ( ! "t1 our amateur w at fir/ play only ! /r+ p>ts1 ) ! possible addition ( ! flute1 oboe1 & c]ta9 o!r non-transpos$ voices a little lat] on4 ,b z he ga9s facility he w gradually be able to take 9 all ! p>ts & to include at lea/ a sort ( summ>y ( !m all 9 8 play+4 ,! /ud5t is advis$ to pur*ase a numb] ( ! ,haydn & ,moz>t symphonies ei!r 9 ! =m ( pocket editions or 9 ! regul> conductor's score1 & to practise on ^! until he feels q sure ( himself4 ,by ?is "t he w be ready to try 8 h& at a mod]n score1 :i* w be f\nd n only to conta9 p>ts = m in/rum5ts1 b _m m divid$ p>ts = ! /r+s4 ,mean:ile1 he is1 ( c\rse1 tak+ e possible opportunity ( att5d+ conc]ts giv5 by symphony or*e/ras1 & is begg+1 borr[+1 or buy+ ! scores ( z _m ( ! compositions z possible1 /udy+ !m 9 advance1 & tak+ ke5 delight 9 foll[+ !m at ! p]=mance2 p]haps ev5 imag9+ himself to be ! conductor1 & hav+ visions ( *anges 9 int]pretation t he w\ld l to make if he 7 direct+4 ,z ! result ( sev]al ye>s ( ?is sort ( /udy1 ev5 an amateur may get to ! po9t :]e he is able to conduct an or*e/ra f a full score ) "s degree ( skill1 & h5ce ) "s little satisfaction bo? to himself & to ! p]=m]s4 ,illu/ration3 ,,table ,,%[+ ,,ranges ,,( ,,or*e/ral ,,in/rum5ts ,note3 ,! arrangem5t ( in/rum5ts "h indicat$ is ess5tially t f\nd 9 a mod]n or*e/ral score4 ,! ranges giv5 repres5t practical or*e/ral usage4 ,additional tones possible = highly skill$ p]=m]s or on in/rum5ts ) c]ta9 special keys 7l ! l[ b ( ! flute7 are %[n 9 brackets4 ,,*apt] ,,xi ,,direct+ ,,! ,,*ur* ,,*oir ,sid5ote3 ,,! ,,problem ,9 tak+ up ! special problems ( conduct+ involv$ 9 direct+ a *ur* *oir1 we %all fir/ ( all ne$ to consid] ! dual nature ( *ur* music--its religio-arti/ic aspect1 & 9 /udy+ ! matt] f ?is /&po9t we %all soon discov] t mo/ ( ! difficulties t h encompass$ *ur* music 9 ! pa/ c be trac$ directly or indirectly to a conflict or a lack ( balance betwe5 ^! two factors4 ,! *ur*man has n be5 suffici5tly int]e/$ 9 ! art side ( *ur* music1 :ile ! music director1 organi/1 & s+]s h all too frequ5tly be5 n only entirely out ( sympa?y ) ! religi\s "w ( ! *ur*1 b h usually be5 :olly ignorant conc]n+ ! purpose & possibilities ( music 9 ! *ur* s]vice4 ,! result 9 mo/ *ur*es at ! pres5t "t is ei!r t ! music is vapid or ev5 (f5sive f ! art /&po9t2 or else t x emphasizes ! purely arti/ic side s /rongly t x entirely fails to p]=m its function z an integral "p ( a s]vice ^: raison d'tre is1 ( c\rse1 to inculcate religi\s feel+4 ,! *ur* wi%es = wor%ip 9 music1 b n = ! wor%ip ( music1 is said to h be5 ! /atem5t ( ,fa!r ,hab]l at ! ,sa9t ,cecilia ,conf]5ce 9 ,ma9z 7#ahhd74bh ,& x is inde$ a f> cry f ?is dem& to ! v evid5t deification ( music t exi/s 9 _m ( our mod]n city *ur*es1 ) _! exp5sive soloi/s & _! utt] failure to cause music to m9i/] z ! h&maid ( religion4 ,! problem is n a new "o1 & 9 a book writt5 ab\t a c5tury ago ! au?or says3#bi ,! guid+ rule :i* ought always to be pres5t to ! m9d ( a cl]gyman %\ld also be held 9 m9d by all good musicians :o w\ld help ! *ur*'s object1 & n employ ! sacr$ build+ m]ely z a place :]e all k9d ( s\nds t tickle ! e> c be he>d4 ,all k9ds ( music are suitable = sacr$ use t d n raise secul> associations4 ,a ,l>go1 an ,adagio1 a ,grave1 an ,&ante1 an ,allegro1 a fugal or a non-fugal composition c all be p]=m$ 9 ! ,*ur* b %\ld "o & all be ( a /aid & dignifi$ "* ?r\gh\t1 elevat$ & sob]1 & ( su* a nature t any prea*] ( note c\ld say3 ,?is spl5did music is a fitt+ introduction to my disc\rse2 or ,aft] su* s++ my lips _h bett] be clos$1 & ! _s left to its own sil5t wor%ip4 ,footnote #bh3 ,quot$ by ,curw5 on ! title page ( ,/udies 9 ,wor%ip ,music 7second s]ies74 ,footnote #bi3 ,?ibaut1 ,purity 9 ,music1 translat$ by ,broadh\se1 p4 #bd4 ,a di/+ui%$ mod]n writ] voices ! same ?\ght 9 ! foll[+ words3#cj ,! s++ ( ! *oir mu/ be contriv$ & felt z "p ( ! (fice ( pray]4 ,! _s & direction ( ! :ole s]vice = ! day mu/ be unifi$2 ! music mu/ be a vital & organic elem5t 9 ?is unit4 ,footnote #cj3 ,dick9son1 ,music 9 ! ,hi/ory ( ! ,we/]n ,*ur*1 p4 #dja4 ,b 9 mo/ *ur*es music does n function 9 ?is ideal way & 9 _m cases 7especially 9 non-liturgical *ur*es7 !re is no unity :atev] 9 ! s]vice1 & ! music is evid5tly bo? p]=m$ & li/5$ to f a purely art /&po9t2 or else x is s crude & in>ti/ic z to be actually pa9ful to ! wor%ip] ) ref9$ s5sibilities4 ,sid5ote3 ,,! ,,rem$y ,:at is to be ! rem$y = ?is /ate ( affairs8 ,or is !re no rem$y1 & mu/ we g on1 ei!r endur+ tortures arti/ically1 or suff]+ spiritually8 ,we are n omnisci5t1 b we v5ture to ass]t t conditions might be caus$ to improve by ! adoption ( sev]al *anges ( proc$ure t are h]e) recomm5d$4 #a4 ,educate ! m9i/] musically dur+ 8 g5]al & pr(essional tra9+1 caus+ him n only to acquire a c]ta9 am\nt ( te*nical musical ability1 b attempt+ also to cultivate 9 him t intangible some?+ :i* we call musical ta/e4 ,a few sem9>ies--notably ! ,h>t=d ,!ological ,sem9>y & ! ,bo/on ,univ]sity ,dep>tm5t ( ,religi\s ,education--are do+ pione] "w along ?is l9e1 b !y are ! exception r ?an ! rule1 & ! ?+ mu/ be done by all if ! desir$ result is to obta9 9 ! future4 #b4 ,enc\rage ! organization ( *orus *oirs compos$ l>gely ( ^? :o belong to or att5d ! *ur* & are !re=e vitally int]e/$ 9 its "w4 #c4 ,select m *ur*ly music1 i4e41 a type ( music :i* :5 appropriately r5d]$ w t5d to br+ ab\t a mood ( wor%ip4 ,?is w (t5 mean a simpl] /yle ( music2 x may mean m a cappella s++2 & x und\bt$ly implies music t is fundam5tally s9c]e4 ,t _m ( our mod]n sacr$ solos & an!ms fail 9 ?is latt] respect mu/ be evid5t to any "o :o has giv5 ! matt] any ?\ght :atev]4 #d4 ,let ! *ur* make an attempt to secure z its musical director "o :o possesses a type ( s]i\sness & high-m9d$ness t w make him sympa!tic ) :at ! *ur* is try+ to d1 ?us enabl+ him to m9i/] to ! p ?r\gh music ev5 z ! prie/ or prea*] does ?r\gh words ( consolation or inspiration4 ,we admit t ?is sort ( a man 7:o is at ! same "t unimpea*able 9 8 musical au?ority7 is (t5 h>d to f9d2 b t ! two elem5ts are incompatible1 & t su* a type ( *oir director _c be tra9$1 we absolutely refuse to believe4 ,if ! *ur* suffici5tly recognizes ! failure ( music z n[ frequ5tly adm9i/]$1 & makes a /rong en\gh dem& = lead]s ( a diff]5t type1 !y are b\nd to be =?com+4 ,sid5ote3 ,,correlat+ ,,! ,,music ,,) ,,! ,,re/ ,,( ,,! ,,s]vice ,hav+ tra9$ our m9i/] f a musical /&po9t1 organiz$ a *orus *oir1 select$ appropriate music1 & secur$ ! "r type ( *oir lead]1 let u n[ make a /r5u\s attempt to correlate ! musical ) ! non-musical p>ts ( ! s]vice2 & if we succe$ 9 our ef=t at ?is po9t also1 our task w be at lea/ 9 sight ( completion4 ,?is desirable correlation w only result if bo? m9i/] & musician are will+ to "w toge!r amicably1 ea* recogniz+ ! rights ( ! o!r1 & bo? will+ to give 9 ^u occasion 9 ord] to make ! s]vice z a :ole "w out m smoo?ly4 ,_m humor\s /ories are told1 ! po9t ( :i* is bas$ ^u ! absolute incongruity ( ! v>i\s p>ts ( ! *ur* s]vice4 ,! writ] rememb]s mo/ vividly an incid5t t occurr$ dur+ ! fir/ ye> ( ! ,great ,w>1 9 ! *ur* 9 :i* he 0 at t "t ! *oirma/]4 ,! *oir _h j f9i%$ s++ an an!m writt5 by an ,engli% compos] z a pray] = peace1#ca ! conclud+ /ra9s be+ sung to ! words ,give peace1 ,o ,god1 give peace aga96 ,am54 ,z ! *oir sat d[n1 aft] an effective r5dition ( ! an!m1 !re 0 a hu% 9 ! congregation1 %[+ t ! message ( ! music _h gone home to ! he>]s4 ,b a mom5t lat] ! spell 0 rudely brok51 z ! m9i/] rose1 & 9 a /5torian voice proclaim$ ! text ( ! day--,= ,i come n to br+ peace into ! _w1 b a sword4 ,footnote #ca3 ,john ,e4 ,we/1 ,o ,god ( ,love1 ,o ,k+ ( ,peace4 ,! responsibility 9 ?is case re/$ z mu* ^u ! %\ld]s ( ! *oir director z ^u ^? ( ! prea*]1 = he %\ld at lea/ h tak5 ! tr\ble to acqua9t 8 c[ork] ) ! nature ( ! an!m1 s t "s ref]5ce might h be5 made to ! subject 9 ei!r ! pray] or scripture read+ or 9 "s ( ! hymns1 if n 9 ! s]mon itself4 ,x is p]haps n always feasible to h s]mon & an!m agree absolutely 9 subject1 b x is entirely possible to avoid su* occurr5ces z t cit$ above1 if ev5 a small am\nt ( ?\ght is giv5 to ! matt] ( correlation ea* week4 ,surely ! *oir lead] c\ld at lea/ provide ! m9i/] ) ! titles ( ! an!ms & solos to be r5d]$4 ,sid5ote3 ,,difficulties ,,involv$ ,,9 ,,! ,,*orus ,,*oir ,9 advocat+ a return to ! volunte] *orus *oir in/ead ( ! sal>i$ solo qu>tet1 we are well aw>e ( ! disadvantages t are likely to accompany any attempt along ?is l9e4 ,we "k t ! *orus *oir compos$ ( volunte]s is (t5 poorly balanc$1 usually conta9s = ! mo/ "p indiff]5t voices & (t5 unskilful read]s1 & frequ5tly consi/s l>gely ( giddy "y girls1 ^: ma9 object 9 s++ 9 ! *oir is obvi\sly n bas$ ^u _! int]e/ 9 ! spiritual advancem5t ( ! community6 ,b we believe t "u ! "r type ( lead]%ip mo/ ( ^! bad conditions w 9 "t disappe>1 & t1 ?r\gh ! *orus *oir1 music may well become a vitaliz+ =ce 9 ! life ( _m a *ur* 9 :i* a revitaliz+ process is badly ne$$4 ,9 ord] to make ourselves p]fectly cle>1 let u summ>ize at ?is po9t ! qualifications especially ne$$ by ! conductor ( a volunte] *ur* *orus4 #a4 ,he mu/ be a reasonably good musician1 possess+ n only famili>ity ) music 9 g5]al1 b 9 p>ticul> an intimate k ( vocal music1 & kn[+ at lea/ ! fundam5tals ( voice tra9+4 #b4 ,he mu/ und]/& ! purpose ( *ur* music1 & mu/ be 9 sympa?y ) ! religi\s "w ( ! *ur*4 #c4 ,he mu/ be "y 9 _s1 & ?us be able to take a sympa!tic attitude t[>d ! memb]s ( 8 *oir z human be+s1 & p>ticul>ly z human be+s :o are /ill "y1 inexp]i5c$1 & frequ5tly ?\ghtless4 ,?is implies1 ( c\rse1 a c]ta9 am\nt ( p]sonal magnetism & ?is is z necess>y 9 ! volunte] *oir = hold+ ! memb]%ip toge!r & secur+ regul> att5dance z x is = inspir+ !m musically4 ,sid5ote3 ,,! ,,dang] ,,( ,,individualism ,"o ( ! *ief difficulties enc\nt]$ 9 m or less all *oral organizations1 & especially 9 ! volunte] *ur* *oir1 is ! t5d5cy on ! "p ( _m memb]s to d all !y possibly c 9 ! way ( dress1 actions1 l\d s++1 & lack ( voice bl5d+1 to call att5tion to !mselves z individuals4 ,?is n only results 9 frequ5t (f5se to ! eye ( ! wor%ip] because ( cla%+ color comb9ations 7! rem$y = :i* is1 ( c\rse1 "s uni=m me?od ( dress+ or p]haps a ve/m5t71 b :at is ev5 m s]i\s1 x (t5 causes a lack ( voice bl5d+ t s]i\sly int]f]es ) bo? ! religi\s & ! arti/ic effect ( ! music4 ,= ?is latt] /ate ( affairs !re is no rem$y except to le>n to li/5 to individual voices1 & :5 "s voice does n bl5d ) ! re/1 to let ! p]son :o owns x "k t he mu/ ei!r s+ v s(tly or else /op entirely4 ,?is c (t5 be accompli%$ by a look 9 ! direction ( ! s+] :o is caus+ ! tr\ble2 b if ?is does n suffice1 !n a private admonition may be necess>y--& "h we h a situation 9 :i* ! diplomacy & ! good humor ( ! conductor mu/ be ex]cis$ to ! utmo/1 especially if ! (f5d+ voice belongs to a prom95t memb] (1 & p]haps a lib]al contributor to1 ! *ur*4 ,9 su* a case1 "o may sometimes1 )\t unduly compromis+ "o's reputation = v]acity1 in=m ! (f5d+ memb] t 8 me?od ( s++ is v bad inde$ = 8 voice1 & if p]si/$ 9 w surely ru9 t organ6 ,ne$less to say1 ! conductor mu/ ex]cise ! utmo/ tactfulness 9 deal+ ) su* matt]s z ^!1 b x is our belief t if he insi/s /rongly en\gh 9 ! rehe>sal ^u a unifi$ body ( tone f ea* "p1 & backs ?is up by private conv]sations ) individual memb]s1 ) p]haps a free lesson or two 9 correct voice placem5t1 or ev5 ! elim9ation ( "o or two utt]ly hopeless voices1 a f9e quality ( voice bl5d+ w ev5tually result4 ,x might be rem>k$ at ?is po9t t su* desirable homog5eity ( tone w only ev5tuate if ea* individual memb] ( ! *oir becomes will+ to subm]ge 8 own voice 9 ! total effect ( 8 "p2 & t le>n+ to give way 9 ?is fa%ion = ! sake ( ! l>g] good ( ! entire gr\p is "o ( ! mo/ valuable social lessons to be le>n$ by ! "y m5 & wom5 ( today4 ,x is ! bus9ess ( ! *oir lead] to drive home ?is lesson :5ev] necess>y4 ,x is also 8 task to see to x t no memb] ( 8 *oir by 8 actions causes any int]f]5ce ) ! wor%ip ( ! congregation4 ,9 pla9 spee*1 x is 8 duty to see to x t *oir memb]s conduct !mselves 9 a mann] appropriate to _! position1 & t !y d n by :isp]+1 laugh+1 note writ+1 & o!r simil> frivolities1 h9d] 9 any way ! developm5t ( a _s ( rev]5t devotion on ! "p ( ! congregation4 ,sid5ote3 ,,solo ,,s++ ,,9 ,,! ,,*ur* ,,s]vice ,ano!r type ( undesirable individualism is to be f\nd 9 ! case ( ! *ur* solo s+]4 ,we h no qu>rel ) ! sacr$ solo :5 sung 9 su* a way z to move ! he>ts ( ! congregation to a m s9c]e attitude ( devotion2 & we are entirely will+ to grant t ! sacr$ solo has ! inh]5t possibility ( becom+ z pregnant ) religi\s f]vor z ! s]mon itself1 & may inde$1 because ( its e/hetic & emotional appeal1 convey a message ( com=t or ( inspiration to _m a he>t t might rema9 unt\*$ by ! appeal ( a m]ely intellectual s]mon4 ,b x has be5 our obs]vation t ! usual *ur* solo v seldom functions 9 ?is way2 t ! s+] usually consid]s x only z an opportunity to %[ h[ well he c p]=m2 t he seldom ?9ks v mu* ab\t ! words2 t ! selections are usually n *os5 because !y are appropriate to ! rema9d] ( ! s]vice b because !y are effective or p]haps because !y are well adapt$ to ! voice or ! /yle ( ! s+]2 & t our congregations h gr[n s accu/om$ to ?is sort ( ?