The Boy's Voice Part 5

CHAPTER X.

THE SPECIAL DIFFICULTIES OF AGRICULTURAL DISTRICTS.

My object is to help those whose difficulties are greatest; who, so far from being able to pick out boys of musical talent and fine voice, are obliged to accept the material that offers, often of the poorest musical description. The country boy is a more healthy animal than his brother of the town, and there is no fault to be found with the natural volume of his voice provided he can be taught to place his registers rightly, to avoid straining the thick or chest register, to p.r.o.nounce and phrase properly. This is, however, what the Americans call "a large order."

I have been fortunate in collecting information from several choirmasters in agricultural districts, who have conquered the difficulties of this task. First, I quote Mr. W. Critchley, choirmaster and schoolmaster at Hurst, near Reading:--

"The rural choir-boy differs somewhat from his brethren of the town in the following particulars. As a rule, he is duller, and slower in his perception; he is attentive and docile, but sluggish; he retains what he is taught, and therefore, as far as mere knowledge and memory are concerned, it 'pays' to take him in hand. His voice is strong, but rough, and this undisciplined strength is the cause of most of the trouble he gives. Moreover, he is exposed to the weather very largely, and this causes him to be more influenced by atmospheric changes than the town boy, and prevents, in a great measure, any great delicacy of finish from being obtained. So it will be seen that the country choir-boy requires special treatment in order to produce good results.

Sometimes, when a village lies compactly together, a large amount of work can be got through similar to that which we find in towns, but generally the rural district is wide and scattered, and only a limited number of practices can be secured. Under these circ.u.mstances, I have found the best course to pursue to be somewhat as follows:--First and foremost, let the Tonic Sol-fa system be taught, it lightens the work of the choirmaster in a wonderful degree, and the boys bring an intelligence to their work which is unattainable by any other means. If the system has not been taught in the day school of the parish, it should be introduced at once; if that is not practicable, the choir-boys should be taught at a second practice-night. This second practice is required in any case, if anything better than mere 'scratch' singing be aimed at. _All_ practices should be begun by voice exercises. On the extra night a greater amount of time should be taken up with them, for to a country choir-boy, who perhaps in the day is shouting to scare birds, they are vital. The lower register of a country boy is, as a rule, coa.r.s.e, so it is important to get him to use his higher register as soon as possible. Show him first of all that he has, as it were, _two voices_, and point out that he is required, as Mr. Evans observes, to use that voice which is most like a girl's. He will be apt for some time to use this voice in the upper notes of the music only, and there will be a disagreeable transition to the lower register when the music comes down on G, or thereabouts. To conquer this, I use exercises which train the upper register _downwards_, such as:--

[Ill.u.s.tration: KEYS A to F.

d m s m d r [(.d] [(.t]_1 [(.l]_1]

the object being to strengthen the upper register, and, except where the music touches D or C, [Ill.u.s.tration: musical notation] to practically 'shelve' the lower thick register in the case of treble voices. In training upwards I insist on easy singing, no straining. I don't mean apathetic singing, for this is especially to be fought against in the case of country boys, as there is naturally a want of 'go' about them. I mean soft singing, but energetic. I tell the boys to sing like birds, and they generally understand from this that they are to use the upper register. I do not find much difficulty with them in the way of flattening. Except in the case of the younger boys, I often hear them a little sharp. The Tonic Sol-fa method trains their _ears_, and I get them to listen, and blend their voices; above all, to get rid of apathy.

And if there should be a tendency with the younger boys to sing flat, I generally find that the application of the old rules as to position, loud singing, forcing the voice, faulty breathing, and inattention will remedy the fault. If it occurs in church, a judicious use of a four-foot stop on the organ often keeps up the pitch. I find, if the melody of a chant or tune has a great many of the 'thirds' of the chords in it (I mean as distinct from the fifth, root, &c.) it is often difficult, especially on a foggy morning, to keep it in tune, _e.g_.:--

[Ill.u.s.tration: KEY G.

