A TEACHER's PRAYER Lord, I Thank Thee for the Chance to Work at A

Home , All Angels, A Multitude of Angels, Benjamin Schmolck, Braille music, Chorister (horse), In Some Small Way

A TEACHER'S PRAYER

Lord, I thank Thee for the chance to work at a task that makes the hours so full. Let me use those hours to guide the precious lives entrusted to my care in ways of goodness. Help me to be calm in the face of disturbance, kind to all regardless of circumstance, tolerant when understanding is lacking, and faithful in duties great and small. I pray for the strength of mind and body to do what is expected of me without losing my willing spirit. For- give the mistakes I made this day, and give me wisdom to correct them. In the name of the Great Teacher, I pray. Amen. --Frances H Butler

MY CODE

I have to live with myself, and so I want to be fit for myself to know.

I want to be able, as days go by, Always to look myself straight, in the eye. I don't want to stand, with the setting sun, And hate myself for the things I've done.

I want to go out with my head erect; I want to deserve all men's respect: But here in the struggle for fame and pelf, I want to he able to like myself.

I don't want to look at myself and know That I'm bluster and bluff and empty show.

I never can fool myself, and so Whatever happens, I want to be Self-respecting and conscience free.

Author unknown.

CHORISTERS' GUILD LETTERS Volume XII 1960-61 September Number 1 Ruth Krehbiel Jacobs, Founder A. L. Jacobs, Editor - Norma Lowder, Associate Editor

Published By The CHORISTERS GUILD Box 211 Santa Barbara, California Copyright (C) 1960 Choristers Guild 1. Dear Guilders: It is with a deep sense of obligation to the Guild, a compelling loyalty to Ruth's memory and the ideals she aspired to, and a humbling sense of inadequacy that I undertake the leadership of the Guild. I cannot take Ruth's place; that would be impossible. Hers was a personality and even a geniu8 which come into the world infrequently. Oliver Wager of Fall River, Massachusetts, succinctly put it in a recent letter--"The Letters will have to change in some way. They bear too much the stamp of a personality to continue without change. But they will grow, just as the need for them is growing." My chief task at first will be the editing and writing of the Choristers Guild Letters. I shall-call upon numerous leaders to share their technics, plans and experiences. Mrs. Earle (Norma) Lowder of Houston, Texas, I am happy to announce,has agreed to become Associate Editor. Nancy Poore Tufts will continue her page, Tint- inambulations, on Hand Bells. Vivian Blum and Helen Kemp are still others whose writings will appear in the Letters. I plan to do some traveling to weld together even more closely, our far flung membership, to assist members in their work and to help communities to organize Childrens Choir Festivals, etc. etc. Furthermore, I shall be happy to accept a limited number of engagements to conduct festivals and seminars. My many years of experience as an active church musician in large churches and of course, my intimate association with Ruth and her ideals, are at your disposal. The Choristers Guild is firmly rooted and will be able to continue its growth despite a temporary set-back, The Childrens Choir movement in this country is only in its infancy; the need for the Guild is great. The 1959-60 membership of 1852 represents a fraction only of the childrens choir directors who should be reached. The influence of the Guild will be extended primarily by you and others with missionary zeal to help boys and girls through music. You and the church have in music a powerful tool with which to help teach Christian character and attitudes to boys and girls. You are called to greatness in your work. I earnestly pray that with God's help I can muster the skill and courage to carry on and forward, not only successfully and with integrity, but with honor to God. I pray your spirit of love, consideration and cooperation, and earnestly en-, treat your prayers, not only for me, but for the consecrated work you and I have the privilege to share. 88SH8H8H8H8888H8888S8H88888H888H8888SH8H8HHHHHH888888H8H888:4888HH8H8888H8HHH88HSHC Recently I heard an address, frightening in its implications, by Dr. Nicholas Nyaradi, former Minister of Finance of Hungary, now an American citizen, who was forced to flee from the wrath of the present Communist government of Hungary. He is now director of international studies of Bardley University, a school which helps train our future diplomats. The basic thesis of his talk concerned our ap- palling indifference to, apathy, and ignorance of the Communist menace. He spoke at length on the students riots during last May in San Francisco. He did not blame the young people; these were merely easily lead dupes. He did however scathingly blame us, the older generation and our educational leadership, for permitting these youngsters to grow and develop without instilling into them very positive values of God and country. He called all his hearers to a crusade to wake up and realize that "It Can Hap pen" here as it did in Hungary and elsewhere. He emphatically did not wish to start a campaign of hate, but one of love for our own liberties, our way of life and religious freedom. Dr. Nyaradi took severely to task much of our religious preaching and teaching which emphasizes the life hereafter and gives little guidance in how to live to the fullest, this present life. The meanings of his speech for childrens choir directors is almost overwhelming. We have in our hands the use of a powerful tool--Music; we also have in our hands at certain times,boys and girls whose destiny we can help shape and determine. Our task, our duty our privilege demands sincerity, dedication, consecration--these, yes, but they are not enough. It takes also knowledge and hard work and, above all--LOVE. The Choristers Guild will attempt to help you in the area of knowledge and will constantly stress the others. Let us go into this new season of 1960-61 with the fervor necessary to our high calling as teacher of children. 2. INTRODUCING N 0 R IA A With the approval of the Board of Directors, meeting in Memphis, Tennessee, July 8, 1960, Mrs. Earle (Norma) Lowder has been appointed Associate Editor of the Choristers Guild Letters. She has accepted with these words--"I accept with pleasure the Associate Editorship of the Choristers Guild Letters. The subject of sal- ary we can drop right now, for I do not want one. I am a sentimentalist from start to finish, and if you want to do something, maybe you could give me something that was Ruth's." Norma is associated with her husband in the music ministry of the Bellaire (a suburb of Houston, Texas) Methodist Church. She has direct charge of the Childrens Choirs, and teaches music in addition, in the Bellaire Public Schools in which she makes a specialty of Bell Choirs. She and Earle have been immensely successful in their church. Earle's Hi-School Choir always numbers over one hundred. Norma carried off with flying colors, a difficult assignment in the recent Choristers Guild Seminar in Appleton, Wisconsin. Norma's assignment as Associate Editor is not completely clarified. A pattern will quickly develop, and you will like her growing number of contributions. You may freely write her Mrs. Earle Lowder, 4417 Bellaire Blvd., or Box 266, Bellaire, Texas. You will always receive a gracious and intelligent answer.

ESPECIALLY FOR NEW MEMBL,RS b u t Old Members may peek Have you seen a copy of the Choristers Little Hymnal? It contains 44 hymns, 14 short anthems and service music, all with accompaniments, and 17 rounds. These latter are the simplest, best and easiest way to start your development of part singing. The Hymnal is small enough, only 6 3/4 by 32 inches, for children to handle easily, and cheap enough for every youngster to have one. Its use will help boys and girls to graduate easily to the use of your regular denominational Hymnal. No hymns or music will need to be relearned. The Choristers Little Hymnal sells for 500 for 1 copy; 400 each for 2 to 25 copies; 35cp each for 26 to 200 copies, and 300 each for 200 and more. About 15,000 copies have already been sold since the little book was published a bit more than a year ago. The Guild has available much material for use in the Childrens Choir notebooks-- hymn studies, cartoons, note reading, and inspirational pages. Send for a listing. The suggested merit system of the Choristers Guild for the giving of the Choristers Guild pin is a widely used and excellent means to help you develop your childrens choir and to raise the standards of your boys and girls. The plan may start a youngster in the junior age choir, and take him through his junior-hi years and beyond. The Guild will gladly send you the plan and returnable samples of the various degrees of the pin. Then there is the "Spotted Puppy" card to send to your absentee boys and girls-- 40 of these for one dollar. The Choristers Guild exists to help you. Please feel completely free to write in at any time. If your question cannot be answered, or problem helped by someone in the Guild office, your letter will be turned over to someone in this vast country who can answer, and/or help. i8H8H8 it-388K-* *58888C 188888; ****** is is *-38HE-N-* *ii**** *ifi8E-g-* i8HSH88k.

If a task is once begun Never leave it till it's done. Be the labor great or small, Do it well or not at all.

3 THE SEMINAR-R6CENT HISTORY The Choristers Guild Seminar held June 27-July 2 in Appleton, Wisconsin, is now much more than a pleasant memory; it is also the satisfaction of achievement. When Ruth died so suddenly on April 30, it seemed as if my whole world had collapsed. A sensible rally urged me to carry on the plans we had made together for the seminar. The selected staff was quickened to greater efforts, and Norma Lowder, upon my urgent plea, agreed to take on the work in the junior age level. My worst fears were not realized, and my highest hopes were exceeded. As was inevitable, upon learning of Ruthis death, some who had registered, canceled; others did not attend who had planned to do so; still others who did attend, told me that they had toyed with the idea of not attending. All who came, however, seemed to agree that the seminar was brilliantly successful for them, and that they were glad they had listened to their inner voices to attend. The Guild in its summer seminars,has been royally taken care of, but Appleton, particularly, Lawrence College, gave the Guild "red carpet" treatment. Without doubt, we all enjoyed the finest facilities and best food any Guild seminar group has ever had. Mr. and Mrs. LaVahn Maesch, representing the college, went all-out for u. The new Music-Drama Center offers unquestionably the finest and most complete resources of any college. Our housing was a country club atmosphere. Last but not least, the help given by Lyon & Healy of Chicago in their music display, and in the making of much reading material available was an added feature for success. Thirty-nine persons were registered from 14 States and Canada, all the way from Colorado, Louisiana, Alabama, and New York. The spirit and success of the seminar were well worth the nearly ,13350' financial loss incurred by the Guild. To the staff, Vivian Blum, Dorothy Ellsworth, Norma Lowder, to the Appleton Junior Choir Association, and to Lawrence College, go my warmest appreciation. Thank you. —12 2...L.R____ Roger Sweet, First Presbyterian Church, Adrian, Mich., upon request, wrote the following: "Grandmother always had a variation of the much-used "spring tonic" that she mixed up each year. To those of us at Appleton we found a much-needed tonic in the fellowship of kindred minds at the Choristers Guild Seminar. There are so many facets of a conference of this type that serve as "uplift", it is difficult to mention them all. Certainly that which we were all seeking, namely, new ideas and methods, was there: -ably presented by a fine staff. The fact that actu- alrehearsals with the fine choirs of Appleton were used in presenting new ideas and methods was particularly helpful to us. Each of the groups, Primary, Junior and Junior-High age, met every day for rehearsal which gave us the opportunity of watching the progress made throughout the week. The staff not only carried out their planned program with the groups, but were able to incorporate requests from us as to specific things we wanted to see demonstrated. "Another aspect that was extremely helpful was the wealth of new music we were able to read through in the daily reading session and in the practice rooms during free-time. Lyon-Healy again supplied us with an enormous amount of church music literature which we could examine at our leisure. "The physical facilities certainly were of the finest we had ever seen anywhere: The food defies description except to say that music purchases were not the only reason for extra weight on the way home. Lawrence College with its beautiful new Music-Drama building greatly enhanced the Seminar. "Surely the "fellowship of kindred minds" mentioned above cannot be forgotten in recalling the conference. This grand spirit quite naturally builds up when people of like professions and interests get together. The zest with which we exchanged ideas and programs added a great deal of life to the conference. On the other hand in periods of relaxation (such as around those beautifully spread tables at meal- time) we got to know each other better as the week progressed. "Tall tales", fond memories of the family and church at home, mutual enjoyment of the beautiful view from the dining room, "seconds" for those with more aggressive appetites, all this and more was shared by all. "One cannot help but think about the good that will be translated from all of these aspects of the Seminar into local choir programs during the coming year. At the same time we count it as one of our richer blessings of the year to have been a part of this grand experience." 4 Much interest centers in the packet of music which each registrant receives for study during the seminar. Following is a listing of and brief notes concerning the music in the Appleton packet. LIKE AS A FATHER Luigi Cherubini Summy-Birchard #5297 30¢ for three equal treble voices-really a round-good for starting work in part singing I LIFT MY EYES Lloyd Pfautsch Birchard #2101 16¢ For SA--soprano part only need be used EASTER FLOWERS ARE BLOOMING BRIGHT Austin C. Lovelace H. W. Gray, CMR #2513 180. for unison voices--an excellent number. GOD1S OPEN ROAD Mary E. Caldwell Remick #R3315 20¢ Unison--best for a High School group--or possibly Junior Hi-a stirring anthem THE GOD OF LOVE MY SHEPHERD IS Richard Peek Canyon Press #5602 22¢ for SATE-a setting of the 23rd Psalm--may be used also for two part treble voices or as a unison number for any group. KINDLY SPRING IS HERE AGAIN Austin C. Lovelace J. Fischer #9019 20¢ Unison--children will like this one LORD AND SAVIOR TRUE AND KIND J. S, Bach, arr. Austin C. Lovelace Flammer #86162 200, for SA but equally good for unison--a well known Bach chorale--easy for children to become acquainted with the great musician LET US RISE WITH JESUS Marshal Jenkins Flammer #86164 unison with optional descant BELLS OF CHRISTMAS F. L. Whittlesey Flammer #86165 200 for two part childrens choir, but may be used for unison voices - -has a separate page for an optional Hand Bell accompaniment in addition to .the regular organ or piano one. 0 THOU ETERNAL CHRIST, RIDE ON Austin C. Lovelace - Abingdon Press APM #105 220. for SATB, but may be used for other combinations, or even unison, for Palm Sunday - -this demands your attention. A BABE SO TENDER Old Flemish Carol, arr. Richard Dickinson Carl Fischer #CM 7102 200. for SATB - -may be used for two part or unison - -very lovely 0 LORD OUR GOVERNOR Benedetto Marcello Concordia #98-1045 22¢ unison, Ruth Jacobs used this a great deal with much success--it is simple to teach. COME YE CHILDREN, PRAISE THE SAVIOR Richard Wienhorst Concordia #98-1437 22¢ unison and two part - -a fine, vigorous number - -take care to keep it flowing smoothly rather than bumpily SING PRAISE TO GOD arr. Lloyd Pfautsch Summy-Birchard #5315 300 for SATE in which children may participate - -a fine setting of the stirring Hymn and tune THE LORD IS MY SHEPHERD arr. Lloyd Pfautsch Summy-Birchard #5025 20¢ unison - -a Negro spiritual - -probably best for Junior-Hi

ANTHEMS FOR JUNIOR CHORISTERS Austin C. Lovelace Summy-Birchard 75(t Six numbers--all may be used for unison voices - -all excellent - -all usable, published last May and dedicated to Ruth K. and Arthur L. Jacobs and the Choristers Guild. CAROLS FOR THE SEASON Healey Willan Concordia $1 a collection of 22 carols for unison or two part - -carols are from various countries for just about the entire Christian year - -a suggested service is included for Christmastide entitled, "A Service of Nine Lessons and Carols"

5 The Seminar

"Service to the church through the medium of sacred music...building of Chris- tian character through Children's Choirs...these were the key notes of the Chor- isters Guild Seminar at Lawrence College in Appleton, Wisconsin. "Leadership in such a Seminar is, at best, an assignment filled with responsibility and challenge. There are no words, however, to express the humility with which the heart is filled when one is asked to follow in the steps of Ruth Jacobs. Had emotion ruled, the task would have been impossible. Yet I knew, as do you, that the greatesttribute anyone could pay to Ruth was the continuation of the work she had started. Surely Providence was with me: the facilities at Lawrence College surpassed anything I have seen at any college or university throughout the country; the Music-Drama building, in which we held classes, was both an architect's and a musician's dream; living accommodations were excellent; food was superb - and even favorite recipes were posted daily. The Appleton chapter of the Guild, oldest in the country, supplied some 100 well-trained, eager children and youth for demonstration classes...Members of the local committee, represented by Mrs. LaVahn Maesch, Mrs. Winton Schumaker, Mrs. Harlan Kirk, and Mrs. David Meily, were gracious hostesses who made our stay a profitable, educational, and inspiring one... Parents and friends supported the informal program presented by the "Appleton Belles', and the Choristers Guild Bellringers Friday evening...Lyon and Healy of Chicago provided hundreds of consignment anthems...Each registrant had much to offer the group, and each seemed so willing to share and to participate. These were the things that made the seminar a success, and made the task much easier for Leslie Jacobs, Dorothy Ellsworth, Vivian Blum and myself. "Our concluding prayer was that we, as well as other Guild members, might return to our churches renewed in strength and spirit; that we might strive unceasingly to make of the Christian character in our Children's Choirs so powerful a force that when we meet our Master, our books may truly balance. This is the immortality which Ruth Jacobs has already achieved, and toward which each of us must yet work." Xei,e„,,e .4../ "ALL THINGS BRIGHT AND BEAUTIFUL" by John Burke John Burke, composer and copyright owner, graciously gave the Guild permission to use his anthem as the music supplement for this month. Mr. Burke, presently Min- ister of Music, First Baptist Church, Oakland, California, has had a distinguished career as a Church musician on the West Coast. Last June he presented Benjamin Britten's, "Noye's Fludde" in a first bat area performance. The music of our supplement is gay and sprightly, well written, and except for two notes, within a one actave range. It will make a fine Thanksgiving anthem; the text is a familiar one which children easily learn and like. Avoid the tempta- tion to retard the tempo at the end; the half notes are an already built-in slow and built-up. The music is contemporary, and offers some difficulties, more so possibly to directors than to their boys and girls. You may not like it at first; let your children however help you to enjoy it for they will. Remember the music is copyrighted. Copies may be secured from the Guild for 10¢ each, postpaid. VERY helpful books for teaching the beinning of Theory WRITE & PLAY TIME, part A WRITE & PLAY TIME, part B MUSIC WORK BOOK IB MUSIC WORK BOOK, book 2 from the Frances Clark Library for piano students published by Summy-Birchard The DO RE MIs of the ABCs, #1 The DO RE MIs of the ABCs, #2 by Ruth K. Jacobs The above two available from the Guild Office for 500 each postpaid.

