EFFICIENCY IN THE REHEARSAL
[Sidenote: ORGANIZING ABILITY NEEDED TO AVOID WASTING TIME]
Having now reviewed the various essentials in conducting from the
standpoint of public performance, we wish emphatically to state our
conviction that in many cases both choruses and orchestras have been
short-lived, being abandoned after a season or two of more or less
unsatisfactory work, directly as a result of the inefficient methods
used by the conductor in the rehearsal. In an earlier chapter (p. 18)
we noted that the successful conductor of the present day must possess
a personality combining traits almost opposite in their nature;
_viz._, _artistry_ and _organizing ability_. We were referring at that
time to business sense in general as needed by the conductor in
selecting works to be performed, deciding upon the place, duration,
and number of rehearsal periods, engaging artists to assist in the
public performances, and in general, seeing to it that the business
details of the organization are attended to in an efficient manner.
But such organizing ability is needed most of all in planning and
conducting the rehearsal, and there is no doubt that mediocre results
at the public performance and not infrequently the actual breaking up
of amateur organizations may be traced more often to the inability of
the conductor to make the best use of his time in the always
inadequate rehearsal hour than to any other source. It is for this
reason that we have thought best to devote an entire chapter to a
discussion of what might be termed "The Technique of the Rehearsal."
[Sidenote: EFFICIENCY NOT A DESTROYER OF IDEALISM]
The word _efficiency_ has been used so frequently in recent years that
it has come to be in almost as bad odor as the word _artistic_, as
employed by the would-be critic of esthetic effects. This antipathy to
the word is perhaps most pronounced on the part of the artist, and
there has been a well-defined feeling on the part of a good many of us
that efficiency and advancement in art appreciation do not perhaps go
hand-in-hand as much as might be desired. Granting the validity of
this criticism of efficiency as a national ideal, it must nevertheless
be evident that the artist has in the past been far too little
concerned with life's business affairs, and that both he and his
family on the one hand, and those having business relations with him
on the other would be far better off if the artist would cultivate a
more businesslike attitude in his relationships with the rest of the
world. However this may be in general, it is certain that the
conductor of the present must take more definitely into consideration
what is going on outside the world of art; must recognize the fact
that this is now a busy world and that there are a great many
interesting things to do and a great many more distractions and
amusements than there were a half-century ago; and that if the members
of a chorus or orchestra (particularly in the case of an amateur
society) are to continue to attend rehearsals regularly and to keep up
their enthusiasm for the work of the organization, the conductor must
see to it that something tangible is accomplished not only during each
season, but in each and every practice hour, and that regular
attendance at the rehearsals does not cause the members to feel that
they are wasting time and energy.
This is, after all, the essence of scientific management--to
accomplish some desired result without any waste moves and without
squandering valuable material; and surely no artistic loss will be
involved if efficiency of this type is applied to conducting a musical
rehearsal. On the contrary, the application of such methods will
enable the conductor to secure a much higher degree of artistry in the
public performance because, by avoiding any waste of time in
rehearsing, he will be able to put the musicians through the music
more often, and thus not only arouse greater confidence on their part,
but be enabled to emphasize more strongly the interpretative, the
artistic aspect of the music. Most of the rehearsal hour is often
spent in drilling upon mere _correctness_ of tone and rhythm,
especially in the case of amateur organizations.
In order to make these matters as concrete and practical as possible,
we shall give in the remainder of this chapter a series of somewhat
unrelated suggestions about conducting an ensemble rehearsal, trusting
that the reader will forgive the didactic (and possibly pedantic)
language in which they are couched.
[Sidenote: PLANNING THE REHEARSAL]
Do not make the mistake of attempting to study your score at the same
time that your singers or players are learning it. Study your music
exhaustively beforehand so that at the rehearsal you may know
definitely just what you are going to do with each selection and may
be able to give pointed directions as to its rendition. This will
enable you to look at your performers most of the time, and the
freedom from the score thus allowed will make your conducting very
much more effective and will enable you to stir your singers out of
their state of inertia very much more quickly. Weingartner, in writing
upon this point (with especial reference to the public performance)
says:[36] "He should know it [the score] so thoroughly that during the
performance the score is merely a support for his memory, not a fetter
on his thought." The same writer in another place quotes von Bülow as
dividing conductors into "those who have their heads in the score,
and those who have the score in their heads"!