{ [(.m] m:r m:-- [(.m] r:d r:r m:--

or,

KEY G.

{ [(.m] f:m re:-- [(.m] r:d t_1:r d:--

or,

KEY F.

{ [(.m] f:l s:-- [(.s] d1:m r:f m:-- ]

This is the case in a marked degree when the reciting tone comes about the natural 'break' of the voice. The remedy for this I find to be transition into another key, one which I judge to be more congenial to the state of the boys' voices. Here is where the usefulness of the Tonic Sol-fa system to an organist comes in. A lot of practice in mental effects has a surprising result in ear training. Sometimes, however, we get a clergyman who intones badly, and then it is quite a struggle to keep in tune.

"There are a number of other little points which tell against correct singing in a country choir; the generally thick enunciation, the provincialism, the difficulty in getting open mouths. I do a lot of reading by pattern, and pay attention to initial and final consonants.

Country boys neglect these more than town boys. I practise without organ as much as I can. If an instrument is used, the piano is decidedly the best. I find Gregorian singing has a strong tendency to injure purity of tone and delicacy of expression. I do as little of it as possible.

"On the second choir practice night I spoke of, it is certainly good to take up glee practice, or a simple cantata. It sustains the interest, and makes the choir a bond of union in a country village."

Not long ago I found myself by chance wors.h.i.+pping in a remote village in East Somerset, Churchill by name. There was, in the parish church, a choir of six boys and four probationers, who sang so slowly and sweetly, not with the luscious fulness of some boys I have heard, but with such uncommonly good style for agricultural boys, that I was much interested.

These small villages have, from the present point of view, one advantage. The day schools are "mixed" (containing boys and girls), and the teacher is a lady. Both these influences tend to the softening of the boy's voice. Miss Demack, the school-and choir-mistress at Churchill, has kindly written a few notes on the subject of her work, in which she says:--

"I certainly think that the girls' voices soften the boys'. I admit probationers at the early age of six if I find they have any voice, as I think the earlier the better. When I took my boys in hand, I found scale exercises very useful. I did not teach them any tunes until I had somewhat altered their rough voices. Another help was this: I had a girl with a particularly good voice, and made the boys imitate her as much as possible. This I found answered remarkably well. The boys seemed to adopt quite a different tone."

Miss Demack teaches singing in the school and choir by ear only, and knows nothing of the Tonic Sol-fa system.

I next give a short paper kindly sent me by Mr. George Parbery, choirmaster of the parish church, and master of the National School at Fordingbridge, Hants:--

"Dear Sir,--As choirmaster of the parish church here, and as one who takes great interest in the subject of singing in schools, I am happy to respond to your request, as we are essentially a rural district.

"I have occupied my position now nearly ten years, and am just beginning to find the benefit of the Tonic Sol-fa movement amongst my adult members of the choir, having now nine adults who have pa.s.sed through the school with a good practical knowledge of the Sol-fa notation.

"When I commenced work here (coming from north of England) I was struck with the very disagreeable tone of the boys' and girls' voices. To say they sang flat does not convey how flat they sang, nor does it convey any idea of the tone, but the same may be heard any night at the Salvation Army meetings here. The vicar of the parish told me also upon my arrival here, that at a church in Bournemouth a former vicar used to import all his boy voices outside of Hamps.h.i.+re. So that you will gather that I had not a light task before me to produce a tone satisfactory to myself or the inspector. But I may safely say I have for some years satisfied myself, and last year our a.s.sistant-inspector spoke of the very beautiful quality of the boys' voices. I can a.s.sure you that it is only rarely that I find occasion to complain of the tone. The moment I hear the objectionable tone produced, I immediately stop the singing, even if in the middle of prayers. Mine is a boys' school, but I teach the girls singing with the boys. Now as to how I produced the change:--

"1. I introduced the Tonic Sol-fa notation.

"2. I used to practise very frequently for a few minutes upon the modulator, making abundant use of the upper--

[Ill.u.s.tration: KEY C. d1 r1 m1 f1]

"3. I prohibited all shouting on high notes.