THE DIARY OF A BIBLE January 15 Been resting quietly for a week. The first few nights after the first of this year my owner read me regularly, but I think he has forgotten me. February 2 Clean up. I was dusted with other things and put back in my place. February 8 Owner used me for a short time after dinner, looking up a few references. Went to Sunday School. March 7 Clean up. Dusted and in my place again. Have been down on the hall table since my trip to Sunday School. April 2 Busy day. Owner led class session and had to look up references. He had an awful time finding one, though it was right there in its place all the time. May 5 In grandma's lap all afternoon. She is here on a visit. May 6 In grandma's lap again this afternoon. She spent most of her time on I Corinthians 13, and the last four verses of the 15th chapter. May 7,8,9 In grandma's lap every afternoon now. It's a comfortable spot. Sometimes she reads to me, and sometimes she talks to me. May 10 Grandma gone. Back in the old place. She kissed me goodbye. June 3 Had a couple of four leaf clovers stuck in me today. July 1 Packed in a trunk with clothes and other things. Off for a holiday. July 7 Still in the trunk. July 10 Still in the trunk, though nearly everything else has been taken out. July 15 Home again in my old place. Quite a journey, though I do not see why I went. August 7 Rather stuffy and hot. Have two magazines, a novel, and an old hat on top of me. Wish they would take them off. September 5.... Clean up. Dusted and set right again. September 10... Used by Mary a few moments today. She was writing a letter to a friend whose brother had died, and she wanted an appropriate verse. September 30... Clean up again.

"Thy word is a lamp unto my feet, and a light unto my path. "Psalm 119:105

* * * * * * * * * * * # * * * * * * * * * * * * * * * * * * * * * * * READ and HEED-YE Appleton Seminar registrants. Please take a close look at your recently acquired music. Do you have any which is stamped, East Dallas Christian Church? If so, please return either! to the Guild Office or directly to Mrs. A. E. Ellsworth, 7111 Fenton Dr., Dallas 31, Texas. No questions will be asked. Dorothy Ellsworth in checking her music missed many, many copies of the music which she took to Appleton. Please get her out of the "doghouse" with her church music librarian.

ADDITIONAL

REHEARSAL REFLECTIONS

o 0

Adaptation and Captions by Bill Pearson, Calvary Baptist Church Dallas, Texas

8 TAYE COURACE

Numbers of those who attended the Appleton Seminar this past summer, requested Norma Lowder to make available, her formal lectures. This the Choristers Guild Letters will do but, of necessity, in condensed form. She has put them into ten consecutive articles. As space permits, some will be combined from time to time. Norma wishes to acknowledge indebtedness to Ruth Krehbiel Jacobs, particularly in the first two articles, for access to her private notes, material and papers. Herewith then is Number One.

THREE DIMENSIONS

When an individual joins the church, he promises to support it with his prayers, his presence, his gifts and his service. Throughout these talks, we shall be concerned primarily with service to the church, through the medium of children's choirs. Participation in the choir program should be something that is accepted as naturally as attendance at church school. Life was three-dimensional long before the movies thought of the term: it has length, breadth, and depth. Our concern seems to be in that order: length, or health ("How are you?"); breadth, or mind ("Have you read the latest books?"); but for the spirit - silence. Yet it is the spirit that makes one stand out in a crowd. None of these areas is ever static; there is constant progress or retrogression. This same emphasis is reflected in the care of our children. We see to it that they have expert medical attention; we expect them to avail themselves of com- pulsory education. But when it comes to things of the spirit, we say "I don't want to force him." You may be familiar with J. Edgar Hoover's answer to the often-asked question: "Shall I force my child to go to Sunday School and church?" YES. And with no further discussion about the matter. Startled? Why? "How do you answer Junior when he comes to the breakfast table Monday morning and announces rebelliously, "I'm not going to school today:" You know - He goes. "How do you answer Junior when, threatened with illness, he says, "I'm not going to take my medicineJ?" You know - He takes it. 'Why all this timidity, then, in the realm of spiritual guidance and growth? Going to wait and decide what church he'll go to when he's old enough? Quit your kidding. You didn't wait until he was old enough to decide to go to school and get an education - or until he could make up his mind as to whether he wished to be a clean person or not - or whether he wished to take the medicine that would make him well. "Afraid he'll succumb to the old-wives' tale about 'too much religion when I was young - parents-made-me-go sort of gag'? Look about you; the story is demon- stratedly and obviously false, despite its currency. Do you suppose that because you insist over his protests, he will turn into a bathless Groggins when he is 21? . . . 'What shall we say when Junior announces he doesn't like Sunday School and church? That's an easy one. Be consistent. "'Junior, in our house we all attend Sunday School and church, and that includes you.' Your firmness and example here furnish a bridge over which youthful rebellion may travel into rich and satisfying experiences in personal religious living. "The parents of America may strike a most effective blow against the forces which contribute to juvenile delinquency if the mothers and fathers will take their children to Sunday School and church regularly." It is our challenge to make of church music an equally rich and satisfying experience - one in which all children and youth will participate. The conflicts and stresses of our day are greater than ever before in history. There are conflicts that hang threateningly over everyone. Not the least one of us can escape the fog of fear that blots out the sky. 9 In its groping, the world has turned to religion. Suddenly people outside the church are saying hopefully that the only thing that can. save the world is a practical application of the principles of Jesus. And they are turning to the church to produce that kind of leadership. But the church has been groping, too, and often losing sight of its goal; namely, a generation of people, leaders and followers, with sound education in the principles of Christianity, a conviction of the value of these principles, and the stamina to live by them. To approach that goal, we need to make every educational resource of the church productive. Frequently one of the most subtle powers within the church - the choir - is overlooked. Children of today have so many secular organizations playing for their time that the church is frequently crowded out completely. It is not surprising that a child should think of the church as the place where the Cubs or Brownies meet. It is difficult to understand how the church can so casually sell its birthright. The children's choir can and should use as wide a range of activities as any secular organization. It can provide recreation, drama, and opportunity for personal achievement, in addition to a sound musical education. The choir, and the choir only, can deepen religious awareness through a responsible part of the service of worship. If it is true that 85% of the Episcopal clergy started their training as choir boys, we need no further proof of the influence the choir has in molding the thoughts and lives of the child. Leaders are greatly concerned about the large percentage of teen-agers who drift away from the church. All kinds of activities have beenbvised to hold their interest, but the best sustaining force of all is the choir, because it meets the problem before it arises. The program of graduation, the pride in reaching each successive stage of the choir scale, with the adult choir at its peak, the habits of regular service and punctuality, and responsibility started with the children - all these are positive factors in counteracting the indifference of adolescence. A sound controlling personal religion cannot be inherited. In that area, every successful man is a self-made man. He must find and develop his own peace of mind and heart. The concentrated quiet that a good choir imposes on its members during the worship service is the finest seed-bed for the growth of religious maturity. There will be occasional moments when worship suddenly becomes more than a formal pattern of words, and those moments will be a greater influence for the inclusion of religion in his life than the most convincing of reasonable arguments. A PROJECT FOR AN ENTIRE YEAR Under date of April 13, 1960, Nancy Poore Tufts wrote Ruth a letter from which the following two paragraphs are quoted: "Did you see the page on "Noye's Fludde" in this week's issue of LIFE? Didn't do it justice at all. This could be done on a smaller scale, but MUST be done well, or not attempted. The orchestra is the greatest problem, but many churches, especially in the cities, can set up a good amateur group. The costumes for children were the simplest, sacks about knee length, with big cords at the waist. All wore these tights most kids have now. The costumes had been dyed rudimentary crude colors. The children had made masks of cardboard-which they wore like hats and pulled down over the face to represent different animals. Noah and family had the same type of costumes of rough cloth,tied at the waist. NOAH must be a fine singer, a baritone. School or choir voices are adequate for all the rest. Men of the church could make the panels of the ARK which is assembled before your eyes onstage. About a half dozen girl dancers rush around representing waves, lightning, wind, etc. Cheese cloth would do. The sun, moon and stars are brought in like huge signs at the end of the play. Stars were extremely clever, a huge mobile of wires suspended from a tall stick with golden stars (maybe tin can stars) floating on wires. It was truly TERRIFIC. Noah's Ark could be a project the Religious Education Department for the entire year. The children of the Potomac School, a wealthy, private progressive school, had made an ark with surrounding scenery on a large table in the foyer; the walls were covered with posters and pictures by the younger children; the boys? workshop had cut out wooden arks and animals; the girls' handcrafts had some weav- ing, etc. There were pictures and cut-outs of animals everywhere. You KNOW they had taken a trip to the Zoo." in

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REPERTOIRE SUGGESTIONS for the Primary Choirs September through Christmas 1960-61 Planned for the First Presbyterian Church, Oklahoma City, Okla.

BY HELEN KEMP Theme--MUSIC AND THE BIBLE

The Bible The Bible Is A Treasure Book HPW 119 The Creation God Made Them All GSC 18 God Made The Golden Sun HPW 31 Men of God (Old Testament Stories) Baby Moses SLP 13 or Moses NS David WS 24 (related materials) 0 Praise Ye The Lord GSC 37 Story in Shields Book 89 Lions Won't Hurt Daniel (use as fun song) GSC 20 Noah's Calling (use as Bible story song) GSC 14 God's Son (New Testament) Christmas Song SLP 56 Jesus Was Born In Bethlehem Jane Marshall There Is No Cradle Ready HPW 66 Christmas Song (for combined groups) Gustav Hoist As It Fell Upon A Night K. K. Davis Knock, Knock, Knock Rev. Wm. Grime (Carl Fischer) Jesus WS 28 Feeding The Multitude GSC 17 Devotional Songs Glad I Am To Grow HPW 129 The Extra Prayer SLP 14 Night and Day SLP 40 Little Lamb, Who Made Thee? SLP 16 God, Make My Life A Little Light SLP 31

Key to abbreviations--GSC--God's Singing Children - Lorenz Publishing Co. HPW--Hymns For Primary Worship - Westminster Press SLP--Songs For Little People 143 --qe Sing To Learn - Jane Marshall (Carl Fischer)

Numbers refer to pages in above books. Hymns to be used in services in which children participate should be worked on, and preferably memorized.

The above repertoire will be used also in conjunction with the Church School class work. The Hymns were selected during quarterly department meetings.

12. A BIT OF PLEASANT BUSINESS The annual meeting of the Choristers Guild will be held in Memphis, Tennessee, on Monday, September 26, 1960, at which time the stockholders will elect members of the Board of Directors, determine policies and hear reports. The Board of Directors will hold its annual meeting immediately after the Stockholders meeting. Because of the recent death of Ruth Krehbiel Jacobs, the founder and president of the Guild, the annual meeting will take on extra importance. The fiscal year of the Guild closed August 31, 1960, with 50 stockholders as of record, the largest number ever. The term, Stockholder, a purely legal one, as defined by the By-Laws, indicates a member who has for five consecutive years been a Contributing Member, that is, one who has paid a0 or more annually for his membership. The five years must always be consecutive; stockholders do not hold the status permanently. If you are a Stockholder now, you must continue to be a Con- tributing Member in order to remain a Stockholder, The Guitld being a chartered non-profit corporation, cannot pay dividends if any, to anyone individual. Any surplus earned must remain with the organization to be used for the benefit of the Guild. Because the legal operating group of the Choristers Guild comprised the Stockholders, the future of the Guild resides in the ranks of the Contributing Members, members whose voices can and should be heard in policy making. All Stock- holders have not only the right, but the obligation to attend the annual meeting, and are urged to do so. Those who cannot are of course requested to attend by proxy instead. The Guild has every reason to be proud of this growing number of persons interested in its growth and welfare, and in what the Guild can do not only for these members themselves, but for Childrens Choirs everywhere. The Guild is just on • the threshold of its real growth and influence. Will you be one of these Stockholders next year? Dr. Nita Akin First Methodist Church Jean Maxwell Wichita Falls, Texas George L. DeHart Summit, New Jersey Mrs. William Albritton Midland, Texas David McCormick Andalusia, Alabama First Methodist Church The Netherlands Mrs. C. R. Augden Mrs.Howard Fohrhaltz Mrs. Addison S. Moore Cuyahoga Falls, Ohio Pittsfield, Mass. Bell Gardens, Calif. Mrs. G. Colby Bartlett First Presbyterian Church Stephen J. Ortlip Ithaca, New York Dr.Walter D.Eddowes Lookout Mt., Tenn. Dr. Roberta Bitgood Huntington, W.Va. Frances C. Peters Riverside, California Andrew Flanagan Alexandria, Va. Philip T. Blackwood Johnstown, Pa. Mrs. E. E. Pryor New York, New York Mrs. Eugene Floyd Calhoun City, Miss. Lural Burggraf Brookline, Mass. Marvin E. Reecher Albany, Oregon Mrs. John E. Gross Tulsa, Oklahoma James R. Camp Hyatsville, Md. W. T. Rennecker Kobe, Japan Mrs. Philip Hampe Flint, Michigan Maurice Clopton Salina, Kansas Helen L. Robinson Dallas, Texas Mrs. A. A. Harman Lancaster, South Carolina Dr. Shelby Collier Dallas, Texas Florence A. Rubner Birmingham, Alabama Mrs. Alice Hewlett Erie, Pa. Mrs. Evelyn B. Cooksey Glendale, Calif. Mrs. Hattie Schatzman Baton Rouge, La. Mrs. John W. Hunt Covington, Kentucky Mrs. Sherman Crawford Miami, Florida Elizabeth Shelton Lawton, Oklahoma Mrs. T. J. Ingram Bluefield, West Virginia Brookes M. Davis Lynchburg, Va. Gloria Sing Santa Barbara, Calif. Louise Johnson Sacramento, California Naomi Earhart, Granville, Ohio Edith Lovell Thomas Norwood, Ohio Margaret Kendrick Claremont, California Ray Evans Atlanta, Georgia Travis Ave. Baptist Church Dallas, Texas Cecil Lapo Saxe Adams First Christian Church Oklahoma City, Okla. Ft. Worth, Texas David V. Williams Richard Lapo Travis Park Methodist Tulsa, Oklahoma Tucson, Arizona San Antonio, Texas A BIT OF PLEASANT BUSINESS (continued) Nancy Poore Tufts Barbara Tuttle Mrs. O. L. Whitman Washington.I. D. C. Elizabeth, New Jersey Glendale California THIS 'N THAT Apologies to James R. Camp, Kobe, Japan, for the unfortunate omission of his name in the June issue as a Contributing Member. Jim is a long time Guild member, and a dear personal friend. Madeline Ingrain, Lynchburg, Virginia, wrote Ruth in March:"Do you know the little song book for Mennonite children? The editor, J. Mark Stauffer, gave me a copy recently, and while it is mostly a collection of already known hymns and songs, it is attractively arranged. Since some Mennonites use no instruments in the church, the melody lines only are given. In'the Preface he states that the book is for primary and junior children six to eleven years of age. The book, "Our Hymns of Praise" was published by the Herald Press, Scottsdale, Penna., in 1958." About 300 Certificates of Membership with the actual signature of Ruth K, Jacobs thereon are available. She signed ten thousand such certificates during the winter months. Some wish to order these available ones for later use. New certificates will soon be available with my signature. Thank you for the many suggestions, ideas and criticisms sent in on the membership renewal blanks. All will be carefully considered and evaluated. The Letters will be the better because of your help and interest. The Ruth Krehbiel Memorial Fund stands as this is written at $1350. Many have contributed; others may still wish to do so. While no definite decision as to its use has been made, yet all may rest assured that it will be used for a special purpose to further the cause of Childrens Choirs. Someone recently wrote in, "How do I go about organizing a Childrens Choir Festival?" A reply was sent. But how do you do it? Send in your answers; they will be incorporated into an article, and credit will be given. Another wrote in, "My junior choir is becoming too large. Shall I separate the boys and girls, or shall I divide the choir?" What is your answer? Please send it in. Please continue to send in your service calendars, copies of special progrms, items of special interest, and ideas which have worked for you which may be helpful to other members of the Guild. Next month, Madeline Ingram will contribute an article on Christmas Plays With Music. Look for it. Also, next month's Letter will outline two Christmas services, one planned and used last year by Leslie Peart, and another, The Boar's Head and Yule Log Festival. Give a membership to one of your friends as a Christmas present. A suitable card will be furnished anyone who wishes to plan on such a gift membership. What better gift can you give a director friend? Every director should be at least a reader of the International Journal of Religious Education, You may not agree with everything, but your thinking and imagination will be stimulated. AND you will find many novel ideas to work out. 'We have plenty of dollars and plans for other things. Research and clinics for children? Hmm, not yet. This seems to be the decade when we are so enthralled about outer space that we have nearly lost sight of the vast inner spaces that we greatly need to discover and manage intelligently." from Classmate June 1960.

