CHAPTER XII.
NOTES ON THE PRACTICE OF VARIOUS CHOIRMASTERS IN PARISH CHURCHES.
In the course of journeys and interviews extending over many years I have gathered much experience from choirmasters, and have watched and noted their plans. Here follow some of the results of this work. The churches described are some of them small, and but little known. This fact, however, does not affect the value of the experience. The highest degree of credit is due to the choirmaster who obtains good results from poor materials, and this book is especially intended to help those who have to make the best of ordinary opportunities.
LEEDS PARISH CHURCH.
This church has long been noted for its music, which is sung in cathedral style. There are about thirty boys, whose voices, even up to A, are round and clear, and throughout are big, true, and rich. Notable features of the style of the choir under Dr. Creser, are the long dim. cadences in responses, and the independence which enables the singers to go on without the organ, if the expression suggests it. At the rehearsal in the parochial room Dr. Creser sits at the grand piano with the boys in their cantoris and decani places on each side of him just as in church. The boys rehearse five days a week after evensong, and the juniors have an additional practice. After Saturday evensong there is a full practice with the men. All the boys are trebles. Yorkshire is about the only district in England which produces adult male altos. The boys are chiefly promoted from district churches. They live at their homes, and receive a free education—the seniors in the Leeds middle-class school, and the juniors in the parish church school. There is also a small salary paid quarterly, and when a boy leaves he receives from £15 to £25 if an ordinary chorister, and £50 if a good solo boy. Fines are imposed by the precentor for misbehaviour or mischievous tricks in church or precincts, but not for mistakes in singing. Dr. Creser teaches sight-singing on the lines of Curwen's "How to Read Music." The boys use the old notation, but have learnt it through Tonic Sol-fa, using the course entitled "Crotchets and Quavers." Occasionally the whole rehearsal consists of sol-faing. In every difficulty as to key relationship the Sol-fa makes matters clear. Dr. Creser was first led to use Tonic Sol-fa by noticing how easy it made the minor mode. The junior boys are always taught by Dr. Creser. Until the voices settle he would on no account delegate them to an assistant. The two chief rules of voice-training are to forbid forcing the chest register above
ST. PETER'S, EATON SQUARE, LONDON.
Here, under the direction of Mr. de Manby Sergison, a very fine Anglican service is maintained. There are twenty boys, and a few probationers. The boys have an hour's practice every day, and sing the Psalms and a hymn at the daily choral service. Formerly a choir boarding-school was kept up, but this was abolished, being found to be too expensive. Now the boys are selected from schools in and near the parish, and Mr. Sergison finds the ordinary London boy equal to all the demands of the church. When the choir-school was given up he was able within a month to prepare an entirely new set of boys, so proficient that the congregation scarcely noticed a difference. The vocal practice of the boys includes "Concone's Exercises," and their phrasing in the service music is very good. The full choir sings on Sundays and Saints' Days, and their rehearsal takes place once a week in the church, Mr. Sergison being at the organ. In the chapter on the management of choir-boys I have quoted some wise remarks by Mr. Sergison, which explain his success as a choirmaster.
ST. MARK'S COLLEGE, CHELSEA.