"4. Particularly was I severe upon loud singing in lower notes, say,

[Ill.u.s.tration: KEY F. r d t_1 l_1 s_1]

"5. I established a degree of sound, and have it still, what is known amongst my scholars as 'singing in a whisper'--_i.e._, to produce singing as softly as possible. This idea I picked up in Ches.h.i.+re from a good Tonic Sol-faist.

"6. I have one or two favourite hymns, which I always pitch higher than written, and thus compel the boys to use the upper registers. The boys know I like these hymns, and I never fail to appreciate them to the boys at the end of singing. I also have a favourite marching tune--I don't know the name, but I believe it is often set to the hymn, 'When mothers of Salem.' This tune is very lofty, and I believe the boys really enjoy its loftiness, _but there must be no shouting_. When the boys displease me, I tell them they drop their jaw too much, and they instantly know what I mean.

"7. I have very little alto singing in school, for the reason that it has a tendency to encourage loudness. In my choir I arrange for three or four of the oldest boys to sing alto.

"In conclusion, I may say I am thoroughly proud of my boys' singing from standard I. up to the top of the school, and I believe my success has been chiefly from abundant use of the modulator for scale practice, and never allowing loud singing. Proud as I am of my boys, the girls certainly excel them, and ten years ago their tone was worse, if possible, than the boys. I have no instrument in school, but _occasionally_ use a violin."

A correspondent from another agricultural county--I will not give his name--favours me with some rules which he has used more or less for thirty years. In one school taught by the writer, the inspector said he could not distinguish the boys from the girls' voices--truly a high compliment. My correspondent names a new hindrance to church music in rural places, namely, the clergyman's daughter!--

"Practise the scales up and down to the words 'la' and 'ha,' the latter for the purpose of separating the teeth. Commence at the key of C to C1, then from D to D1, and so on upwards as high as the voices of the boys can reach, never resting satisfied until they cover two octaves firmly. In teaching new music, and, generally speaking, in accompanying the boys, play the note they are singing and its octave above--on the stopped diapason and flute if an organ, or the corresponding stops on a harmonium. Let there be no other accompaniment, and on every occasion the octave above the note sung. This is very particular. Check one voice singing above another. Have no leaders. Stop or subdue all harsh voices, and make them listen to, and try to copy the pure notes of the flute; let the boys sing well within their strength. If you lack power, increase the number of choristers, and subdue the voices. I always choose smooth flowing chants, with the reciting note ranging from F to C. I do not care to go higher than G above the line in anthems or services, but have trained them to start on B[b], 'The Sisters of the Sea,' by Jackson.

"I never trouble about altos, they are too difficult to get, and indifferent and troublesome when obtained, but in verse parts of services or anthems, one of the best boys will supply the deficiency, and even take up the lead in a chorus.

"Choirs experience a difficulty which is not included in your list of points. I have received 60 per annum as an organist, 50 and a house.

On another occasion I was offered the choir-masters.h.i.+p of a church choral society of 60 members. At this time I was trainer and conductor of a choral society of 100 voices with string and wind accompaniment, the subject being _The Messiah_. Yet I was not considered competent at the church at which I played to put a tune to a hymn, but had to submit to the parson's daughter, who was qualified through taking three months'

lessons from a German. On one occasion this lady went ten times through a hymn to please her father in trying to fit a four-lined tune of the wrong metre to a six-lined hymn! I offered to go through an eleventh time, but he never interfered again. I could give you many instances where these ladies themselves are the great drawback of good church singing, but on the other hand, I could mention cases where they never come near a practice, or interfere from one year's end to the other."

Knowing, as I do, the devoted way in which clergymen's daughters in many rural places train the choir, I hesitate to endorse this charge. The work needs to be done with tact and consideration. In the vast majority of cases these ladies are a great help. I do not approve the plan of playing the melody in octaves while it is being learnt, which my correspondent advocates. I give his letter as a record of earnest work.