14 ALL IN THE FAMILY MRS. W. P. DWYLR, First Presbyterian, Port Allegany, Penna.--"The Treble group of seven girls added agreeably to our small Chancel Choir for both Palm Sunday and Easter services. They also did very well in the Lenten Vesper Service in which our lovely restored pipe organ was dedicated; they also sang in an Easter sunrise service held in a little country church on a hill; the interdenominational service was planned and carried out by combined youth groups of Coudersport, Penna. The Crosses looked lovely suspended by red grosgrain--even on the old black robes. The girls have chosen a shade of aqua blue ribbon to wear for general services with the red reserved for Easter and Christmastide. I am interested in knowing how many other choirs are using the crosses as an award for service." An increasing number of directors are using the cross. If you do, please share your experiences in their use with others by writing to the Guild. The crosses are handsome, and will serve a need for something special, MRS. WALTER A. CLARK, Capitol Heights Presbyterian, Denver, Colorado, a new member of one year. "Our church (membership of about 600) had tried twice before to have a junior choir, and both times had ended up unsuccessful. Both of these attempts were directed by fine musicians, but they had no training or interest in Christian Education, and so did not coordinate their programs in any way. So my attempt this year was the third try, and would either succeed or end the experi- ments. Through constant referral to my seminar notes, Mrs. Jacobs' books, and the Guild Letters, I have kept the program closely aligued..and our choir has flourish- ed and established itself unquestionably as a big part of the church program. The group sang at least once every four weeks with every anthem memorized, and our attendance at Friday afternoon rehearsls ran at least 90% with the other 10% usually accounted for...while the choir participation in worship services and preparation has caused obvious individual growth and understanding. Of all the people who have been learning and growing during this experience, no one has learned or grown more than I. After an understandably nervous but determined start last fall, I have come to the point where I look forward all week to our Friday rehearsals. The satisfaction and joys in the work this year are beyond my fondest dreams." It can be done is what this quotation states, but the effort needs first real dedication, determination, consecration and last, but not least, knowledge, BOB CARLSON, Eagleville, Penna. "One thing that is perhaps most outstanding to me is that I have been brought to a point of re-evaluating my work, and out of this has come a happy decision. In past years, my full time was given to the minister of music in the church. Most of my formal education was directed toward this goal. Somehow I began moving into the public school music field only partially realizing how I was being weaned away from my first love. The Guild Letters made me realize what a tremendous field I have turned my back upon. I shall finish out my contract this year, and then apply for a church position. The Guild has brought this whole thing into sharp focus, and for us, I am deeply grateful.", Such a letter makes us feel all the more humble, but eager to do a better and better job. None of us ever knows whom he influences for good or bad. The lesson of this is in sharp focus without it being stated. JAMES R. CAMP, Kobe, Japan.--"We have enjoyed our two years at Canadian Acad- emy, and feel that we have acquired some valuable experience, but for some time, we have wanted to work more closely with the Japanese people. This spring, the Board of Missions approved our request for full-time language school in anticipation of service to the Japanese people in the field of church music. This is a new field of missionary service in Japan. It will probably develop very slowly." My, what a challenge, and what an opportunity--all very exciting. Some of you may wish to write Jim. His address is Sassoon Apt. House 4, Flat 129, Yamamoto- dori 2 Chome, Ikuta-ku, Kobe, Japan. NANCY SORENSEN, Prince of Peace Lutheran, Seattle Washington.--"My first experience with a Junior Choir was not a happy one. Every practice session left me exhausted from trying to keep order. In July 1959 I attended a one day workshop 15 ALL IN THE FAMILY (continued) held here by Mrs. Jacobs. It was only one day, but oh, how much I learned Whatjoy this past year has been with my Carol Choir..In September we will have to have two choirs to take care of all children who are asking to sign up for the Junior Choir. It has been most rewarding to hear that they all want to return. I could not have attained this if it had not been for our past beloved president, Ruth Jacobs." All of us, no matter what our stage of development, should take heart when problems seem to loom too large at the moment; there is always help somewhere. MRS. ALBERT GIBSON, St. Paul's Methodist, Kensington, Md. - -"Through the content of the Choristers Guild Letters and the spirit of Mrs. Jacobs, we...have been able to inaugurate an extensive musical program for all ages. Although we have had the desire to do this for many years, it was Mrs. Jacobs' inspiration that gave us the drive to put the plans into action...The program promises to grow in interest and numbers; our church is fast becoming a singing church; our people are conscious now of serving as families in God's church to sing His Praises to His great glory.. Perhaps more amazing than the apparent mushrooming growth of all these new choirs (there are now eight), is the intense enthusiasm and devotion of choirs and directors alike, indicating that the need for these various groups had really been with us for some time." Mrs. Gibson closed the choir season on May 22 with a Youth Vesper Service Of Hymns about which she wrote, "We felt a worship service conducted by the youth themselves would be much more meaningful a way of closing the seasons choirwork." Again, where there's a will, there's a way. HELEN RULIFSON, Sunnyside Methodist, Portland, Oregon. —"We find that having our Junior Choir take the full responsibility for one worship service a month, makes it easier to secure adult choir members who are loath to be tied down every Sunday. The juniors are learning to be leaders in worship which it would be well for some of their parents to emulate." The REVEREND WILLIAM GRIME, a very good friend of the Guild, and a loyal member wrote recently, "I have asked my publisher to send you ten copies of my "More Songs And Carols For Children." Do anything you wish with them. They are a gift to you as a bit of appreciation..." The best way I can use them is to give them to any director who does not know this splendid collection. So, to the first ten directors of Childrens Choirs who write in for a copy, will receive one. ROBERT McCLINTOCK, Dauphin Way Baptist Church, Mobile, Alabama, has solved the problem of keeping Choristers Guild pin awards records with the following file card. It indicates a much more comprehensive system than almost any other church follows, but this will answer numerous questions the Guild Office has received as ito Tn CHOIR PIN RECORD

Last First

Pin Guard 1st Pearl 2nd Pearl 3rd Pearl 4th Pearl 5th Pearl 6th Pearl warded Awarded Awarded Awarded Awarded Awarded Awarded Awarded

hh Pearl 8th Pearl 9th Pearl 10th Pearl 11th Pearl 12th Pearl 1st Ruby 2nd Ruby tiwarded Awarded Awarded Awarded Awarded Awarded Awarded Awarded

MUSIC DEPARI' MIEntT Dauphin Way Baptist Church Mobile, Alabama Harold W. Seever, D.D., Pastor R. E. McClintock, Minister of Music

A CHRISTMAS PRAYER

0 Christ, grant us thankful hearts today for Thee, our choicest gift, our dearest guest. Let not our souls be busy inns that have no room for Thee and Thine, but quiet homes of prayer and praise where Thou mayest find fit company, where the needful cares of life are wisely ordered and put away, and wide sweet spaces kept for Thee, where holy thoughts pass up and down, and fervent longings watch and wait Thy coming. So when Thou comest again, 0 Holy One, mayest Thou find all things ready, and Thy family waiting for no new master, but for one long loved and known. Even so come, Lord Jesus. Amen

---...... 44,AFTERMATH (two of them)

Christmas for the alert choir director is just around the corner, and planning is now very much in order. For children, Christmas is the most joyful time of the year. For the director, Christmas provides an unparalleled opportunity to teach sharing and unselfishness to boys and girls. The following is quoted from a Sunday calendar of St. Mark's Church, Lockerby, Ontario, Canada. Mrs. Bernard Heywood, wife of the minister, is director of the Childrens Choirs. CHRISTMAS 1958 Another Christmas Season was over: Gen- erally, it was a good one, but one thing bothered the Sunday School teachers and officers. Santa Claus had again been the center of attraction at their concert. He had played the traditional role of the great giver of goodies and gifts. Each child was promised all that he desired. The younger children were frightened by this strange looking man, while their parents thought how cute their sacred children looked on the spacious lap of their red and white visitor. Later, when the Christ- mas programme was evaluated, the question was raised as to whether the jolly old man did have any place in their concert and party. After much discussion, the members developed a very new approach which they used the following Christmas. CHRISTMAS 1959 Santa was again invited to the party-- but he came with an empty sack, and he did not promise the children any impossible things. Everyone had been informed that old Santa would not be bringing gifts. In- stead, each child was invited to bring a small present for a needy child somewhere within the Church's family. Santa would be at the party to receive the gifts. As Santa entered jingling his bells, he asked, "My sack is empty; Will you help me fill it for poorer children?" The children beamed. They took their pretty parcels from under the tree, and eagerly they filled Santa's big sack, Joy pervaded the hall. It also filled the hearts of all the children who had the opportunity to make Christ- mas real to other children. It also filled the hearts of the adults who observed Santa in a new role through which the children were learning to honor Jesus' birth in a very appropriate manner. 17 CHRISTMAS ONE OF THESE IDEAS MAY BE FOR YOU

VIVIAN T. WHEELAND, Okemos, Michigan, last December 20th developed a "Carol Sing Around The Christmas Star" with her boys and girls. Tables, suitably decorated, were arranged in the form of a star. She used the following design on the cover of the mimeographed program. The various ideas at the points of the stars could be emphasized on the tables and by the costuming of some of the children. You could use this whole idea as a pleasant variant of a familiar pattern.

11 The Churche stmas

The Festive Colors of Christmas The Bells of Christmas

The Heralds of Christmas The Lullaby of Christmas

CAROLS AROUND THE CHRISTMAS STAR

JOHN and EUNICE GROSS, West Hyattsville, Maryland, made a Christmas folder last year to send their friends. On the cover was pasted the outline in red, of a Christmas tree with the notes in white, the whole being made of pipe stem clean— ers. Here is the design. 18 CHRISTMAS

se.

Inside the folder was this -- - CHRISTMAS by Lucile E. Laughton Christmas is a tinseled tree, But Christmas stretches farther than Bright from floor to rafter, Our love for one another-- Carols ringing merrily, It reaches out to every man Candle-glow and laughter; And makes each one our brother; A roof between us and the'night, For Christmas is God's shining love Walls against the weather, Expressed in human birth And here within the firelight To make us, as in Heaven above, All of us together. One family here on earth.

Your boys and girls could make these folders as a greeting to parents--use another poem possibly, or a Christmas Hymn, or the children could make their own little booklet of Christmas carols. Such a work project will generally appeal to and interest younger boys and girls.

19 CHRISTMAS MUSIC SUGGESTIONS

All the following Christmas music was read through in the Reading Sessions of the recent Appleton Seminar. The brief accompanying notes are by Norma. Though some are listed as for SATB, do not let that deter you from using them, for the melody only is to be sung by your children. The letter U indicates, of course, a unison number. Not all are recommended for every situation. All are better than average and were gleaned from a vast amount of drivel which is published. Remember always that fine music is always easier to learn than so-called simple music written by poor craftsmen. Bampton Tidings of Joy J. Fischer 9147 SA Bampton Winds Through the Olive Trees B. F. Wood 749 SA Barnard Let Our Gladness Know No End Summy-Birchard 108 SA Obbligato for flute and handbells U Brown Under the Stars Carl Fischer CM7058 Dickinson A Babe So Tender Carl Fischer 7102 SATB Effective antiphonally or for combined choirs Dressler 0 Little One Sweet J. Fischer 9154 SA Flute obbligato Ehret and Walton Lullaby for Jesus Carl Fischer aM7043 SATB Melody only Emig Round for Christmas Flammer 89156 SSA Garden Lightly, Lightly, Bells are Ringing H. W. Gray 2354 SA Optional handbells Giasson Yule Log Carol Galleon Press 1010 SATB Optional handbells Grime Knock, Knock, Knock Carl Fischer CM7051 SA Jordan Why Do Bells For Christmas Ring? Summy-birchard 5346 SA Optional handbells Leontovich-Couper Ukranian Carol of the Bells Flammer 81250 SATE Optional handbells Lovelace Oh, I would Sing of Mary's Child Augsburg 1247 U Lovelace Peace on Earth Choral Services 133 U Lovelace Saw You Never in the Twilight H. W. Gray 25 53 U Lundquist Once in Royal David's City Elkan-Vogel 3079 SSA Sacco The Bells Ring Out For Christmas G. Schirmer 10698 SATE Optional handbells Schroeder-Malin Rejoice, Rejoice Ye Christians B. F. Wood 760 SA Sowerby Little Jesus, Sweetly Sleep FitzSimons 5018 Sowerby The Snow Lay on the Ground H. W. Gray 2238(descant)U Whittlesey Bells of Christmas Flammer 86165 SA Optional handbells Also available in Ringing and Singing, Flammer Willan Bathl'em Lay A-sleeping Flammer 86167 (descant)SA Willan Carols for the Seasons Concordia A collection of 22 anthems, many of which are suitable for Christmas Willan Christmas Praise Augsburg 1207 U SATE Willan What Is This Lovely Fragrance?Oxford U. Press Melody only (descant) SA Williams The Stars Shone Bright Flammer 86167 Fun, Fun, Fun Bourne HL6 SA Wilson SA Wilson Gentle Jesus, Meek and Mild Bourne AL2 20 CHRISTMAS " A Christmas service entitled,"A Festival Of Nine Lessons and Carols", based upon the ancielt service held annually in King's College Chapel, Cambridge University, England, is becoming increasingly popular, Ruth.. received copies of such services from Fester Hotchkiss, First Methodist, Tupelo, Miss., Mary Monroe Penick, First Presbyterian, Lexington, Va., Marvin E. Peterson, First Methodist, Marysville, 0., David Pew, Ste John's Cathedral, Dever, Colo., and Howard Slenk, Mayfair Christian Reformed, Grand Rapids, Mich. Undoubtedly other Guild members also conducted such a service. The service as presented by David Pew is here given in outline, " Processional Hymn-0 Come, 0 Come Emmanuel The Bidding Prayer, Lord's Prayer, and the Grace Beloved in Christ, let us prepare ourselves to go in heart and mind to Bethlehem and see the Child lying in the manger, Let us read and mark the story of God's loving purposes and of the glorious redemption brought us by this holy Child, and let us make this Cathedral Church, dedicated to His beloved desciple, St. John, glad with our songs of praise, but, first, let us pray for peace and good will over all the earth, for unity and brotherhood at home and among the nations of the world. And because this would rejoice His heart of love, let us remember before God, the cold, the hungry and the oppressed, the sick and those that mourn, the lonely and the unloved, the aged and the little children, all those who know not the Lord Jesus or who love Him not, and those who rejoice with us but on another shore and in a greater light. The almighty God bless us with His grace. Christ give us the joys of everlasting life and unto the fellowship of the citizens above, may the King of Angels bring us all. Amen. Invitatory Hymn--Break Forth 0 Beauteous Heavenly Light First Lesson--Genesis 3:8-15, 22:15-18 Carols-Still Grows the Evening Bohemian In The Bleak Midwinter Second Lesson--A cento from Isaiah,Jeremiah and Micah Hymn--God Rest You Merry, Gentlemen Third Lesson--Isaiah 53:3-9 Carol--Good Christian Men, Rejoice Fourth Lesson-Luke 1:26-33, 38 Carol--Softly The Stars Were Shining Torovsky Fifth Lesson--Matthew 1:18-23; Luke 2:1-7 Hymn-0 Little Town of Bethlehem Sixth Lesson—Luke 2:8-20 Carol--Catalonian Christmas Song, arr. Erickson Seventh Lesson—Matthew 2:1-5, 7-11 Carols--Come Marie, Elisabette, arr. Dickinson We Three Kings Of Orient Are Eighth Lesson--Luke 2:22-35 Hymn—Angels From The Realms Of Glory Ninth Lesson--John 1:1-14 The Offertory Procession, Congregation and Choirs Hymn-0 Come All Ye Faithful Hymn--Angels We Have Heard On High Presentation—The Doxology Exhortation and Prayers Recessional Hymn--Once In David's Royal City The music in this service may, of course, be varied to suit your situation and tastes. This service of Nine Lessons and Carols was suggested two years ago by Ruth in the September 1958 issue. It had been done the year previously by Foster Hotchkiss who has repeated it with changes of music each year. Last year Foster used, exclusive of the Hymns-- Good Christian Men Rejoice, from the Methodist Hymnal; Jesus Was Born in 21 NINE LESSONS AND CAROLS (continued) Bethlehem by Jane Marshall from We Go To Church; What Child Is This, English, arr. by David H. Williams from Junior Choir Anthems; Go To Sleep, 0 Child of Mine by Rev. William Grime; Thou Child Divine, American Moravian in manuscript; The Snow Lay On The Ground, English, arr. by Leo Sowerby; 0 Come Little Children by Schulz from Our Songs of Praise, published by Concordia or from Praise Him published by the Shawnee Press; What Can I Give Him from the Methodist Hymnal; The Quempas Carol and Nunc Angelorum, 13th Century German published by the Chantry, apparently out of print at the moment. Only the music used by the other directors named which may not be generally known, is listed herewith. Mary Monroe Penick--Unto Us A Boy Is Born from Oxford Carol Book; The Three Wise men Lang; Jesus Jesus Rest Your Head by Niles. Marvine E. Peterson--The Indian Christmas Carol arr. by Russell E. Carter; Sing Gloria by K.K.Davis; Come Ye To Bethlehem by K.K.Davis; Sing, 0 Sing This Blessed Morn by Healey Willan; The Coventry Carol arr. by George Lynn, Howard Slenk--The Three Kings by Peter Cornelius; A Carol Of Adoration by Pettman•

