Gloucester County Democrat., 1909-04-22
TEACHERS ASSOCIATION.
Continued from Fifth Page


| has been leased by Mrs. S. e. Paul.
| is to expect it-take it for granted and
never show you have suspicion of
anything else. However, have it, and
keep the ears and eyes open and give
| quiet, persistent attention to any who
may seem unfavorably inclined. The
secret of the whole matter is this
an enthusiastic, music-loving instruc-
tor always wins an eager response,
which then needs training.
Now that we have our class all
singing and singing with interest, and
all voices blended and in unison, we
must next direct our attention to their
pronunciation and to the strict OBJ
servance of the time. They must also
be taught the importance of making
a good beginning and a good ending.
All words should be spoken strictly in
unison and especial care given to the
singing plainly words ending in such
letters as d, G, p, t, S. etc. Besides
this, it is of equal Importance that
we should never run the words to-
gether like putting final t, d, or
onto the next word making, for in
stance, such combinations as, It and
ID in, t at, ""t or" or "g of
Only when these points are closely
observed can any singing be intelli-
| gent and all must understand that the
same things are required of all and
at the same instant Chorus singers
must be trained to listen to their own
voices and to each other, and to watch
the leader. We want what the ball
players call team work. Impress
constantly upon them the necessity
for each one following strict time and
always doing just the right thing at
the right time SO they will keep to-
gether and finish together. Nothing
makes much worse effect than when
words are not pronounced together,
rests are not observed by all, words
not well finished, or not finished in
unison, and some voices in the lead,
with others tardy in ending tones.
All these things so far mentioned
are concerned only with chorus work.
There are other things also which are
necessary to good music whether solo,
| duet, quartette, or chorus, and the
training for and careful observance of
these only can give the proper finish
and the additional pleasing effects in
any case. They are shading and phras
ling. In these the power to understand
and express the sense, or feeling of
the song, and the control of the breath
are the important factors. For ex-
ample, phrases, but more especially
words, must not be broken for a
breath. On this account Lead Kindly
| Light is a difficult song to render
properly. The singers must know the
song, must have definite breath inter
walls, must have the breath under full
control and good supply apparently
a1WavS IN hand cn fo cnooI II f58
Let it be impressed right here that
it shows an entire lack of musical
training to split up the words when
singing. A song should be given just
| as close study and rendered just as
carefully as poem is studied and
read. The general disregard of this
fact IN singing church music, patriotic
songs and even the popular airs is
greatly to be deplored. Shading and
phrasing make of good singers artists,
and will do much for any of us. They
play quite as important a part in mu-
sic as proper shading in pencil or
brush work
Now these are the things to be aimed
for, but they do not come at a bound
With some classes they come slowly
indeed, and in all cases require untir-
ing effort, eternal vigilance and never
| tagging enthusiasm on the part of the
teacher. We sometimes meet with
chorus trainers especially supervisors
of public school music, who, while
they are free to say they are in a
delightful work, yet they stoutly main
tain that theirs is the most difficult of
all branches to teach. And for those
who know, this is not so hard to be-
lieve, for it most surely takes deal
of vital force, to say naught of the
squandered patience, to train a class
in chorus. However, it is delightful
if one loves the work, and does not
hate to work. If you have it not, this
necessary love for the work can be
stimulated and cultivated in direct pro
portion to the effort put forth in that
direction
The teachers preparation and spirit
is the most important thing in this as
in every other branch. There must
be no.uncertainly-n time lost, things
must be previously planned-the work
must be move with interest-the teach
er be lively and cheerful, but positive.
If the class is antagonized, stormed at
and forced there can be no music,
and operations better be stopped. Such
a condition of things is exactly con-
trary to what music stands for and
hopes to develop.
So the need of a pleasing manner
and countenance in singers. Profess
sional singers early learn to appre-
| ciate this. Never allow the face to be
unnaturalIy contorted. Keep the
scrowl from the brow. Avoid any
thing that may approach panied ex-
pression-for it is real pain for the
audience. Teach that the facial ex-
preston should harmonic with the
song.
More than this singing cannot be
properly done except in an upright
sitting or standing position, which
only gives free use of the lungs, so
in our classes we will never begin
operations until all pupils are sitting
up'-with heads erect Leaning and
1ounging are entirely out of the Ques-