To picture a choir conductor who is ideal in training and personality is an easier task than to find one who meets these ideals. A few suggestions are offered, however, which may be helpful in promoting in choir leaders a distinct consciousness of certain qualifications that contribute to success. These remarks are not intended for those who are already successful directors, but are offered to those who wish to overcome their weaknesses and improve their technique.
Other things being equal, he is best equipped who has the broadest knowledge of music. The more he understands the piano, the more substantial is his position on musical questions. No other instrument gives such a complete grasp of music; none is so comprehensive and inclusive. It alone gives the director a thorough understanding of the elements of music, rhythm, harmony, and melody. It would well repay an ambitious choir leader to study the piano, that he might broaden his views and acquire at least a working knowledge of the things he needs to know in order to direct a choir successfully.
Without a thorough grounding in rhythm and note reading, a director stumbles along blindfolded. He should not be satisfied to rest his success upon his native ability, without exerting himself to do his best. If he recognizes the opportunity which is his, to perform an effective bit of missionary service that touches every churchgoer, he will not rest on his oars,—providing he has oars instead of sticks for paddles,—but will diligently apply himself that he may have a mastery of the work in hand. To recognize the exalted duty that is his is also to recognize the necessity of making sufficient preparation for that duty. Knowledge breeds assurance; assurance begets confidence; confidence gives birth to those obedient children necessary to every successful choir—Interest, Industry, Endeavor, Enthusiasm, and Attendance.
The weight of choir success is in the hands of the conductor. He must know the grade of music that is best adapted to the ability of his singers. The general tendency of the amateur musician is to undertake music that is too difficult. He forgets that one's ability is not measured by the difficulty of the music so much as by the manner in which it is handled. The true artist does not think of the skill he can display in singing a song, but he makes it his ideal to give the song his most artistic expression, whether the music is simple or difficult. It should be the highest aim of the director to draw the deepest religious expression from his choir.
It is, of course, necessary for the director to have a knowledge of the voice. There is more to good choir renditions than singing accurate tones in good rhythm and harmony. There come the questions of breathing and diction. Good diction must not be considered of secondary importance. Without it the song becomes a mere vocal display, in which the congregation hears only beautiful music, stripped of the message of the song. What is more tantalizing than to get a word here and there, and be forced to complete the broken thought as best one can?
Choir members will value their choir experience if you have something to offer them besides an indefinite grind of the same thing over and over again, with but scant instruction on how to improve it. If you wish to kill interest in your choir, the surest way is to say habitually, "Now let us try it over again, and improve it this time,"—without informing them as to where and how to improve. They are ready to accept your suggestions, but if you have none to offer, you should soon discover some way of changing the procedure. It is astonishing how patient a group of singers will be when an ideal is held before them, with tangible ways and means suggested for reaching it. Unless there is something radically wrong with the conductor's comments or the choice of the music in hand, the singers will cooperate in reaching the goal.
There is much that an alert conductor can do to improve his conducting. Help can often be gained by contacting the director of some other church choir in the vicinity. Request to be permitted to attend one of his rehearsals. Explain that you admire his work and musicianship, and wish to get some points on successful choir rehearsals. You will almost always find a ready response. With pencil and paper, note the approach that is made to new material. Watch his methods of securing results in every line—diction, balance of parts, interpretation. Note the careful attention given to each part where strands of melody are found. By attentive, open-eyed observation, you will add many valuable elements to your stock of conductor necessities. Visit other choirs with the same thought in mind. Talk with the directors after practice; put questions to them that concern you. If necessary, ask the one you think best qualified to give you time in his home on choir leading. It would be well worth your while to pay him for a few such periods.
Success depends upon you, your determination, and a normal amount of musical talent. Be quick to detect weaknesses, both in yourself and in your choir, and set about it diligently to correct them. Take your work seriously, and bend every effort to improve. It will be a source of great encouragement to you to find your choir making progress. A spirit of enthusiasm will spread throughout the group, and soon each one will consider it a distinct privilege to be a member.
A musical training, however, is not all that is necessary. A choir leader's character will have direct bearing upon his success. The popular conception that a director is good because he is critical of everything that is done, is entirely wrong. It is possible to be a master of music, without being the master of a sharp, stinging tongue. A helpful, sympathetic, patient spirit will pull a choir out of many a deep hole, but cutting remarks will only excite, and will rarely accomplish their purpose. Smarting remarks separate friends, and leave empty spaces in churches Manifest all the Christian spirit you can command, and remember that kindness draws, but severity scatters.
No leader can afford to be dictatorial to those under his direction. A kindly attitude is next in importance to musical knowledge. It should be the director's studied plan to give his very best to his work, to be in love with his duty. A whole-souled director who speaks from experience born of deep-seated love for his work, will find his choir in turn catching a deeper interest in music. And the combined efforts will make for improved choir renditions.