[Footnote 36: Weingartner, _On Conducting_, p. 43.]
Study the individual voice parts, so as to find out so far as possible
beforehand where the difficult spots are and mark these with blue
pencil, so that when you want to drill on these places, you may be
able to put your finger on them quickly. It is very easy to lose the
attention of your performers by delay in finding the place which you
want them to practise. It is a good plan, also, to mark with blue
pencil some of the more important _dynamic_ and _tempo_ changes so
that these may be obvious to the eye when you are standing several
feet from the desk.
Decide beforehand upon some plan of studying each composition, and if
a number of works are to be taken up at any given rehearsal, think
over in advance the order in which they are to be studied. In brief,
make a plan for each rehearsal, writing it out if necessary, and thus
avoid wasting time in deciding what is to be done.
In case you are a choir director, learn also to plan your services
weeks or even months in advance,[37] and then keep working toward the
complete carrying out of your plan by familiarizing your musicians
with the material as far in advance of the public performance as
possible. In this way the music is _absorbed_, as it were, and the
singers and players are much more apt to feel at ease in performing it
than when it has been taken up at only one or two rehearsals.
[Footnote 37: The complete list of works to be given by leading
symphony orchestras during the entire season is usually decided upon
during the preceding summer, and somewhat the same procedure might
profitably be followed with a church choir or an amateur orchestra.]
[Sidenote: DISCIPLINE IN THE REHEARSAL]
It is impossible to conduct well unless you have the absolute
attention of every singer or player. Hence the discipline at all
rehearsals must be rather strict and the performers must be trained to
keep their eyes on you practically all the time. (In the case of
choral music, it would be well to have a great deal more of it
entirely committed to memory so that at the performance the singers
might be enabled to give the conductor their absolute attention.) You
have a perfect right to demand that all shall work industriously
during every working minute of the rehearsal hour and that there shall
be no whispering or fooling whatsoever, either while you are giving
directions, or while you are conducting. If you are unfortunate enough
to have in your organization certain individuals who do not attend to
the work in hand even after a private admonition, it will be far
better to drop them from the organization, for they are bound to do
more harm than good if they are retained. On the other hand, you will
recognize the temptation to whisper which the performer feels while
you are giving a long-winded explanation of some pet theory of yours,
and you will accordingly cut down the amount of talking you do to the
minimum. A good rule to follow is this: "_Talk little at the
rehearsal, but when you do talk, be sure that every one listens._"
Keep your performers so busy that they will have no time to think
about anything but the work in hand. Plan plenty of work so as to be
able to keep things moving through the entire hour. Better a rehearsal
conducted in this way and only one hour long, than a slow-moving,
boresome affair, two hours in length. If the tax of such concentrated
attention is too severe to be kept up constantly for an entire hour,
plan to have a five-minute intermission when everyone may talk and
laugh and thus relax. The author has found that with a body of amateur
singers, a ninety-minute rehearsal, with a five- to seven-minute
intermission in the middle, works very well indeed.
[Sidenote: BEGINNING THE REHEARSAL]
Do not shout at your chorus or orchestra if the members are noisy.
Wait until the noise subsides entirely before you begin to speak, and
address them in a quiet, dignified, authoritative way when you do
begin. Unless you have some pointed remark to make about the
rendition of the music, it is far better to give merely the place of
beginning without making any remarks at all. Securing quiet by a
prolonged rapping with the baton is a sign of weak discipline. Do not
rap at all until the music is distributed, the accompanist in his
place and ready to begin, your score open, and until you know exactly
what you are going to do first. Then let just a slight tap or two
suffice to notify everyone that the rehearsal is to begin at once.
[Sidenote: LEARNING DIFFICULT PASSAGES]
In drilling on a difficult passage, it is usually better to stop at
the actual spot where the mistake occurs than to go on to the end and
then turn back. Find the exact spot that is causing trouble and
"reduce the area of correction to its narrowest limits," as one
writer[38] states it. It is to be noted that merely one repetition of
such a passage is usually of little avail. _It must be gone over
enough times to fix the correct method of rendition in mind and muscle
as a habit._ If a section sings a certain passage incorrectly twice
and then correctly only once, the chances are that the fourth time
will be like the first two rather than like the third. The purpose of
drilling on such a passage is to eradicate the wrong impression
entirely and substitute for it an entirely new habit at that point.