A Few Personal Recommendations For Christmas Music by Leslie. All are in Unison unless specifically stated otherwise. AS DEW IN APRIL Dorothy M. Smith Year Book Press #1242, Summy-Birchard The text-Anonymous 15th Century, "I Sing Of A Maiden"; the music, charming and flowing melodic line, rhythmically interesting and all within a one octave vocal range between the E flats on the staff, independent accompaniment. THREE CAROLS FOR JUNIORS V. Earl Copes, Canyon Press #6005 Harvest Carol: Mary's Lullaby; Carol of the Trees Thanksgiving, Christmas, Palm Sunday are well served with these carols. "Each carol text is suitable for youngsters and each setting is musical and interesting." Everyone of these is worthy of your earnest attention and then, use. The one for Christmas, Mary's Lullaby, may conceivably be raised one step in pitch,• the tessitura seems a bit low. Get the set for examination. CHIME HAPPY CHRISTMAS BELLS Margrethe Hokanson Concordia #98-1513 A gay little number which may be easily used with primaries, Often a junior or senior higher is available for and should play the flute or clarinet part which is an integral part of the little number. LULLABY FOR JESUS (SATE) Polish Carol, arr. by Ehret and Walton Carl Fischer #7043 The melody only is of course suggested for the childrens group, and is as lovely a one as can be found anywhere. The following four have already been suggested by Norma in her listing. However, they are worthy of an added observation. KNOCK, KNOCK, KNOCK (SA). Rev. William Grime Carl Fischer CM#7051 This became one of the most popular numbersfor Christmas which were examined in the reading sessions of the recent Appleton Seminar, Mr. Grime states, "Knock, Knock, Knock' was born while meditating in how Christian truths might be given to children so that they might sing about them with more joy and understanding." PEACE ON EARTH Austin C. Lovelace Choral Services #133 If you want a gay, sprightly number (and what director doesnIt need one each Christmas) for your youngsters, give this pleasant anticipatory consideration. It's one of the best by Dr. Lovelace. LITTLE JESUS, SWEETLY SLEEP Leo Sowerby FitzSimons #5018 Here is superior music. Every boy and girl should be exposed, the sooner the better, to this type of music. The melody is lovely, beautiful, easy to learn. The two stanzas are alike except for the unusual aecompaniment for each. Some difficulties for the director, may be encountered, but please, every director, permit your youngsters to grow musically. Use this one to help. A ROUND FOR CHRISTMAS (SSA) Lois Myers Emig Flammer #89156 If you have a group of Junior-Hi youngsters who implore you to let them sing in parts, and you know they cannot yet do so satisfactorily, this piece is an answer at least, for Christmas. Except for a few scattered lines in three actual vocal parts, and even these are based on the themes, the number is a round and thus there is one tune only to learn. There is no better way to teach actual part singing, This piece is jolly and merry-your youngsters will love it. 22 MATERIALS AVAILABLE FOR CHILDRENSI NOTE BOOKS This listing supersedes all others; please disregard all previous listings HYMN STUDIES (tunes indicated at right) H-1 ALL CREATURES OF OUR GOD AND KING Lasst uns erfreuen H-2 ALL THINGS BRIGHT AND BEAUTIFUL Greystone H-3 COME YE THANKFUL PEOPLE, COME St. Georgets Windsor H-4 DOXOLOGY Old Hundredth H-5 FAITH OF OUR FATHERS St. Catherine H-6 FOR THE BEAUTY OF THE EARTH Pierpont -Kocher H-7 HOSANNA, LOUD HOSANNA Ellacomb H-8 IN CHRIST THERE IS NO EAST NOR WEST St. Peter H-9 JOYFUL, JOYFUL WE ADORE THEE Hymn to Joy H-10 PSALM 1050 (to be used with H-9) H-11 NOW THE DAY IS OVER Merrial H-12 0 COME, 0 COME, EMMANUEL Veni Emmanuel H-13 0 LORD OF HEAVEN AND EARTH Oldbridge H-14 RISE UP, 0 MEN OF GOD Festal Song H-15 THE GOD OF ABRAHAM PRAISE Leoni H-16 YE SERVANTS OF GOD Hanover H-17 TAKE MY LIFE (hymn of dedication) Gott Sei Dank H-18 0 GOD OUR HELP IN AGES PAST St. Anne H-19 LET US WITH GLADSOME MIND Gott Sei Dank H-20 GRACIOUS SPIRIT, DWELL IN ME Redhead H-21 MAY THE GRACE OF CHRIST OUR SAVIOR Sardis H-22 AS WITH GLADNESS MEN OF OLD Dix H-23 WHEN THY HEART WITH JOY O'ERFLOJING Bullinger H-24 GOD BE IN MY HEAD Sarum H-25 0 SACRED HEAD NOW WOUNDED Passion Chorale H-26 PRAISE THE LORD, YE HEAVENS ADORE HIM Hyfrydol H-27 GOD WHO TOUGHEST EARTH WITH BEAUTY Bullinger H-28 PRAISE TO THE LORD Lobe den Herren DO RE MIs DO-1 Chart I DO-4 Review Page 1 DO-7 Review Page 4 DO-2 Chart II DO-5 Review Page 2 DO-8 Review Page 5 DO-3 Chart III DO-6 Review Page 3 DO-9 Review Page 6 DO-10 Review Page 7

CARTOONS C-1 Which is the way to start the year? C-5 Which is the way to help the choir? C-2 Which is the way to learn our songs? C-6 Which is finding a good excuse? C-3 Which is the way to act in church? C-7 Which is my attendance chart? C-4 Which is the way to be on time? C-8 Which one is making the director (A limited supply only of these cartoons is available) mad? A limited number of the Choir Crow series which appeared in the 1959-60 Letters is available.

MISCELLANEOUS M-1 Childrens Prayers M-5 Head of Christ M-2 My Vestment M-6 Choir Boys On Stairs M-3 Psalm 100 M-7 Kitty-Doggie M-4 Christmas Alphabet M-8 Choristers Prayer, Daily Prayer M-9 The Ten Commandments (Childrens Version)

23 THE S (special) SERIES S-1 Certificate of Membership S-4 I Am Music S-2 Choristers Pledge & Prayer S-5 The Old Woman Who Lived In A Shoe S-3 One Solitary Life (publicity folder especially for (the above on parchment paper) Primaries-72¢ each) S-6 The Spotted Puppy (a "missed you" postcard reminder) 40 for $1.

THE A SERIES A-1 Chorale, The Duteous Day Now Closes H. Isaac-J.S. Bach A-2 Anthem, I Believe In God Above Broyles Hall A-3 Anthem, Children of the Heavenly Father Swedish Melody, arr. Robert Legler A-4 Anthem, All Things Bright and Beautiful John Burke 10¢

FOR T HE DIRECTOR THE CHILDE6NS CHOIR by Ruth K. Jacobs $4.95 postpaid (a book of complete organizational plans, tried and tested) THE SUCCESSFUL CHILDRENS CHOIR by Ruth K, Jacobs $1.50 postpaid (a book of technics for handling childrens voices) THE ABCs of the DO RE MIs (first 40 lessons) by Ruth K. Jacobs $0.50 postpaid The ABCs of the DO RE MIs (second 40 lessons) by Ruth K. Jacobs $0.50 postpaid (a series of lessons for teaching primaries and junior, note reading) CHORISTERS LITTLE HYMNAL, edited and compiled by Ruth K. Jacobs (complete music, accompaniments and words) 1 copy--500;--2-25 copies, 40¢ each;--26-200 copies, 35O each. 201 and more copies, 30¢ each--all prices postpaid

PRICES All prices include postage. Prices except for those individually indicated are as follows: The H, DO, C and M series--40 each up to 200 pages in one order; 30 each for more than 200 pages in one order. The S and A series--60 each in lots of less than one hundred; 5O each in lots of more than one hundred,

CALIFORNIA RESIDENTS, please note:--all sales to California residents for use in the State carry a 4% Sales Tax. Please add the amount of the tax to your remittance.

Use this space to list additional materials which will be published in future issues of the CHORISTERS GUILD LETTERS.

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Lord Josus, we pray for youth in careless abandon, in love of liberty, and in joy of life, especially those particular young people whom we name now before Thee Help them to find that discipline by which life can alone be successfully lived, and character achieved. May they learn that just as steam is effective when contained in the walls of a cylinder, so will youthful energies be effective when controlled.

We ask Thee---

to protect them physically; throw around them the golden aura of Thy protecting presence;

be Thou their Teacher; be Thou their Guide;

send into their lives the specially chosen companions and friends Thou dost want them to have;

save them from any costly blunders that would haunt them down the years.

Give them that joy and happiness that shall enable them to go out to meet life, bearing with them those lasting satisfactions which only Thou canst bestow.

We thank Thee, Lord. Amen.

--"The Prayers of Peter Marshal])

CHORISTERS Y GUILD LETTERS Volume XII 1960-61 Number 2 October Ruth Krehbiel Jacobs, Founder A. L. Jacobs, Editor Norma Lowder, Associate Editor published for its members by the CHORISTERS GUILD Box 211 Santa Barbara, California Copyright (C) 1960 Choristers Guild 25 AN INTIMATE AND PERSONAL MESSAGE TO THE GUILD FAMILY This is no cry of despair, anguish or helplessness; it is a plea for your understanding, patience and loyalty. This is tne third letter which I have done completely by myself. If these have not been up to previous standards of brilli- ance and excellence, please give me a little more time. My tasks in the Guild for the past four months have been so enormous that sometimes I wondered just what was the most important thing to do from amongst a dozen to do at a given time. This is no apology for I have done the best I could under the circumstances, but an explanation. Ruth built the Choristers Guild into a distinguished service organization. She was a genius. Ruth was probably best characterized by Dr. Howard D. McKinney in the recent issue of FisOher Edition News. He wrote in part: "A woman of strong personality, active religious convictions, unbounded energy and the highest personal and artistic ideals, she literally gave her life for the cause of better church music, especially that suitable for young singers." Now it is my duty, task and responsibility to follow her, as well as my challenge and privilege. Everytime I put together an issue of the Guild Letters, I say to myself, "Is this good enough for our members--is it helpful--is it worthwhile, practical, inspirational--does it display leadership qualities--is it as good as when Ruth did the work--can this be or become better? All these and many more questions haunt me at times. Of course, the Letters will be different in some aspects; I cannot be Ruth, and no one would expect that. My sense of responsibility is keen. I need your prayers, and once in a while, your assurance expressed in some way. I believe that I can, and will measure up. My responsibility is also frightening in one sense. The membership at the beginning of this Guild year is larger by 500 than at any other year's beginning. New members who possibly never have heard of Ruth or me, have heard of the Guild, its work and helpfulness to childrens choir directors. This latter quality brings them into the family. Will their faith and trust be justified? I now know that one of my greatest tasks is to find enough quiet time for meditation, study, research, time to write, then rewrite, and then rewrite some more. I need to be relieved of the multitudinous duties which I previously carried and still do in large measure. Nita Akin of Wichita Falls, Texas, one of Ruth's dearest friends, is undertaking to raise a Love Offering in Ruth's memory to provide the full time paid help now so much needed. Many of you have contributed. This fund now stands at nearly $500. About 40,000 is needed. Though this money will be spent as the months move along, and no actual memorial exists for it, yet the on-going and growth of the Choristers Guild is as fine a memorial as can be conceived. Nita Akin deserves all thanks and appreciation. Many have also contributed previously to a Memorial Fund. That fund now stands at around Fourteen Hundred Dollars. These monies were given to create a permanent memorial, and will probably take the form of a scholarship fund to help young choir directors to become more expert in working with children. You may contribute to either fund at anytime. The need to enlarge the Love Of- fering is immediate. Reports on both will appear each month in the Letters. And now, a last matter for this time--a few have requested a recent picture of Ruth. She sat for some pictures in early March for Douglas Lyttle in Kalamazoo, Michigan, who captured her spirit and personality better than anyone before. She never saw the proofs; persons who have seen them acclaim their excellence. If enough persons desire a picture, a very fine copy by offset with facsimile signature will be a part of the November issue. So write immediately; the addition to the Letter of the picture will depend upon your immediate response. Because the past is the past, and cannot be altered, Ruth's death, with the re- sultant loss to the Guild of her leadership will and must be accepted as a tragic fact. It will henceforth not be mentioned except in an incidental manner. The Guild will go on; guided by her spirit residing in a better place. The rest is up to us with God's help. 26 WHAT IS YOUR PURPOSE? Dr. O.L.Shelton, Dean of the School of Religion, Butler University, said, in writing to his nephew, Brent Stratten, (also one of the Guild's hardest workers): "The only way to grow real depth in Christian life is through rich and meaningful worship. Worship is the very heart and center of the church. People never have a real hunger - which is present in all people - satisfied until it is met in the corporate worship. "Evangelism brings people into the realm of the church, but it does not make them into full-grown Christians. "Fellowship is a man to man experience and is important. New buildings are but vehicles in which expression may take place. But worship is the man-to-God and God to-man experience for which man was created, and without which true fellowship with God does not attain depth nor real meaning. Man is a worshipping creature, and he responds to some kind of worship. The tragedy is that we try to satisfy these deep longings with superficial answers. "I have been preaching for eight Sundays for a small rural town church, and instituted some simple additions to their regular form - opening sentence of worship- reading before communion and before prayers - and some little things like that.The attendance increased every Sunday. The best attendance-getter for a Sunday morning service is a moving, deep-going, meaningful worship that answers some of the needs of the human heart - and probes some of the weaknesses of human nature." In sports, people are becoming spectators rather than participants. It must not be so with worship. "A more wholesome attitude toward worship can be developed through thinking of worship as a verb instead of a noun. Worship is active, not passive. It is an act which every person must make in response to the searching loving-kindness of God...Worship, however, is more than action and interaction between God and man; it must be worthy action„A shallow hymn, a sloppily sung anthem are hardly fit gifts to bring as an offering to God, for they cost us little or nothing."* Dare we give less than our best? At a famous writers' club one day the discussion was on the relative merits of the great philosophic leaders. The general opinion was that Jesus was just a great leader among other great leaders. Then one of the men said, "Gentlemen, if Socrates or Plato were to enter this room, we would stand in respect; but if Jesus Christ were to enter, we would kneel." That is the difference that should be the crux of our education program in the church, including the music program. The church sanctuary should be the place where the spirit learns to kneel, a place set apart for the communication beyond the human. It is well enough to teach our children to stand for the right, but it is when the spirit kneels that it gains strength to stand. The church school, of course, bears the chief responsibility for education, but only the choir offers the chance for expressing beliefs and aspirations and devotion in public worship. A burden of responsibility rests on us who direct most of the corporate expressions of worship. If our children graduate from the choir with, out a consciousness that the church is a place for experiences and thoughts that transcend those of school and club; if they have not learned to expect quiet of themselves as they enter the church; if their participation in the service does not reflect a sense of obligation to their own and the congregations' higher aspirations, then we have failed. Training the worship attitudes of our children is like tending a rare plant. The seed must first be planted, the soil in which it is planted kept in a condition that encourages growth. It must have a chance to weather adverse conditions, and any wild or abnormal growth must be pruned away. Only recently have we begun to sense the enormous influence for character building in the children's choir. A fine director can do a great deal, but only when the director, parents, church, minister and his staff work together with a common purpose and a common vision will our flower truly reach full bloom. The greatest factor in any situation is its potential, and no one has even begun to suspect the potential in the children's choir--for children, the church, and the future. *Lovelace & Rice in & Worship in The Church"(Abingdon Press; 27 1960 ANTHEMS (Adaptable for use with combined choirs, primary, Junior, Youth Adult) Dorothy Ellsworth In the search for materials usable with such groups, it is probably more important to find god music, and adapt it to your needs, deciding which choirs may do certain stanzas in unison, two parts or more, rather than to use less worthy music just because some music is already "sot?! for cert4in groups. Occasionally, you will need to change a word or phrase to make a text more meaningful for children; sometimes a change of key for a single stanza will bring it into a more satisfactory range for one group or another. Any of these considerations are worthy the doing for the sake of one really fine number, All the following are for mixed voices. PRAISE, 0 PRAISE THE LORD OF HARVEST Eric Thiman Novello MT 1037 This number for example has an excellent text, a stirring tune, and a very strong rhythm. The range is such that all ages of choirs may combine for .unison singing on the first stanza. An adult mixed voice group could sing stanza two, and all combine again on stanza three. As an added bit of interest, let an antiphonal "Amen', be added at the last to the measures of the final Amen--sung on d--d with whole note values. A primary or junior choir could do this very effectively over the sustained Amen sung by the other voices on the g triad. One note of warning--never permit young voices to sing with mature voices or choirs on fortissimo singing, or on climaxes that might induce voice strain in the youngsters. Rather --plan the score so that the boys and girls are given portions to sing which will be suitable to their color, weight and range of tone. This is an inflexible rule. Let us know how these work out for you.

WE THANK THEE 0 FATHER David H. Williams H.W. Gray GMR#2345 JOYFUL WE ADORE THEE Glenn Darst H.W. Gray CMR#2183 NOW LET US ALL PRAISE GOD AND SING Gordon Young Galaxy #2.1.08 FOR THE BEAUTY OF THE EARTH Eric Thiman G.Schirmer #10595 GOOD CHRISTIAN MEN, REJOICE AND SING Vulpius arr. Stanley Glarum Augsberg #1106 HYMN FOR THANKSGIVING David H.Williams Birchard- Summy, Laurel 279 FESTIVAL CHIME Gustav Holst Galaxy #8 ON THIS, THE CHRISTMAS MORN Job Novelle MT#1029 WHEN AT CHRISTMAS CHRIST WAS BORN French, Dailey-Scarlett Carl Fischer CM#6938

The following are Mrs. Ellsworth's particular suggestions for an SAB choir for Christmas music: JESUS CHRIST OUR SAVIOR IS BORN Gordon Belwin #1524 MASTERS IN THIS HALL Wilson Boosey #5006 HARK NOW 0 SHEPHERDS Luvaas Summy-Birchard #5204 LO HOW A ROSE Niles Carl Fischer CM#6729 ALL MY HEART THIS NIGHT REJOICES Darst H.W. Gray CMR#2243 SING GLORIA K.K. Davis Remick 4R3181 SING 0 SONG Darst Summy-Birchard #2098 DING DONG MERRILY Glaser E. C. Schirmer

28 j

Who covereth the heaven with clouds,

and prepareth rain for the earth; and maketh the grass to grow upon the JD3D mountains.

