Community "sings" (like everything else that is to achieve success in this age) must be advertised, and to the leader usually falls the lot of acting as advertising manager. It will be well to begin the campaign a month or more before the first "sing" is to be held, sending short articles to the local papers, in which is described the success of similar enterprises in other places. Then a week or so before the "sing," carefully worded announcements should be read in churches, Sunday schools, lodge meetings, and high-school a.s.semblies.
In connection with this general publicity, the leader will do well also to talk personally with a large number of men and women in various walks of life, asking these people not only to agree to be present themselves, but urging them to talk about the project to other friends and acquaintances, inviting them to come also. On the day of the first "sing" it may be well to circulate attractively printed handbills as a final reminder, these of course giving in unmistakable language the time and place of the meeting and perhaps stating in bold type that admission is entirely free and that no funds are to be solicited. These various advertising activities will naturally necessitate the expenditure of a small amount of money; but it is usually possible to secure donations or at least reductions of price in the case of printing, hall rental, _et cetera_, and the small amount of actual cash that is needed can usually be raised among a group of interested people without any difficulty. It is our belief that the whole project is more likely to succeed if the leader himself is serving without remuneration, for he will then be easily able to refute any charge that he is urging the project out of selfish or mercenary considerations.
[Sidenote: PROVIDING THE WORDS OF SONGS]
The leader of community singing must not make the mistake of supposing that "everybody knows _America_, _Swanee River_, and _Old Black Joe_,"
and that no words need therefore to be provided. As a matter of fact, not more than one person in twenty-five can repeat correctly even one of these songs that "everybody knows," and we may as well recognize this fact at the outset and thus prevent a probable fiasco. There are three ways of placing the songs before our crowd of people:
1. Having the words of all songs to be sung printed on sheets of paper and pa.s.sing one of these out to each person in the audience.
2. Furnishing a book of songs at a cost of five or ten cents and asking each person in the audience to purchase this book before the "sing" begins, bringing it back each succeeding time.
3. Flashing the words (sometimes the music also) on a screen in front of the a.s.sembly. The disadvantage of the last named method is the fact that the auditorium has to be darkened in order that the words may stand out clearly; but in out-of-door singing the plan has very great advantages, being for this purpose perhaps the best of the three.
After the chorus has gotten well on its feet, it will probably be best to purchase copies of some larger and more elaborate book, the copies being either owned by individual members or else purchased out of treasury funds, and therefore belonging to the organization. At the first "sing" it will be a distinct advantage if no financial outlay whatever is required of the individuals composing the chorus.
[Sidenote: THE ADVANTAGES OF PLANNING IN ADVANCE]
In conclusion, let us urge the leader of community singing to decide beforehand just what songs are to be used, and to study the words of these songs carefully so as to be able to imbue the chorus with the correct spirit of each one, having at his tongue"s end the story of the song and other pointed remarks about it that will enliven the occasion and keep things from stagnating. He will, of course, frequently find it necessary to modify his plan as the "sing"
progresses, for one of the most necessary qualifications in the leader is flexibility and quick wit. But if he has a definite program in mind and knows his material so well that he does not need to look at his book, he will be much more likely to succeed in holding the interest of his chorus throughout the "sing."
Let him be sure that a skilful accompanist is at hand to play the piano, perhaps even going to the trouble of meeting the accompanist beforehand and going through all material to be used so as to insure a mutual understanding upon such matters as tempo, _et cetera_. In out-of-door group singing a bra.s.s quartet (consisting of two cornets and two trombones, or two cornets, a trombone, and a baritone) is more effective than a piano, but if this is to be done be sure to find players who can transpose, or else write out the parts in the proper transposed keys. When such an accompaniment is to be used, the leader should have at least one rehearsal with the quartet in order that there may be no hitches.
[Sidenote: THE MEETING PLACE]
If possible, let the "sing" be held, in some hall not connected with any particular group of people, so that all may feel equally at home (there are decided objections to using either a church or a lodge room); and, in giving the invitation for the first meeting, make sure that no group of people shall have any ground whatsoever for feeling slighted, even in the smallest degree.
Granting the various factors that we have been recommending, and, most important of all, having provided the right type of leader to take charge of the "sings," the enterprise cannot but have significant results along both musical and sociological lines.