After learning a difficult tonal or rhythmic phrase in this way, be
sure to fit it into its environment before assuming that it has been
finally mastered. The difficulty in such passages often consists not
in performing the intervals or rhythms in isolation, but in doing them
while the other parts are going on.
[Footnote 38: Richardson, _The Choir-trainer's Art_, p. 156.]
[Sidenote: LOCATE DIFFICULT SPOTS QUICKLY]
In directing attention to some particular place in the score about
which you wish to speak, give the details of your direction always in
the same order, _viz._: (1) page, (2) score (or _brace_ if you
prefer), (3) measure, (4) beat. Thus _e.g._, "Page 47, second score,
fourth measure, beginning with the second beat." Give the direction
slowly and very distinctly, and then do not repeat it; _i.e._, get
your musicians into the habit of listening to you the first time you
say a thing instead of the second or third. Carrying out this plan may
result in confusing unpreparedness on the part of your singers or
players for a time or two, but if the plan is adhered to consistently
they will very soon learn to listen to your first announcement--and
you will save a large amount of both time and energy.
[Sidenote: REHEARSAL LETTERS AND NUMBERS]
Ensemble music is frequently supplied with _rehearsal letters_ or
_numbers_, these enabling the performers to locate a passage very
quickly. When not printed in the score, it will often be a saving of
time for the conductor to insert such letters or numbers in his own
copy of the music in advance of the first rehearsal, asking the
members to insert the marks in their music as he dictates their
location by page and score, or by counting measures in the case of
orchestra music. These letters or numbers are best inserted with soft
red or blue pencil.
[Sidenote: THE "WHOLE METHOD" OF LEARNING]
When a new composition is to be taken up, go through it as a whole a
few times, so as to give everyone a general idea of its content and of
the connection and relation of its parts. After this, begin to work at
the difficult spots that you have found, then when it begins to go
fairly well, work definitely for expressive rendition. You will of
course not expect ordinary performers to go through the composition
the first time in a very artistic fashion. If they keep going and do
not make too many mistakes, they will have done all that
non-professionals should be expected to do. Psychologists have found
as the result of careful investigation that the "whole method" of
study is much to be preferred to what might be termed the "part
method," because of the fact that a much clearer and closer
association between parts is thus formed, and there is no doubt but
that this point applies very forcibly to the study of music. In an
interview published in the _New York World_ in June, 1916, Harold
Bauer writes as follows about this matter as related to piano music:
Now, in taking up a new work for the piano, the child could
and should play right through every page from beginning to
end for the purpose of obtaining a definite first impression
of the whole. A mess would probably be made of it
technically, but no matter. He would gradually discover just
where the places were that required technical smoothing, and
then by playing them over slowly these spots would be
technically strengthened. By the time the composition was
thoroughly learned the technique would be thoroughly
acquired, too. Obtaining first a perfect mental picture of
the whole, and afterward working out the details, is better
than learning a work by starting with the details before
gaining a broad impression of the composition as a whole.
This method of studying musical compositions is especially important
from the standpoint of _expression_. In many an instance, the source
of wrong interpretation (or of no interpretation at all) may be traced
directly to a method of studying the composition which has not
impressed the singers or players with its essential meaning and
spirit, and with the significance of the various details in relation
to the plan of the work as a whole. This is particularly true of
choral compositions, and in taking up such works, it may often be well
for the conductor to read aloud the entire text of the chorus that is
being studied in order that the attention of the singers may be
focused for a few moments upon the imagery conveyed by the words. Such
attention is frequently impossible while singing, because the minds of
the singers are intent upon the beauty or difficulty of the purely
musical aspects of the composition, and thus the so-called
"expression" becomes merely a blind and uninspired obedience to
certain marks like _piano_, _forte_, and _ritardando_--the real spirit
of interpretation being entirely absent.
