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As at this stage the boys know nothing of the diatonic scale, I let them imitate. The exercises may be played on a pianoforte, if the teacher cannot sing them, though in the latter case it is preferable that he should adopt the plan of selecting his best pupils for the models.
I once had to commence with some uncultured boys, and knowing the difficulty of getting them to make a start, took with me a few of my own trained lads, who sang the exercises first, after which I added one or two of the beginners to them, and sympathetically they soon sang in the proper register with the others. By continuing the process of addition gradually I soon got the whole class to sing as I wished.
At this first lesson the proper production of "oo" (vowel) should be obtained. I deal with the vowels as they arise, never observing a lack of clearness and purity without endeavouring to correct it. The foregoing exercises can next be used for teaching the intervals of the diatonic scale, for instance:—
calling the notes by their names, doh soh. Here, again, the proper vowel production must be sought for, and obtained. The difficulties will be varied in this respect with the locality. Often I have met with doh-oo. This, as well as ray-ee, and other faults that need not be specified, can be corrected at once. The beautiful intonation we had at Swanley I attribute in a large measure to the care bestowed on the production of vowel sounds. There must be no division of opinion among the singers as to how any particular vowel sound should be emitted. If there be not unity in this respect the intonation suffers.
The earlier exercises should be sung in unison, a correct division into 1st, 2nd, and 3rd trebles being impossible until the boys have acquired sufficient confidence to show what they are naturally. I have for a long time used with advantage the single chant form for exercises, making them myself.