The "Chorus Song"

The more or less 'recent popularity of the  "chorus song" may receive some comment to advantage. The variety of opinions regard­ing the type of song best suited to our evange­listic endeavor is governed by all shades of musical "taste," which may run from a low grade to the exclusion of all but the classical type of music.

No one can erect a standard that will meet the favor of all. The old-fashioned "spinach" type ("take it because it's good for you") is not a chorus at all to many. It is simply a pocket edition of a strict hymn, which does not invade the territory occupied by the so-called chorus. As in all music, secular and sacred, there is a long scale of quality, and it is the part of wisdom to give careful thought to the choruses we wish to use. Let us avoid those songs which lean too strongly toward the sec­ular, where the emotional element, fired by ragged rhythm, asserts itself unduly.

To cover this question properly would entail a lengthy discussion of the borderland territory ^-between the "shalls" and the "shall-nots," and would be too lengthy for general purposes. The best ideas of appropriate choruses may be had through actual demonstration. They may be played or sung in such a manner as to make them wholly unfit for their proper sphere of service. This is true of any form of music or any language. The inflection, emphasis, color, spacing, and so forth, may easily alter the meaning of passages that, when properly in­terpreted, are effective for good.

One of the best ways to arrive at, and hold to, the best standards, is to associate much with the dignified, strict church style of orthodox hymn. This frequent contact will color our ideals and uplift the use of these miniature songs—which otherwise might trail in the dust of the cheap—to a place of effective usefulness.

Many times the material which is designed for a special purpose may be easily overdone, and through this excessive use weaken itself ,considerably. Because of the pliable character of the chorus, if not advisedly applied, it may degenerate into an objectionable thing.

We have a serious message for a serious time in earth's history. And yet the dark clouds, so forbidding, have the silver and golden lining of the coming of Jesus, which should reflect its joy within our hearts, who through the power of God have been able to turn the dark clouds inside out. The joyousness and glory of His .coming should never be shadowed by fear and the roll of thunder. Our songs should properly reflect this spirit of consecration, and glow with the peace and joy which are the Chris­tian's heritage. A crepe may be hung on worldly conditions, but it need not be pinned to our countenance, or color our songs. Ours are songs of deliverance!

Obviously there is danger of overdoing the use of the chorus song. It is easily mem­orized because of its simple message, its appeal­ing melody, its simple harmony, and its brev­ity. All these characteristics combine to make its use effective in obtaining good congrega­tional support in the shortest possible time.

That these songs should be of good quality goes without saying, for they will be carried out of an evangelistic effort into people's lives, and may serve as an uttered or unuttered ac­companiment to the common duties of the day. This is one of the ideals for a chorus song to attain, so let us be choice in our selection of each one. It should be used as musical punctu­ation to a song service, and not too frequently.

There are many ways of teaching a song to an audience for the first time. Many choruses are of no greater length than thirty seconds. If it is of proper medium length, with good melodic form, the director may ask the audi­ence to listen to the music as the accompanist is playing it through. As the music progresses he may refer to the musical phrases, their rhythmical similarity, or their melodic unity. He may speak of the climax as it is reached by the instrument.

The second time through, the words may be recited in pace with the music—with freedom, of course. The third time the director may sing while the audience hums the melody. Along with this last review it is well to use suggestive motions appropriate to the thought of the words. When the final trial by the audience comes, the gestures used in the preceding at­tempt will be something through which the au­dience may have warning of the words. All this takes very little time. Of course it should be clinched in the memory by repetition later in the same evening and at future services.

Try to present some interesting thing about the chorus as it finds new usage. For instance, it is well—effectively worthwhile—to com­ment very briefly on its mood. Do not hesitate to mention appropriate, pointed but cheerful, suggestions on diction. If your musicianship permits you to gather an insight into certain reasons why the composer did so and so, it en­hances the song, gives it greater appeal, and frees the audience from the reserve many of them bring with them. There is a vast difference bettiveen freeing and freezing.

These songs are a bit like the few smooth stones that David selected from the brook when he walked out to meet Goliath. They will be effective if properly used and properly selected. Remember, David used a small smooth stone, a steady eye, a strong hand, and a definite mark with a definite purpose. The giant of audience fear may be overcome with this insignificant music form, when studiously given.