[Sidenote: DISTRIBUTING AND CARING FOR THE MUSIC]
Have the distribution and care of music so systematized that there
will be neither confusion nor waste of time in this part of the
rehearsal. In a professional organization there will of course be a
salaried librarian to see to such work, but it is entirely possible to
secure somewhat the same kind of results in an amateur body by having
two or three members elected or appointed for the task, these persons
serving either entirely without salary or being paid a purely nominal
sum. These librarians will then be expected to take the responsibility
of marking new music, of distributing and collecting it at such times
as may be agreed upon by librarian and conductor, and of caring for it
at concerts or at any other time when it is to be used.
It will be the duty also of the head librarian to keep a record of all
music loaned or rented, and to see that it is returned in good
condition. It would be well too if he kept a card index, showing just
what music is owned by the organization, the number of copies of each
selection, the price, the publisher, the date when purchased, _et
cetera_. Ask the librarians to come five or ten minutes before the
beginning of the rehearsal, and make it your business to provide one
of them with a slip having upon it the names or numbers of all the
selections to be used at that particular rehearsal. Keeping the music
in covers or in separate compartments of a cabinet, one of which will
hold all of the copies of a single selection, and having these
arranged alphabetically or numerically, will considerably facilitate
matters for both you and the librarians. Do not think it beneath your
dignity to investigate the number of copies of any composition that
you are planning to use, and when there are not enough to supply each
singer in the chorus and each desk in the orchestra with a copy, to
see to it that more music is ordered. It is impossible to rehearse
efficiently if the singers in a chorus have to use a part of their
energy in trying to read music from a book or sheet held by some one
else, or if the players in an orchestra are straining their eyes
because three or four instead of two are reading from a single desk.
It will be convenient for the conductor to possess a file containing a
copy of each number in the library at his home or studio, each copy
being marked "conductor's copy." In this way, the director will always
be assured of having the same music, and will feel that it is worth
while to mark it in such a way as to make it more useful in both
rehearsal and performance.
[Sidenote: COUNTING ALOUD, TAPPING, AND SINGING WITH THE CHORUS]
Do not make the mistake of counting or tapping on the desk constantly
during the rehearsal. You may think you are strengthening the rhythm,
but as a matter of fact, you are actually weakening it, for in this
way you take away from the performers the necessity of individual
muscular response to the pulse, and at the performance (when you
cannot, of course, count or tap) the rhythm is very likely to be
flabby and uncertain. Singing with the chorus is another mistake
against which the amateur should be warned. The director not only
cannot detect errors and make intelligent criticisms if he sings with
the chorus, but will make the members dependent upon his voice instead
of compelling them to form the habit of watching him. The only
exception to this principle is in teaching new music to a choir
composed of very poor readers, in which case it is sometimes much
easier to teach a difficult phrase by imitation. Even here, however,
it is almost as well to have the organ give the correct tones. In
leading community singing, the conductor will of course sing with the
crowd, for here he is striving for quite a different sort of effect.
[Sidenote: VENTILATION]
See to it that the practice room is well ventilated, especially for a
chorus rehearsal. Plenty of fresh air will not only enable your chorus
to sing with better intonation, but will allow them to sing for a
longer period without fatigue. (We are tempted to add a corollary to
this proposition: namely, that sleepy congregations are not always due
to poor preaching, as is generally supposed, but are as frequently the
result of a combination of fairly good preaching and a badly
ventilated auditorium!)
[Sidenote: _A CAPPELLA_ REHEARSING]
In directing a chorus rehearsal, have your singers study without
accompaniment much of the time. The organ "covers a multitude of sins"
and practising without it will not only enable you to discover
weaknesses of all sorts but will help the singers themselves
enormously by making them more independent, improving the intonation,
and compelling them to make cleaner and more definite attacks and
releases.
[Sidenote: THE VALUE OF A SENSE OF HUMOR]
Finally, in concluding both this chapter and the book as a whole, let
us commend once more to the conductor that he cultivate "the saving
grace of humor." This quality has already been commented on somewhat
at length in an earlier chapter (see p. 8), but it is in the rehearsal
period that it is most needed, and the conductor who is fortunate
enough to be able to laugh a little when annoyances interrupt or
disrupt his plans instead of snarling, will not only hold the members
of the organization together for a longer time, because of their
cordial personal attitude toward him, but will find himself much less
fatigued at the end of the rehearsal; for nothing drains one's
vitality so rapidly as scolding. A bit of humorous repartee, then,
especially in response to the complaints of some lazy or grouchy
performer; the ability to meet accidental mishaps without anger; even
a humorous anecdote to relieve the strain of a taxing rehearsal--all
these are to be highly recommended as means of oiling the machinery of
the rehearsal and making it run smoothly.