A LITANY For these 0 God, I give Thee thanks: For autumnhills all tapestried in gold, For sleeping valleys nestling near Thy heart, For gleams of burnished silver on a stream, For jewels flashing in the night time skies, For soft horizon haze, For bare brown earth and ruggest wind-swept trees, For rain, for dew, for frost, for Nature's sleep, And then for glad resurgent life of Easter-time. For these, 0 God, I thank Thee! Again, 0 God, I give Thee thanks for these: For friends who understand, For useful work and laughter, lightening toil, For comradeship with youth, strive to know and do, For mellowed age, For home where happy children voices sound, For tables spread with daily sustenance, And couches that give rest when day is done. For these, 0 God, I thank Thee.' I give Thee thanks, 0 God, For these, Thy gifts, unbought with coin, For beauty of the earth and sky, For goodly heritage, For life and love and fellowship, For that great Gift surpassing all, The gift of Thine own life to men, For these, 0 God, I give Thee thanks, And lift my hymn of praise to Thee! From the Thanksgiving 1959 bulletin of Catalina Methodist Church, Tucson, Arizona, Richard D. Lapo, Minister of hUsic 29 In her book, "Around The Year With The Trapp Family", the mother, Earia Augusta, asks, "Why have homes more and more turned into places where a group of people merely happen to live under one roof, each member going his separate way, sharing nothing with others?" The answer, she declares, "is that they lack family feasts." The book describes that family's many "feasts"--its way of celebrating the year's round of festive days and seasons--all the church festivals, birthdays, gradua- tions, weddings. The enriched meanings, resourcefulness, joy and affection evoked by all these are an answer to many a parent's longing. *"Any celebration without fun or spontaneous depth of joy is not a real festival at all. At the core of all the responsiveness of heart and mind that makes a real festival, there is a feeling of appreciation, of thankfulness. Even ordinarily, when one has real cause to say, "I am glad", he is inwardly saying also, "I am thankful". The more thankful he feels, the greater is his gladness. Is not a depth of gratitude the central essence of worship? And by a paradox, is there not deep in every really felt gratitude an impulse to give in return?" Children are peculiarly responsive and sensitive to celebrations. The Thanks- giving Day festival is a heaven-sent opportunity for childrens choir directors to help boys and girls learn gratitude and appreciation, thankfulness and sharing. Next to parents, the Church School teacher and the Childrens Chair Director bear perhaps the greatest responsibility in the teaching of sound and right attitudes, It has been well said in many different ways that Christian Character and attitudes are not so much taught, as caught by children. The choir director wields a powerful tool--Music--in working with boys and girls. Therefore, YOU, the director, please make the fullest use of Thanksgiving, this on-a-platter opportunity. Too often we think of Thanksgiving as an American festival only. Our celebration however has Biblical background. Once a year in the Autumn, the Hebrews celebrated the "Feast of Booths" when they gave thanks to God for a bountiful harvest; When they harvested and stored for the Winter, their fruits and grains. (This festival will be fully described in the next issue of the Guild Letters). Other Bible Thanksgiving Festivals came when the ancient Israelites celebrated great events in their history. Bible scholars say that Deborah's song after the victory over Sisera, one of the oldest passages in the Bible, is an ode of glorious Thanksgiving. (Judges 5). When the Hebrews had crossed the Red Sea safely they held a joyous festival, during which Miriam, Moses' sister, gdthered the women together who sang and danc- ed with timbrels. (Exodus 15). In second Samuel 6, a Thanksgiving celebrated the return of the Ark of the Covenant by David. And again after the dedication of Solomon's Temple (First Kings 8) the people celebrated for two weeks during which time they praised and thanked God. Another festival was held when the Temple was rebuilt in the time of Ezra. (Ezra 3). The entire Bible, both Old and New Testaments, is filled with words of gratitude. The people made Thanksgiving a part of ordinary every day life. Jewish people not only gave thanks before meals, but had special prayers for filling a cup, lighting a lamp, or entering a door. And then, the background of our own American Thanksgiving can be re-emphazied. Many youngsters have only a hazy notion of what it is all about, A big feast is naturally uppermost in their minds. The ease of present-day life means nothing to them until contrasts are made vivid to them. Make them proud of their heritage; we are in danger of losing its sense and meaning. %,,,,,,, *quoted from "Songs For Harvest & Thanksgiving", Cooperative Recreation Service Now, what can you do to help your boys and girls? Here are two very simple ideas. PRAYER—Many of our American households no longer offer prayer before meals. Find or make up a short, meaningful-to-children prayer; mimeograph a copy for each child; teach its meaning; read it aloud with the children for several rehearsals; ask them to memorize it, and then to use it for their Thanksgiving dinner.

30 THANKS--Use five minutes of a rehearsal period to write on the blackboard, the various things for which the youngsters state they can be thankful. Subtly suggest parental love, a home, brothers, sisters, school, etc. When quite a list (and you know you will list some unusual things, such as dogs, cats, etc.) is on the board, suggest the "making-up" of a hymn about these set to the music of a well-known tune, such as Old Hundredth which is in L.M. (8,808,8), or St. Agnes in C.M. (8,6,8,6), or a tune for that matter in any other meter of verse. If using the Long Meter, the words could start something like this: - - "I'm thankful for my father's care; my Mother's love and kindliness", etc. Two stanzas should be "made up", and sung by the children in a Thanksgiving service. All this c lbines several ideas - -thankfulness, creativity, perception of the relation of words and music, and certainly the teaching of meter and what those numbers mean at the top of a hymn page. If you have not already taught this to your older youngsters at least, this plan is a good way to do it. Send in your "make up" words to the Guild office --the three best will be published in the January issue of the Guild Letters. *488888E-**-)8H8HHHHHHHHHi-3k-A-381488HHSHHHHSH8i3H8;-41-38888K-CHHi-iiil-Ni8HH(-58;--X-Nitiiii3HHH888H8CiSHHHC The CHORISTERS LITTLE HYMNAL provides in convenient form, four excellent hymns for the Thanksgiving Season with youngsters. Three are well-known, "For The Beauty Of The Earth", "All Creatures Of Our God And King", "Now Thank We All Our God", the other not so well-known, but excellent, "God Of The Earth". "For the Beauty Of The Earth" lends itself well to choirs and congregational participation. (It is best to print the words in your calendar), Different choirs sing the stanzas and the congregation sings the chorus, "Lord Of All To Thee Na Raise" each time. It may be good for all choirs and congregation to sing the last stanza together. The singing of this hymn may well be a part of the opening Liturgy of Praise rather than just a hymn "stuck in" somewhere. "God Of The Earth" - -the tune, St. Chrysostom by Joseph Barnby, is not the best music because of its repetitive notes; however, the words by Samuel Longfellow are so excellent that the end result is good. The text can easily be explained to and understood by, youngsters - -that God is everywhere and all about us in our everyday life. We have made our religion such a Sunday affair that children must learn to make it a very part of their everyday selves in every thought, word and deed. This, this hymn can teach. The music will be simple for children to learn-- the rhythm of the first two phrases, and the two of the refrain, excepting one measure, is the same. In teaching a tune like this, have the children learn the rhythm first by clapping it or by some other physical device. The first two phrase: and then the refrain should be learned, and only then, the two middle phrases. Of course, you have helped them in this learning process by playing the tune on the piano with some of their clapping, Now they are ready actually to sing the tune on some syllable such as fah or lah. After rhythm and tune are thoroughly learned, the words will easily fall into place and the whole is thus quickly and easily learned AND retained. i8H888:-.**.i88H88888888H88HH888i488888888H8K-38H88HH888H8884488HH8888H88888H8H8H8148K-i888C CECIL LAPO, St. Luke's Methodist Church, Oklahoma City, developed a service last November which he entitled, "The Thanksgiving Festival Of The Singing Church", The first part of the service was one of dedication for all the choirs of the church. One of the anthems used in this first part was for combined choirs, "Prayer For The Ministry Of Music" by Mr. Lapo, published by R. D, Row Co., Boston, Mass. The second part of the service was based on Psalm One Hundred. It may be of interest to some of our members as the basis of developing their own Thanksgiving special service with choirs. Here it is -- FESTIVAL SERVICE ON PSALM ONE HUNDRED "Make a joyful noise unto the Lord, all ye lands" 0. God Our Help In Ages Past (St. Anne) arranged by Lapo Chapel Handbell Choir Let All The People Praise Thee Martin Shaw (Oxford Press) Sanctuary and Vesper Choirs "Serve The Lord With Gladness, Come Before His Presence With Singing" 3

Come Together, Let Us Sing J.S. Bach (E.C.Schirmer) Chapel, Carol, Bethlehem and Carillon Choirs "Know Ye That The Lord, He Is God" Kings of Kings Joseph Clokey (Birchard) Sanctuary and Vesper Choirs "It Is He That Hath Made Us And Not We Ourselves Jesus Whom Thy Children Love H.Elliott Button (H.W, Gray) Bethlehem and Carillon Choirs "We Are His People and the sheep of His pasture" Jubilate Deo Richard Purvis (Leeds Music L 143) Chapel and Carol Choirs "Enter into His gates with thanksgiving and into His courts with praise" Rejoice Ye Eure In Heart Healey Willan (i.W.Gray) Sanctuary,Vesper, Chapel and Carol Choirs "Be Thankful Unto Him and Bless His Name" The Presentation of Tithes and Offerings Now Thank We All Our God J. S. Bach Vesper Handbell Choir Offering Response by Choirs and Congregation Now Thank We All Our God (first stanza) "For The Lord Is Gracious: His Mercy Is Everlasting" The Christmas Bells (Westminster Press, Junior Choir Anthems #4) The Mother-Ringers "And His Truth Endureth To All Generations" 0 Savior Sweet J.S. Bach (H.w.Gray)

Then the minister spoke briefly, and the service came to a close with a congregational hymn, "Come Ye Thankful People, Come", and the Benediction. it-i8i-g-i8K-58*-38888H1-)8:-**A-4C-N-38HHHH88888HH1-**

A BIT OF SPACE FOR SOME THANKSGIVING MUSIC SUGGESTIONS

JUBILATE DEO (unison) Richard Purvis Leeds Music L-143 a splendid number - the text comes from the Episcopal liturgy, but certainly everyone praises God - -may be sung by children alone or with adults - -was used in one of the above listed services.

BREAK FORTH INTO THANKSGIVING (unison) Martin Shaw H. W. Gray P.S.B. 1438 another one of the unison type which some English composers do so well-- may also be used by children alone or with adults singing all together or portions alone - -a brilliant anthem.

WE PRAISE THRE 0 GOD W. Glen Darst H. W. Gray CMR 2660 a brand new release-while written for three parts (two women, one men's), this may easily and well be sung by children only with no loss in effective - ness - -the range is good - -the altered chords seem to weaken seriously, the music in places - -the text is strong enough though to overcome the weaker music - -the anthem may best stop with the second last phrase for the last seems unsuitable for children who may force their voices trying to sing it.

32 Music a_( The Music Supplement for October WALTER SPINNEY, Wadhurst, Sussex, England, organist, choirmaster, composer, a long-time member of the Guild sent some numbers to the Guild last spring for which he gave gracious permission to reproduce in the Letters. Of these, "The Bell Carol" an excellent setting of the Longfellow poem, was selected for this issue. It should prove to be interesting for your youngsters. Write the Guild office if you use it. The Reverend WILLIAM and Mrs. (Annabeth) GAY, Pleasant Hill, Ohio, have for eleven years sent their friends a Christmas song of their own making, the text by William, the music by Annabeth. The Gays graciously gave permission to share, "Timothy's Christmas Song" with other members of the Guild. Timothy is their not- now so small son. This piece is a delightful one for Primaries to learn and sing. Mrs. Gay is the Childrens Choir director in their church, the Congregational. The Guild is grateful to these members for their generosity. THIS IN THAT In the June issue of the Letters, a listing of recordings of childrens choir groups included one by the Columbus Boy Choir, "Song Festival", Decca DL 8206. This number should have been, Decca DL 8106. The excellent Westminster recording #6036 of "Festival Of Nine Lessons and Carols" as sung on Christmas Eve in Kings College Chapel, Cambridge, England, is reported as no longer available. A little searching, however, may produce a copy. A superior London recording #5523 of this same service as sung on Christmas Eve, 1958, is readily available. The choir consists of 16 boys and 14 men, all members of Kings College. You may not like the English Boy, Choir type of tone. This record, you will like, and 411 help you decide what kind of tone you want from your boys groups. Remember that if you have difficulty in purchasing any records listed in the Letters, all are readily secured by writing the Gramaphone Shop, 9 East Canon Perdido, Santa Barbara, California. The records are kept in stock for our members. Last spring, Ruth requested any complete sets available of the Choristers Guild Letters, beginning with Volume 1. The Library of Congress had honored the Guild by requesting a complete set. Unhappily, the Guild did not possess one for there was no inkling at the beginning that the Guild would in eleven years grow into the organization it has. Barbara Tuttle, Elizabeth, N.J., sent in the only complete set. She expressed her reluctance to part with the set; it was found possible to make copies, and so the set was happily returned. To her, the Guild is greatly indebted, and expresses thanks. Dr. F. L. Whittlesey, Highland Park Methodist Church,Dallas, Texas, sent in a partial set which was also returned with gratitude. Mrs. Addison S. Moore, Westminster Presbyterian Church, Bell Gardens, Calif., sent in a complete Vol. IV which she wished the Guild to keep. Thus the Guild now has copies of all the Letters in the files, and the Library of Congress has a set for reference. The Area Coordinator plan, an excellent plan of Ruth's to tie together our farflung family, obviously is dormant just now.I've carried the Guild alone since, Ruth's death; the task has been almost more than I can manage even with all my experience to call upon. Until an office reorganization is effected, some phases of the work must remain inactive. However, the Area Coordinator plan will be revived as soon as possible. Whom will you nominate for your State or geographical area? ALL IN THE FAMILY MARGARET DUFFY, First Methodist Church, Great Falls, Montana, and her choirs were accorded significant recognition in the December 13, 1959, issue of the Mountain Parade magazine section of the Great Falls Tribune. The cover page with its picture of her recently formed Hand Bell Choir was just one of seven pages of pictures and story concerning the music of the church, Congratulations, Margaret. DR. JAMES & MRS. CART,', he, professor of Church Music, Christian Theological Seminary, Indianapolis, Indiana, she, childrens choir director, wrote recently, "My family and I have had a wonderful summer in Puerto Rico working in music in Disciple Churches.Isabel developed a childrens choir in one of the churches. Peo- ple were very responsive." The Guild family should hear about her childrens work there. Maybe next time. This must stop; there is much more to write about than space to say it in. More next month. 34 0 COME LET US ADORE HIM

Of all the people, the church choir director, and in particular, the one who works with childrens choirs, can have the richest Christmas experience and the most fun. This is stated in spite of the many, many "headaches" which are part of the normal preparation for Christmas. For most persons, Christmas seems to arrive with a rush and is gone with a puff. For those, however, who work with boys and girls in their choirs, the season is a long happy (or should be) one.Here it is only October; the Lettersawakened the Christmas spirit a month ago. Now follow more music suggestions, plans and ideas.

All Saints-By-The-Sea, Santa Barbara, California, has in recent years arranged a pot luck supper followed by the decorating of the church. A chairman plans the decorations and suggests what greens, etc., to bring. This would be a fine project for a High School Choir and/or group, and is much better for the youth and the church as well, than having the work professionally done.

Mrs. Lewis H. Figh, Jr., First Presbyterian Church, Montgomery, Alabama, in 1958, arranged a fine service entitled, "0 Sing A Song of Bethlehem." She used her adult and childrens choirs in various ways together with a speech chorus. For the latter, Some of the following were used at the end of the service.