+ t ! p]=mance ( a sacr$ solo is n[ usually li/5$ to1 comm5t$ ^u1 & criticiz$ 9 exactly ! same way 9 ! *ur* s]vice z w\ld be ! case at a conc]t p]=mance4 ,in/ead ( ?9k+1 ,i am deliv]+ a message1 ! s+] is only too palpably say+ to u1 ,i am s++ a solo1 don't y ?9k ,i am do+ x well8 ,! rem$y = ?is condition ( affairs is ! same z t :i* we h be5 recomm5d+ = *ur* music 9 g5]al1 & be=e *ur* solo s++ c be comm5d$ 9 v gl[+ t]ms z a me?od ( assi/+ ! congregation to become m ?\ghtful1 m f]v5t 9 _! devotional attitude1 we mu/ h3 #a4 ,m appropriate selections4 #b4 ,a m s9c]ely rev]5t & a m ?or\ghly non-egoi/ic attitude on ! "p ( ! soloi/s4 ,because ^! ?+s are s difficult ( atta9m5t "u pres5t conditions our feel+ is t1 all 9 all1 *orus music is probably consid]ably m effective z a vehicle = mak+ a religio-e/hetic appeal1 ?an solo s++4 ,sid5ote3 ,,progress ,,9 ,,public ,,s*ool ,,music ,,z ,,relat$ ,,to ,,*ur* ,,*oirs ,! public s*ools are do+ v mu* m 9 ! way ( tea*+ music ?an =m]ly1 & 9 _m places consi/5t "w is be+ c>ri$ on z ! result ( :i* ! *ildr5 n[ 9 s*ool are le>n+ to read music notation some:at flu5tly1 to use _! voices correctly1 & are cultivat+ z well a c]ta9 am\nt ( ta/e 9 music4 ,because ( ?is musical activity 9 ! public s*ools1 our task ( organiz+ & direct+ volunte] *ur* *oirs %\ld be v mu* simplifi$ 9 ! ne> future4 ,community s++ w help at ?is po9t also1 & ! v mu* l>g] numb] ( boys & girls :o are receiv+ tra9+ z ! result ( ! developm5t ( high s*ool music1 ought to make x consid]ably easi] to secure ! "r type ( *oir director 9 ! future ?an has be5 ! case 9 ! pa/4 ,z a result ( ! pres5t widespread int]e/ 9 music & music /udy1 x %\ld be possible also to get v mu* bett] congregational s++1 & )al to int]e/ ! congregation 7& ! prea*]67 9 a bett] type ( music4 ,all 9 all1 ! outlook is extremely promis+ & we v5ture to pr$ict a great improvem5t 9 all t p]ta9s to *ur* music dur+ ! next qu>t] c5tury4 ,sid5ote3 ,,importance ,,( ,,congregational ,,s++ ,let u close ?is discussion by urg+ ! *oir director to rememb] t ! mo/ important music1 at lea/ 9 ! ,prote/ant *ur*1 is ! congregational s++2 & to consid] ! fact t if music is to help p wor%ip )\t becom+ a sub/itute = wor%ip1 x w be necess>y = him n only to inspire 8 *oir ) high ideals ( *ur* music1 b also to devise means ( induc+ ! congregation to take "p 9 ! s++ to a mu* great] ext5t ?an is n[ ! case 9 mo/ *ur*es4 ,x is usually true t ! f9] ! *oir1 & ! m elaborate ! accompanim5t1 ! less he>ty is ! congregational s++4 ,if !re is to be /eady gr[? 9 ! effici5cy ( *orus *oirs1 !re=e1 x w n be surpris+ if congregational s++ sometimes falls (f 9 volume & en?usiasm4 ,! reasons = su* a decl9e are3 ,fir/1 because ! p take no responsibility = ! s++1 kn[+ t x w g well :e!r !y jo9 9 or n2 second1 because ! *oir (t5 s+s s well t ! p w\ld r li/5 ?an take "p2 ?ird1 because ! director frequ5tly /&s ) 8 back to ! congregation & app>5tly does n expect mu* s++ f !m2 & f\r?1 because ! *oir lead] (t5 insi/s ^u a highly musical int]pretation ( ! hymns1 ?is involv+ ! c>ry+ ov] ( phrases1 et cet]a4 ,^! latt] ?+s may well be done aft] a long p]iod ( tra9+1 b 9 ! e>ly /ages ! way to ar\se int]e/ 9 congregational s++ is n to insi/ too /rongly ^u ! purely arti/ic aspects1 b to rememb] t mo/ ( ! congregation are musically untra9$ & n only d n see ! po9t to all ^! ref9em5ts1 b w frequ5tly become disc\rag$ & /op s++ entirely if too _m ( !m are insi/$ ^u4 ,x w be well also to apply to ?is type ( gr\p s++ ! pr9ciples already discuss$ 9 connection ) community s+s1 hav+ ! congregation s+ alone "p ( ! "t1 hav+ a /anza sung z a solo occasionally1 mak+ use ( antiphonal effects1 & 9 o!r ways introduc+ v>iety & plac+ m responsibility ^u ! congregation2 &1 mo/ important ( all1 call+ att5tion m frequ5tly to ! words ( ! hymns1 ei!r ! prea*] or ! *oir lead] sometimes giv+ ! /ories ( _! orig91 & 9 o!r ways attempt+ to int]e/ ! congregation 9 ! mean+ ( ! hymn z a poem4 ,p]haps a m c>eful selection ( ! hymns w\ld help also1 especially if a consi/5t attempt 7 to be made to give ! congregation an opportunity ( practis+ ! m musical tunes1 s t !y w\ld come to feel famili> ) !m & at ease 9 s++ !m4 ,if ! *oir director w take ! tr\ble to g ?r\gh ! hymn book & select =ty or fifty really f9e hymns & tunes t are n be+ us$1 sugge/+ to ! m9i/] t ^! be sung sometimes 9 connection ) ! m famili> ones1 he w v (t5 f9d ! m9i/] m ?an will+ to meet him half way 9 ! matt]4 ,9 ^! v>i\s ways ! *oir lead] & ! m9i/] may by consi/5t coop]ation inspire ! congregation to ! po9t :]e ! vocal response is z he>ty & z he>tfelt z x us$ to be 9 ! old5 days4 ,,*apt] ,,xii ,,! ,,boy ,,*oir ,,& ,,its ,,problems ,sid5ote3 ,,! ,,problems ,! two special problems connect$ ) direct+ a boy *oir are3 #a4 ,becom+ intimately acqua9t$ ) ! compass1 regi/]s1 possibilities1 & limitations ( ! boy's voice4 #b4 ,f9d+ out h[ to manage ! boys !mselves s z to keep !m good-natur$1 well-behav$1 int]e/$1 & h>d at "w4 ,to ^! two might be add$ a ?ird--namely1 ! problem ( becom+ famili> ) ! liturgy ( ! p>ticul> *ur* 9 :i* ! *oir s+s1 s9ce male *oirs are to be f\nd mo/ (t5 9 liturgical *ur*es4 ,b s9ce ?is w v>y widely 9 ! case ( diff]5t sects1 we %all n conc]n ourselves ) x1 b w be cont5t ) giv+ a brief discussion ( ea* ( ! o!r po9ts4 ,sid5ote3 ,,peculi>ities ,,( ,,! ,,*ild ,,voice ,! *ild voice is n m]ely a m9iature adult voice1 b is an in/rum5t ( q diff]5t "*4 ,9 ! fir/ place1 x is n ne>ly s individuali/ic 9 timbre z ! adult voice1 & because ( ! f> great] homog5eity ( voice quality t obta9s 9 *ildr5's s++1 x is mu* easi] to secure bl5d+ ( tone1 ! effect be+ t ( "o voice r ?an ( a numb] ( voices 9 comb9ation4 ,?is is a disadvantage f ! /&po9t ( v>iety ( color 9 produc+ c]ta9 emotional effects1 b x is 9 "s ways an advantage 9 ! *ur* s]vice1 especially 9 *ur*es :]e ! ideal is to make ! entire proc$ure z imp]sonal & =mal z possible4 ,9 ! second place1 ! *ild voice is good only 9 ! upp] regi/]--! *e/ tones be+ ?roaty1 unpleasant1 & frequ5tly (f pit*4 ,9 ! ?ird place1 ! *ild voice is immature1 & 8 vocal organs are mu* m likely to be injur$ by ov]/ra9+4 ,:5 direct$ by a compet5t voice tra9]1 h[ev]1 ! effect ( a l>ge gr\p ( *ildr5 s++ toge!r is mo/ /rik+1 & _! pure1 fre%1 flutelike tones1 comb9$ ) ! appe>ance ( purity & innoc5ce :i* !y pres5t to ! eye1 br+ _m a ?rill to ! he>t & n infrequ5tly a te> to ! eye ( ! wor%ip]4 ,sid5ote3 ,,! ,,boy ,,voice ,,9 ,,! ,,*ur* ,,*oir ,9 _m ,european *ur*es1 & 9 a consid]able numb] 9 ! ,unit$ ,/ates1 x is cu/om>y to h boys ) un*ang$ voices s+ ! soprano "p1 m5 ) tra9$ falsetto voices 7call$ male altos7 tak+ ! alto1#cb :ile ! t5or & bass p>ts are1 ( c\rse1 sung by m5 z always4 ,s9ce ! *ild voice is only useful :5 ! tones are produc$ ) relax$ muscles1 & s9ce ! resonance cavities h n develop$ suffici5tly to give ! voice a great deal ( p[]1 x is possible = a few m5 on ea* ( ! l[] p>ts to s+ ) f tw5ty to ?irty boys on ! soprano "p4 ,six basses1 f\r t5ors1 & f\r altos w easily balance tw5ty-five boy sopranos1 if all voices are ( av]age p[]4 ,footnote #cb3 ,9 _m male *oirs ! alto "p is sung by boys2 b ?is does n result 9 a f9e bl5d+ ( p>ts1 because ( ! fact1 z already not$ 9 ! above p>agraph1 t ! boy's voice is good only 9 its upp] regi/]4 ,x may be ( int]e/ to ! read] to "k t 9 places :]e !re are no adult male altos1 ^! voices may be tra9$ ) comp>ative ease4 ,all t is ne$$ is a b>itone or bass :o has no p>ticul> ambitions 9 ! direction ( solo s++ 7! ext5sive use ( ! falsetto voice is detrim5tal to ! l[] tones72 :o is a good read]2 & :o is will+ to vocalize 9 8 falsetto voice a half h\r a day = a few mon?s4 ,! *ief ob/acle t is likely to be enc\nt]$ 9 tra9+ male altos is ! fact t ! m5 are apt to reg>d falsetto s++ z effem9ate4 ,sid5ote3 ,,! ,,necessity ,,( ,,be+ ,a ,,voice ,,tra9] ,!re is "o diff]5ce betwe5 ! mix$ *oir ( adult voices & ! boy *oir t %\ld be not$ at ! outset by ! amateur4 ,x is t1 9 ! =m]1 ! *oir lead] is work+ ) mature m5 & wom51 mo/ ( :om h probably le>n$ to use _! voices z well z !y ev] w2 b 9 direct+ a boy *oir1 ! sopranos mu/ be taught n only ! actual music to be sung at ! *ur* s]vice1 b1 :at is mu* m difficult1 !y mu/ be tra9$ 9 ! ess5tials ( correct brea?+1 tone placem5t1 et cet]a1 f ! gr\nd up4 ,h5ce ! absolute necessity ( ! *oirma/] be+ a voice speciali/4 ,he ne$ n h a f9e solo voice1 b he mu/ "k ! ess5tials ( good s++1 & mu/ be able to demon/rate ) 8 own voice :at he means by purity ( v[el1 cle>ness ( enunciation1 et cet]a4 ,^! ?+s are probably always be/ taught by imitation1 ev5 9 ! case ( adults2 b :5 deal+ ) a cr[d ( lively ,am]ican boys1 imitation is practically ! only me?od t c be us$ successfully4 ,we %all n attempt to give in=mation reg>d+ ?is highly important matt] 9 ! pres5t volume1 because x is f> too complex & difficult to be tak5 up 9 any?+ %ort ( a treatise & because1 moreov]1 ! art ( s++ _c be taught 9 a book4 ,! /ud5t :o is ambiti\s to become ! director ( a boy *oir is advis$1 fir/1 to /udy s++ = a p]iod ( ye>s1 & second1 to read sev]al good books ^u ! tra9+ ( *ildr5's voices4 ,!re are a numb] ( books ( ?is "*1 "s ( ! be/ ones be+ includ$ 9 ! ref]5ce li/ 9 ,app5dix ,a 7p4 #afd74 ,sid5ote3 ,,! ,,diff]5ce ,,betwe5 ,,! ,,voices ,,( ,,boys ,,& ,,girls ,! *ild's l>ynx gr[s /eadily up to ! age ( ab\t six1 b at ?is "t gr[? ceases1 & until pub]ty ! vocal cords1 l>ynx1 & ?roat muscles develop 9 /r5g? & flexibility1 )\t increas+ appreciably 9 size4 ,?is means t f six until ! beg9n+ ( adolesc5ce ! voice ma9ta9s approximately ! same range1 & t ?is is ! "t to tra9 x z a *ild voice4 ,! "q n[ arises1 :y n use ! girl's voice 9 *oirs z well z ! boy's8--& ! answ] is ?reefold4 ,9 ! fir/ place1 c]ta9 *ur*es h always clung to ! idea ( ! male *oir1 wom5 be+ refus$ any p>ticipation 9 :at orig9ally 0 /rictly a prie/ly (fice2 9 ! second place1 ! girl arrives at ! age ( pub]ty some:at e>li] ?an ! boy1 & s9ce h] voice beg9s to *ange proportionately soon]1 x is n s]viceable = s long a p]iod1 & is !re=e sc>cely wor? tra9+ z a *ild voice because ( ! %ort "t dur+ :i* x c be us$ 9 ?is capacity2 & 9 ! ?ird place1 ! boy's voice is noticeably m brilliant betwe5 ! ages ( sev5 or eight & ?irte5 or f\rte51 & is !re=e actually m useful f ! /&po9t ( bo? p[] & timbre4 ,if x 7 n = su* consid]ations z ^!1 ! *oir ( girls w\ld d\btless be m common ?an ! *oir ( boys1 = girls are mu* m likely to be tractable at ?is age1 & are 9 _m ways f> easi] to deal ) ?an boys4 ,at ! age ( six1 ! voices ( boys & girls are ess5tially alike 9 timbre2 b z ! boy indulges 9 m vigor\s play & "w1 & 8 muscles gr[ firm] & 8 :ole body /urdi]1 ! voice-produc+ me*anism too takes on ^! *>act]i/ics1 & a gr\p ( ?irty boys t5 or twelve ye>s old w actually produce tones t are consid]ably m brilliant ?an ^? made by a gr\p ( ?irty girls ( simil> age4 ,sid5ote3 ,,! ,,compass ,,( ,,! ,,*ild ,,voice ,to ! novice 9 ! h&l+ *ildr5's voices1 ! /atem5t t ! typical voice ( boys & girls ab\t t5 ye>s ( age easily rea*es a & frequ5tly b or c music notation w at fir/ seem unbelievable4 ,?is is nev]!less ! case1 & ! fir/ ?+ to be le>n$ by ! tra9] ( a boy *oir is !re=e to keep ! boys s++ high1 beg9n+ ) ! high] tones music notation & vocaliz+ d[nw>d1 in/ead ( vice v]sa4 ,! ma9 reason = ! necessity ( ?is d[nw>d vocalization is :at is kn[n z ! movable break4 ,9 an adult voice1 ! *ange f a l[ regi/] to a high] "o always takes place at approximately ! same place 9 ! scale2 b ! *ild's voice is immature1 8 vocal organs h n =m$ def9itely e/abli%$ habits1 & ! *e/ regi/] is (t5 pu%$ upw>d to c1 d1 or ev5 e music notation4 ,?is is practically always done 9 s++ an asc5d+ scale l\dly1 & ! result is n only di/ress+ to ! li/5]1 b ru9\s to ! voice4 ,9 =m] days ?is type ( s++ 0 common 9 our public s*ools1 ! result be+ t mo/ boys hone/ly ?