But of course, even humor can be overdone. So we shall close by
quoting the Greek motto, "Nothing too much," which will be found to
apply equally well to many other activities recommended in the
foregoing pages.
APPENDIX A
REFERENCE LIST
I. GENERAL:
Berlioz, _The Orchestral Conductor_. A short treatise full of
practical suggestions. It is found in the back of the author's
well-known volume on _Orchestration_.
Weingartner, _On Conducting_. A small volume of about seventy-five
pages, but containing excellent material for both amateur and
professional.
Schroeder, _Handbook of Conducting_. A practical little book from the
standpoint of both orchestral and operatic directing.
Wagner, _On Conducting_. A short treatise that every professional
conductor will wish to read, but not of much value to the amateur.
Mees, _Choirs and Choral Music_. A well-written account of the history
of choral music from the time of the Hebrews and Greeks down to the
present, containing also an excellent chapter on the Chorus Conductor.
Grove, _Dictionary of Music and Musicians_ (article, Conducting).
Henderson, _What Is Good Music?_ (chapters XIII and XVII).
Krehbiel, _How to Listen to Music_ (chapter VIII).
II. INTERPRETATION:
Coward, _Choral Technique and Interpretation_. One of the few really
significant books on conducting. The author gives in a clear and
practical way the principles on which his own successful work as a
choral conductor was based.
Matthay, _Musical Interpretation_. A book for the musician in general,
rather than for the conductor specifically; an excellent treatise and
one that all musicians should read.
III. THE ORCHESTRA:
Lavignac, _Music and Musicians_ (chapter II).
Mason, _The Orchestral Instruments and What They Do_.
Corder, _The Orchestra and How to Write for It_.
Prout, _The Orchestra_ (two volumes).
Kling, _Modern Orchestration and Instrumentation_.
Henderson, _The Orchestra and Orchestral Music_; contains two chapters
(XII and XIII) on the Orchestral Conductor that will be of great
interest to the amateur.
Mason (Editor), _The Art of Music_ (Vol. VIII).
Stoeving, _The Art of Violin Bowing_.
Forsyth, _Orchestration_. A particularly good book both for
professional and amateur, as it gives many illustrations and treats
the various instruments from an historical as well as a practical
standpoint.
Widor, _The Modern Orchestra_.
IV. THE CHURCH CHOIR:
Curwen, _Studies in Worship Music_ (two volumes).
Dickinson, _Music in the History of the Western Church_.
Helmore, _Primer of Plainsong_.
Pratt, _Musical Ministries in the Church_.
V. THE BOY CHOIR:
Bates, _Voice Culture for Children_.
Brown and Behnke, _The Child Voice_.
Howard, _The Child Voice in Singing_.
Johnson, _The Training of Boys' Voices_.
Richardson, _The Choir Trainer's Art_.
Stubbs, _Practical Hints on Boy Choir Training_.
VI. VOICE TRAINING:
Ffrangçon-Davies, _The Singing of the Future_.
Fillebrown, _Resonance in Singing and Speaking_.
Greene, _Interpretation in Song_.
Henderson, _The Art of the Singer_.
Russell, _English Diction for Singers and Speakers_.
Withrow, _Some Staccato Notes for Singers_.
VII. MISCELLANEOUS:
Hamilton, _Outlines of Music History_.
Hamilton, _Sound and Its Relation to Music_.
APPENDIX B
HAYDN--SYMPHONY No. 3
"Surprise" Symphony
Score of Second Movement
[Transcriber's Note: The modern designation for the "Surprise"
Symphony is No. 94.]
[Music]
INDEX
A
A cappella singing, 162.
Accompanist--Relation to conductor, 147.
Choosing of, 147.
Treatment of, 148.
Accompanying, organ, 150.
Adolescent boy, 124, 125.
Alto, male, 119.
Altschuler, quoted, 61.
Anglican chant--Baton movements for, 33.
Attack--How to secure it, 30.
In reading new music, 32.
B
Back stroke, 28.