SPEECH CHORUS For Christmas is not just a moment for remembering a little Child; It is a movement for following a magnificant Man. It is not a holiday when no one works; It is a Holy Day when the spiritually unemployed can begin work on this Man's neglected business. It is not a day for a shopkeeper's gain, but for the pewholder's gift. And this gift is not to be wrapped in gay ribbons; It is to be incarnated once more in a human body, The body of a shepherd, good enough to give his life for lost sheep; The body of a wise man, wise enough to lose his life in telling someone else what he has discovered in Bethlehem; The body of a refugee who sees that we are all homeless and restless until we rest in Him. SOLO (or choirs) 0 Little Town Of Bethlehem (last stanza) tune, St. Louis CHRISTMAS CREED (Congregation and Choirs) I believe in Jesus Christ, and in the beauty of the Gospel that began in Bethlehem. I believe in Him whose spirit glorified a little town; in Him of whose coming only shepherds saw the sign and for whom the crowded inn could find no room. I believe in Him who proclaimed the love of God to be invincible; in Him whose cradle was a mother's arms, whose home in Nazareth had love for its only wealth; I believe in Him who looked at men and made them see what His love saw in them; in Him who by His love, brought sinners back to purity, and lifted human weakness up to meet the strength of God. I acknowledge the glory of all that is Christ-like, the steadfastness of friends, the blessedness of homes, the beauty of compassion, the miracle of hearts made kind at Christmas, the courage of those who dare resist all hate and war. I believe that only by love expressed, shall the earth at length be purified. SPEECH CHORUS: John 3:16 (print out in bulletin) HYMN OF AFFIRMATION: Joy To The World tune, Antioch 35 Leslie Peart, First Baptist Church, Toledo, Ohio, started his work in this church in the late Fall of 1959. Because of time and certain conditions, he felt that a full scaled pageant by the children was not possible to present. He and Mrs. Peart conceived the idea of making colored slides of various church activities and of boys and girls in costume depicting Nativity scenes. These slides were used while the story was told by a reader, and music sung by children choirs, The script is a bit too long to be included in this Letter. However, the Guild Office secretary, for a small fee, will make you a copy. The opening paragraph of the script is here given. "Dear Friends: Merry Christmas: Isn't it wonderful? Carols and candles, and everyone so happy. I wish you could see our church; it is so beautifully prepared for our worship of the Christ-Child. We have a special visitor with us this year; his name is Kim; he just came from Korea to live here. Kim has never of course been in our church for Christmas, so we took him on a tour to see how we all celebrate the birth of Jesus. Let me tell you about it; the pictures will tell what happened." Mr. Peart wrote in part - -"She (Mrs. Peart) has worked out the script using the entire Church School and doing the entire program in colored slides. The program revolves around the story of a boy visiting the Church School for the first time. The younger children are shown busy in their classes. When the boy arrives in the Junior and Senior High departments, they are enacting the Nativity scenes. For these, we posed youngsters in costume at various places to create exciting and suitable back-grounds. For instance, Caesar Augustus was photographed on the steps of the Toledo Art Museum, a beautiful Roman setting. The Three Kings were taken beside a crystal clear small stream. The manger scene was set in a corner of an old barn. The angels were taken while on a hilltop, the photographer below, with the sun coming across their heads. The shepherds were seated around a real fire on a sandy slope. Etc.etc....The photography was done professionally; help was sought from drama coaches for the costuming. During the showing of the slides, a reader and the three younger choirs will provide the narration." And some further words by Mr. Peart,-- "some random remarks about the slides. We feel that the make-up on a few of the individuals is too heavy, but this was produced by a woman in the church with drama experience. With the slide process, we learned that no make-up whatso- ever produces the best pictures." Mr. Peart will undoubtedly be willing to answer particular inquiries if you write him. His address is 3016 Collingwood Blvd., Toledo 10, Ohio, * * * The next special service was sent in by Mary Monroe Penick, First Presbyterian Church, Lynchburg, Virginia, who participated in the festivities in Christ Church, Cincinnati, Ohio, where her nephew is a curate. The "Boar's Head and Yule Log Festival" has been done in this church for about fifteen years. Miss Penick wrote, "Perhaps you've heard and seen it. If not, I should say that it is almost worth a trip from California to Cincinnati." The following is quoted from the special service bulletin of Christ Church: - THE BOAR'S HEAD AND YULE LOG FESTIVAL - "There is a never ending struggle in this life between the selfless, sacrificial forces of good, and the selfish, greedy forces of evil. The Boar's Head ceremony is one of the many ways in which the Church tries to picture this battle, and to show the ultimate triumph of Christ over sin. In Norman England the boar was a ferocious beast and the sovereign of the forest, a danger and a menace to man and, therefore, a symbol of evil. The presentation of the boar's head at Christmas time signified the triumph of the Christ Child over sin. The fresh yule log, lighted by last year's embers and representing the warmth of the family fireside, has from the earliest times marked the rekindling of lave as the old year passes and the new onevas born. "It is probable that the Boar's Head ceremony is the oldest continuing festival of the Christmas season. Records show that it was used at Queen's College, Oxford, shortly after its founding in 1340. This colorful ceremony in Oxford, sung by the dons and scholars, became a part of the Christmas celebration in the great manor houses of England.In colonial America, a number of families carried on this tradition in their homes. In 1888 Dr. Tibbits, a descendant of one of these early families, became Episcopal Rector of the Hoosac School in Hoosick Falls, New York, and established the Festival there. Christ Church (Cincinnati) gave its first presentation in 1940, adapting it for presentation in its Church building. What formerly had been a ceremony of the lord of the manor, has become a Service of Praise to the Lord of the Universe." 36 And here is the outline of the actual ceremony from the Christ Church bulletin. "In the church comes the tiny light of a burning taper, borne by a sprite, symbolizing the coming of Jesus into a darkened world. The light is given to the Church, and into its growing radiance, there comes a noble company of knights and attendants bearing the Boar's Head with many accoutrements. The bright procession, led by a minstrel singing the traditional carol, moves triumphantly about the Church, and at length, presents its conquered enemy near the altar. In dignity and in order, the long line of companies group themselves before the sanctuary- -the Herald and his men, the Plum Pudding Company, the Mince Pie Company, the Cook and his apprentices, the Huntsman and his page, the Beefeaters as guardians of the King, a Company of small Yule pages, and the Good King Wenceslas, a symbol of Christian knightliness. 'When all are assembled before the Christ Child, gay carols are sung as young Woodsmen pull in the Yule Log, and a band of Waits come strolling through the congregation asking God's blessing on one and all. "There is a change in the mood and the music as the service proceeds to tell of man's deep longing for and search after God. The humble Shepherds come, seeking the new-born Babe. Strangers from the far East and Kings approach, looking for Him who is the "King of Kings". Their search ends at the altar. As the Kings present their gifts to the Christ Child, all kneel reverently as men have done since God first came to earth at Christmas. The oldest Wise Man, and the tiniest sprite join in the singing of one of the oldest and most beautiful hymns of adoration, "Let All Mortal Flesh Keep Silence." "After all have offered their unique gifts to the Christ Child on His birthday, they go forth to the glorious strains of "Adeste Fidelis". Then again, as in the beginning, the tiny sprite joins the Rector at the altar, from which the light symbolizing triumphant Christianity is carried out into the world." This service, "The Boar's Head and Yule Log Festival", would seem to be an idea: one for the boys and girls in the Childrens Choirs to work up and present. Follow,- ing is the music of this festival as used in Christ Church. 1 - -The Boar's Head Procession -#19 in the Oxford Book of Carols, 2--Good King Wenceslas - #136 in the Oxford Book of Carols. 3--The Woodsmen, "Deck The Halls". 4--The Waits, "Wassail Carol" - #15 in the Oxford Book of Carols. 5 --The Shepherds' Chorus, "Let us now go even unto Bethlehem." 6--Adoration of the Shepherds, "Hail To The Lord's Anointed", found in most denominational hymnals. 7 --Kings To Thy Rising. 8--"We Three Kings", found in most hymnals. 9 --"Let All Mortal Flesh" found in many versions in hymnals and as anthems 10 - -Adeste Fidelis, "0 Come All Ye Faithful". MIDDLETOWN, OHIO IN 1958 started a real movement to "Keep Christ In Christmas" by arranging a city-wide celebration program for the "Twelve Days Of Christmas". The churches spearheaded the affair; an attractive program folder (without advertise- ments) outlined the events of the celebration. Undoubtedly two of our Guild members, the Reverend Walter Davis, First Methodist Church and William B. Giles, First Presbyterian Church, shared in the planning. Walter sent in a copy of the folder. A quote follows from the first paragraph. "...Christmas, the birthday of Christ, our Lord, is for all men a time of peace and unity, a time to rejoice together in gratitude for the real gift of God to man. ...to join with your friends and neighbors...in a community Christmas celebration that gives outward expression to the spiritual joy of this Blessed Season". And here is the program--- KEEP CHRISTMAS WITH CHRIST CHRISTMAS DAY, December 25 (Make Christmas Welcome) Praise Him whose coming brings joy to the world. Go to the church of your choice to join with angels and men in giving glory to God. Wel- come Christ in your homes and hearts. Light your Christmas Tree and candle to tell of His coming. Pray as a family at your Christmas crib. 37 THE FIRST DAY OF CHRISTMAS, December 26 (Christmas With Music) Music will start the Twelve Day celebration; praise and glory will be proclaimed with music. Listen to your radio station. (The local station broadcast special programs all day long). THE SECOND DAY OF CHRISTMAS, December.27 (FAMILY TOUR OF DECORATED HOMES) See the glittering decorations proclaiming the story of Christmas throughout the city. THE THIRD DAY OF CHRISTMAS, December 2B (Honor Christ in the Manger) Join your friends and neighbors around the Commun- ity Christmas Tree in Senset Park. THE FOURTH DAY OF CHRISTMAS, December 29 (Nature Speaks To God) A Christmas flower or some form of special greenery could grace the home scene on this day. THE FIFTH DAY OF CHRISTMAS, December 30 (Children At Christmas) The Christ Child reserves this day for His beloved children. A story hour and film will teach the significance of Christmas. Come to the new Childrens Room in the Public Library from 10:30-11:30 A.M. THE SIXTH DAY OF CHRISTMAS, December 31 (Peace To Men Of Good Will) Pause a moment as you ring out the Old Year and ring in the New. Pause to give thanks for the First Christmas. Attend special services in your own church. Pray for peace and unity around the world. THE SEVENTH DAY OF CHRISTMAS, January 1 (New Year Hospitality) Greet the New Year with an open heart. Open your home in the name of Christ. Exchange visits and well-wishing with family and friends. THE EIGHTH DAY OF CHRISTMAS, January 2 (Art Opens The Way To God) Artists of all ages have given expression to the mystery of Christmas. Understand the beautiful works of religious art of our churches and exhibits. Bring some form of art into your home to express Christmas thoughts. Visit the exhibit of religious art at the Middletown Art Center. A play by the Little Theatre Group will complete the exhibit. THE NINTH DAY OF CHRISTMAS, January 3 (Greet Christ In The Stranger) Christ often goes in the Stranger Guise. Hotels and restaurants will greet the Stranger in His name. THE TENTH DAY OF CHRISTMAS, January 4 (Give Yourself In His Name) In the footsteps of the Magi, seek Christ in the poor, the sick and the aged. Give them of yourself in a Christmas visit to them. THE ELEVENTH DAY OF CHRISTMAS, January 5 (Glory To God) Authors have written in praise of Christ and His Birth. Many have read these words of praise and have offered Glory To God for His goodness. The Public Library will display books through which man has given Him thanks with their talents of writing. THE TWEIF TH DAY OF CHRISTMAS, January 6 (Honor Christ The King) The Three Kings come to the Crib: greet Christ The King. Epiphany Celebration: the traditional burning of the trees and Community singing of Christmas carols lead by the Civic Chorus will take place in Goldman Park at 7:00 P.M. ***48H888H88K--H8H81-38888H88K-SK-3888H8H8888H8H888888H8888ki888138:-5H888H8H8,48:388H81.4***** Undoubtedly one of the simplest, and at the same time the finest, Christmas cantatas is "Childe Jesus" by Joseph Clokey and Hazel Kirk, published by Birchard, now Summy-Birchard, Evanston, Ill. It was first published many years ago, and has had a phenomenal sale. The cantata has the qualities which permit enjoyable and profitable repetition. It consists of a series of well-known Christmas carols and hymns, joined together by interesting vocal and instrumental interludes. The climax is well conceived and brilliant. The work is ideal for a youth choir though certainly, the principle parts may easily be learned and sung by children. Prob- ably most of our members know the cantata. If not, get a copy just for your own pleasure if nothing else. 38 CHRISTMAS IS CUEING by Madeline Ingram, Lynchburg, Va.

Of all the seasons in the Christian year the one that is best loved and most easily understood by children is that of Christmas. Because the season is such a joyous one music plays a significant part, and carol singing is happily engaged in by even the youngest children and with them, as with others, certain songs become favorites through annual repetition. Unfortunately, many people never, sing any but the "old favorites", thus leaving the great wealth of Christmas carols un- explored. Such books as "The Oxford Book of Carols" has enough material to provide new carols for many years and while this is the most complete of all sources there are many other fine collections. In addition to singing only the more familiar carols many of us are guilty also of providing the same kind of carol service for our churches each year. Admitting that such programs are not without merit, partly because of their familiarity, let us also admit that there is a certain monotony that accrues. This year, instead of using your young choirs in the routine program of previous years, why not give them the thrill of presenting a cantata, or pageant, or drama with music? There are a number of good sources available or better still, you and your choir can plan your own. From the Augsburg Publishing House there appeared in June of this year what is called "0 Come, Let Us Adore Him". Priced at 75 cents this booklet, written by Marie Pooler, is a telling of the Christmas story by children's voices and narrat- ors. Ths music is in unison with second part optional and an adult narrator is needed along with a speech choir or child narrator. It would seem that using the minister as the adult narrator would be advisable. Suggestions for performances are included in the booklet and this work could be equally effectively presented either in a very small or a large church. A nativity play for children, "On Bethlehem Hill", with book by Guida Crawley and music by Alec Rowley was published by Boosey & Co.,Ltd., in 1958. A much larger work than the aforementioned one this is price at $1.50. There are three scenes which do not require elaborate staging, and there are four speaking and singing solo parts plus four smaller speaking parts and a singing chorus. Directions for staging and acting are also included with the approximate performance time listed as thirty minutes. "A Christmas Carol Pageant", by Angela Diller and Kate Stearns Page, is one in which familiar and unfamiliar music is used. Published by G. Schirmer at a cost of 75 cents this book contains detailed illustrations of grouping and costumes as well as general suggestions for production. Presented in three Episodes this work demands a larger cast than the other two, though adjustments such as omitting the angels could be made. "The Story of Bethlehem" is too short to be used alone, but it is a splendid work for a good junior choir. By Healey Willan, published by Concordia Publishing House, and selling for 50 cents, it can be sung in its entirety by the full choir or certain portions may be assigned to soloists. Two older works that are still in popular use are "Petit Noel" and "There Was One Who Gave a Lamb". "Petit Noel", by Pierson Underwood and Lawrence Perry,avail - able for 60 cents from Chappel & Co., Inc., is a cantata that lends itself so well to dramatic action that it is usually presented in that way. A combination of choirs may be used in this work that is based on Old French Noels of the 12th to 18th centuries. "There Was One Who Gave a Lamb", by Annette Mason Ham, price 80 cents from J. Fischer, is a nativity play with traditional though not altogether familiar carols. Effective programs may be worked out by the choirs themselves. Such a one, titled "The Twelve Days of Christmas" was a joint effort of the writer and her choirs last year. The intermediate choir formed the speech choir that linked all of the twelve days with appropriate readings (of their selection) from various sources and the other choirs selected music from their repertoires that would be suitable for the various days. Letts all get busy and do something different this year: 39 r' r c0C C \ 7 e JJ /VOX D ?JI ...... ___, I__, ...-Ie

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40 THE BELL CAROL

Words by Longfellow Waster Spinney

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Peace on Earth,good- MU to Men.

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3. Till ringing, singing, on its way The world revolved from night to day A voice, a chime, a chant sublime Of Peace on Earth, goodwill to Men.

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REHEARSAL PLANS FOR THE PRIMARY CHOIR (Planned for 2nd and 3rd grade children) Helen Kemp

THEME FOR THE YEAR: 'MUSIC AND THE BIBLE"

ADVANCE PREPARATION AND IDEAS:

1. Purchase large chart tablet: 24" x 32" (ruled 1")

2.Purchase poster paper (heavy) in colors for illustrating song texts. (Print such songs as "God Made the Golden Sun" on a lovely yellow poster, illustrated with "cut-out" pictures, pasted on. Attractive presentation is one of the keys to interest and assimilation of Material taught.

3.Purchase "magic-markers". Get colors as well as black. 390 each.

4.Select several books (Children's level) on Heros of the Bible for a colorful display. Visit your library. Suggestions: "A Small Child's Bible" Pelagie Doan Oxford Un. Press "David" Maud and Miska Petersham John C. Winston Co. BEFORE REHEARSAL:

1.Have chairs in order. Give thought to best arrangement of chairs. 2.Have copies of music on piano for accompanist or better, give them to her in advance.

3.Have card-table set up for attendance -- taken just outside the choir room door.

4.Have words of 2 songs printed on chart -- placed on easel. (Children respond to visible evidence that you are ready for them;) Note: Magic-marker pens will "go through" 2 pages of your tablet unless you place a large piece of cardboard under the page you are lettering. Also, print text as a poem rather than prose. Don't run lines together to save space. It confuses both rhyme and meter.

LESSON 1 EARLY ARRIVALS: 1.Start teaching early children (perhaps ,uouped around the piano) a "round"---"Back-bone up and chest held high", pg. 3, in "We Learn To Sing". (See list of music to be used in September's Chorister's Letter). 2.Have "early-birds" help to teach whole choir. Promise to do it as a round next week of melody if learned well todayi 43 NEW SONG:

1. Introduce "God Made the Golden Sun"-- Direct attention to the word chart. Have the children read it quietly together. (They will be sensitive to your tone of voice as you read with them, and will imitate your interpretation of the text - - -also your facial expression). Ask questions like these: What story in the Bible does this song make you think of? (Creation) Don't tell them the answers too readily. In what book of the Bible is that story found? (Pull information from them. See what they know). Sing the song for them as one child acts as the "pointer"--- pointing under each word as it is sung. This pulls the attention of the class - - -and children love to be the "Pointer"! Take turns. This is a good way to allow repetition with sustained interest. Have children sing, helping them with melody only on the piano. Help them get the feeling of the whole song, it's spirit and correct tempo. Then allow them to tell you which line needs work---what words are hard to divide, where the melody is most difficult to sing. (They are far more interested in correcting the things they tell you are not just right!) Now, let's see if we can sing this song through well enough so we can go on to "Bible-story" timel

STORC: 1. Read (or better, TELL as you glance at the book) the story of the Creation as written in "A Small Child's Bible", (mentioned above). Show the picture. Make it a story of wonder and beauty. If you are well prepared for these coordinating stories, every child will look forward to that part of rehearsal. Sing the song again to tie in the story. Can we memorize some of it for next week? REVIEW SONG: "The Bible is a Treasure Book." If this is a new song, have it printed on the word chart. It is easily learned. This will be our "theme" song, Talk about the text, Show different Bibles from your display. Be sure to have some with lovely pictures.

CLOSING PRAYER-- - - Quiet dismissal.

44 A BAPTISMAL SERVICE

One of the strangest things in the history of bells is the custom baptising and christening them, after the manner of baptising and christening human beings. And yet it is not so strange either, whe we think of how belle were honored and cherished. The birth of a new bell was a thing of great importance. The bells in the olden days were baptised in order that they might have the power to turn away thunder and lightning and protect the people from storms of every kind, as well as drive away evi spirits. Many people thought that the ringing sound of metal had a power over these evil spirits anyway; and when a bell was baptised, late- ly became their most dreaded enemy. A baptised bell was also supposed to have the power to put out fire as well as to stop storms and protect the community from light ning.In many places the ringers hurried to the church belfry as soon as threatening clouds appeared, so that the storm might be broken up before it became severe, The consecration and baptism of the dhurch bells, as practiced in the Middle Ages, had the highest authority of the Church. The Council of Cologne, for instance, ordained: "Let the bells be blessed, as the trumpets of the church mili- tant, by which the people are assembled to hear the word of God; the clergy to announce His mercy by day and His truth in their nocturnal vigils; that by their sound the faithful may be invited to prayers and the spirit of devotion increased: While current practice denies such superstitions, we plan today to recreate the old Roman custom which was common from the year 968 A.D. until well into the fifteenth century. The 28th and 76th Psalms, the dedicatory prayer, and the method of baptism or christening of each bell are, we believe, authentic. The re- mainder of the service is as near the medieval custom as our research has provided.

We learn from the Holy Scriptures that devout men set apart temples for the worship of God, and used musical instruments therein for His praise and adoration, We therefore assemble here for the purpose of dedicating these bells for service in the worship of Almighty God.