\ght x impossible to s+ high] ?an c or d music notation ?is be+ ! limit beyond :i* x 0 difficult to pu% ! *e/ voice4 ,! head voice 0 ?us n us$ at all1 & ! s++ ( public s*ool *ildr5 9 ! pa/ has 9 mo/ cases be5 any?+ b satisfactory f ! /&po9t ( tonal beauty4 ,b mo/ sup]visors ( music h n[ become some:at famili> ) ! *ild voice1 & are insi/+ ^u high-pit*$ songs1 s(t s++1 & d[nw>d vocalization1 ^! be+ ! ?ree indisp5sable factors 9 ! prop] tra9+ ( *ildr5's voices4 ,! result is t 9 _m places s*ool *ildr5 are at ! pres5t "t s++ v well inde$1 & ! pres5t gr[+ t5d5cy to enc\rage public p]=mance by l>ge gr\ps ( !m makes available a new color to ! compos] ( *oral & or*e/ral music1 & promises _m a ?rill to ! conc]t-go] ( ! future4 ,x is ! head regi/]1 or ?9 voice1 t produces ! pure1 flutelike tones :i* are ! ess5tial *>m ( a boy *oir1 & if *e/ tones are to be employ$ at all1 !y mu/ be made z ne>ly z possible z are ! head tones1 ?us caus+ ! voice to produce an approximately uni=m timbre 9 ! entire scale4 ,?is may be accompli%$ ) a fair degree ( ease by a /rict adh]5ce to ! ?ree pr9ciples ( proc$ure m5tion$ 9 ! above p>agraph4 ,9 fact ^! ?ree ?+s are almo/ ! beg9n+1 middle1 & end ( *ild-voice tra9+1 & s9ce !y ?us =m ! s9e qua non ( effective boy-*oir s++1 we %all emphasize !m ?r\gh reit]ation4 #a4 ,! s++ mu/ be s(t until ! *ild has le>n$ to produce tone correctly z a habit4 #b4 ,d[nw>d vocalization %\ld be employ$ 9 ! e>ly /ages1 s z to insure ! use ( ! head voice4 #c4 ,! music %\ld be high 9 range1 9 ord] t ! *ild may be giv5 z favorable an opportunity z possible ( produc+ 8 be/ tones4 ,:5 ^! pr9ciples are introduc$ 9 ei!r a boy *oir or a public s*ool sy/em1 ! effect w at fir/ be disappo9t+1 = ! tone produc$ by ! boy's head voice is s small & seems s insignificant z comp>$ ) ! *e/ voice :i* he has probably be5 us+1 t he is apt to res5t ! in/ruction1 & p]haps to feel t1 y are try+ to make a baby1 or worse yet1 a girl1 out ( him6 ,b he mu/ be enc\rag$ to p]si/1 & aft] a few weeks or mon?s ( practice1 ! improvem5t 9 8 s++ w be s pat5t t !re w probably be no fur!r tr\ble4 ,sid5ote3 ,,! ,,life ,,( ,,! ,,boy ,,voice ,boys are admitt$ to male *oirs at f sev5 or eight to t5 or twelve ye>s ( age1 b are (t5 requir$ to und]go a c\rse ( tra9+ la/+ a ye> or m be=e be+ p]mitt$ to s+ ) ! *oir 9 public4 ,= ?is reason1 if = no o!r1 ! director ( a boy *oir mu/ be a ?or\ghly qualifi$ voice tra9]4 ,he1 ( c\rse1 takes no voice t is n reasonably good to />t )1 b aft] admitt+ a boy ) a naturally good vocal organ x is 8 task s to tra9 t voice z to enable x to )/& sev]al h\rs ( s++ ea* day )\t injury & to produce tones ( maximal beauty z a matt] ( habit4 ,b if ! *oir lead] is n a ?or\ghly qualifi$ vocal in/ructor1 or if he has errone\s ideals ( :at boy-voice tone %\ld be1 ! result is frequ5tly t ! voice is ov]/ra9$ & p]haps ru9$2 or else ! s++ is ( an insipid1 lifeless1 hooty "*1 mak+ "o feel t an adult mix$ *oir is inf9itely pref]able to a boy *oir4#cc ,footnote #cc3 ,ev5 :5 an ideal type ( tone is secur$1 !re is consid]able diff]5ce ( op9ion z to :e!r ! boy soprano is1 all 9 all1 z effective z ! adult female voice4 ,_m consid] t ! *ild is incapable ( express+ a suffici5t v>iety ( emotions because ( 8 lack ( exp]i5ce ) life1 & t ! boy-soprano voice is !re=e unsuit$ to ! task assign$ x1 especially :5 ! mod]n conception ( religion is tak5 into consid]ation4 ,b to settle ?is controv]sy is no "p ( our task1 h5ce we %all n ev5 express an op9ion ^u ! matt]4 ,adolesc5ce beg9s at ! age ( ?irte5 or f\rte5 9 boys1 & ) ! gr[? ( ! re/ ( ! body at ?is "t1 ! vocal organs also resume _! increase 9 size1 ! result be+ n only long] vocal cords & a correspond+ly l[] range ( voice1 b an absolute break+ d[n ( ! habits ( s++ t h be5 e/abli%$1 & frequ5tly a tempor>y b almo/ total loss ( control ( ! vocal organs4 ,^! *anges sometimes take place z e>ly z ! ?irte5? ye>1 b on ! o!r h& are frequ5tly n noticeable until ! boy is fifte5 or sixte51 & !re are on record in/ances ( boys s++ soprano 9 *oirs until sev5te5 or ev5 eighte54 ,! loss ( control t accompanies ! *ange ( voice 7) :i* we are all famili> because ( hav+ he>d ! que] alt]nations ( squeak+ & grumbl+ 9 :i* ! adolesc5t boy s frequ5tly indulges71 is due to ! fact t ! l>ynx1 vocal cords1 et cet]a1 increase 9 size m rapidly ?an ! muscles develop /r5g? to manipulate !m1 & ?is rapid increase 9 ! size ( ! p>ts 79 boys a practical d\bl+ 9 ! l5g? ( ! vocal cords7 makes x incumb5t ^u ! *oir tra9] to use extreme caution 9 h&l+ ! voices at ?is "t1 j z ! employ] ( adolesc5t boys mu/ use great c>e 9 sett+ !m at any sort ( a task involv+ heavy lift+ or o!r k9ds ( /ra94 ,9 ! public s*ools1 :]e no *ild is ask$ to s+ m ?an t5 or twelve m9utes a day1 no h>m is likely to result2 b 9 a *oir :i* rehe>ses f "o to two h\rs ea* day & frequ5tly s+s at a public s]vice besides1 x seems to be ! cons5sus ( op9ion t ! boy is tak+ a grave risk 9 cont9u+ to s+ :ile 8 voice is *ang+4#cd ,he is usually able to s+ ! high tones = a consid]able p]iod aft] ! l[ ones beg9 to develop2 b to cont9ue s++ ! high tones is always att5d$ ) consid]able dang]1 & _m a voice has und\bt$ly be5 ru9$ = aft] use by s++ at ?is "t4 ,! reason = enc\rag+ ! boy to keep on s++ is1 ( c\rse1 t ! *oirma/]1 hav+ tra9$ a voice = a numb] ( ye>s1 dislikes los+ x :5 x is at ! v acme ( brilliancy4 ,= ?is feel+ he c h>dly be blam$1 = ! mo/ important condition ( successful "w by a male *oir is probably p]man5cy ( memb]%ip2 & ! lead] mu/ ex]cise e wile to keep ! boys 91 once !y h become useful memb]s ( ! organization4 ,b 9 ju/ice to ! boy's future1 he ought probably 9 mo/ cases to be dismiss$ f ! *oir :5 8 voice beg9s to *ange4 ,footnote #cd3 ,br[ne & ,behnke1 9 ,! ,*ild's ,voice1 p4 #ge1 /ate 9 reply to a que/ionnaire s5t out to a l>ge numb] ( *oir tra9]s1 s+]s1 et cet]a1 t sev5ty-n9e p]sons out ( "o hundr$ fifty-two /at$ positively t s++ ?r\gh ! p]iod ( pub]ty causes c]ta9 injury1 det]ioration1 or ru9 to ! aft] voice4 ,9 ! same book are f\nd also 7pp4 #he to #ij7 a s]ies ( extremely int]e/+ comm5ts on ! *oirma/]'s temptation to use a voice aft] x beg9s to *ange4 ,let u n[ summ>ize ! advice giv5 up to ?is po9t be=e go+ on to ! consid]ation ( our second problem3 #a4 ,h ! boys s+ 9 high range mo/ ( ! "t4 ,! actual compass ( ! av]age *oir boy's voice is probably g--c b 8 be/ tones w be betwe5 e & g music notation4 ,an occasional a or b or a d or c w d no h>m1 b ! voice mu/ n rema9 outside ( ! range e--g = long at a "t4 #b4 ,insi/ ^u s(t s++ until correct habits are e/abli%$4 ,!re is a va/ diff]5ce ( op9ion z to :at s(t s++ means1 & we h no means ( mak+ ! po9t cle> except to say t at ! outset ( 8 c>e] ! boy c sc>cely s+ too s(tly4 ,lat] on1 aft] correct habits are =m$1 ! s++ may1 ( c\rse1 be l\d]1 b x %\ld at no "t be s l\d z to s\nd /ra9$4 #c4 ,tra9 ! voice d[nw>d = "s "t be=e attempt+ upw>d vocalization4 #d4 ,dismiss ! boy f ! *oir :5 8 voice beg9s to *ange1 ev5 if y ne$ him & if he ne$s ! money :i* he receives = s++4 ,sid5ote3 ,,! ,,boy ,,himself ,! second special problem m5tion$ at ! beg9n+ ( ?is *apt] is ! managem5t ( ! boys own+ ! voices :i* we h j be5 discuss+2 & ?is "p ( ! *oirma/]'s task is consid]ably m complex1 less am5able to codification1 & requires inf9itely m art = its successful prosecution4 ,"o may pr$ict ) reasonable c]ta9ty :at a typical boy-voice w d z ! result ( c]ta9 treatm5t2 b ! wise/ p]son c n =esee :at ! result w be :5 ! boy himself is subject$ to any specifi$ k9d ( h&l+4 ,z a matt] ( fact1 !re is no su* ?+ z a typical boy1 & ev5 if !re 71 our k ( boy nature 9 g5]al has be51 at lea/ up to comp>atively rec5t times1 s slight t x has be5 impossible to give directions z to 8 managem5t4 ,sid5ote3 ,,h[ ,,to ,,h&le ,,boys ,9 g5]al1 t *oir director w succe$ be/ 9 keep+ 8 boys 9 ! *oir & 9 gett+ !m to d good "w1 :o1 o!r ?+s be+ equal1 keeps on ! be/ t]ms ) !m p]sonally4 ,our advice is1 !re=e1 t ! prospective director ( a *oir ( boys f9d out j z mu* z possible ab\t ! likes & dislikes1 ! pr$ilections & ! prejudices ( pre-adolesc5t boys1 & especially t he inve/igate ways & means ( gett+ on good t]ms ) !m4 ,he w f9d t mo/ boys are int5sely active at ?is /age1 = _! bodies are n gr[+ v mu*1 & !re is !re=e a l>ge am\nt ( sup]flu\s en]gy4 ,?is activity on _! "p is p]fectly natural & inde$ :olly comm5dable2 & yet x w be v likely to get ! boy into tr\ble unless "s "o is at h& to guide 8 en]gy into useful *annels4 ,?is does n necess>ily mean mak+ him d ?+s t he does n l to d2 on ! contr>y1 x frequ5tly involves help+ him to d bett]1 some?+ t he already has a ta/e = do+4 ,space does n p]mit details2 b if ! read] w inve/igate ! ,boy ,sc\t movem5t1 ! sup]vis$ playgr\nd idea1 & ! developm5t ( s*ool a?letics1 z well z ! introduction ( manual tra9+ ( v>i\s sorts1 trips to museums ( natural hi/ory1 zological & botanical g>d5s1 et cet]a1 s*ool hikes & o!r excursions1 & simil> activities t n[ con/itute a "p ( ! regul> s*ool "w 9 _m ( our mod]n educational in/itutions1 he w f9d innum]able applications ( ! idea t we are pres5t+2 & he w p]haps be surpris$ to discov] t ! boy ( today likes to g to s*ool2 t he applies at home _m ( ! ?+s t he le>ns !re1 & t he frequ5tly reg>ds "s tea*] z 8 be/ fri5d in/ead ( z an ar* enemy1 z =m]ly4 ,^! desirable *anges h n tak5 place 9 all s*ools by any means1 b ! results ( _! introduction h be5 s significant t a con/antly increas+ numb] ( s*ools are adopt+ !m2 & public s*ool education is to mean inf9itely m 9 ! future ?an x has 9 ! pa/ because we are see+ ! necessity ( look+ at ?+s ?r\gh ! eyes ( ! pupil1 & especially f ! /&po9t ( 8 life outside ( & aft] leav+ ! s*ool4 ,let ! *oir tra9] le>n a lesson f ! public s*ool tea*]1 & let him n consid] ! boy to be vici\s j because he is lively1 & let him n try to repress ! activity b r let him tra9 x into useful *annels4 ,above all1 let him n fail to take into consid]ation ! boy's viewpo9t1 always treat+ 8 s+]s 9 su* a way t !y w feel t he is play+ fair4 ,x has be5 f\nd t if boys are giv5 a l>ge %>e 9 _! own gov]nm5t1 !y are n only f> easi] to manage at ! "t1 b gr[ enorm\sly 9 maturity ( social ideals1 & are apt to become mu* m useful citiz5s because ( su* gr[?4 ,plac+ responsibility ^u ! boys involves tru/+ !m1 ( c\rse1 b x has be5 f\nd t :5 ! matt] has be5 pres5t$ fairly & sup]vis$ skilfully1 !y h always ris5 to ! responsibility plac$ ^u _! %\ld]s4 ,we !re=e recomm5d t self-gov]nm5t be inaugurat$ 9 ! boy *oir1 t ! boys be all[$ to elect (fic]s out ( _! own ranks1 & t ! rules & regulations be work$ out l>gely by ! memb]s !mselves ) a m9imum ( assi/ance f ! *oirma/]4 ,let u n make ! s]i\s mi/ake ( suppos+ t 9 ord] to get on ! good side ( boys we mu/ make _! "w easy4 ,football is n easy1 b x is extremely popul>6 ,x is ! motive r ?an ! intr9sic difficulty ( ! task t makes ! diff]5ce4 ,! ?+ ne$$ by ! *oir director is a comb9ation ( firmness 7b n crossness7 ) ! play _s4 ,let him give def9ite directions1 & let ^! directions be giv5 ) su* decision t !re w nev] be any d\bt z to :e!r !y are to be obey$2 b let him always treat ! boys c\rte\sly & pleasantly1 & let him always convey ! idea t he is n only fair 9 8 attitude t[>d !m1 b t he is attempt+ to be fri5dly z well4 ,"w ! boys h>d = a half h\r or s1 !re=e1 & !n /op = five m9utes & jo9 !m 9 a game ( leapfrog1 if t is ! ord] ( ! day4 ,if !y invite y to g ) !m on a hike or picnic1 refuse at y\r p]il2 & if y happ5 to be out on ! ball gr\nd :5 "o side is %ort a play]1 d n be afraid ( los+ y\r dignity1 b jump at ! *ance ( tak+ a h& 9 ! game4 ,"s "o has said t famili>ity bre$s contempt1 only if "o ( ! p]sons be contemptible1 & ?is dictum might well be appli$ to ! managem5t ( ! boy *oir4 ,on ! o!r h&1 x is absolutely necess>y to ma9ta9 discipl9e 9 ! *oir rehe>sal1 & x is also necess>y to ar\se 9 ! boys a m5tal altitude t w cause !m to d effici5t "w & to conduct !mselves 9 a quiet & rev]5t mann] dur+ ! *ur* s]vice2 h5ce ! necessity = rules & regulations & = puni%m5ts ( v>i\s k9ds4 ,b ! two ?