Baton--Description of, 20.
How used, 21.
Position of, 22.
Baton movements--Diagrams of, 22.
Principles of, 22.
Length of stroke, 32.
Bauer, quoted, 159.
Berlioz, quoted, 62.
Boundaries of music, 41.
Bowing--Directions for, 103.
Signs, 103, 104.
Boy--Problem of, 126-129.
Boy choir--Problem of, 118.
Government of, 126-129.
Remuneration of members, 129.
Boy voice--In church choir, 118-125.
Life of, 123.
During adolescence, 124.
Break--Adult voice, 137.
Child voice, 122.
Breathing, 132.
Breath Control, 133.
C
Canadian Journal of Music, quoted, 19.
Caruso, quoted, 44.
Chant, Anglican--Baton movements for, 33.
Cheatham, quoted, 87.
Cheerful attitude--Value of, 10.
Child Voice--Peculiarities of, 118.
Difference between boy and girl, 120.
Compass of, 121.
Children, directing, 79.
Choir, boy--Problems of, 118.
Boy voice, 118, 119, 120-125.
Qualifications of leader, 119.
Remuneration of boys, 129.
Government of boys, 126-129.
Choir, church--Problems of directing, 108.
Remedies, 109.
Difficulties involved in, 111.
Qualifications of leader, 112.
Danger of individualism, 112.
Solo singing in, 114.
Chorus, high school--Music for, 80.
Direction of, 82.
Seating of, 83
Church music--Remedies needed, 108.
Solo singing, 114.
Importance of congregation singing, 116.
Clarinet, 99.
Clearness of speech--As element in leadership, 16.
Community music--Significance of, 85.
Social effects of, 86.
Qualifications of song leader, 87.
Song material, 89.
Advertising, 90.
Provision of words, 91.
Compass of child voice, 121.
Compass of orchestral instruments, 107.
Compound measures, 23, 24, 26, 27.
Conducting--Definition, 1.
History of, 2.
Psychological basis of, 3.
Orchestral, 93.
Church choir, 108.
Boy choir, 118.
Conductor--Qualities of, 8, 110.
Present status of, 2, 3.
As organizer, 13.
As interpreter, 36.
Orchestral, 93.
Relation to accompanist, 147-151.
Congregational singing, 116.
Consonants in singing, 135.
Counting aloud, 161.
Coward, quoted, 65.
Creative imagination, 11.
Crescendo, 58.
D
Diagrams of baton movements, 22, 23, 24.
Dickinson, quoted, 62, 109.
Discipline in rehearsals, 155.
Dynamics, 57-63.
Terms defined, 59, 60.
E
Efficiency in the rehearsal, 152.
Efficiency vs. Idealism, 153.
Emotion--In interpretation, 38.
Enthusiasm as an element in leadership, 16, 17.
Expression--Meaning of, 36, 43.
In instrumental music, 46.
Elements of, 46.
How produced, 72, 75.
F
Fermata, 31.
Five-beat measure, 27.
G
Gehring, quoted, 42.
Girl voice, 120, 121.
H
Harmony, 71.
Haydn score, 166.
Head voice, 122, 123.
High school chorus--Direction of, 82.
Seating of, 83.
Music for, 80.
History of conducting, 2.
Hold, 31.
Humor--Sense of, 8.
Illustrations of, 9.
Value in rehearsals, 162.
Hymns--Selection of, 117.
I
Idealism vs. Efficiency, 153.
Imagination--Value of, 11.
Individualism--Danger of in church choir, 112.
Instinctive imitation, 3.
Instrumental music--Expression in, 46.
Timbre in, 66.
Phrasing in, 69.
Instruments--Proportion of, 97.
Transposing, 98-100.
Pitch standards, 101.
Tuning of, 102.
Bowing, 103.
Range of, 107.
Interpretation and expression--Definition, 36.
Interpretation, 36-75.
Emotion in, 38.
Definition, 40.
In vocal music, 43.
Importance of timbre in, 66.
L
Leadership--Sense of, 13.
Elements of, 15, 16, 17.
Summary, 18.
Legato, 135.
Length of program, 142.
Life of boy voice, 123.
M
Male alto, 119.
Melody accentuation, 61.
Memory, muscular in tempo, 55.
Messa di voce, 138.