To Thee, 0 Lord, I call; my rock, be not deaf to me, lest, if Thou be silent to me, I become like those who go down to the Pit. Hear the voice of my supplication, as I cry to Thee for help, as I lift up my hands toward Thy most holy sanctuary. Take me not off with the wicked, with those who are workers of evil, who speak peace with their neighbors while mischief is in their hearts. Requite them according to the evil of their deeds; and according to their work; requite them according to the work of their hands; render them their due reward. Because they do not regard the works of the Lord, or the work of His hands, He will break them down and build them up no more. Blessed be the Lord, for He has heard the voice of my supplications. The Lord is my strength and my shield; in Him my heart trusts; so I am helped, and my. heart exults, and with my song I give thanks to Him. The Lord is the strength of His people, 45 He is the saving refuge of His anointed. 0 save Thy people, and bless Thy heritage; be Thou their shephard, and carry them forever. -- Psalm 28

Let us pray:, • Almighty God, who by the mouth of Thy servant Moses didst command to make two silver trumpetS,for the convocation of Holy assemblies; Be blessed to a ccept our offering of this work of our hands; and grant that through this generation, and through those that are to come after, they may continually call together Thy faithful people to praise and worship Thy Holy Name; through Jesus Christ our Lord.Amen. Grant, 0 Lord, that whosoever shall be called by the sound of these bells to Thine house of prayer may enter Thy gates with thanksgiving and into Thy courts with praise, and finally may have a portion in the new song, and among the harpers harping with their harps in Thine house not made with hands, eternal in the heavens; through Jesus Christ our Lord. Amen. Grant, 0 Lord, that whosoever shall by reason of sickness or any other necessity be so let and hindered that he cannot come into the house of the Lord, may in heart and mind, thither ascend, and have his share in the communion of Thy saints; through Jesus Christ our Lord. Amen. In Judah God is known, But Thou, terrible art Thou. His name is great in Israel. Who can stand before Thee His abode has been established in Salem, when once Thy anger is roused? His dwelling place in Zion. From the heavens Thou didst utter There He broke the flashing arrows, judgment; the shield, the sword, the weapons of war. the earth feared and was still. Glorious art Thou, more majestic When God arose to establish judgment than the everlasting mountains. to save all the oppressed of the earth. The stouthearted were stripped of their Surely the wrath of men shall praise spoil; Thee; the residue of wrath Thou wilt they sank into sleep; all the men of war gird upon Thee. Were unable to use their hands. Hake your voice to the Lord, your God, At Thy rebuke, 0 God of Jacob, and perform them; let all around Him both rider and horse lay stunned. bring gifts to Him who is to be feared, who cuts off the spirit of princes, who is terrible to the Kings of the earth. --Psalm 76 In the name of the Father, and of the Son, and of the Holy Spirit, we dedicate these bells to the praise of Almighty God. We dedicate these bells to the cultivation of a high art: to the interpretation of the message of the masters of music, to an appreciation of the great doxo- logies of the church, and to the development of the language of praise which be- longeth both to earth and to heaven. We dedicate these hells to the healing of life's discords, and the revealing of the hidden soul of harmony; to the lifting of the depressed and the comforting of the sorrowing to the humbling of the heart before the eternal mysteries and the Lifting of the soul to abiding beauty and joy by the Gospel of infinite love and good will. (To this point, each bell has been on a table, mouth outward, draped in white lace; One at a time, each will be unveiled, sprinkled both inside and out, and wiped clean). Let us pray: Our God and Father, whom the generations have worshiped with concord of sweet sound, be pleased to accept these bells as songs of praise to Thee. Grant that their music may come as a blessed benediction upon all who worship here. May these bells become undying music in the world as their notes of cheer, comfort, communion, and courage are modulated unto human lives for daily tasks and noble service. To all ringers who sound their notes, and to all who shall be lifted Godward by their voices, may there come at times the sweep of hallelujahs from the throne of the Redeemed until earth below shall be attuned to heaven above, singing hallelujah to Him who reigneth, Lord of Lords, the King of Kings. Hallelujah.Amen. (Here an appropriate number will be rung on the bells; the group will stand to receive the benediction, and will quietly leave the room). 46 BROTHERHOOD OF SONG Ruth, in the September 1959 issue of the Choristers Guild Letters, launched the BROTHERHOOD OF SONG.Numbers of Guild memberships were provided for persons and groups overseas, particularly in the mission fields. About the time of her death, an additional number of memberships came in for the Guild year 1960-61, though the remaining issues of the 1959-60 year were also sent. Here are the new ones - - - The WESLEY and ASBURY CHOIRS, First Methodist Church, Tupelo, Miss., Foster Hotchkiss, Minister of Music, provided a membership for the Conference Music Library, (Barbara Leonard) San Mateo, Isabel, Philippines. The members of these two choirs gathered and sold coat hangers to pay for the gift. The CHANNEL CHAPTER, Santa Barbara, Calif., of the Choristers Guild, provided five memberships, one of which is for Ingraham Institute, Sri Robin Patterson, musical director, Ghaziabad, U.P., India. The others will be announced later. The NEWARK, OHIO, Chapter, Choristers Guild has also provided memberships in the Brotherhood of Song which will go to - -Mrs. Victor Mihara, Kobe, Japan; Mr. Tatsusabura Nishimura, Kyoto, Japan; Mr. Toyohiko Yanagihara, Nishinumiya, Japan. Though these memberships have been provided by certain groups, and will undoubtedly enjoy correspondence with these far-away friends, these latter are your friends, too, and fellow members. They would not only enjoy, but would be helped in hearing from YOU. Do write them: their complete addresses will be furnished you upon request to the Guild Office. Others are invited to participate in this plan. It will provide a splendid way for your boys and girls to learn world-wide friendship and brotherhood. It will give them an additional reason for singing in their choir; correspondence will develop, and who knows what far-reaching developments. Music is a universal language, used and understood by all; it transcends language barriers. People can sing together when they cannot understand one word of what is spoken. While the world is rapidly being drawn closer together physically by the incredible speed of jet planes, let's also be drawn together more closely in every other way. Let's catch up with science in our development of human relationships. You will be interested in the following generous excerpts from a letter from James R. Camp, Kobe, Japan. Jim has long been a member of the Guild. He has for the past two years been with Canadian Academy in Kobe, a school for missionary children. Libby, his wife, was dietitian. Jim was restless to work more directly with the Japanese people, particularly in music. The Methodist Mission Board is now sending them to a Japanese language school for a year in order for them to become full-fledged music missionaries. We have medical missionaries, preaching ones, agricultural ones. Music is a universal language - -why not music missionaries? "....the road to better church music in Japan will be a long, narrow one, and all up hill. I do not know what my dream really is; no one can tell where it can start. Theological seminaries here play down music and many ministers do not want choirs in their churches. Their motive is good --let the congregation do the singing; good --,we heartily approve that, don't we? But someone needs to train the congregation, and that ultimately means choirs. Now, where dowe get the leaders? There are no training schools for church musicians, and of course, no money to pay them should they wish to do church nusic. Most ministers here need to augment their incomes from outside the church. What is done now is haphazard because most choruses and choirs in Japan have only student leaders. (I hesitate to call them conductors though some do remarkably well in lifting themselves up by their own boot straps). The attitude of the president of a large Christian university is, "The students do well enough; we do not need a church music department." We shall start teaching English, and whatever we can accomplish, diplomatically, in the direction of church music, will be some sort of miracle wrought by the Lord. "Feeling between schools of music runs higher here than in the United States. When Western music came, it brought along all its pettinesses, jealousies and prima-donna attitudes. There is (or was) a school of sacred music in Tokyo that is foundering (or has foundered) on these shoals already. We are earmarked for there, but...advised against it because of the tension rampant." 47 THROUGHOUT THE WHOLE WIDE EARTH

WHY not give your choir children a chance to experience

personally the warmth of a world—wide fellowship of music.

Adopt some mission station where children's work is carried

on. Send them a GIFT MEMBERSHIP in the Guild. Help them acquire what music they may need. Use your bulletin board

for news about your ADOPTED CHOIR. What better service project than to remember them at Christmas and Easter. Frank Laubach

is helping to make the world ONE through literacy. We can do the same through SONG. WHY NOT TRY.

Let your choir earn the money for the membership.

Certainly a necessary quality of "Christian Character" is concern for others. Let's add another arrow to our CHORISTERS' GUILD bow, and call it "THE BROTHERHOOD OF SONG." f' Perhaps you can think of a better motto, but I doubt that you 4hink of a better PURPOSE.

GIVE YOUR CHOIR A SHARE IN THE BUILDING OF THE BROTHERHOOD OF SONG

BROTHERHOOD MEMBERSHIP the gift of

Name: Church: Address: Send the GUILD LETTERS to

NAME: ADDRESS:

COUNTRY:

48 A FROWN GETS EVERYBODY DOWN

A SMILE LIFTS rkem UP

BE CHEERFUL

•REHEARSALS ARE MORE FUN Y- \411) rnv •artaie FLIES BY • AND YOUR SINGING/ ALWAYS SOUNDS Burma THE CHILD'S APPEAL

I am the Child. All the world waits for my coming. All the earth watches with interest to see what I shall become. Civilization hangs in the balance, For what I am, the world of tomorrow will be.

I am the Child. I have come into your world, about which I know nothing. Why I came I know not; How I came I know not. I am curious; I am interested. I am the Child. You hold in your hand my destiny. You determine, largely, whether I shall succeed or fail. Give me, I pray you, those things that make for happiness. Train me, I beg you, that I may be a blessing to the world. --Mamie Gene Cole.

CHILDHOOD To be Himself a star most bright To bring the wise men to His sight, To be Himself a voice most sweet To call the shepherds to His feet, To be a child --it was His will That folk like us might find Him still. --John Erskine.

CHORISTERS GUILD LETTERS Volume XII 1960-61 November Number 3 Ruth Krehbiel Jacobs, Founder A.L. Jacobs, Editor Norma Lowder, Associate Editor Published for its members by the CHORISTERS GUILD Box 211, Santa Barbara, California Copyright (C) 1960--Choristers Guild

49 INTRODUCING----

You will be pleased to meet, at least in this manner, Dr. Nita Akin of Wichita Falls, Texas, the new president of the Choristers Guild, who was elected by the Board of Directors in annual meeting, September 26, 1960 in Memphis, Tenn— essee. Much earnest prayer and thought along with many obvious qualifications of this, our second president, determined the election. Many of you know her name--you will come to know her through the Guild Letters, initially by words, which follow, of greeting, from her. Nita Akin is one of the top—flight organists of our country, and has for many years been the organist of the First Methodist Church of Wichita Falls, Texaso a church notable for good music, She was a dear friend to Ruth, and supported the Guild generously with her means. She is a charming and gracious Texas woman than which there are none more ficharminger and graciouser". Dr. Akin brings prestige to the Guild presidency, and will add distinction and further direction to the organization. The Choristers Guild is indeed fortunate. No story about Nita Akin however can possibly be complete without a mention at least of J. W.Akin, Nitats husband. Known affectionately to his friends as , Jake, he actively encourmes and supports her musical activities and interest,. His sentiment towards the.Guild'is deep and sincere. Best of all; Jake and0' Nita Akin are Christians with a big capital C.

Dear Guilders: It is with humbleness and a deep sense of responsibility that I have accepted the Presidency of the Choristers Guild. It was my privilege to know and work with Ruth Krehbiel Jacobs, the Founder and President of the Guild, I do not in the least feel capable of taking her place. I shall only give of the best of my ab— ility to help carry on the great work that she had done. Only through the help and prayers of each of you will I be able to do this most important work. There are thousands of boys and girls in the world today whose lives are being en— riched through the educational, musical and spiritual leadership of many direc— tors who have been helped through the Choristers Guild, The Guild has played a big part in the training of these young people by bringing many new and workable ideas to many of these dedicated music directors. These same boys and girls upon reaching maturity will make more useful citizens because of the guidance of these dedicated leaders. Many of us had the privilege of knowing Ruth personally. No one ever failed to receive a rich blessing and an inspiration from that contact. She has left us a great heritage. I feel that it is our duty to continue in every way possible to bring this heritage into the lives of many more boys and girls through asmany of these trained directors as possible. As you know, from the beginning Leslie Jacobs has also been a vital part of the Choristers Guild. Not only hashe been the Executive Secretary of the Guild, but also a husband who shared in her hopes, ideals and dreams, who gave his entire time in helping to share those with others. Ruth left much material that has not been published, The Guild Letters will con— tinue.. As in the past, there will continue to be valuable contributions and art— icles from many of you to be used in these letters. We will welcome your ideas and suggestions. We need each one of you. Please pray with me that I shall have divine guidance in all that I do in helping to carry on the great work of these two dedicated leaders, Ruth and Leslie Jacobs, Sincerely yours,

50 CHOIR MEMBERSHIP-WHO MAY ENTER?

"A choir is a dedicated group of people who have joyfully accepted the opportunities provided by their church for advancing the Kingdom of God. Ultimate happiness probably results from creating something worthwhile, serving something besides one's self, and believing in something bigger than one's self. Singing in a church choir is an adventure in human service."* Herein lies the justification of any church choir. If our choirs, be they composed of adults or children, exist only as an art expression, we cannot conscientiously say that they belong in the church. For church music is not an expression of vocal or instrumental art- istry and proficiency; it is rather a means of Christian service. Music of the church must be available to all. In no other area of Christian service is the field a selective one: we do not limit membership in our church schools, no matter how crowded or inadequate we may consider the facilities; we may have double sessions, we may have crowded classrooms, but we deny no child his right- ful place in the church school, In our denomination, as no doubt in yours, we do not specify the number of persons who may serve with our Methodist Men and Wog• men's Society of Christian Service. We may recommend a maximum number for our circles, thus giving more opportunity for service and expression to each member, but- we do not thereby limit the total membership -- we only form more circles. How, then, can we as church musicians ever look upon the music of the church as anything other than Christian service? How can we fail to give immediate expression to all who wish to serve God through church music? How dare we ask that one wait in order to serve his God? Such service knows no time nor season. When we speak of the "singing church", we surely must be speaking of its total membership!,

Within the Methodist Youth Fellowship there are four areas of service: that to 1) the church; 2) the church school; 3) the evening fellowship; and 4) the youth choir. Obviously music is not intendedto be something which only the very talented can do. But, you ask, what about the ones who can't carry a tune? Surely you do not let them in your choir! We maintain that any person who is normal physically and mentally can be taught to sing. Only once have we had a teen,- ager come to us who could not seem to hear or to match tones. It seems as though his voice would not move in any direction nor his ear hear any sound. Yet, after a year and a half of patient work on his part and ours, and after infinite patience and encouragement from members of the choir, this boy has come to the place where he can sing nearly anything we put before him. His parents vow and declare that this is responsible for his regular attendance at church and church school. Before joining the choir, he came very seldom; yet he has missed only one Sunday and no rehearsal since joining the group. How could we live with ourselves had we been responsible for denying this boy the means of Christians ervice that will probably tie him closer to the church throughout his entire lifetime? You have probably heard it said that volunteers often sing better than they can; professionals never do. Here is one who regularly sings "better than he can".

"The nine-to-twelve year old brings to a peak of perfection all 'of the physical, mental and emotional pdtentialities he showed when he entered the first grade. He is on the verge of the sometimes awkward, oftentimes painful period called adolescence. For a short time he is master of all he surveys. He is an affec- tionate extrovert, capable of magnificent accomplishments in his own mind and actually able to succeed at many complicated tasks."* I pm convinced that we who work with children sell our children short; their only limitations are those that we put upon them. Children have astute and penetrating minds. We should never try to restrict our repertoire, for example, to what little minds can comprehend. They need music which, as Dr. Nlittlesey has said is "music they can grow into, not out of." Billy Graham has said, "The Gospel is so simple a child can understand it and so complicated that theologians cannot". Children can sing *Lovelace and Rice Music and Worship in the Church.(Abingdon Press, 1960) 51 anything but oratorio and the vast choruses of church music literature; and, at that, are capable of doing many solo passages from the great oratorios in a manner that far surpasses the ability of the average soloist. In any event, we must use the most challenging texts and music available.

Many times have I heard Ruth Jacobs say, "Juniors like to feel that they are doing something worthwhile. You gain their allegiance by expecting the best they have to give." Believe me, they will give exactly what is expected of them.... and not one bit more.

While walking through the quiet halls of a Dallas church, I came upon a sign which read: 'Who dares to teach must never cease to learn." Certainly our earnest prayer should be that we who dare to direct a childrents choir, who hold in our hands the future of our churches, and indeed, of our very existence, must never stop searching for truths and for learning.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 41- # * *

ECHOES

The annual meeting of the Stockholders and of the Board of Directors of the Choristers Guild were held Monday evening, September 26, 1960, in Memphis, Tennessee, the legal headquarters of the Guild. More persons from each group in actual attendance than ever before, participated in the two lively meetings. Though there were overtones from the great loss the Guild had sustained in the sudden death of Ruth, the founder, yet her radiant and positive personality seemed to be hovering over and guiding the meetings.

The Stockholders elected Mrs. T.J. (Madeline) Ingram of Lynchburg, Virginia, to fill out the unexpired term of Ruth Jacobs as a member of the Board of Directors. Madeline serves thusly until the fall of 1962. Re-elected to three year terms were--Arthur B. Clemens, Santa Barbara, California, and the Reverend Hubert V. Taylor, Decatur, Georgia. Dr. F.L. Whittlesey, Dallas, Texas was also elected to a three year term.

The operationsof the Guild reside legally in the Stockholders. Lest there be some misunderstanding, the term Stockholder is a purely legal one. As defined by the By-Laws of the Guild a Stockholder is a member who has been for any period of five consecutive years a Contributing Member, that is, has paid or given Ten Dollars or more annually for a membership. The period must be consecutive, and must continue to be. A member who for one year ceases to be a Contributing Mem- ber loses his status as a Stockholder, and thus his right to vote and take part in the Guild affairs. This year, the Guild has fifty Stockholders. It may thus be clearly seen that the legal ongoing of the Guild resides in the ranks of the Contributing Members.

The Board of Directors elects the officers. As noted otherwise, Dr. Nita Akin, Wichita- Falls, Texas was elected president. Also elected were: Albert M.Johnson, Memphis, Tennessee, vice-president; Arthur Leslie Jacobs, Santa Barbara, Calif- ornia, secretary-treasurer; Arthur B. Clemens, Santa Barbara, assistant treasurer, and George W. Kelley, Santa Barbara, assistant secretary. The Executive Committee which makes the day by day decisions of operations consists of Dr. Akin, Mr. Clemens, Mr. Jacobs and Mr. Johnson.

Both meetings were enthusiastic, and everyone felt a vitality in the Guild which augers well for the future. As soon as reports can be made ready for mimeographing, copies will be sent to the Stockholders and Directors.

52 SUKKOS (Jewish Autumn F

Praise ye the Lord... Praise ye him, sun and moon: Praise him, all ye stars of light... Praise the Lord from the earth,,.. Fire and hail, snow and vapor; Stormy wind, fulfilling his word; Mountains and all hills; Fruitful trees and all cedars; Beasts and all cattle; Creeping things and flying birds;.. Both young men and maidens; Old men and children: Let them praise the name of the Lord;... Praise ye the Lord. --Psalms 10:1,3,718-10,12,13,14

Probably all American children know well the story of the Pilgrims, and thus, the origin of our Thanksgiving Day. Too often however, Thanksgiving Day is thought an American festival only. Our celebration has Biblical background. It is interesting and valuable for our boys and girls to know that we are indebted to the Hebrew people for much that we find in our Christian religion, certainly the greatest, the fact that Jesus Christ was a Jew* While Thanksgiving is not strictly a part of the 'Christian Church Year, yet, thanksgiving must be a part of our daily living. 'Thanksgiving Day is the climax of our praise and thankfulness. The attitudes of parents and other adults whom children respect, are responsible largely for the attitudes our children develop. The Children's Choir director possesses an unique opportunity to guide the thinking of boys and girls through music.