CHAPTER X
THE ORCHESTRAL CONDUCTOR
[Sidenote: DIFFICULTIES INVOLVED IN CONDUCTING A LARGE ORCHESTRA]
Conducting an orchestra from full score is a vastly more complicated matter than directing a chorus singing four-part music, and the training necessary in order to prepare one for this task is long and complicated. In addition to the points already rehea.r.s.ed as necessary for the conductor in general, the leader of an orchestra must in the first place know at least superficially the method of playing the chief orchestral instruments, the advantages and disadvantages involved in using their various registers, the difficulties of certain kinds of execution, and other similar matters which are often referred to by the term _instrumentation_. In the second place, he must understand the combinations of these various instruments that are most effective, and also what registers in certain instruments blend well with others; in other words, he must be familiar with the science of _orchestration_. In the third place, he must understand the complicated subject of _transposing instruments_, and must be able to detect a player"s mistakes by reading the transposed part as readily as any other. And finally, he must be able to perform that most difficult task of all, _viz._, to read an orchestral score with at least a fair degree of ease, knowing at all times what each performer is supposed to be playing and whether he is doing the right thing or not. This implies being able to look at the score as a whole and get a fairly definite impression of the total effect; but it also involves the ability to take the score to the piano and a.s.semble the various parts (including the transposed ones) so that all important tones, harmonic and melodic, are brought out. A glance at even a very simple orchestral score such as that found in Appendix B will probably at once convince the reader of the complexity of the task, and will perhaps make him hesitate to "rush in where angels fear to tread"
until he has spent a number of years in preparation for the work.
[Sidenote: DIRECTING A SMALL ORCHESTRA]
The above description has reference, of course, to conducting an orchestra of approximately symphonic dimensions, and does not refer to the comparatively easy task of directing a group consisting of piano, violins, cornet, trombone, and perhaps one or two other instruments that happen to be available.[25] In organizing an "orchestra" of this type, the two most necessary factors are a fairly proficient reader at the piano (which, of course, not only supplies the complete harmony, but also covers a mult.i.tude of sins both of omission and of commission), and at least one skilful violinist, who must also be a good reader. Given these two indispensable elements, other parts may be added as players become available; and although the larger the number of wind instruments admitted, the greater the likelihood of out-of-tune playing, yet so great is the fascination of tonal variety that our inclination is always to secure as many kinds of instruments as possible.
[Footnote 25: Let us not be misunderstood at this point. We are not sneering at the heterogeneous collections of instruments that are gathered together under the name of _orchestra_ in many of the public schools throughout the country. On the contrary, we regard this rapidly increasing interest in ensemble playing as one of the most significant tendencies that has ever appeared in our American musical life, and as a result of it we expect to see the establishment of many an additional orchestra of symphonic rank, as well as the filling in of existing organizations with American-born and American-trained players. There is no reason why wind players should not be trained in this country as well as in Europe, if we will only make a consistent attempt to interest our children in the study of these instruments while they are young, and provide sufficient opportunity for ensemble practice in connection with our music departments in the public schools.]
The chief value to be derived from ensemble practice of this type is not, of course, in any public performances that may be given, but is to be found in the effect upon the performers themselves, and the princ.i.p.al reason for encouraging the organization of all sorts of instrumental groups is in order to offer an opportunity for ensemble playing to as many amateur performers as possible. For this reason, unavoidable false intonation must not be too seriously regarded.
An orchestra such as we have been describing is frequently directed by one of the performers; but it is our belief that if the group consists of ten or more players it will be far better to have the conductor stand before the players and direct them with a baton. The type of music that is available for amateur ensemble practice is unfortunately not often accompanied by a full score for the conductor"s use, and he must usually content himself with studying the various parts as well as he may before the rehearsal, and then direct from a first violin part (in which the beginnings of all important parts played by other instruments are "cued in"). Directing from an incomplete score is, of course, extremely unsatisfactory from the musician"s standpoint, but the necessity of doing it has this advantage, _viz._, that many persons who have charge of small "orchestras" of this type would be utterly unable to follow a full score, and might therefore be discouraged from organizing the group at all.
[Sidenote: SEATING THE ORCHESTRA]
Symphony orchestras are always seated in approximately the same way, and if our small ensemble group consists of twenty players or more, it will be well for the conductor to arrange them in somewhat the same manner as a larger orchestra. In order to make this clear, the ordinary arrangement of the various parts of a symphony orchestra is here supplied. The position of the wood winds and of the lower strings as well as of the percussion instruments and harp varies somewhat, this depending upon the composition being performed, the idiosyncrasies of the conductor, the size and shape of the platform, _et cetera_.
[Ill.u.s.tration: SEATING PLAN OF A SYMPHONY ORCHESTRA]
In dealing with a smaller group (not of symphonic dimensions), it will be well to have the piano in the middle, the lower strings at the left, the winds at the right, and the violins in their usual position.