+s t we h be5 outl9+ are entirely compatible1 & ! *oir director :o plays ) ! boys & is hail$ by !m z a good fell[ w on ! :ole h f> less tr\ble ?an he :o holds himself alo( & tries to reign z a despot ov] 8 little k+dom4 ,sid5ote3 ,,remun]ation ,,et ,,cet]a ,9 conclusion1 a ^w %\ld p]haps be add$ ab\t v>i\s plans ( remun]at+ ! boys = _! s++4 ,9 "s l>ge *ur*es & ca!drals a *oir-s*ool is ma9ta9$ & ! boys receive food1 clo?+1 %elt]1 & education 9 return = _! s]vices2 b ?is entails a v heavy exp5se1 & 9 mo/ small] *ur*es ! boys are paid a c]ta9 am\nt = ea* rehe>sal & s]vice1 or possibly a lump sum p] week4 ,! am\nt receiv$ by ea* boy dep5ds ^u 8 voice1 8 exp]i5ce1 8 attitude t[>d ! "w1 et cet]a1 9 o!r words1 ^u 8 usefulness z a memb] ( ! *oir4 ,attempts h (t5 be5 made to organize a boy *oir on ! volunte] basis1 b ?is plan has n usually prov$ to be successful1 & is n advocat$4 ,:5 ! boys live 9 _! own homes & !re are ,sunday s]vices only1 ! usual plan is to h !m meet = ab\t two rehe>sals ea* week by !mselves1 ) a ?ird rehe>sal = ! full *oir4 ,(t5 ! m5 h a sep>ate practice also1 especially if !y are n good read]s4 ,if ! organization is to be p]man5t1 x w be necess>y to be con/antly on ! look\t = new voices1 ^! be+ tra9$ p>tly by !mselves & p>tly by s++ ) ! o!rs at ! rehe>sals ?r\gh ! p]iod ( weeks or mon?s be=e !y are p]mitt$ to take "p 9 ! public s]vices4 ,9 ?is way ! *ang+ voices t drop out are con/antly be+ replac$ by newly tra9$ y\ng] boys1 & ! numb] 9 ! *orus is kept fairly con/ant4 ,,*apt] ,,xiii ,,! ,,conductor ,,z ,,voice ,,tra9] ,sid5ote3 ,,! ,,conductor',s ,,ne$ ,,( ,,vocal ,,tra9+ ,correct voice placem5t1 ! full use ( ! resonance cavities1 good habits ( brea?+1 & o!r details connect$ ) :at is commonly t]m$ voice culture1 _c be taught by correspond5ce2 nei!r c ! conductor be made an effici5t voice tra9] by read+ books4 ,b s _m *oral conductors are fail+ to secure adequate results f _! *oruses because ( _! ignorance ( ev5 ! fundam5tals ( s++1 t x has be5 ?\ght be/ to include a brief pres5tation ( a few ( ! mo/ important matt]s ) :i* ! conductor ought to be acqua9t$4 ,9 discuss+ ^! ?+s x w only be possible = u to pres5t to ! /ud5t ( conduct+ ! problems involv$1 leav+ _! actual work+ out to ea* individual4 ,! *ief difficulty 9 connection ) ! :ole matt] arises f ! fact t ! conductor ne$s 9 8 "w c]ta9 qualities ( musician%ip t are m apt to result f in/rum5tal ?an f vocal tra9+1 ! education ( ! in/rum5tali/ usually emphasiz+ h>mony1 e>-tra9+1 =m1 & 9 g5]al1 ! intellectual aspect ( music2 :ile t ( ! vocali/ too (t5 entirely leaves out ?is invaluable type ( tra9+1 deal+ only ) voice culture & 9 g5]al ! int]pretative side ( music /udy4 ,! vocali/ :o attempts to conduct is !re=e frequ5tly criticiz$ = 8 lack ( :at is call$ solid musical tra9+2 b ! in/rum5tali/-conductor z (t5 fails to get adequate results 9 work+ ) s+]s because ( 8 utt] ignorance ( vocal proc$ure2 & ?is latt] type ( failure is probably z productive ( poor *oral s++ z ! =m]4 ,?is *apt] is1 ( c\rse1 writt5 especially = ! in/rum5tali/1 & our advice to him is n m]ely to read books ab\t s++1 b to /udy s++ itself1 :e!r he is int]e/$ 9 cultivat+ 8 own voice = solo purposes or n4 ,x might be rem>k$ 9 ?is connection t aside f ! consid]ations t we h be5 nam+1 ! conductor :o c s+ a phrase to 8 or*e/ra or *orus & ?us %[ by imitation exactly :at %ad+1 et cet]a1 he wi%es1 has an enorm\s advantage ov] him :o c only convey 8 ideas by means ( words4 ,sid5ote3 ,,prop] ,,brea?+ ,probably ! fir/ ?+ ab\t s++ to be le>n$ by ! /ud5t ( conduct+ is t good voice production dep5ds ^u us+ ! full capacity ( ! lungs in/ead ( m]ely ! upp] portion4 ,h5ce ! necessity ( hold+ ! body easily erect z a matt] ( habit1 ) *e/ up1 & ) ! diaphragm alt]nately pu%+ ! visc]a away 9 ord] to enable ! lungs to exp& d[nw>d1 & !n all[+ ! p>ts to come back into place aga91 z ! air is 9 turn expell$ f ! lungs4 ,by practis+ deep brea?+ 9 ?is way ! actual capacity ( ! lungs may be consid]ably increas$1 & brea?+ ex]cises h !re=e always =m$ "p ( ! r\t9e impos$ ^u ! vocal /ud5t4 ,a deep brea? involves1 !n1 a pu%+ d[n ( ! diaphragm & a pu%+ out ( ! l[] ribs1 & n m]ely an expansion ( ! upp] "p ( ! *e/4 ,! s+] mu/ =m ! habit ( brea?+ 9 ?is way at all times4 ,to te/ brea?+1 ! s+] may place ! h&s ab\t ! wai/ on ! sides ( ! ?orax 7f+]s t[>d ! front1 ?umbs t[>d ! back7 & see :e!r !re is good side expansion ( ! ribs 9 inhal+1 & :e!r 9 tak+ brea? ! abdom5 swells out1 rec$+ z ! air is expell$4 ,we h always felt t a few m9utes sp5t at ea* *orus rehe>sal 9 deep brea?+ & 9 vocaliz+ w\ld m ?an ju/ify ! "t tak5 f practis+ music2 b su* ex]cises %\ld n be und]tak5 unless ! conductor und]/&s s++ & kn[s exactly :at _! purpose is4 ,x is important t ! conductor %\ld und]/& ! diff]5ce betwe5 ! use ( ! s+]'s full brea? :i* we h be5 describ+1 & 8 half brea?4 ,! full brea? is tak5 at punctuation m>ks ( great] value1 at long re/s1 be=e long su/a9$ tones1 &1 9 solo s++1 be=e long trills or cad5zas4 ,! half brea? is usually tak5 at ! less] punctuation m>ks & at %ort re/s1 :5 x is necess>y to repl5i% ! supply ( air 9 z %ort a "t z possible1 9 ord] n to int]rupt ! legato any m ?an is absolutely necess>y4 ,sid5ote3 ,,brea? ,,control ,! next po9t to be not$ is t1 hav+ provid$ z l>ge a supply ( air z possible e p>ticle ( x mu/ n[ be made use ( 9 produc+ tone2 9 ! fir/ place1 9 ord] t no brea? may be wa/$1 & 9 ! second place1 9 ord] t ! purity ( ! tone may n be m>r$ by non-vocaliz$ escap+ brea?4 ,?is implies absolute brea? control1 & ! skilful s+] is able to r5d] incr$ibly long phrases 9 "o brea?1 n s mu* because 8 lungs h m capacity1 b because e atom ( brea? actually functions 9 produc+ vocal tone4 ,& because ( ! fact t no brea? escapes )\t sett+ ! cords 9 vibration1 ! tone is cle>1 & n brea?y4 ,! secret ( expressive s++ 9 su/a9$ melody is absolutely /eady tone comb9$ ) a p]fect legato1 & nei!r ( ^! desirable ?+s c be a*iev$ )\t p]fect brea? control1 ?is matt] apply+ to *oral s++ z =cefully z x does to solo "w4 ,sid5ote3 ,,resonance ,! next po9t to be not$ is t ! c>ry+ p[] & quality ( a voice dep5d f> m ^u ! use made ( ! resonance cavities ?an ^u ! viol5ce ) :i* ! vocal cords vibrate4 ,e musical in/rum5t involves1 9 its production ( tone1 a comb9ation ( ?ree elem5ts3 #a4 ,! vibrat+ body4 #b4 ,! =ce :i* sets ! body 9 vibration4 #c4 ,! re9=c+ m$ium 7! s\nd bo>d ( a piano1 ! body ( a viol91 et cet]a47 ,9 ! case ( ! human voice1 ! vocal cords 7or1 z !y might m prop]ly be t]m$1 ! vocal b&s7 con/itute ! vibrat+ body2 ! air expell$ f ! lungs is ! =ce :i* sets ! cords 9 vibration2 & ! cavities ( ! m\?1 nose1 & to a less] ext5t1 ( ! rema9d] ( ! head & ev5 ( ! *e/1 are ! re9=c+ m$ium--! resonator4 ,a small voice _c ( c\rse be made into a l>ge "o2 b by improv+ its placem5t1 & p>ticul>ly by re9=c+ x ) z mu* resonance p[] z possible1 x may be caus$ to fill ev5 a l>ge auditorium4 ,?is involves su* details z keep+ ! tongue d[n1 all[+ "p ( ! air to pass ?r\gh ! nose1 focus+ ! tone aga9/ ! ro( ( ! m\? j back ( ! tee?1 op5+ ! m\? exactly ! "r di/ance1 =m+ ! lips 9 j ! "r way1 et cet]a4 ,! result is t in/ead ( s\nd+ z ?\gh x came f ! ?roat1 ! tone app>5tly comes f ! upp] "p ( ! m\? j back ( ! tee?2 & in/ead ( seem+ to be =c$ out1 x appe>s to fl[ or float out )\t ! slighte/ ef=t on ! "p ( ! s+]4 ,a =c$ or squeez$-out tone is always bad--bad = ! voice & bad = ! e> ( ! li/5]6 ,sid5ote3 ,,! ,,v[el ,,9 ,,s++ ,ano!r po9t to be not$ by ! conductor is t "o s+s ^u v[els & n ^u consonants2 t mo/ ( ! consonants are 9 fact m]ely devices = int]rupt+ ! v[el s\nds 9 v>i\s ways2 & t good tone dep5ds l>gely ^u ! ability ( ! s+] to select ! be/ ( sev]al diff]5t s\nds ( ! v[el & to hold ?is s\nd )\t any *ange 9 quality dur+ ! entire "t t ! tone is prolong$4 ,x is comp>atively easy to make a good tone ) "s v[els1 b extremely difficult ) o!rs1 & x is ! s+]'s task s to modify ! v[el t is unfavorable z to make x easi] to produce good tone 9 us+ x4 ,b :ile ?us modify+ ! actual v[el s\nd1 ! integrity ( ! v[el mu/ at lea/ be suffici5tly pres]v$ to enable ! li/5] to und]/& :at v[el is be+ sung4 ,all ?is is p>ticul>ly difficult 9 s++ l\dly1 & x is l>gely = ?is reason t ! vocal /ud5t is requir$ by 8 tea*] to practise s(tly s mu* ( ! "t4 ,"s v[els h two p>ts 7e4g41 i e71 & "h x is ! s+]'s task to su/a9 ! "p ^u :i* ! bett] tone c be made1 s\nd+ ! o!r "p only long en\gh to produce a correct total effect4 ,sid5ote3 ,,consonants ,z not$ above1 ! consonants are 9 g5]al m]ely devices = cutt+ (f ! fl[ ( v[el s\nd 9 v>i\s ways1 & "o ( ! mo/ difficult problems confront+ ! s+] 9 8 public p]=mances is to articulate ! consonants s skilfully t ! words %all be easy to foll[ by ! audi5ce1 & at ! same "t to keep ! v[el s\nds s pure & _! fl[ s un9t]rupt$ t ! s++ may be p]fect 9 its tone quality & 9 its legato4 ,x is because ?is matt] pres5ts great difficulty t ! words ( ! s+] ) a good legato c s seldom be und]/ood1 :ile ! declamatory vocali/ :o pres5ts 8 words faultlessly is apt to s+ ) no legato at all4 ,! problem is n insoluble1 b its solution c only be accompli%$ ?r\gh ye>s ( /udy "u exp]t guidance4 ,vocal tea*]s 9 g5]al w probably disagree ) u2 b x is our op9ion t 9 *oral p]=mance at lea/1 ! tone r ?an ! words %\ld be sacrific$ if "o or ! o!r has to give way1 & ! *oral conductor is !re=e advis$ to /udy ! use ( ! consonants mo/ c>efully1 & to f9d out h[ to make use ( e means ( secur+ well enunciat$ words f 8 body ( s+]s4 ,sid5ote3 ,,relaxation ,! next po9t to be not$ is ! importance ( :at vocal tea*]s ref] to z ! movable l[] jaw1 ?is1 ( c\rse1 imply+ absolute 7b controll$7 relaxation ( all muscles us$ 9 s++4 ,)\t relaxation ( ?is sort1 ! tone is v likely to be badly plac$1 ! s\nd seem+ to come f ! ?roat1 & ! :ole effect be+ t ( tone squeez$ out or =c$ out in/ead ( tone fl[+ or float+ out1 z describ$ 9 a previ\s p>agraph4 ,?is difficulty is1 ( c\rse1 mo/ obvi\s 9 s++ ! high] tones2 & "o rem$y )9 ! rea* ( ! *oral conductor is to te/ all voices c>efully & n to all[ anyone to s+ a "p t is obvi\sly too high4 ,b 9 addition to ?is g5]al treatm5t ( ! matt]1 x w (t5 be possible = ! director to urge ^u 8 *orus ! necessity ( relaxation 9 produc+ tone1 ?us rem9d+ ^? :o tight5 up unconsci\sly t !y are n s++ prop]ly1 & convey+ to ^? :o are ignorant ( ! matt] at lea/ a h9t reg>d+ a bett] use ( _! voices4 ,sid5ote3 ,,vocal ,,regi/]s ,a vocal regi/] has be5 def9$ z a s]ies ( tones produc$ by ! same me*anism4 ,?is means t 9 beg9n+ ) ! l[e/ tone ( ! voice & asc5d+ ! scale1 "o comes to a po9t :]e be=e go+ on to ! next scale-tone1 a readju/m5t ( ! vocal organs is necess>y1 ?is *ange 9 ! action ( ! l>ynx & vocal cords be+ felt by ! s+] & he>d by ! li/5]4 ,! po9t at :i* ! readju/m5t takes place1 i4e41 ! place :]e ! voice goes f "o regi/] into ano!r1 is call$ ! break2 & "o ( ! ?+s ! voice tra9] tries to d = ea* pupil is to tea* him to pass s skilfully f "o regi/] to ano!r t ^! breaks w n be noticeable to ! he>]--! voice ev5tually s\nd+ an ev5 scale f its l[e/ to its highe/ tone4 ,!re is consid]able diff]5ce ( op9ion z to ! numb] ( regi/]s exi/+ 9 any "o voice1 b p]haps ! majority ( writ]s incl9e to ! view t !re are ?ree2 ! *e/ or l[]1 ! ?9 or middle1 & ! small or head4 ,x %\ld be not$1 h[ev]1 t ! readju/m5t 9 ! action ( ! vocal cords ref]r$ to above probably takes place only :5 pass+ f ! l[e/ regi/] to ! next high] "o1 & t su* *anges 9 action z occur at o!r po9ts are m or less indef9ite & possibly ev5 some:at imag9>y4 ,au?orities diff] z to j :at ! *ange 9 me*anism is 9 pass+ f ! *e/ regi/] to ! middle "o2 b ! mo/ plausible explanation seems to be t 9 ! l[e/ regi/]1 ! *ange 9 pit* f a l[] tone to ! next high] "o is accompli%$ at lea/ p>tly by /ret*+ ! vocal b&s m tightly1 & t :5 ! limit ( ?is /ret*+ process has be5 rea*$1 ! cords relax slightly1 & f ?is po9t on ea* high] tone is made by %ort5+ ! vibrat+ portion ( ! cords2 9 o!r words1 by decreas+ ! l5g? ( ! glottis 7! ap]ture betwe5 ! vocal cords74 ,?is po9t may become cle>] if we comp>e ! process ) tun+ a viol9 /r+4 ,! /r+ may be a ?ird or a f\r? bel[ its normal pit* :5 ! viol9i/ beg9s to tune 8 in/rum5t1 b by turn+ ! peg & ?us /ret*+ ! /r+ tight] & tight]1 ! tone is rais$ by small degrees until ! /r+ gives =? ! pit* t x is suppos$ to s\nd4 ,b ?is same /r+ may n[ be made to play high] & high] pit*es by press+ x aga9/ ! f+]bo>d1 ?us %ort5+ ! vibrat+ portion m & m4 ,! tun+ process may be said to comp>e r\ghly ) ! me*anism ( ! *e/ regi/] ( ! human voice2 :ile ! %ort5+ ( ! /r+ by press+ x aga9/ ! f+]bo>d is some:at analog\s to :at takes place 9 ! high] regi/]s ( ! voice4 ,we h n[ enum]at$ :at seem to u to be ! mo/ ess5tial matt]s connect$ ) vocal proc$ure2 & if to su* in=mation z is conta9$ 9 ! =ego+ p>agraphs ! conductor adds ! k t ! messa di voce 7a beautiful vocal effect produc$ by swell+ a tone f s(t to l\d & !n back aga97 is to be produc$ by increase & decrease ( brea? pressure & n by a great] or less] am\nt ( /ra9+ ( ! ?roat muscles2 t portam5to 7glid+ by inf9itely small degrees 9 pit* f "o tone to ano!r71 al?\gh a valuable & entirely legitimate expressional effect :5 us$ occasionally 9 a passage :]e its employm5t is appropriate1 may be ov]-us$ to su* an ext5t z to result 9 a slov5ly1 vulg>1 & altoge!r objectionable /yle ( s++2 & t :]eas ! vibrato may imbue ) virility & w>m? an o!rwise cold1 dead tone & if skilfully & judici\sly us$ may add greatly to ! color & vitality ( ! s++1 ! tremolo is on ! o!r h& a de/roy] ( pit* accuracy1 a despoil] ( vocal idealism1 & an abhorr5ce to ! li/5]2 if our conductor kn[s ^! & o!r simil> facts ab\t s++1 !n he w n run q s great a risk ( mak+ himself ridicul\s 9 ! eyes ( ! s+]s :om he is conduct+ z has sometimes be5 ! case :5 in/rum5tali/s h assum$ control ( vocal =ces4 ,b let u emphasize aga9 ! fact t ^! ?+s _c be le>n$ f a book1 b mu/ be acquir$ ?r\gh self-activity1 i4e41 by actual exp]i5ce 9 s++2 h5ce ! importance ( vocal /udy on ! "p ( ! prospective *oral conductor4 ,9 conclusion1 let u enum]ate ! ma9 po9ts involv$ 9 :at is call$ good s++--^! po9ts apply+ to *oral music z directly z to solo p]=mance4 #a4 ,! intonation mu/ be p]fect2 i4e41 ! tones produc$ mu/ be nei!r %>p nor flat1 b exactly true to pit*4 #b4 ,! tone mu/ be attack$ & releas$ exactly at ! "r pit*2 i4e41 ! voice mu/ n beg9 on "s indef9ite l[] tone & slide up1 or on a high] tone & slide d[n1 b mu/ beg9 on precisely ! "r pit*4 #c4 ,! tone mu/ be absolutely /eady1 & !re mu/ be no wav]+1 no tremolo1 no unc]ta9ty4 ,?is means absolute brea? control4 #d4 ,! tones mu/ foll[ "o ano!r )\t break1 unless ! "* ( ! music dem&s deta*$ effects2 9 o!r words1 !re mu/ be a p]fect legato4 ,! tones mu/ also foll[ ea* o!r cleanly1 unless ! "* ( ! music makes ! use ( portam5to desirable4 #e4 ,! s+] mu/ feel ! mood ( ea* song1 & mu/ s+ z he feels1 if he is to p]=m ) real expression4 ,?is is a mu* m vital matt] 9 song int]pretation ?an ! m]e me*anical obs]vation ( tempo & dynamic indications4 #f4 ,! text mu/ be enunciat$ ) suffici5t cl>ity to enable ! audi5ce to cat* at lea/ ! mo/ important ideas pres5t$4 ,?is involves n only ! complete pronunciation ( ea* syllable in/ead ( ! slov5ly half-pronunciation s commonly he>d2 b implies z well t ! s\nds be =m$ well =w>d 9 ! m\? in/ead ( back 9 ! ?roat4 ,if ! s++ ( a soloi/ or a *orus c meet ! te/ ( ^! requirem5ts1 ! s++ may be call$ good4 ,,*apt] ,,xiv ,,! ,,art ,,( ,,program ,,mak+ ,sid5ote3 ,,! ,,problem ,,/at$ ,9 con/ruct+ a conc]t program = ei!r a solo or an ensemble p]=mance1 & 9 ! case ( bo? vocal & in/rum5tal music1 at lea/ five important po9ts mu/ be tak5 into consid]ation3 #a4 ,v>iety4 #b4 ,unity4 #c4 ,effective arrangem5t4 #d4 ,appropriate l5g?4 #e4 ,adaptability to audi5ce4 ,sid5ote3 ,,v>iety ,we h giv5 v>iety fir/ place advis$ly2 = x is by *ang+ ! /yle & p>ticul>ly ?r\gh v>y+ ! emotional quality ( ! selections t ! conductor or p]=m] w f9d x mo/ easy to hold ! att5tion & int]e/ ( ! audi5ce4 ,9 ^! days ! matt] ( keep+ an audi5ce int]e/$ pres5ts f> great] difficulty ?an =m]ly1 = our audi5ces are n[ mu* m accu/om$ to he>+ good music ?an !y us$ to be1 & a p]=mance t is mod]ately good & t w\ld probably h held ! att5tion f beg9n+ to end 9 ! old5 days w n[ (t5 be receiv$ ) yawn+1 c\gh+1 :isp]+1 e>ly leav+1 & a _s ( uneas9ess p]meat+ ! entire audi5ce1 especially dur+ ! latt] "p ( ! program4 ,! *ange ( etiquette br\ght ab\t by ! ph5om5al popul>ization ( ! mov+ picture !at] has d\btless _h some?+ to d ) ?is *ange 9 ! attitude ( our audi5ces2 ! spread ( musical k & ! f> great] intellig5ce conc]n+ musical p]=mance manife/$ by ! av]age audi5ce ( today z comp>$ ) t ( fifty ye>s ago is also p>tly responsible2 b ! brunt ( ! *>ge mu/ be borne by our habitual attitude ( n]v\s hurry1 our impati5ce ) sl[ processes ( any k9d1 & ! dem& = con/ant *ange ( s5sation t is com+ to *>act]ize ,am]icans ( all ages & classes4 ,x is d\btless un=tunate t conditions are z !y are2 b s9ce ! attitude ( our audi5ces has admitt$ly und]gone a decid$ *ange1 x behooves ! program mak] to face conditions z !y actually exi/1 r ?an to pret5d t !y are z he %\ld l !m to be4 ,s9ce our audi5ces are h>d] to hold n[ ?an =m]ly1 & s9ce our fir/-class p]=m]s 7except possibly 9 ! case ( or*e/ral music7 are probably n greatly above ! level ( ! fir/-class p]=m]s ( a g5]ation ago 7al?\gh l>g] 9 numb]71 x w be necess>y to keep ! li/5] int]e/$ by employ+ me?ods ( program mak+1 :i*1 al?\gh !y h always be5 n only entirely legitimate b highly desirable1 are n[ absolutely necess>y4 ,z /at$ above1 ! obvi\s way to help our audi5ce to li/5 to an entire conc]t is to provide v>iety ( mat]ial--a heavy numb] foll[$ by a light "o2 a sl[1 fl[+ adagio by a bright snappy s*]zo2 a tragic & emotionally tax+ song l ! ,erl-,k+ by a sunny & optimi/ic lyric2 a song or a gr\p ( songs 9 major possibly reliev$ by "o 9 m9or2 a coloratura aria by a song 9 cantabile /yle2 a gr\p ( songs 9 ,fr5* by a gr\p 9 ,engli%2 a composition 9 sev]e classic /yle by "o ( romantic t5d5cy1 et cet]a4 ,^! contra/+ elem5ts are n1 ( c\rse1 to be introduc$ exactly z !y are "h li/$1 & ?is s]ies ( possible contra/s is cit$ r to give ! amateur mak] ( programs an idea ( :at is meant by contra/ r ?an to lay d[n rules to be foll[$ 9 ! actual con/ruction ( programs4 ,sid5ote3 ,,unity ,b :ile contra/ is necess>y to keep ! audi5ce f becom+ bor$ or we>y1 !re mu/ n be s mu* v>iety t a lack ( unity is felt 9 ! program z a :ole4 ,x mu/ be con/ruct$ l a symphony--out ( mat]ial t has v>iety & yet t all belongs toge!r4 ,9 o!r words1 ! program1 l a musical composition1 mu/ a*ieve unity 9 v>iety2 & ?is is ! second ma9 problem confront+ ! conductor or p]=m] :o is plann+ a conc]t4 ,x is impossible to give specific directions z to h[ unity is to be secur$1 = ?is is a matt] to be det]m9$ almo/ :olly ^u ! basis ( ta/e1 & ta/e is n subjectable to codification4 ,! mo/ t we c d = ! amateur at ?is po9t1 z at s _m o!rs1 is to set be=e him ! ma9 problem involv$1 & 9 con/ruct+ a program1 ?is is und\bt$ly to provide v>iety ( mat]ial & yet to select numb]s t g well toge!r & seem to coh]e z a unifi$ gr\p4 ,sid5ote3 ,,l5g? ,our ?ird "q 9 mak+ a program ( musical works is1 h[ long %all x be8 ,! answ] is1 ,x dep5ds ^u ! quality ( ! audi5ce4 ,an audi5ce compos$ l>gely ( tra9$ conc]t-go]s1 _m ( :om are !mselves musicians1 c li/5 to a program compos$ ( int]e/+ works & pres5t$ by a fir/-rate arti/ ev5 ?\gh x ext5ds ?r\gh a p]iod ( two & a half h\rs1 al?\gh on g5]al pr9ciples a two-h\r program is probably long en\gh4 ,b "o made up mo/ly ( p :o h _h v little musical tra9+1 :o read little except ! daily newspap] & ! lighte/ sort ( fiction1 & ^: *ief amusem5t is probably att5dance ^u ! picture %[1--su* an audi5ce mu/ n be expect$ to li/5 to a program t is ei!r too heavy or too long2 & our judgm5t is t = su* a gr\p a program an h\r & a half long is probably m suitable ?an "o ( two or two & a half h\rs4 ,our feel+ is1 fur!rmore1 t ! tir$ bus9ess man w\ld n object s /r5u\sly to att5d+ ! s]i\s musical p]=mances to :i* 8 wife urges him to g if "s ( ^! matt]s 7 consid]$ m c>efully by ! arti/ 9 plann+ ! program6 ,b "h aga91 ( c\rse1 we h a matt] :i* dep5ds altoge!r ^u ! k9d ( music pres5t$1 :e!r ! entire program is giv5 by "o arti/ or :e!r !re are sev]al p]=m]s1 :e!r ! :ole program is ( "o k9d ( music or :e!r !re is v>iety ( voice & in/rum5t1 :e!r ! p]=m]s are amateurs or pr(essionals1 & ^u :e!r ! p]=m] is an arti/ ( ! fir/ rank & is able by 8 p]fection ( te*nique1 8 beauty ( tone1 & 8 emotional v]ve1 to hold 8 audi5ce spellb\nd = an indef9ite l5g? ( "t1 or :e!r he belongs to ! second or ?ird rank ( p]=m]s & is able to ar\se only an av]age am\nt ( int]e/4 ,our purpose 9 includ+ a discussion ( ! matt] is pr9cipally 9 ord] t we may h an opportunity ( w>n+ ! amateur conductor n to cause an audi5ce :i* w\ld probably give favorable consid]ation to a %ort program1 to become we>y & critical by compell+ !m to sit ?r\gh too long a p]=mance4 ,?is is p>ticul>ly true 9 ! case ( amateur p]=mance2 & s9ce ?is book is writt5 *iefly = ! amateur director1 x may n be out ( ord] to advise him at ?is po9t to plan programs n m ?an an h\r or an h\r & a qu>t] long1 at fir/4 ,x is f> bett] to h ! audi5ce leav+ ! auditorium wi%+ ! program _h be5 long] ?an to h !m grumbl+ because x is too long4 ,sid5ote3 ,,adaptability ,,to ,,audi5ces ,our f\r? problem has already be5 pres5t$ 9 discuss+ ! o!r ?ree1 = x is because ( ! necessity ( adapt+ ! p]=mance to ! audi5ce t we h insi/$ ^u v>iety1 unity1 & reasonable l5g?4 ,_m a conc]t has turn$ out to be an utt] fiasco because ( failure on ! "p ( ! program mak] to consid] ! type ( p :o 7 to li/5 to x2 & al?\gh on su* occasions x is cu/om>y = ! p]=m] to ascribe 8 failure to ! /upidity ( ! audi5ce1 x mu/ nev]!less be ackn[l$g$ t ! fault is m commonly to be laid at ! door ( ! "o :o plann$ ! ev5t4 ,a program compos$ ( two symphonies & an ov]ture or two1 or ( two or ?ree ,bee?ov5 sonatas1 is n a suitable meal = ! conglom]ate cr[d compris+ ! av]age audi5ce2 inde$ x is d\btful :e!r 9 g5]al x is ! be/ k9d ( diet = any gr\p ( li/5]s4 ,"h aga9 we _c give specific directions1 s9ce conditions v>y greatly1 & we mu/ cont5t ourselves once m ) hav+ op5$ up ! problem = ?\ght & discussion4 ,sid5ote3 ,,effective ,,arrangem5t ,hav+ select$ musical mat]ial t is v>i$ 9 cont5t & yet appropriate = p]=mance ^u ! same program2 hav+ tak5 into consid]ation :at k9d ( music is adapt$ to our audi5ce & h[ mu* ( x !y w probably be able to li/5 to )\t becom+ we>y2 our f9al problem w n[ be s to arrange ! numb]s t ea* "o w be pres5t$ at ! po9t 9 ! program :]e x w be likely to be mo/ favorably receiv$1 & w make ! mo/ la/+ impression ^u ! auditors4 ,9 g5]al1 ( c\rse1 ! heavi] "p ( ! program %\ld usually come 9 ! fir/ half & ! light] "p 9 ! second1 = ! simple reason t x is at ! beg9n+ t our m9ds & bodies are fre% & unwe>i$1 & s9ce we are able to give clos] att5tion at t "t we %\ld accord+ly be suppli$ ) ! m /r5u\s music :5 we are be/ able to dige/ x4 ,b al?\gh ?is is d\btless true 9 mo/ cases1 we h (t5 notic$ t audi5ces are re/less dur+ ! fir/ "p ( ! conc]t1 & frequ5tly d n get w>m$ up to ! po9t ( giv+ close att5tion to ! p]=mance until t5 or fifte5 m9utes aft] ! program beg9s1 & sometimes n until ! second half has be5 rea*$4 ,= ?is reason1 & also to cov] ! di/raction aris+ f ! entrance ( ! ubiquit\s late-com]1 x seems be/ to u t "s %ort] & light] "w be plac$ at ! v beg9n+ ( ! program--possibly an ov]ture1 9 ! case ( a symphony conc]t4 ,! ph5om5on "h allud$ to has an exact p>allel 9 ! *ur* s]vice4 ,:5 we ent] ! *ur*1 we are ?9k+ ab\t all sorts ( ?+s connect$ ) our daily life1 & x takes u "s little "t to =get ^! extrane\s matt]s & adju/ ourselves to ! _s ( a *ur* s]vice1 & p>ticul>ly to get into ! appropriate mood = li/5+ to a s]mon4 ,! organ prelude & o!r prelim9>y p>ts ( ! s]vice h z _! p>tial function1 at lea/1 ! transf]5ce ( our ?\ghts & attitudes f _! =m] *aotic & egoi/ic /ate to "o m appropriate to ! dem&s ( ! m s]i\s "p ( ! s]vice to foll[4 ,some:at ! same sort ( ?+ is f\nd 9 ! case ( ! majority ( p :o g to a conc]t hall = an ev5+'s p]=mance1 & al?