Tell your boys and girls something of the Jewish background of our Thanksgiving. Sukkos is the joyous festival which the Jews of old observed in the Palestinian autumn when they had harvested their crops. Sukkos was the principal festival; for the Jews then were still an agricultural people. These farmers had threshed their grain by flailing; the olives were gathered, pressed into oil which was used for cooking, eating, for the healing of wounds, for light in their lamps and for religious purposes. The oil was stored in large clay jars. Olives were probably the most important crop to meet their daily needs. (You should elaborate on this theme of olives.) Sone of the grapes were dried in the sun for raisins; some were mashed and the juice put into bottles made from goat or other animal skins. All these bounties from God stirred the Hebrews to celebrate a week-long festival of thanks, They thanked God and praised Him for the abundance stored in barn and bin, and offered prayers to Him to send new rains for the coming year.

The children must realize that Palestine was a semi-arid country with a dry and rainy season, and that there could be no harvest in the fall unless plentiful rains had filled the earth and cisterns during the winter rains. Particularly with- children in a large city who know absolutely nothing about the source of food, and its absolute origin from God through Nature, the director should stress the need for thanksgiving. Food to them comes from a package purchased in the super-market. After all the old story of the little city girl who thought that 53 milk came from a bottle, is not far fetched.

In the earliest times, Sukkos was the festival of the beginning of the year as well as the giving of thanks for the harvest just made. After all, it was the beginning of new life in nature for the rains would awaken the earth. In later centuries when the Hebrews were less an agricultural people, the festival changed gradually. The Jews celebrated not so much a bountiful harvest, but the giving of the Torah, the Mosaiolaw, or Pentateuch. Sukkos became the Festival of Booths. In all the lands to which the Jews of that day had wandered, and they were nearly over all the then-known earth, Sukkos was the time for making of and sitting in booths. They used palm branches and vines to construct arbor houses with no roofs; fruits and nuts were hung inside, and meals eaten in these booths or huts. Living in these booths for even part of the week-long festival gave the Jewish fannies chances to think how their ancestors lived in tents, and moved from place to place when they were seeking a homeland, Then in the synagogues, with elaborate ritual and ceremony, the Jews were reminded of the giving of the Law to Moses.

The devout Jew of today celebrates with his family this precise festival. One room, generally the dining room is decorated with palm branches, and fruits, vines and nuts are hung about the room. On the table is one goblet only which is used by the father at the time of the blessing. Also on the table is a special kind of box with a lid. In it is a piece of citron, the Hebrew name for which is esrog. In the morning, the esrog is held in one hand and palm leaves in the other, The leaves are shaken as the blessing is said. These are shaken East, West, North and South, up and down to show that God is everywhere. When everything is ready, the mother will light the candles, spread her hands over the light, and then cover her face with her hands and say, "Blessed art thou, 0 Lord, our God, King of the Universe who hast sanctified us by the commandments and commanded us to light the festival of lights". When all are seated, the first thing each will eat is a piece of bread from small loaves on the table. Each repeats before he eats, "Blessed art thou, 0 Lord, our King, King of the Universe who hast brought forth bread from the earth." Then a holiday dinner will be served, after which a final blessing will be said.

The above gives just the barest outlines of the Jewish Festival. Your library undoubtedly has books which will give you more information. Those who use Hymns For Junior Worship published by the Westminster Press will find a fine Jewish hymn and tune, entitled, "A Jewish Festival Song", #10 in the book. And of course, all children's choirs should know, "The God Of Abraham Praise". The latter particularly would make a fine Thanksgiving anthem for your youngsters. The former is historical in text though the tune is undoubtedly known with the words by Dr. J. J. Moment, "Men and Children Everywhere",

May your Thanksgiving be truly one of thanks to God for giving you the privilege of working with young lives. No greater honor could be bestowed upon you. And no honor or privilege is without its duties. Please let the Guild hear from you regarding your Thanksgiving services. * # x * * * * #* * * * * * * * * * * # * * * * # * * * * *3c * # * * * THE MUSIC SUPPLEMENT FOR NOVEMBER Nancy Poore Tufts writes concerning the tune, Innocents and the accompanying words by Katherine Hankey. "This hymn is such an effective teaching piece for boys and girls, and do they love it! Ruth thought that children of all denominations should be familiar with the Church Year terminology. The tune is in most hymnals. We have used it in the past two Junior Choir Festivals in Wash- ington, and are omitting it this season with regret." A hymn study page on this tune and text is in preparation.

54 SOMETHING OLD—SOMETHING NEW Music Suggestions—Esther Wiedower KIRK'S CAROL unison Reynolds Broadman MF 442 lullaby-ish in atmosphere—text somewhat reminiscent of "Away In A Manger- range, the octave E-E--melody, the same for the two stanzas—two pages-- may be used by the 6 and 7 year olds. PRAYER OF ST. RICHARD OF CHICHESTER White Oxford E-43 juniors and junior high girls particularly like this one--range D-F, but mostly within the octave E flat--has descant. 0 LIFE THAT MAKEST ALL THINGS NEW Longmire G. Schirmer 10224 written for Northcote College, New Zealand for assemblies wouldbe suitable for promotion day, rally day, student Sunday—two stanzas in unison, alternating with two with descant. WHEN JESUS EFT HIS FATHER'S THRONE unison Cram Broadman MF 407 general anthem, for sometime between Christmas and Easter--the ending would probably be better if the last verbal phrase were not broken with an almost meaningless (at least to me) interlude. BROTHER JAMES' AIR arr. Gordon Jacob Oxford OCS 166 the familiar paraphrase of Psalm 23--is there anyone who doesn't know this setting? --this should be in the regular repertoire of every children's choir, not just in the library—with descant. GRANT US LIGHT Eric Thiman G. Schirmer 10280 a little wider range than the foregoing, C-E for the melody with a G and a couple of Fs in the descant--phrasing more independent—in other words, the verbal and the musical do not always end at the same time--shouldn't there be an Amen on this?--I should certainly add one since the entire number is a prayer before the last two chords of the accompaniment. 0 LORD OUR GOVERNOR Marceflo Concordia -98-1045 Benedetto Marcello's dates are 1686-1739--as may be expected then, this is rather florid in style, both vocally and accompanimentally—it is absolutely nothing that juniors cannot do however, and would be a good introduction to this type of music—no director should be afraid of notes—after all these are the only tools a composer has at his disposal, and if they do not speak for themselves, no amount of expression marks will ever make them do so--this one has solos, a solo section or completely in unison, what seems to come off best for your choir.

The following are suggested for Thanksgiving: FOR THE BEAUTY OF THE EARTH Curtis York C. Fischer CM 549 one of several settingsof this text, but not the familiar hymn-tune--the corm. poser wrote this setting for the Westminster Junior Choir School—two part. FATHER, WE THANK THEE Earl R. Larson Pro Art 1461 two part with some canonic imitation in the second stanza. PLOUGHMAN'S SONG unison Henman-Thiman G. Schirmer 10384 a little explanation of the "island home" may be necessary--after all, it is English—some of the agricultural language too may require interpretation. PRAISE TO THE LORD, THE ALMIGHTY arr. K.K. Davis E.G. Schirmer 1572 one of this composer's excellent descant arrangements. SEASONAL THANKSGIVING unison Eric Thiman G. Schirmer 8740 Thanksgiving, says this anthem, is not just one day in the year. THROUGH ALL THE YEAR arr. Pitcher Summy B-30 melody, a choral dating from about 1735 --this could be used at other times in the year—as the title indicates, this too suggests that the calendar has nothing to do with giving thanks—optional descant. 55 Esther Wiedower, who was some years ago for a four-year period Leslie's secretary, when he was head of the Music Department of the Church Federation of Los Angeles, is now head of the choral department of a large music firm. Esther, called famil- iarly by her friends, Ouija, knows choral music. She has agreed to do a page or so on music fairly regularly for the Letters. This is not a commercial for her or her firm, but if you have difficulty in securing music, write her directly, c/o Mores M. Freeman, Inc., 737 So, Hill St., Los Angeles 55, Calif, She can find you anything which is still in print, * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Dear Guilders: It is with a deep sense of humility that I greet you as the associate editor of these News-Letters. Although my responsibilities are still a bit indefinite, I am anxious to be of help whenever possible, Especially am I anxious to get to know each of you and the dedicated work that you are doing with your children's choirs. Greater Houston, my adopted home, is said to be one of the most alive and rapid- growing cities in the United States. Certainly this is true in the services being rendered by its Chorister's Guild membership. On every side of our island city of Bellaire (completely surrounded by Houston) children's choir programs are be, coming an increasingly important phase of Christian education...Children at St. Andrew's Presbyterian Church have a double opportunity for study and service. An outstanding multiple choir program is conducted by Herff Applewhite; the children are getting additional training in the use of music in Christian Education with Edith Warren, whose work with music in the church school is second to none**, LaVeta Wade, a long-time nember of the Guild, has an unusually active program at neighboring Bellaire Presbyterian Church, Mrs. Wade trains her high school students to work with the youngest children in the choir program, (Both Mrs. Wade and Mrs,Warren have promised to share their secrets of success with us through future Newmletters,),..Lanson Demming, of St. Paul's Methodist Church, not only has his own excellent program, but also heads the music committee of the Associa- tion of Churches of Greater Houston which, among other activities, annusuy brings to Houston outstanding leadership in all phases of church music: Austin Lovelace, Mabel Boyter, Richard and Betty Peek, George Faxon, Madeleine Marshall, Richard Condie, Margaret Kendrick, Roberta Bitgood (both on the Board of Direc- tors of the Chorister's Guild), and of course, Ruth Jacobs, ..First Christian Church, under the leadership of Dr. Merrills Lewis is having a fund-.raising drive for new junior choir robes; a fascinating tree sits near the entrance, on the limbs of which are small baskets to hold donations to the robe fund...Kay Ault, organist-director at Bethany Christian Church, has an exciting season ahead for her choristers; Kay always plans the extra activities which mean so much to her children...Children at St. Luke's Methodist Church (Edward Acton, minister of music) are completing their first year of service in one of the most beautiful new churches in all of Texas...And--glory bet . there is at long last another bell-bug (Dr. Whittlesey's term for handbell enthusiasts) in town: Mrs, Ralph Cronquist, at Garden Villas...These are but a few of the programs being directed by Guild members in our area; the outreach of the Guild is greater than most of us are able to realize, Last Sunday evening, our own Youth Choir had the unique privilege of leading some 4,000 Methodists in music...worship as our new Bishop, Paul Martin, was introduced to the Texas and Rio Grande Conferences, 120 high school voices sang praise to God in this inspiring service held at First Methodist Church, Houston. It is in moments like these that we realize the unlimited potential of our children and youth to serve the Master and to lead felloK Christians in worship. Sincerely,

56 REHEARSAL PLANS FOR THE PRIMARY CHOIR by Helen Kemp LESSON la ADVANCE PREPARATION:

1.Mimeograph song-text booklets. This will be a big job. Get somehelp from mothers. Having these words for the children to take home and study will be worth all the effort. We plan to make double the number we need so that each child will have one to use during choir (and to memorize words at home). One copy for each child will be kept at the church for which an attractive cover;.- will be made, and will be given to the children at Christmas time as a record and a reward. Suggestion: Double-space lines. Use separated capital letters for titles. Number each song, and use a page number at the bottom of each page. Mimiographed simple illustrations create interest, or leave space for child's art work.

Don't crowd pages : (See sample page) 2.Suggested list of songs for use through December, 1960: (See September Letter for book and page number) Page I 1.God Made the Golden Sun 2.Glad I Am to Growl 3.The Bible is a Treasure Book Page II 4.Baby Moses 5.David 6.Lions Won't Hurt Daniel Page III Fun Songs and Rounds 7.Good Posture Round-- - - -uWe Sing to Learn" 8.Make New Friends "Choristers Little Hymnal" 9* Alleuia Page IV Christmas Songs 10.There is No Cradle Ready 11.Christmas Song----"Why Do Bells On Christmas Ring?" 12.Christmas Song G. Holst (for use with combined chilren's choirs) 13.Knock, Knock, Knock Wm. Grime Page V Devotional Songs 14.An Extra Prayer 15.Little Lamb, Who Made Thee? 16.Night and Day EARLY ARRIVALS: Fun Song 1. "Good Posture Round" When children can sing melody in unison well, divide choir into groups, each group having a leader (choir assistant). Teach chiliren to keep voices light, not trying to drown out the other groups. They will enjoy the beginning of harmony as they hear different sounds of a chord as they sing. 57 2. Try "Make New Friends". They love this one. It is a good one to introduce "rounding", NEW MATERIAL: 1."Bahy Moses" — Have song text on chart or on pale blue poster paper -- with simple illustration of rushes and the basket. Sing it for the children quietly, helping them to follow the words. Have children hum the melody. Allow (encourage) their bodies to respond to the swaying, swinging rhythm symbolic of the water and the rushes. Create a picture in their minds. RELATED STORY: 1.Tell the story of Moses from "A Small Childts Bible". Show the picture. Compare the story and the song. Show where the story is in the grown—up real Bible.

2.See how much of the story they can sing, Choose a pointer, to follow the words from the chart. REVIEW MATERIAL: 1."God Made the Golden Sun" -- Is it memorized? Can we sing it without the chart? Catch difficult spots, 2."The Bible is a Treasure Book" Give out word sheet booklets. These should have childts name printed on front page. Explain that these are for study at home, and may be brought to choir, too. Encourage using them for bedtime devotions. Go over songs to be memorized this week, CLG8ING PRAYER Note to Directors: The procedure followed in the lesson plans can be continued through December. Note that we are not stressing theory during this first part of the year. This will be a part of "music fun—time" in rehearsals after Christmas. Letts stress learning to sing these songs that can teach their minds and reach their hearts. Encourage memorization, It frees children to sing. Additional things to do in rehearsal, if a change of pace is necessary:

1.Have children move in response to music played on piano or record player: Walking, running, tip—toe, hopping, swinging.

2.Game of Echo: Have children as a group echo you as you clap rhythms or sing sev— eral tones in a musical phrase. Use the phrase "Yoo Hoot"

3.Tune Detective: Have children guess the titles of songs they have learned, by hear— ing only a short phrase on the piano.

4.For good ideas on dramatizing, illustrating song—charts, and many other things which could be used in Primary Choir, get the little book called "You Can Do It"--published by Jordon Press, Philadelphia. It will be a very good 600 investment.

5g SAMPLE PAGE, SONG TEXTS Fa/ PRIMARIES

(1) GOD MADE THE GOLDEN SUN God made the golden sun,

The quiet silver rain, The little winds that run and run Across a field of grain; Grass, and buds, and leaf uncurled;

Every growing thing: God made the wide and lovely world. I make a song, and sing!

GLAD I AM TO GROW (2) Glad I am to live! Glad I am to live: Glad I am to growl Glad I am to growl I would grow as Jesus grew, Father, may each coming day,

Strong in body, strong to do Make me strong to do Thy way

What is right and brave and true. As I work and as I play. Glad I am to growl Glad I am to growl

(3) THE BIBLE IS A TREASURE BOOK The Bible is a treasure book The Bible is a treasure book Of stories that are true: Of verses old and new: It tells of people long ago Some make us think of lovely things; Of folks like me and you. Some show us what to do.

The Bible is a treasure book: It tells how, long ago, Christ Jesus came to live on earth, Our Fatherts love to show.

59 It INNOCENTS" (For Eunice Gross) arr:by Nancy Poore Tufts Katherine Hankey, 1888 Traditional

For 12 bells, or 15 bells (Smaller Sets Read Up-Stems Only) (May transpose to KEY OF C)

r E ad lib

Brightly (Don't Driag, Don't Jerk)

•--62 Oi51-4- 4014 _ e` ..,;7V-1--7-1-2141 11 • A .

"ADVENT (ELLS US CHRIST IS NEAR" 1. •4. ADVENT tells us Christ is near Yes, and Christ ascended, too, CHRISTMAS tells us Christ is here, To prepare a place for you; In EPIPHANY we trace So we give him special praise All the glory of His grace. After those great forty days. 2. 5. Then three Sundays will prepare Then he sent the Holy Ghost For the time of fast and prayer, On the day of Pentecost, That, with hearts made penitent, With us ever to abide: We may keep a faithful Lent. Well may we keep Whitsuntide. 6. Holy Week and Easter then Last of all, we humbly sing Tell who died and rose again: Glory to our God and King, 0 that happy Easter Day'. Glory to the One in Three, "Christ is ris'n indeed," we say. On the Feast of Trinity. AMEN. 60 NO SANTA CLAUS

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KEEP THE CHRIST IN CHRISTMAS

A growing custom, and one of the loveliest, is the making of an Advent Wreath. Advent in this year of 1960 begins November 27. The following is taken from the bulletin of the First Lutheran Church, Glendale, California where one of our original members, Alice Hewlett, directs the children's choirs.

THE ADVENT WREATH

Many symbols are associated with the season preceding Christmas. One that seems especially appropriate, and less secular than most of the others, is the Advent Wreath. Used in Europe for many years, it is rapidly gaining popularity in North America both in Christian homes and churches.

The Advent wreath is a circle of greens held together by a metal band which also provides support for candles. The wreath may rest upon a stand in the church chancel, or be suspended from the ceiling by ribbon—covered wires. Usually four candles are provided for the church wreath. On the first Sunday in Advent one candle burns during the worship service. Two candles are lighted for the service on the second Sunday; three for the third; and all four for the final Sunday in Advent.

In the home the wreath may hang over the dining table, or rest upon a table or mantel. Sometimes there are candles for each day in Advent. One candle is lighted for the family devotions on the first day in Advent, an additional candle being lighted each day thereafter. