Were it possible to assemble the world's finest singers in an all-star choir, and ample time be given for practice under a master, there would still be a lack — something missing that is necessary to completely satisfy the discriminating listener. Obviously, you say, that would be the spirit, the soul, that heavenly something. That is true; but it goes farther — it lacks a tonal, harmonic beauty which comes from contact with heaven. True beauty comes down from above. The beauty of holiness, a beauty beyond anything this world offers, can be had only in combination with holiness.
Consecration must come first. Experience has taught me that a good choir must be an all- consecrated choir. One heart out of tune with heaven is a discord in the "beauty" of the ensemble quality. Harmonic and expressive sing ing, with its heavenly choir overtones, is available only to the singers who are in touch with the Divine, led by a conductor whose heart is communing with the Source of all beauty.
Indeed, I have heard some lovely music produced by hearts out of tune, but it has never possessed that ultimate, out-of-this-work beauty which makes one long for the better land as no other earthly art can. This tuning with the angel choir draws director and singers into a oneness of spirit that is exhilarating and inspiring to both. Even the quality of the individual voices becomes more uniform. Then it is- that the message of the music is fully felt and expressed.
It would be a fatal mistake, however, to sup pose that consecration will take the place of practice. It would be like a diet of vitamins without the other necessary elements of nutrition. First, every member must know his part so well that it comes automatically with the words. Then as the singers and director unite their spirits in interpreting the message of the lyric, combined with the nuance and ebb and" flow of the music, the selection becomes alive, for "it is wafted from the throne of God." (Testimonies, vol. 4, p. 626.)
In singing we must read the poem with correct colorful expression. If it is worthy of music, this will give a clear idea of the musical expression in rendition. The rhythmic pattern must be maintained, but this part of the music must not dictate and override the freedom of expression. Nothing about good music is stifled. Every phrase must be as delicately shaded as the light of dawn and the shadows of the twi light. And let us not forget to bring out the noontide high lights with brilliance and power. God's creation is full of contrasts. From the seasons of the year to the tiny wavelets on the smallest wave of the billowy ocean, contrast, vitality, and color are everywhere. Music per formed without expression is like faded black- and-white pictures as compared with color photography, or an ocean as smooth as glass, without a ripple, as compared with the fascinating beauty of the infinite variety and contrasts of the sea. "Music should have beauty, pathos, and power." (Ibid., p. 71.)
So with all pride, jealousy, and competition removed through consecration, all will build and grow together in a unity of spirit, voice, and dress, sustained and inspired by constant contact with the Source of vital, spiritual dynamics above. This is the beauty-of-holiness choir that will win battles for God. It grows only in the atmosphere of prayer. We who are entrusted with leadership in this field must rise and fulfill God's expectations, for "amidst the deepening shadows of earth's last great crisis, God's light will shine brightest, and the song of hope and trust will be heard in clearest and loftiest strains." — Education, p. 166.