Metronome, 48.
Movable break, 122.
Music--Non-measured, 33.
Boundaries of, 41.
Vocal, 43.
Instrumental--Expression in, 46.
School--Field of, 75.
Church, 108-117.
Music--Distribution and care of, 160.
Music--Selection of, 80.
For children, 80.
High school chorus, 81.
Church, 108-117.
Music stand, 20.
Musical scholarship, 6.
N
Non-measured music, 32.
Nuances, tempo, 53.
O
Orchestra--Directing of, 93-95.
Seating of, 96.
Orchestral instruments--Proportion of, 97.
Transposing, 98.
Pitch standards, 101.
Tuning, 102.
Ranges of, 107.
Organ accompaniments, 150.
Organizing ability, 13.
P
Personality of conductor, 8.
Personality of supervisor, 78.
Phrasing--Explanation of, 66.
In vocal music, 67.
Mistakes in, 68.
In instrumental music, 69.
Pianissimo, 60, 61.
Pitch--Registers, 71.
Standards, 101.
Planning the rehearsal, 154.
Poise--as element in leadership, 16.
Portamento, 138.
Principle of time beating, 28.
Program-making, 140.
Length of, 142.
Arrangement of numbers, 144.
Importance of details, 146.
Program music, 42.
Psychological basis of conducting, 3.
Public performance--Attitude of conductor at, 82.
Public school music, 76.
Relation to church choirs, 115.
Q
Qualities of conductor, 8.
R
Ranges of orchestral instruments, 107.
Recitative, 33.
Registers--Child voice, 122, 123.
In adult voice, 136.
Rehearsal--How to save time in, 152-163.
Planning of, 154.
Discipline in, 155.
Rehearsal letters or numbers, 158.
Relation between conductor and accompanist, 147-151.
Relaxation in singing, 136.
Release--How to secure, 30.
Resonance, 134.
Rhythm, 70.
Rubato, 53.
S
Scholarship, musical--Importance of, 6.
School music--Field of, 76.
Supervisor's personality, 78.
Direction of children, 79.
Selection of music, 80.
Public performance, 81.
Schumann as a conductor, 13.
Score--Reading, 93, 105.
Seating--Orchestra, 96.
High School chorus, 83.
Self-confidence--Element in leadership, 15.
Seven-beat measure, 27.
Singing--Solo, 114.
Congregational, 116.
Use of vowel and consonants 134, 135.
Legato, 135.
Relaxation in, 136.
Summary of good, 139.
A cappella, 162.
Solo singing, 114.
Spitta, quoted, 13.
Standards of pitch, 101.
Sternberg, C. von, quoted, 37.
Stroke, length of, 32.
Supervisor of music, 76.
T
Table--Of orchestral instruments, 107.
Transposing instruments, 100.
Technique of the rehearsal, 152.
Tempo, 46-56.
Importance of, 47.
Finding correct, 48.
Rubato, 54, 55.
Establishing of, 55.
Tempo terms defined, 49-53.
Timbre, 64.
In instrumental music, 66.
In vocal music, 64, 65, 66.
Time beating--Principles and methods of, 22-29.
Back stroke, 28, 29.
Tone--How produced, 134.
Tone quality, 64-66.
Transposing instruments, 98, 99, 100.
Tremolo in singing, 138.
Tuning orchestral instruments, 102.
U
Unity in program making, 142.
V
Varasdin, quoted, 19.
Variety in program, 140.
Ventilation of practice rooms, 162.
Vibrato, 138.
Vocal cords, Action of, 137.
Vocal music--Interpretation, 43.
Timbre, 64.
Phrasing, 67.
Vocal register, 136.
Voice, the boy's--In church choir, 118-125.
Life of, 123.
During adolescence, 124, 125.
Voice, the child's--Peculiarities of, 118.
Compass of, 121.
Difference between voice of boy and girl, 120.
Head voice, 122, 123.
Voice training--In conducting, 119, 131.
Breathing, 132.
Breath control, 133.
Resonance, 134.
Legato, 135.
Tone production, 137.
Vowel in singing, 134.
W
Wagner, quoted, 47.
Weingartner, quoted, 12.
Whipple, quoted, 10.
Whole method, 158.
Williams, C.F.A., quoted, 75.