\gh ! end to be atta9$ is ( c\rse altoge!r diff]5t1 yet ! me?od %\ld probably be some:at ! same4 ,our feel+ is !re=e t !re ought usually to be "s comp>atively light numb] at ! beg9n+ ( ! conc]t program 9 ord] t we may be assi/$ 9 gett+ into ! li/5+ mood be=e ! heavi] works are pres5t$4 ,on ! o!r h&1 an arti/ (t5 plunges into a difficult composition at ! v beg9n+ ( ! conc]t1 & by 8 m>vel\s te*nique or 8 trem5d\s emotional vitality sweeps 8 audi5ce imm$iately into an attitude ( rapt att5tion2 all ( :i* proves aga9 t art is intangible1 subtle1 & ev]-v>y+--z we /at$ at ! beg9n+4 ,sid5ote3 ,,! ,,importance ,,( ,,small ,,details ,9 conclud+ our v brief /atem5t ( program-mak+1 x may be well to m5tion ! fact t small details (t5 h a good deal to d ) ! failure ( audi5ces to foll[ ! program ) z ke5 att5tion z might be desir$4 ,^! details are (t5 ov]look$ or disda9$ m]ely because !y seem too trifl+ to make x wor? ! arti/'s :ile to notice !m2 b by see+ to x t ! conc]t hall is well w>m$ 7or well cool$71 t x is well light$ & well v5tilat$2 t ! doors are clos$ :5 ! fir/ numb] beg9s1 & t no "o is all[$ to ent] dur+ ! p]=mance ( any numb]2 t !re are no long waits ei!r at ! beg9n+ or betwe5 numb]s2 t unnecess>y /reet & o!r outside noises are /opp$ or %ut out s f> z practicable2 & t ! pr9t$ program 7if x has m ?an "o %eet7 is s arrang$ t ! pages d n h to be turn$ :ile compositions are be+ p]=m$--by provid+ 9 advance = someone :o w see to all ^! little matt]s1 ! arti/ may (t5 be rew>d$ by a f9e type ( conc5trat$ att5tion :i* w\ld n be possible if ! m9ds ( ! individuals compris+ ! audi5ce 7 be+ di/ract$ by ^! o!r ?+s4 ,! pr9t] too be>s no small responsibility 9 ?is matt] ( hav+ an audi5ce foll[ a program ) undim9i%$ att5tion f beg9n+ to end1 & !re is no d\bt t ! ta/efully pr9t$ page 7& p>ticul>ly if !re are explanatory rem>ks conc]n+ ! compos]1 /yle1 mean+ ( ! composition1 et cet]a7 w usually be foll[$ ) mu* ke5] att5tion ?an "o ! p>ts ( :i* h m]ely be5 ?r[n toge!r4 ,! reason = ?is we %all leave = "s "o else to discuss--possibly "s writ] ( ! future ^u ! psy*ology ( ! pr9t$ page4 ,,*apt] ,,xv ,,conductor ,,& ,,accompani/ ,sid5ote3 ,,necessity ,,( ,,cordial ,,relation ,9 *orus direct+1 x is ( ! utmo/ importance t conductor & accompani/ n only und]/& "o ano!r ?or\ghly1 b t ! relation%ip betwe5 !m be s sympa!tic1 s cordial1 t !re may nev] be ev5 a h9t ( non-unity 9 ! ensemble4 ,! unskilful or unsympa!tic accompani/ may utt]ly ru9 ! effect ( ! mo/ capable conduct+2 & ! wor/ ( x is t if ! accompani/ is lack+ 9 cordiality t[>d ! conductor1 he c "w 8 mis*ief s subtly z to make x appe> to all conc]n$ z if ! conductor himself 7 to blame = ! ununifi$ attacks & ragg$ rhy?ms4#ce ,footnote #ce3 ,on ! o!r h&1 ! conductor sometimes %ifts ! responsibility = mi%aps to ! accompani/ :5 ! latt] is 9 no wise to blame1 z1 e4g41 :5 ! organ ciph]s or a page does n turn prop]ly4 ,sid5ote3 ,,*oos+ ,,! ,,accompani/ ,9 ord] to obviate ! disadvantages t are likely to arise f hav+ a poor accompani/1 ! conductor mu/ ex]cise ! greate/ c>e 9 *oos+ 8 c[ork]4 ,unless he kn[s ( "s "o conc]n+ ^: ability !re is no "q1 ! be/ plan is probably to h sev]al c&idates compete = ! position2 & 9 ?is case1 ! po9ts to be especially wat*$ = are z foll[s3 #a4 ,adequate te*nique4 #b4 ,good read+ ability4 #c4 ,sympa!tic response to vocal nuance4 #d4 ,will+ness to coop]ate & to accept sugge/ions4 ,( ^! f\r1 ! la/ two are by no means ! lea/ important2 & sometimes x is bett] to *oose ! p]son :o has less skill 9 read+ or te*nique b :o has suffici5t innate musical feel+ to enable him n only to foll[ a soloi/'s voice or a conductor's beat intellig5tly1 b ev5 to anticipate ! dynamic & tempo *anges made by s+] or conductor4 ,! m9ds ( conductor & accompani/ mu/ "w z "o4 ,9 /opp+ 8 *orus = a correction1 x %\ld be possible = ! conductor to assume t ! accompani/ has foll[$ him s c>efully & is 9 su* close musical rapport ) him t1 be=e ! conductor speaks1 ! accompani/ has already f\nd ! badly execut$ passage1 & ! in/ant ! conductor cites page & score1 is ready to play ! phrase or int]val t 0 wrongly r5d]$4 ,! same sort ( ?+ ought ( c\rse to take place :5ev] !re is a *ange ( tempo1 & x is to be not$ t 9 all ^! cases ! accompani/ mu/ make a musical response to ! conductor's int]pretation1 & n m]ely an ob$i5t "o4 ,sid5ote3 ,,c\rte\s ,,treatm5t ,,necess>y ,hav+ *os5 ! be/ available p]son to d ! accompany+1 ! next ?+ 9 ord] w be to treat ! accompani/ 9 su* a way t he w always d 8 be/ & be a real help 9 caus+ ! *orus to produce effective results4 ,next to ! conductor1 ! accompani/ is und\bt$ly ! mo/ important factor 9 produc+ f9e *oral s++2 h5ce our ref]5ce to ! accompani/ z ! conductor's c[ork]4 ,! fir/ ?+ to note 9 connection ) gett+ ! be/ possible help f ! accompani/ is t he %all always be treat$ 9 a pleasant1 c\rte\s way1 & ! conductor mu/ le>n at ! v outset n to expect impossible ?+s f him2 n to blame him = ?+s t may g wrong :5 "s "o else is really responsible2 & 9 g5]al1 to d 8 utmo/ to br+ ab\t & to ma9ta9 fri5dly1 pleasant relations4 ,?is w mean a smile ( approval :5 ! accompani/ has done p>ticul>ly well2 x may involve publicly %>+ honors ) him aft] a well r5d]$ p]=mance2 & x c]ta9ly implies a receptive attitude on ! conductor's "p if ! accompani/ is suffici5tly int]e/$ to make occasional sugge/ions ab\t ! r5dition ( ! music4 ,if y z conductor f9d x necess>y to make criticisms or sugge/ions to ! accompani/1 d ?is privately1 n 9 ! pres5ce ( ! *orus4 ,mu* ( ! /+ ( a criticism frequ5tly results f ! fact t o!rs h he>d x1 & v (t5 if ! matt] is br\ght up ) ! utmo/ frankness 9 a private int]view1 no bad blood w result1 b if a qu>t] z mu* be said 9 ! pres5ce ( o!rs1 a rankl+ w\nd may rema9 :i* w make x extremely difficult = ! conductor & accompani/ to d good musical "w toge!r !nce=?4 ,sid5ote3 ,,necessity ,,( ,,provid+ ,,! ,,music ,,9 ,,advance ,"o ( ! be/ ways to save "t at ! rehe>sal is to provide ! accompani/ ) ! music 9 advance4 ,ev5 a skilful read] w d m intellig5t "w ! fir/ "t a composition is tak5 up if he has _h an opportunity to g ?r\gh x be=eh&4 ,?is may involve consid]able tr\ble on ! conductor's "p1 b 8 ef=t w be well rew>d$ 9 ! mu* m effective support t ! accompani/ w be able to furni% if he has _h an opportunity to look ov] ! music4 ,:5 ! accompani/ is n a good read]1 x is1 ( c\rse1 absolutely imp]ative t he n only be giv5 an opportunity to /udy ! score 9 advance1 b t he be requir$ to d s4 ,if 9 su* a case ! conductor does n see to x t a copy ( ! music is plac$ 9 ! accompani/'s h&s sev]al days be=e ea* rehe>sal1 he w simply be digg+ 8 own grave1 figuratively speak+1 & w h no "o b himself to blame = ! poor results t are b\nd to foll[4 ,sid5ote3 ,,organ ,,accompany+ ,if ! accompanim5ts are play$ on ! organ1 ! conductor w ne$ to take into consid]ation ! fact t prep>+ & manipulat+ /ops1 pi/ons1 & comb9ation p$als takes "t1 & he w !re=e n expect ! organi/ to be ready to beg9 to play ! in/ant he takes 8 place on ! b5*2 nei!r w he be unreasonable en\gh to assume t ! organi/ ought to be ready to pass f "o numb] to ano!r 7e4g41 f a solo accompanim5t to a *orus7 )\t be+ giv5 a reasonable am\nt ( "t = arrang+ ! organ4 ,! fact t 9 su* a case ! accompani/ has be5 work+ cont9u\sly1 :]eas ! director has _h an opportunity ( re/+ dur+ ! solo numb]1 ought also to be tak5 into consid]ation2 & x may n be unreasonable = ! organi/ to wi% = a mom5t's pause 9 ord] t he may adju/ 8 m5tal attitude f t dem&$ by ! prec$+ numb] to t :i* is appropriate to ! numb] to foll[4 ,all ?is is especially to be not$ 9 p]=mances ( sacr$ music1 9 :i* no "t is tak5 betwe5 ! numb]s = applause4 ,9 any case1 ! lea/ ! conductor c d is to wat* = ! organi/ to look up aft] he has prep>$ ! organ1 & !n to signal him pleasantly ) a nod & a smile t he is ready to g on ) ! next numb]4 ,?is w n only insure complete prep>$ness ( ! organ1 b w help oil ! ma*9]y & keep relations pleasant4 ,! conductor ( a *ur* *oir %\ld rememb] t ! organi/ has probably /udi$ & is famili> ) ! dynamic res\rces ( 8 in/rum5t to a mu* great] ext5t ?an ! conductor2 & t _m times ! organi/ is n dep5d+ ^u 8 e> 9 decid+ ! am\nt ( organ ne$$1 s mu* z ^u 8 k ( :at ! total effect w be 9 ! auditorium4 ,x is frequ5tly impossible to tell f ! *oir l(t h[ l\d or h[ s(t ! s\nd ( ! organ is 9 ! body ( ! h\se4 ,! conductor1 n kn[+ ! dynamic values ( ! v>i\s /op comb9ations z well z ! organi/1 mu/ n presume to criticize ! latt] = play+ too l\dly or too s(tly unless he has gone d[n into ! auditorium to judge ! effect !re4 ,ev5 ?is is n an absolute guide1 = ! balance is v likely to be diff]5t :5 ! auditorium is full ( p f :at x 0 :5 empty4 ,moreov]1 ! am\nt ( *oral tone frequ5tly increases greatly "u ! /imulus ( public p]=mance4 ,all 9 all1 !re=e1 a good organi/ %\ld be p]mitt$ to use 8 own judgm5t 9 ?is matt]4 ,9 any case1 d n resort to conspicu\s ge/ures to let him "k t !re is too mu* or too little organ4 ,he has probably discov]$ x z soon z y h1 & w add or subtract z soon z x c be done )\t mak+ an in>ti/ic break 9 ! dynamic cont9uity ( ! accompanim5t4 ,if a signal becomes absolutely necess>y1 make x z inconspicu\sly z possible4 ,sid5ote3 ,,accompani/ ,,mu/ ,,see ,,director ,we h previ\sly /ress$ ! fact t ! conductor mu/ /& s t 8 beat may be easily se5 by all p]=m]s2 & ?is matt] is ( ! utmo/ importance 9 connection ) ! accompani/4 ,he mu/ be able to see y easily if he is to foll[ y\r beat accurately2 fur!r1 he %\ld be able to see y\r face z well z y\r baton1 if a really sympa!tic musical relation%ip is to exi/4 ,?is may appe> to be a small po9t1 b its non-obs]vance is responsible = _m poor attacks & = mu* dragg+ & runn+ away on ! "p ( accompani/s4 ,! sum & sub/ance ( ! :ole matt] may be epitomiz$ 9 ! advice1 ,be c\rte\s1 consid]ate1 & s5sible 9 deal+ ) y\r accompani/ & v]ily ?\ %alt receive ?y rew>d6 ,,*apt] ,,xvi ,,effici5cy ,,9 ,,! ,,rehe>sal ,sid5ote3 ,,organiz+ ,,ability ,,ne$$ ,,to ,,avoid ,,wa/+ ,,"t ,hav+ n[ review$ ! v>i\s ess5tials 9 conduct+ f ! /&po9t ( public p]=mance1 we wi% emphatically to /ate our conviction t 9 _m cases bo? *oruses & or*e/ras h be5 %ort-liv$1 be+ ab&on$ aft] a season or two ( m or less unsatisfactory "w1 directly z a result ( ! ineffici5t me?ods us$ by ! conductor 9 ! rehe>sal4 ,9 an e>li] *apt] 7p4 #ah7 we not$ t ! successful conductor ( ! pres5t day mu/ possess a p]sonality comb9+ traits almo/ opposite 9 _! nature2 viz41 arti/ry & organiz+ ability4 ,we 7 ref]r+ at t "t to bus9ess s5se 9 g5]al z ne$$ by ! conductor 9 select+ works to be p]=m$1 decid+ ^u ! place1 duration1 & numb] ( rehe>sal p]iods1 engag+ arti/s to assi/ 9 ! public p]=mances1 & 9 g5]al1 see+ to x t ! bus9ess details ( ! organization are att5d$ to 9 an effici5t mann]4 ,b su* organiz+ ability is ne$$ mo/ ( all 9 plann+ & conduct+ ! rehe>sal1 & !re is no d\bt t m$iocre results at ! public p]=mance & n infrequ5tly ! actual break+ up ( amateur organizations may be trac$ m (t5 to ! inability ( ! conductor to make ! be/ use ( 8 "t 9 ! always inadequate rehe>sal h\r ?an to any o!r s\rce4 ,x is = ?is reason t we h ?\ght be/ to devote an entire *apt] to a discussion ( :at might be t]m$ ,! ,te*nique ( ! ,rehe>sal4 ,sid5ote3 ,,effici5cy ,,n ,a ,,de/roy] ,,( ,,idealism ,! ^w effici5cy has be5 us$ s frequ5tly 9 rec5t ye>s t x has come to be 9 almo/ z bad odor z ! ^w arti/ic1 z employ$ by ! w\ld-be critic ( e/hetic effects4 ,?is antipa?y to ! ^w is p]haps mo/ pron\nc$ on ! "p ( ! arti/1 & !re has be5 a well-def9$ feel+ on ! "p ( a good _m ( u t effici5cy & advancem5t 9 art appreciation d n p]haps g h&-9-h& z mu* z might be desir$4 ,grant+ ! validity ( ?is criticism ( effici5cy z a national ideal1 x mu/ nev]!less be evid5t t ! arti/ has 9 ! pa/ be5 f> too little conc]n$ ) life's bus9ess affairs1 & t bo? he & 8 family on ! "o h&1 & ^? hav+ bus9ess relations ) him on ! o!r w\ld be f> bett] (f if ! arti/ w\ld cultivate a m bus9esslike attitude 9 8 relation%ips ) ! re/ ( ! _w4 ,h[ev] ?is may be 9 g5]al1 x is c]ta9 t ! conductor ( ! pres5t mu/ take m def9itely into consid]ation :at is go+ on outside ! _w ( art2 mu/ recognize ! fact t ?is is n[ a busy _w & t !re are a great _m int]e/+ ?+s to d & a great _m m di/ractions & amusem5ts ?an !re 7 a half-c5tury ago2 & t if ! memb]s ( a *orus or or*e/ra 7p>ticul>ly 9 ! case ( an amateur society7 are to cont9ue to att5d rehe>sals regul>ly & to keep up _! en?usiasm = ! "w ( ! organization1 ! conductor mu/ see to x t some?