The diagram will make this clear. It is to be noted that this seating plan is only suggestive, and that some other arrangement may frequently prove more satisfactory.
[Ill.u.s.tration: SEATING PLAN SUGGESTED FOR A SMALL ORCHESTRA]
[Sidenote: PROPORTION OF INSTRUMENTS]
In a symphony orchestra of about one hundred players, the proportion of instruments is approximately as follows:
1. STRINGS: 18 first violins 16 second violins 14 violas 12 violoncellos 10 double ba.s.ses
2. WOOD WIND: 3 flutes } 1 piccolo } (Usually only three players)
3 oboes } 1 English horn } (Usually only three players)
3 clarinets } 1 ba.s.s clarinet } (Usually only three players)
3 ba.s.soons } 1 double ba.s.soon } (Usually only three players)
3. BRa.s.s WIND: 4 horns (Sometimes 6 or 8) 2 or 3 trumpets (Sometimes 2 cornets also) 3 trombones 1 ba.s.s tuba
4. PERCUSSION: 1 ba.s.s drum } 1 snare drum } (One player)
3 kettledrums (Of different sizes--one player)
1 triangle } 1 glockenspiel } (One player) 1 pair cymbals } _et cetera_
1 harp (Sometimes 2)
It will be noted that out of about one hundred players almost three-quarters are performers upon stringed instruments, and it is this very large proportion of strings that gives the orchestral tone its characteristic smoothness, its infinite possibilities of dynamic shading, its almost unbelievable agility, and, of course, its inimitable sonority. The wind instruments are useful chiefly in supplying variety of color, and also in giving the conductor the possibility of occasionally obtaining enormous power by means of which to thrill the hearer at climacteric points.
Our reason for supplying the above information is mainly in order to direct attention to the small proportion of wind (and especially of bra.s.s) instruments, and to warn the amateur conductor not to admit too large a number of cornets and trombones to his organization, lest the resulting effect be that of a band rather than that of an orchestra.
If there are available a great many wind instruments and only a few strings, it will probably be better to admit only a few of the best wind instrument players to the orchestra (about two cornets and one trombone) and to organize a band in order to give the rest of the players an opportunity for practice.[26] It will probably be necessary for the conductor to warn his wind players to aim at a more mellow tone than they use when playing in a band, in order that the bra.s.s tone may blend with the string tone. In the case of the reed instruments, this will sometimes mean a thinner reed in orchestra work than is used in bands.
[Footnote 26: In making plans for the organization of a group of wind instrument players into a band, it should be noted by the conductor that here the entire harmony must be supplied by the individual instruments (no piano being used) thus making it necessary to have alto, tenor, and baritone saxhorns in addition to cornets, clarinets, flutes, and trombones. The tuba is also almost indispensable, while the inclusion of two or three saxophones will greatly increase the mellowness of the effect as well as providing an additional color to make the tonal textures more interesting.]
[Sidenote: TRANSPOSING INSTRUMENTS]
In dealing with any ensemble group that includes wind instruments, the conductor must master the intricacies involved in the subject of _transposing instruments_, and although this book is not the place to get such technical knowledge as was referred to in the introductory paragraph of this chapter, yet perhaps a brief explanation of the most important points will not be wholly out of place, since we are writing more especially from the standpoint of the amateur.
By a transposing instrument we mean one in the case of which the performer either plays from a part that is written in a different key from that of the composition, or that sounds pitches an octave higher or lower than the notes indicate. Thus, _e.g._, in a composition written in the key of E-flat, and actually played in that key by the strings, piano, _et cetera_, the clarinet part would probably be written in the key of F, _i.e._, it would be transposed a whole step upward; but, of course, the actual tones would be in the key of E-flat. The player, in this case, would perform upon a B-flat clarinet--_i.e._, a clarinet sounding pitches a whole step lower than indicated by the notes. (It is called a B-flat clarinet because its fundamental gives us the pitch B-flat--this pitch being a whole-step lower than C; and it is because the pitch sounded is a whole step _lower_ that the music has to be transposed a whole step _higher_ in order to bring it into the correct key when played.) In the case of the clarinet in A, the pitches produced by the instrument are actually a minor third lower than the notes indicate (A is a minor third lower than C, just as B-flat is a whole-step lower). In writing music for clarinet in A, therefore, the music will need to be transposed upward a minor third in order that when played it may be in the right key; just as in the case of the clarinet in B-flat, it has to be transposed upward a whole-step.