The formation of a choral group will receive the music director's first attention. As soon as he enters a city he will begin searching for suitable voices. He may decide to audition, or spend four to five weeks finding out about known singers and listening for un known ones. Auditioning sometimes has dis advantages. Often the known singers will be too voice proud to be auditioned, while quite cap able, though unknown, singers will be too timid. This latter group often provides excel lent material for the choir. Constant observation is the only way to discover such hidden talent. The choral director will know just what type of voice he is seeking. As he finds prospects he will list them, giving such details as type of voice, range, tone, flexibility, musician ship of singer, sight-reading ability, and avail ability for rehearsal. Only after an exhaustive search will he begin to form, from this list, his actual singing group. The final summary found therein will determine his whole approach to choral support for the effort. The size of the choir, balance of parts, and amount of work needed to place it on a presentable footing will all be evident.
A large unbalanced group will be much less effective than a smaller evenly balanced one. Female voices are usually in more plentiful sup ply than male voices. It is better to have a small choir of equal numbers than a large predominance of high voices. An eight-part choir will actually be easier to handle than a fourpart, as more voices of middle range are found than those of either high or low compass. "Singing is a part of the worship of God, but in the bungling manner in which it is often conducted, it is no credit to the truth, and no honor to God. There should be system and order in this as well as in every other part of the Lord's work. Organize a company of the best singers, whose voices can lead the congregation, and then let all who will, unite with them. Those who sing should make an effort Page 28 to sing in harmony; they should devote some time to practice, that they may employ this talent to the glory of God." Evangelism, p. 506. "We should endeavor in our songs of praise to approach as nearly as possible to the harmony of the heavenly choirs." Ibid., p. 507.
Large groups of volunteer singers, called together on the opening night of the effort, and given a hasty half-hour rehearsal at the close of each meeting, do not fit statements such as these. To introduce an experienced evangelist, preaching the greatest message this world has ever heard, with a group of unorganized, un trained, unbalanced, and unblended voices, is antithesis.
Rather does the Spirit of prophecy emphasize intensive preparation by our choirs. At least ten to twelve weeks will be necessary to train a group of amateur singers in the fundamentals of choral singing. This, of course, implies that the music director will have an effective working knowledge of the technique of this art. During the pre-effort period he will acquaint his singers with an understanding of breath control, balance of parts, freshness and virility of singing, tone placement, sight reading, musicianship, clear enunciation, correct pronunciation (diction plays so important a part in gospel singing), and the many other factors that contribute to creating beautiful choral expression. At least two- or three-hourly rehearsals twice a week will be needed to develop the choir. The same thorough approach will be employed in training the male and the female voices as separate groups.
Even more time may be needed for coaching a male quartet and a ladies' trio. The opportunity to use large instrumental groups in our evangelistic work is rare. As a rule, we are dependent on talent found within our churches. Sufficient instrumentalists with the experience and skill necessary for orchestral playing are difficult to find. The music director will avoid using instrumental combinations of poor quality. Many instruments have associations with vaudeville and other cheap entertainments. These are not suitable for evangelistic work. Carefully trained string ensembles, quartets, and trios provide both the atmosphere and the type of music needed in evangelism. In all his planning as music director the singing evangelist will seek instrumentalists who will display the same high standard of performance he himself is seeking to maintain.
All groups both choral and instrumental will need to have a comprehensive repertoire developed and memorized by the opening of the campaign. During the preparatory period, music for the entire effort will be arranged and planned. Even though much good music in fine arrangement is available, many of the really rich melodies with Adventist backgrounds are either barred from use or looked upon as failures because of uninteresting harmonic construction. They should be judged on melody rather than harmony, since they belong to the same field as spirituals and religious folk songs. "Heaven, Sweet Heaven," "The Beautiful Hills," "Heavenly Music," "There Is a Better Land Than This," "Sweet Canaan," "Rest for the Weary," "Pisgah," and many others could be mentioned in passing. Provided with effective choral or instrumental arrangements, these are wonderful material for the Adventist music director. Many gospel songs and hymns may need to be arranged in choral setting also. Every pre-effort period will find the singing evangelist adding to his library of choral and instrumental arrangements.
By the beginning of the public meetings each music group should have from ten to fifteen items memorized and prepared. This will enable the music director to keep his program well in hand, and allow for a higher standard of performance. As music director the singing evangelist, in consultation with the speaker, will coordinate all phases of his work. He will arrange the timing and placing of all music features.