+ tangible is accompli%$ n only dur+ ea* season1 b 9 ea* & e practice h\r1 & t regul> att5dance at ! rehe>sals does n cause ! memb]s to feel t !y are wa/+ "t & en]gy4 ,?is is1 aft] all1 ! ess5ce ( sci5tific managem5t--to accompli% "s desir$ result )\t any wa/e moves & )\t squ&]+ valuable mat]ial2 & surely no arti/ic loss w be involv$ if effici5cy ( ?is type is appli$ to conduct+ a musical rehe>sal4 ,on ! contr>y1 ! application ( su* me?ods w enable ! conductor to secure a mu* high] degree ( arti/ry 9 ! public p]=mance because1 by avoid+ any wa/e ( "t 9 rehe>s+1 he w be able to put ! musicians ?r\gh ! music m (t51 & ?us n only ar\se great] confid5ce on _! "p1 b be enabl$ to emphasize m /rongly ! int]pretative1 ! arti/ic aspect ( ! music4 ,mo/ ( ! rehe>sal h\r is (t5 sp5t 9 drill+ ^u m]e correctness ( tone & rhy?m1 especially 9 ! case ( amateur organizations4 ,9 ord] to make ^! matt]s z concrete & practical z possible1 we %all give 9 ! rema9d] ( ?is *apt] a s]ies ( some:at unrelat$ sugge/ions ab\t conduct+ an ensemble rehe>sal1 tru/+ t ! read] w =give ! didactic 7& possibly p$antic7 language 9 :i* !y are c\*$4 ,sid5ote3 ,,plann+ ,,! ,,rehe>sal ,d n make ! mi/ake ( attempt+ to /udy y\r score at ! same "t t y\r s+]s or play]s are le>n+ x4 ,/udy y\r music exhau/ively be=eh& s t at ! rehe>sal y may "k def9itely j :at y are go+ to d ) ea* selection & may be able to give po9t$ directions z to its r5dition4 ,?is w enable y to look at y\r p]=m]s mo/ ( ! "t1 & ! fre$om f ! score ?us all[$ w make y\r conduct+ v mu* m effective & w enable y to /ir y\r s+]s out ( _! /ate ( in]tia v mu* m quickly4 ,we+>tn]1 9 writ+ ^u ?is po9t 7) especial ref]5ce to ! public p]=mance7 says3#cf ,he %\ld "k x ! score s ?or\ghly t dur+ ! p]=mance ! score is m]ely a support = 8 memory1 n a fett] on 8 ?\ght4 ,! same writ] 9 ano!r place quotes von ,bl[ z divid+ conductors into ^? :o h _! heads 9 ! score1 & ^? :o h ! score 9 _! heads6 ,footnote #cf3 ,we+>tn]1 ,on ,conduct+1 p4 #dc4 ,/udy ! individual voice p>ts1 s z to f9d out s f> z possible be=eh& :]e ! difficult spots are & m>k ^! ) blue p5cil1 s t :5 y want to drill on ^! places1 y may be able to put y\r f+] on !m quickly4 ,x is v easy to lose ! att5tion ( y\r p]=m]s by delay 9 f9d+ ! place :i* y want !m to practise4 ,x is a good plan1 also1 to m>k ) blue p5cil "s ( ! m important dynamic & tempo *anges s t ^! may be obvi\s to ! eye :5 y are /&+ sev]al feet f ! desk4 ,decide be=eh& ^u "s plan ( /udy+ ea* composition1 & if a numb] ( works are to be tak5 up at any giv5 rehe>sal1 ?9k ov] 9 advance ! ord] 9 :i* !y are to be /udi$4 ,9 brief1 make a plan = ea* rehe>sal1 writ+ x out if necess>y1 & ?us avoid wa/+ "t 9 decid+ :at is to be done4 ,9 case y are a *oir director1 le>n also to plan y\r s]vices weeks or ev5 mon?s 9 advance1#cg & !n keep work+ t[>d ! complete c>ry+ out ( y\r plan by famili>iz+ y\r musicians ) ! mat]ial z f> 9 advance ( ! public p]=mance z possible4 ,9 ?is way ! music is absorb$1 z x 71 & ! s+]s & play]s are mu* m apt to feel at ease 9 p]=m+ x ?an :5 x has be5 tak5 up at only "o or two rehe>sals4 ,footnote #cg3 ,! complete li/ ( works to be giv5 by lead+ symphony or*e/ras dur+ ! entire season is usually decid$ ^u dur+ ! prec$+ summ]1 & some:at ! same proc$ure might pr(itably be foll[$ ) a *ur* *oir or an amateur or*e/ra4 ,sid5ote3 ,,discipl9e ,,9 ,,! ,,rehe>sal ,x is impossible to conduct well unless y h ! absolute att5tion ( e s+] or play]4 ,h5ce ! discipl9e at all rehe>sals mu/ be r /rict & ! p]=m]s mu/ be tra9$ to keep _! eyes on y practically all ! "t4 7,9 ! case ( *oral music1 x w\ld be well to h a great deal m ( x entirely committ$ to memory s t at ! p]=mance ! s+]s might be enabl$ to give ! conductor _! absolute att5tion47 ,y h a p]fect "r to dem& t all %all "w indu/ri\sly dur+ e work+ m9ute ( ! rehe>sal h\r & t !re %all be no :isp]+ or fool+ :atsoev]1 ei!r :ile y are giv+ directions1 or :ile y are conduct+4 ,if y are un=tunate en\gh to h 9 y\r organization c]ta9 individuals :o d n att5d to ! "w 9 h& ev5 aft] a private admonition1 x w be f> bett] to drop !m f ! organization1 = !y are b\nd to d m h>m ?an good if !y are reta9$4 ,on ! o!r h&1 y w recognize ! temptation to :isp] :i* ! p]=m] feels :ile y are giv+ a long-w9d$ explanation ( "s pet !ory ( y\rs1 & y w accord+ly cut d[n ! am\nt ( talk+ y d to ! m9imum4 ,a good rule to foll[ is ?is3 ,talk little at ! rehe>sal1 b :5 y d talk1 be sure t e "o li/5s4 ,keep y\r p]=m]s s busy t !y w h no "t to ?9k ab\t any?+ b ! "w 9 h&4 ,plan pl5ty ( "w s z to be able to keep ?+s mov+ ?r\gh ! entire h\r4 ,bett] a rehe>sal conduct$ 9 ?is way & only "o h\r long1 ?an a sl[-mov+1 boresome affair1 two h\rs 9 l5g?4 ,if ! tax ( su* conc5trat$ att5tion is too sev]e to be kept up con/antly = an entire h\r1 plan to h a five-m9ute int]mission :5 ev]yone may talk & laugh & ?us relax4 ,! au?or has f\nd t ) a body ( amateur s+]s1 a n9ety-m9ute rehe>sal1 ) a five- to sev5-m9ute int]mission 9 ! middle1 works v well inde$4 ,sid5ote3 ,,beg9n+ ,,! ,,rehe>sal ,d n %\t at y\r *orus or or*e/ra if ! memb]s are noisy4 ,wait until ! noise subsides entirely be=e y beg9 to speak1 & address !m 9 a quiet1 dignifi$1 au?oritative way :5 y d beg94 ,unless y h "s po9t$ rem>k to make ab\t ! r5dition ( ! music1 x is f> bett] to give m]ely ! place ( beg9n+ )\t mak+ any rem>ks at all4 ,secur+ quiet by a prolong$ rapp+ ) ! baton is a sign ( weak discipl9e4 ,d n rap at all until ! music is di/ribut$1 ! accompani/ 9 8 place & ready to beg91 y\r score op51 & until y "k exactly :at y are go+ to d fir/4 ,!n let j a slight tap or two suffice to notify ev]yone t ! rehe>sal is to beg9 at once4 ,sid5ote3 ,,le>n+ ,,difficult ,,passages ,9 drill+ on a difficult passage1 x is usually bett] to /op at ! actual spot :]e ! mi/ake occurs ?an to g on to ! end & !n turn back4 ,f9d ! exact spot t is caus+ tr\ble & r$uce ! area ( correction to its n>r[e/ limits1 z "o writ]#ch /ates x4 ,x is to be not$ t m]ely "o repetition ( su* a passage is usually ( little avail4 ,x mu/ be gone ov] en\gh times to fix ! correct me?od ( r5dition 9 m9d & muscle z a habit4 ,if a section s+s a c]ta9 passage incorrectly twice & !n correctly only once1 ! *ances are t ! f\r? "t w be l ! fir/ two r ?an l ! ?ird4 ,! purpose ( drill+ on su* a passage is to eradicate ! wrong impression entirely & sub/itute = x an entirely new habit at t po9t4 ,aft] le>n+ a difficult tonal or rhy?mic phrase 9 ?is way1 be sure to fit x into its environm5t be=e assum+ t x has be5 f9ally ma/]$4 ,! difficulty 9 su* passages (t5 consi/s n 9 p]=m+ ! int]vals or rhy?ms 9 isolation1 b 9 do+ !m :ile ! o!r p>ts are go+ on4 ,footnote #ch3 ,ri*>dson1 ,! ,*oir-tra9]'s ,art1 p4 #aef4 ,sid5ote3 ,,locate ,,difficult ,,spots ,,quickly ,9 direct+ att5tion to "s p>ticul> place 9 ! score ab\t :i* y wi% to speak1 give ! details ( y\r direction always 9 ! same ord]1 viz43 7#a7 page1 7#b7 score 7or brace if y pref]71 7#c7 measure1 7#d7 beat4 ,?us e4g41 ,page #dg1 second score1 f\r? measure1 beg9n+ ) ! second beat4 ,give ! direction sl[ly & v di/9ctly1 & !n d n repeat x2 i4e41 get y\r musicians into ! habit ( li/5+ to y ! fir/ "t y say a ?+ in/ead ( ! second or ?ird4 ,c>ry+ out ?is plan may result 9 confus+ unprep>$ness on ! "p ( y\r s+]s or play]s = a "t or two1 b if ! plan is adh]$ to consi/5tly !y w v soon le>n to li/5 to y\r fir/ ann\ncem5t--& y w save a l>ge am\nt ( bo? "t & en]gy4 ,sid5ote3 ,,rehe>sal ,,lett]s ,,& ,,numb]s ,ensemble music is frequ5tly suppli$ ) rehe>sal lett]s or numb]s1 ^! enabl+ ! p]=m]s to locate a passage v quickly4 ,:5 n pr9t$ 9 ! score1 x w (t5 be a sav+ ( "t = ! conductor to ins]t su* lett]s or numb]s 9 8 own copy ( ! music 9 advance ( ! fir/ rehe>sal1 ask+ ! memb]s to ins]t ! m>ks 9 _! music z he dictates _! location by page & score1 or by c\nt+ measures 9 ! case ( or*e/ra music4 ,^! lett]s or numb]s are be/ ins]t$ ) s(t r$ or blue p5cil4 ,sid5ote3 ,,! ,,:ole ,,me?od ,,( ,,le>n+ ,:5 a new composition is to be tak5 up1 g ?r\gh x z a :ole a few times1 s z to give ev]yone a g5]al idea ( its cont5t & ( ! connection & relation ( its p>ts4 ,aft] ?is1 beg9 to "w at ! difficult spots t y h f\nd1 !n :5 x beg9s to g fairly well1 "w def9itely = expressive r5dition4 ,y w ( c\rse n expect ord9>y p]=m]s to g ?r\gh ! composition ! fir/ "t 9 a v arti/ic fa%ion4 ,if !y keep go+ & d n make too _m mi/akes1 !y w h done all t non-pr(essionals %\ld be expect$ to d4 ,psy*ologi/s h f\nd z ! result ( c>eful inve/igation t ! :ole me?od ( /udy is mu* to be pref]r$ to :at might be t]m$ ! "p me?od1 because ( ! fact t a mu* cle>] & clos] association betwe5 p>ts is ?us =m$1 & !re is no d\bt b t ?is po9t applies v =cibly to ! /udy ( music4 ,9 an int]view publi%$ 9 ! ,new ,york ,_w 9 ,june1 #aiaf1 ,h>old ,bau] writes z foll[s ab\t ?is matt] z relat$ to piano music3 ,n[1 9 tak+ up a new "w = ! piano1 ! *ild c\ld & %\ld play "r ?r\gh e page f beg9n+ to end = ! purpose ( obta9+ a def9ite fir/ impression ( ! :ole4 ,a mess w\ld probably be made ( x te*nically1 b no matt]4 ,he w\ld gradually discov] j :]e ! places 7 t requir$ te*nical smoo?+1 & !n by play+ !m ov] sl[ly ^! spots w\ld be te*nically /r5g!n$4 ,by ! "t ! composition 0 ?or\ghly le>n$ ! te*nique w\ld be ?or\ghly acquir$1 too4 ,obta9+ fir/ a p]fect m5tal picture ( ! :ole1 & aft]w>d work+ out ! details1 is bett] ?an le>n+ a "w by />t+ ) ! details be=e ga9+ a broad impression ( ! composition z a :ole4 ,?is me?od ( /udy+ musical compositions is especially important f ! /&po9t ( expression4 ,9 _m an in/ance1 ! s\rce ( wrong int]pretation 7or ( no int]pretation at all7 may be trac$ directly to a me?od ( /udy+ ! composition :i* has n impress$ ! s+]s or play]s ) its ess5tial mean+ & _s1 & ) ! significance ( ! v>i\s details 9 relation to ! plan ( ! "w z a :ole4 ,?is is p>ticul>ly true ( *oral compositions1 & 9 tak+ up su* works1 x may (t5 be well = ! conductor to read al\d ! entire text ( ! *orus t is be+ /udi$ 9 ord] t ! att5tion ( ! s+]s may be focus$ = a few mom5ts ^u ! imag]y convey$ by ! words4 ,su* att5tion is frequ5tly impossible :ile s++1 because ! m9ds ( ! s+]s are int5t ^u ! beauty or difficulty ( ! purely musical aspects ( ! composition1 & ?us ! s-call$ expression becomes m]ely a bl9d & un9spir$ ob$i5ce to c]ta9 m>ks l piano1 =te1 & rit>d&o--! real _s ( int]pretation be+ entirely abs5t4 ,sid5ote3 ,,di/ribut+ ,,& ,,c>+ ,,= ,,! ,,music ,h ! di/ribution & c>e ( music s sy/ematiz$ t !re w be nei!r confusion nor wa/e ( "t 9 ?is "p ( ! rehe>sal4 ,9 a pr(essional organization !re w ( c\rse be a sal>i$ libr>ian to see to su* "w1 b x is entirely possible to secure some:at ! same k9d ( results 9 an amateur body by hav+ two or ?ree memb]s elect$ or appo9t$ = ! task1 ^! p]sons s]v+ ei!r entirely )\t sal>y or be+ paid a purely nom9al sum4 ,^! libr>ians w !n be expect$ to take ! responsibility ( m>k+ new music1 ( di/ribut+ & collect+ x at su* times z may be agre$ ^u by libr>ian & conductor1 & ( c>+ = x at conc]ts or at any o!r "t :5 x is to be us$4 ,x w be ! duty also ( ! head libr>ian to keep a record ( all music loan$ or r5t$1 & to see t x is return$ 9 good condition4 ,x w\ld be well too if he kept a c>d index1 %[+ j :at music is own$ by ! organization1 ! numb] ( copies ( ea* selection1 ! price1 ! publi%]1 ! date :5 pur*as$1 et cet]a4 ,ask ! libr>ians to come five or t5 m9utes be=e ! beg9n+ ( ! rehe>sal1 & make x y\r bus9ess to provide "o ( !m ) a slip hav+ ^u x ! names or numb]s ( all ! selections to be us$ at t p>ticul> rehe>sal4 ,keep+ ! music 9 cov]s or 9 sep>ate comp>tm5ts ( a cab9et1 "o ( :i* w hold all ( ! copies ( a s+le selection1 & hav+ ^! arrang$ alphabetically or num]ically1 w consid]ably facilitate matt]s = bo? y & ! libr>ians4 ,d n ?9k x b5ea? y\r dignity to inve/igate ! numb] ( copies ( any composition t y are plann+ to use1 & :5 !re are n en\gh to supply ea* s+] 9 ! *orus & ea* desk 9 ! or*e/ra ) a copy1 to see to x t m music is ord]$4 ,x is impossible to rehe>se effici5tly if ! s+]s 9 a *orus h to use a "p ( _! en]gy 9 try+ to read music f a book or %eet held by "s "o else1 or if ! play]s 9 an or*e/ra are /ra9+ _! eyes because ?ree or f\r in/ead ( two are read+ f a s+le desk4 ,x w be conv5i5t = ! conductor to possess a file conta9+ a copy ( ea* numb] 9 ! libr>y at 8 home or /udio1 ea* copy be+ m>k$ conductor's copy4 ,9 ?is way1 ! director w always be assur$ ( hav+ ! same music1 & w feel t x is wor? :ile to m>k x 9 su* a way z to make x m useful 9 bo? rehe>sal & p]=mance4 ,sid5ote3 ,,c\nt+ ,,al\d1 ,,tapp+1 ,,& ,,s++ ,,) ,,! ,,*orus ,d n make ! mi/ake ( c\nt+ or tapp+ on ! desk con/antly dur+ ! rehe>sal4 ,y may ?9k y are /r5g!n+ ! rhy?m1 b z a matt] ( fact1 y are actually weak5+ x1 = 9 ?is way y take away f ! p]=m]s ! necessity ( individual muscul> response to ! pulse1 & at ! p]=mance 7:5 y _c1 ( c\rse1 c\nt or tap7 ! rhy?m is v likely to be flabby & unc]ta94 ,s++ ) ! *orus is ano!r mi/ake aga9/ :i* ! amateur %\ld be w>n$4 ,! director n only _c detect errors & make intellig5t criticisms if he s+s ) ! *orus1 b w make ! memb]s dep5d5t ^u 8 voice in/ead ( compell+ !m to =m ! habit ( wat*+ him4 ,! only exception to ?is pr9ciple is 9 tea*+ new music to a *oir compos$ ( v poor read]s1 9 :i* case x is sometimes mu* easi] to tea* a difficult phrase by imitation4 ,ev5 "h1 h[ev]1 x is almo/ z well to h ! organ give ! correct tones4 ,9 lead+ community s++1 ! conductor w ( c\rse s+ ) ! cr[d1 = "h he is /riv+ = q a diff]5t sort ( effect4 ,sid5ote3 ,,v5tilation ,see to x t ! practice room is well v5tilat$1 especially = a *orus rehe>sal4 ,pl5ty ( fre% air w n only enable y\r *orus to s+ ) bett] intonation1 b w all[ !m to s+ = a long] p]iod )\t fatigue4 7,we are tempt$ to add a coroll>y to ?is proposition3 namely1 t sleepy congregations are n always due to poor prea*+1 z is g5]ally suppos$1 b are z frequ5tly ! result ( a comb9ation ( fairly good prea*+ & a badly v5tilat$ auditorium67 ,sid5ote3 ,a ,,cappella ,,rehe>s+ ,9 direct+ a *orus rehe>sal1 h y\r s+]s /udy )\t accompanim5t mu* ( ! "t4 ,! organ cov]s a multitude ( s9s & practis+ )\t x w n only enable y to discov] weaknesses ( all sorts b w help ! s+]s !mselves enorm\sly by mak+ !m m indep5d5t1 improv+ ! intonation1 & compell+ !m to make clean] & m def9ite attacks & releases4 ,sid5ote3 ,,! ,,value ,,( ,a ,,s5se ,,( ,,humor ,f9ally1 9 conclud+ bo? ?is *apt] & ! book z a :ole1 let u comm5d once m to ! conductor t he cultivate ! sav+ grace ( humor4 ,?is quality has already be5 comm5t$ on some:at at l5g? 9 an e>li] *apt] 7see p4 #h71 b x is 9 ! rehe>sal p]iod t x is mo/ ne$$1 & ! conductor :o is =tunate en\gh to be able to laugh a little :5 annoyances int]rupt or disrupt 8 plans in/ead ( sn>l+1 w n only hold ! memb]s ( ! organization toge!r = a long] "t1 because ( _! cordial p]sonal attitude t[>d him1 b w f9d himself mu* less fatigu$ at ! end ( ! rehe>sal2 = no?