The song, "Just One Touch" ("Christ in Song," p. 18), lends itself readily to choir use, and has a great circle of friends. It has a strong appeal, for every churchgoer has some hope, even if it be but a flickering one, of reaching out and touching the Master .during the Sabbath hour.
You will notice the two rhythms, one for the stanza and another for the chorus, but they are quite alike in character. When you can divide the upper numeral of the time signature by three, you have as many accents as there are three's in that number. This provides a smooth-flowing rhythm for the impressive stanza messages. The chorus also has two accents, the first on beat one, the second on beat three.
If you will read the poem with the accents according to the music, you will see how natural the rhythm of the music matches the poem. This is important to an easy and smooth expression in singing. Without it, the words become wooden and cumbersome, unimportant words receive too much attention, and important ones are robbed of what they need. This is bound to produce a stilted, stiff rendition.
Occasionally let the choir read the poem according to the rhythm of the music, just swinging along in a childlike style. They will receive much help on the "balance of power" among words. Usually short tones are unaccented ones. This is not always true; yet it is of quite common occurrence.
You will observe that the piano accompaniment is written much like a four-part song. In measure three, the upper voice on the bass clef is omitted. There is an error in part movement between measures three and four ; still it is not very objectionable. Let the choir hum the parts of the piano accompaniment on all stanzas, just as though this were written for them. The tenor voice can be silent in measure three, picking it up again in measure four. If the tenor voice in bar 5 will hum a "g" instead of the second "f," the harmony will be improved. The tenor may be profitably brought out in this one bar. Let the choir observe the three rests in the stanza. As the solo rises and falls, see that the accompanying voices bear it up in their arms, as a vessel rides on the sea.
The first stanza may be sung as a solo, with the accompaniment hummed, as suggested before. The second stanza may easily be used as a duet by having the lower voice take tones a third below the solo voice, beginning on "d." Use the interval of a third for bars I and 2. Follow the upper part of the accompaniment for bars 3 and 4, holding the last "f," instead of taking the following "e." Then follow the tenor tones in bar 5 to the first note of bar 6, where the second voice can follow the solo voice down in thirds again through bar 6. Both voices can take the first three tones of bar 7 together, having the lower voice fall to "e" on beat 4, taking the logical tones that follow it in bar 8 on the middle clef. The second voice should repeat the word "divine" at the close of the stanza.
Use the third stanza as another solo. Omit stanza four. It does not break the thought, and the song will still be of sufficient length. Stanza five may be used as a five-part song by dividing the sopranos, having several take the solo part while the rest take the soprano in the accompaniment. When all voices sing on the last stanza, the rhythm of the accompanying voice part must take on that of the solo part.
Never permit the voice parts that are of harmonic importance to cover up the melody. See that a fine balance is maintained between them. The melody is the head to the musical body.
Make the chorus match the character of the stanza which preceded it. For instance, the solo voice of stanza one should be of lighter texture than that chosen for stanza three. The chorus should partake of this same character. Notice the highest note in the first two measures of the chorus—it is "d." Note the highest in the next two measures—it is "e." That of the next two is "f." This gradual climb gives a suggestion of climax, which is usually reached very near the close of a section, or the end of the piece. It will also be found after the climax that the melody will usually gradually fall to the close, with a natural subsiding of intensity.
The chorus, after stanza one, may be started softly and slowly, like the last phrase of the solo. The second phrase may have added power. And the third phrase should reach the pinnacle, with a "hold" on the half note. Make a clean "cut off" at the peak of power, with a slight pause thereafter. For stanza two, the chorus may begin with a little more tone. The second phrase may be softer, and the third still softer, fading to a pianissimo on the half note. Use a very quiet ending. Have the accompanist play an interlude following stanza two. The last two measures of the chorus will serve this purpose.
A deep alto voice for a Solo on stanza three will give the heavier quality desired to match the words. It is better not to use a male voice on any of the stanzas, because the poem is based upon the experience of a woman. Begin this chorus with medium power for phrase one, allowing the tone to diminish in the second measure. This will prepare bars 3 and 4 to be sung slower and much softer. Introduce the climax phrase softly, but with steady increase of power and slackening of pace. Close the chorus with diminishing tone, and retard. The chorus for the last stanza may be used like that of stanza one, with but this one change—sing the final phrase with power and dignity.
Carefulness in diction will do much to make this song beautiful and impressive. Beware of words that are apt to run together like "touch and," which are frequently sung "tu-chand." It is better to separate them than to coin a meaningless expression.
A few points on diction for the chorus may help to clear other places of doubt. Finish the word "touch," using a slight break between it and the next word. Insist on an "h" in "he." Let the choir speak "will list" several times, getting the final and initial "l's." A similar circumstance is ,found in "list to." You will likely discover a tendency to omit the "d" in "and be."
Vowels are sung, but most of the consonants are spoken, with the exception of "m," "n," and "ng." Consonants are noises. They interrupt the flow of tone on vowels ; therefore they should be made as short as possible. In this way the blockade is of brief duration, and the tone is permitted to flow as smoothly as possible. Here lies the secret of good diction.
By printed word it is impossible to cover every point necessary for an impressive rendition. The director must give his personal touch to this bare outline, in order to make it live before his choir. It is only With the hope that this article may be the means of prying open the door to choir hymn offerings, that it is written.