+ dra9s "o's vitality s rapidly z scold+4 ,a bit ( humor\s rep>tee1 !n1 especially 9 response to ! compla9ts ( "s lazy or gr\*y p]=m]2 ! ability to meet accid5tal mi%aps )\t ang]2 ev5 a humor\s anecdote to relieve ! /ra9 ( a tax+ rehe>sal--all ^! are to be highly recomm5d$ z means ( oil+ ! ma*9]y ( ! rehe>sal & mak+ x run smoo?ly4 ,b ( c\rse1 ev5 humor c be ov]done4 ,s we %all close by quot+ ! ,greek motto1 ,no?+ too mu*1 :i* w be f\nd to apply equally well to _m o!r activities recomm5d$ 9 ! =ego+ pages4 ,,app5dix ,a ,,ref]5ce ,,li/ ,i4 ,,g5]al3 ,b]lioz1 ,! ,or*e/ral ,conductor4 ,a %ort treatise full ( practical sugge/ions4 ,x is f\nd 9 ! back ( ! au?or's well-kn[n volume on ,or*e/ration4 ,we+>tn]1 ,on ,conduct+4 ,a small volume ( ab\t sev5ty-five pages1 b conta9+ excell5t mat]ial = bo? amateur & pr(essional4 ,s*ro$]1 ,h&book ( ,conduct+4 ,a practical little book f ! /&po9t ( bo? or*e/ral & op]atic direct+4 ,wagn]1 ,on ,conduct+4 ,a %ort treatise t e pr(essional conductor w wi% to read1 b n ( mu* value to ! amateur4 ,mees1 ,*oirs & ,*oral ,music4 ,a well-writt5 acc\nt ( ! hi/ory ( *oral music f ! "t ( ! ,hebrews & ,greeks d[n to ! pres5t1 conta9+ also an excell5t *apt] on ! ,*orus ,conductor4 ,grove1 ,diction>y ( ,music & ,musicians 7article1 ,conduct+74 ,h5d]son1 ,:at ,is ,good ,music8 7*apt]s ,,xiii & ,,xvii74 ,krehbiel1 ,h[ to ,li/5 to ,music 7*apt] ,,viii74 ,,ii4 ,,int]pretation3 ,c[>d1 ,*oral ,te*nique & ,int]pretation4 ,"o ( ! few really significant books on conduct+4 ,! au?or gives 9 a cle> & practical way ! pr9ciples on :i* 8 own successful "w z a *oral conductor 0 bas$4 ,mat?ay1 ,musical ,int]pretation4 ,a book = ! musician 9 g5]al1 r ?an = ! conductor specifically2 an excell5t treatise & "o t all musicians %\ld read4 ,,iii4 ,,! ,,or*e/ra3 ,lavignac1 ,music & ,musicians 7*apt] ,,ii74 ,mason1 ,! ,or*e/ral ,in/rum5ts & ,:at ,!y ,d4 ,cord]1 ,! ,or*e/ra & ,h[ to ,write = ,x4 ,pr\t1 ,! ,or*e/ra 7two volumes74 ,kl+1 ,mod]n ,or*e/ration & ,in/rum5tation4 ,h5d]son1 ,! ,or*e/ra & ,or*e/ral ,music2 conta9s two *apt]s 7,,xii & ,,xiii7 on ! ,or*e/ral ,conductor t w be ( great int]e/ to ! amateur4 ,mason 7,editor71 ,! ,art ( ,music 7,vol4 ,,viii74 ,/oev+1 ,! ,art ( ,viol9 ,b[+4 ,=sy?1 ,or*e/ration4 ,a p>ticul>ly good book bo? = pr(essional & amateur1 z x gives _m illu/rations & treats ! v>i\s in/rum5ts f an hi/orical z well z a practical /&po9t4 ,widor1 ,! ,mod]n ,or*e/ra4 ,,iv4 ,,! ,,*ur* ,,*oir3 ,curw51 ,/udies 9 ,wor%ip ,music 7two volumes74 ,dick9son1 ,music 9 ! ,hi/ory ( ! ,we/]n ,*ur*4 ,helmore1 ,prim] ( ,pla9song4 ,pratt1 ,musical ,m9i/ries 9 ! ,*ur*4 ,v4 ,,! ,,boy ,,*oir3 ,bates1 ,voice ,culture = ,*ildr54 ,br[n & ,behnke1 ,! ,*ild ,voice4 ,h[>d1 ,! ,*ild ,voice 9 ,s++4 ,johnson1 ,! ,tra9+ ( ,boys' ,voices4 ,ri*>dson1 ,! ,*oir ,tra9]'s ,art4 ,/ubbs1 ,practical ,h9ts on ,boy ,*oir ,tra9+4 ,,vi4 ,,voice ,,tra9+3 ,ffrangon-,davies1 ,! ,s++ ( ! ,future4 ,fillebr[n1 ,resonance 9 ,s++ & ,speak+4 ,gre5e1 ,int]pretation 9 ,song4 ,h5d]son1 ,! ,art ( ! ,s+]4 ,russell1 ,engli% ,diction = ,s+]s & ,speak]s4 ,)r[1 ,"s ,/accato ,notes = ,s+]s4 ,,vii4 ,,miscellane\s3 ,hamilton1 ,outl9es ( ,music ,hi/ory4 ,hamilton1 ,s\nd & ,its ,relation to ,music4 ,,app5dix ,b ,,haydn--,,symphony ,no4 #c ,surprise ,symphony ,score ( ,second ,movem5t ,transcrib]'s ,note3 ,! mod]n designation = ! ,surprise ,symphony is ,no4 #id4 ,music ,,index ,a ,a cappella s++1 #afb4 ,accompani/--,relation to conductor1 #adg4 ,*oos+ (1 #adg4 ,treatm5t (1 #adh4 ,accompany+1 organ1 #aej4 ,adolesc5t boy1 #abd1 #abe4 ,alto1 male1 #aai4 ,alts*ul]1 quot$1 #fa4 ,anglican *ant--,baton movem5ts =1 #cc4 ,attack--,h[ to secure x1 #cj4 ,9 read+ new music1 #cb4 ,b ,back /roke1 #bh4 ,baton--,description (1 #bj4 ,h[ us$1 #ba4 ,position (1 #bb4 ,baton movem5ts--,diagrams (1 #bb4 ,pr9ciples (1 #bb4 ,l5g? ( /roke1 #cb4 ,bau]1 quot$1 #aei4 ,b]lioz1 quot$1 #fb4 ,b\nd>ies ( music1 #da4 ,b[+--,directions =1 #ajc4 ,signs1 #ajc1 #ajd4 ,boy--,problem (1 #abf-abi4 ,boy *oir--,problem (1 #aah4 ,gov]nm5t (1 #abf-abi4 ,remun]ation ( memb]s1 #abi4 ,boy voice--,9 *ur* *oir1 #aah-abe4 ,life (1 #abc4 ,dur+ adolesc5ce1 #abd4 ,break--,adult voice1 #acg4 ,*ild voice1 #abb4 ,brea?+1 #acb4 ,brea? ,control1 #acc4 ,c ,canadian ,j\rnal ( ,music1 quot$1 #ai4 ,c>uso1 quot$1 #dd4 ,*ant1 ,anglican--,baton movem5ts =1 #cc4 ,*ea?am1 quot$1 #hg4 ,*e]ful attitude--,value (1 #aj4 ,*ild ,voice--,peculi>ities (1 #aah4 ,diff]5ce betwe5 boy & girl1 #abj4 ,compass (1 #aba4 ,*ildr51 direct+1 #gi4 ,*oir1 boy--,problems (1 #aah4 ,boy voice1 #aah1 #aai1 #abj-abe4 ,qualifications ( lead]1 #aai4 ,remun]ation ( boys1 #abi4 ,gov]nm5t ( boys1 #abf-abi4 ,*oir1 *ur*--,problems ( direct+1 #ajh4 ,rem$ies1 #aji4 ,difficulties involv$ 91 #aaa4 ,qualifications ( lead]1 #aab4 ,dang] ( individualism1 #aab4 ,solo s++ 91 #aad4 ,*orus1 high s*ool--,music =1 #hj4 ,direction (1 #hb4 ,seat+ (1 #hc ,*ur* music--,rem$ies ne$$1 #ajh4 ,solo s++1 #aad4 ,importance ( congregation s++1 #aaf4 ,cl>9et1 #ii4 ,cle>ness ( spee*--,z elem5t 9 lead]%ip1 #af4 ,community music--,significance (1 #he4 ,social effects (1 #hf4 ,qualifications ( song lead]1 #hg4 ,song mat]ial1 #hi4 ,adv]tis+1 #ij4 ,provision ( words1 #ia4 ,compass ( *ild voice1 #aba4 ,compass ( or*e/ral in/rum5ts1 #ajg4 ,comp\nd measures1 #bc1 #bd1 #bf1 #bg4 ,conduct+--,def9ition1 #a4 ,hi/ory (1 #b4 ,psy*ological basis (1 #c4 ,or*e/ral1 #ic4 ,*ur* *oir1 #ajh4 ,boy *oir1 #aah4 ,conductor--,qualities (1 #h1 #aaj4 ,pres5t /atus (1 #b1 #c4 ,z organiz]1 #ac4 ,z int]pret]1 #cf4 ,or*e/ral1 #ic4 ,relation to accompani/1 #adg-aea4 ,congregational s++1 #aaf4 ,consonants 9 s++1 #ace4 ,c\nt+ al\d1 #afa4 ,c[>d1 quot$1 #fe4 ,creative imag9ation1 #aa4 ,cresc5do1 #eh4 ,d ,diagrams ( baton movem5ts1 #bb1 #bc1 #bd4 ,dick9son1 quot$1 #fb1 #aji4 ,discipl9e 9 rehe>sals1 #aee4 ,dynamics1 #eg-fc4 ,t]ms def9$1 #ei1 #fj4 ,e ,effici5cy 9 ! rehe>sal1 #aeb4 ,effici5cy vs4 ,idealism1 #aec4 ,emotion--,9 int]pretation1 #ch4 ,en?usiasm z an elem5t 9 lead]%ip1 #af1 #ag4 ,expression--,mean+ (1 #cf1 #dc4 ,9 in/rum5tal music1 #df4 ,elem5ts (1 #df4 ,h[ produc$1 #gb1 #ge4 ,f ,f]mata1 #ca4 ,five-beat measure1 #bg4 ,g ,gehr+1 quot$1 #db4 ,girl voice1 #abj1 #aba4 ,h ,h>mony1 #ga4 ,haydn score1 #aff4 ,head voice1 #abb1 #abc4 ,high s*ool *orus--,direction (1 #hb4 ,seat+ (1 #hc4 ,music =1 #hj4 ,hi/ory ( conduct+1 #b4 ,hold1 #ca4 ,humor--,s5se (1 #h4 ,illu/rations (1 #i4 ,value 9 rehe>sals1 #afb4 ,hymns--,selection (1 #aag4 ,i ,idealism vs4 ,effici5cy1 #aec4 ,imag9ation--,value (1 #aa4 ,individualism--,dang] ( 9 *ur* *oir1 #aab4 ,in/9ctive imitation1 #c4 ,in/rum5tal music--,expression 91 #df4 ,timbre 91 #ff4 ,phras+ 91 #fi4 ,in/rum5ts--,proportion (1 #ig4 ,transpos+1 #ih-ajj4 ,pit* /&>ds1 #aja4 ,tun+ (1 #ajb4 ,b[+1 #ajc4 ,range (1 #ajg4 ,int]pretation & expression--,def9ition1 #cf4 ,int]pretation1 #cf-ge4 ,emotion 91 #ch4 ,def9ition1 #dj4 ,9 vocal music1 #dc4 ,importance ( timbre 91 #ff4 ,l ,lead]%ip--,s5se (1 #ac4 ,elem5ts (1 #ae1 #af1 #ag4 ,summ>y1 #ah4 ,legato1 #ace4 ,l5g? ( program1 #adb4 ,life ( boy voice1 #abc4 ,m ,male alto1 #aai4 ,melody acc5tuation1 #fa4 ,memory1 muscul> 9 tempo1 #ee4 ,messa di voce1 #ach4 ,metronome1 #dh4 ,movable break1 #abb4 ,music--,non-measur$1 #cc4 ,b\nd>ies (1 #da4 ,vocal1 #dc4 ,in/rum5tal--,expression 91 #df4 ,s*ool--,field (1 #ge4 ,*ur*1 #ajh-aag4 ,music--,di/ribution & c>e (1 #afj4 ,music--,selection (1 #hj4 ,= *ildr51 #hj4 ,high s*ool *orus1 #ha4 ,*ur*1 #ajh-aag4 ,music /&1 #bj4 ,musical s*ol>%ip1 #f4 ,n ,non-measur$ music1 #cb4 ,nuances1 tempo1 #ec4 ,o ,or*e/ra--,direct+ (1 #ic-ie4 ,seat+ (1 #if4 ,or*e/ral in/rum5ts--,proportion (1 #ig4 ,transpos+1 #ih4 ,pit* /&>ds1 #aja4 ,tun+1 #ajb4 ,ranges (1 #ajg4 ,organ accompanim5ts1 #aej4 ,organiz+ ability1 #ac4 ,p ,p]sonality ( conductor1 #h4 ,p]sonality ( sup]visor1 #gh4 ,phras+--,explanation (1 #ff4 ,9 vocal music1 #fg4 ,mi/akes 91 #fh4 ,9 in/rum5tal music1 #fi4 ,pianissimo1 #fj1 #fa4 ,pit*--,regi/]s1 #ga4 ,/&>ds1 #aja4 ,plann+ ! rehe>sal1 #aed4 ,poise--z elem5t 9 lead]%ip1 #af4 ,portam5to1 #ach4 ,pr9ciple ( "t beat+1 #bh4 ,program-mak+1 #adj4 ,l5g? (1 #adb4 ,arrangem5t ( numb]s1 #add4 ,importance ( details1 #adf4 ,program music1 #db4 ,psy*ological basis ( conduct+1 #c4 ,public p]=mance--,attitude ( conductor at1 #hb4 ,public s*ool music1 #gf4 ,relation to *ur* *oirs1 #aae4 ,q ,qualities ( conductor1 #h4 ,r ,ranges ( or*e/ral in/rum5ts1 #ajg4 ,recitative1 #cc4 ,regi/]s--,*ild voice1 #abb1 #abc4 ,9 adult voice1 #acf4 ,rehe>sal--,h[ to save "t 91 #aeb-afc4 ,plann+ (1 #aed4 ,discipl9e 91 #aee4 ,rehe>sal lett]s or numb]s1 #aeh4 ,relation betwe5 conductor & accompani/1 #adg-aea4 ,relaxation 9 s++1 #acf4 ,release--,h[ to secure1 #cj4 ,resonance1 #acd4 ,rhy?m1 #gj4 ,rubato1 #ec4 ,s ,s*ol>%ip1 musical--,importance (1 #f4 ,s*ool music--,field (1 #gf4 ,sup]visor's p]sonality1 #gh4 ,direction ( *ildr51 #gi4 ,selection ( music1 #hj4 ,public p]=mance1 #ha4 ,s*umann z a conductor1 #ac4 ,score--,read+1 #ic1 #aje4 ,seat+--,or*e/ra1 #if4 ,high ,s*ool *orus1 #hc4 ,self-confid5ce--,elem5t 9 lead]%ip1 #ae4 ,sev5-beat measure1 #bg4 ,s++--,solo1 #aad4 ,congregational1 #aaf4 ,use ( v[el & consonants #acd1 #ace4 ,legato1 #ace4 ,relaxation 91 #acf4 ,summ>y ( good1 #aci4 ,a cappella1 #afb4 ,solo s++1 #aad4 ,spitta1 quot$1 #ac4 ,/&>ds ( pit*1 #aja4 ,/]nb]g1 ,c4 von1 quot$1 #cg4 ,/roke1 l5g? (1 #cb4 ,sup]visor ( music1 #gf4 ,t ,table--,( or*e/ral in/rum5ts1 #ajg4 ,transpos+ in/rum5ts1 #ajj4 ,te*nique ( ! rehe>sal1 #aeb4 ,tempo1 #df-ef4 ,importance (1 #dg4 ,f9d+ correct1 #dh4 ,rubato1 #ed1 #ee4 ,e/abli%+ (1 #ee4 ,tempo t]ms def9$1 #di-ec4 ,timbre1 #fd4 ,9 in/rum5tal music1 #ff4 ,9 vocal music1 #fd1 #fe1 #ff4 ,"t beat+--,pr9ciples & me?ods (1 #bb-bi4 ,back /roke1 #bh1 #bi4 ,tone--,h[ produc$1 #acd4 ,tone quality1 #fd-ff4 ,transpos+ in/rum5ts1 #ih1 #ii1 #ajj4 ,tremolo 9 s++1 #ach4 ,tun+ or*e/ral in/rum5ts1 #ajb4 ,u ,unity 9 program mak+1 #adb4 ,v ,v>asd91 quot$1 #ai4 ,v>iety 9 program1 #adj4 ,v5tilation ( practice rooms1 #afb4 ,vibrato1 #ach4 ,vocal cords1 ,action (1 #acg4 ,vocal music--,int]pretation1 #dc4 ,timbre1 #fd4 ,phras+1 #fg4 ,vocal regi/]1 #acf4 ,voice1 ! boy's--,9 *ur* *oir1 #aah-abe4 ,life (1 #abc4 ,dur+ adolesc5ce1 #abd1 #abe4 ,voice1 ! *ild's--,peculi>ities (1 #aah4 ,compass (1 #aba4 ,diff]5ce betwe5 voice ( boy & girl1 #abj4 ,head voice1 #abb1 #abc4 ,voice tra9+--,9 conduct+1 #aai1 #aca4 ,brea?+1 #acb4 ,brea? control1 #acc4 ,resonance1 #acd4 ,legato1 #ace4 ,tone production1 #acg4 ,v[el 9 s++1 #acd4 ,w ,wagn]1 quot$1 #dg4 ,we+>tn]1 quot$1 #ab4 ,:ipple1 quot$1 #aj4 ,:ole me?od1 #aeh4 ,williams1 ,c4,f4,a41 quot$1 #ge4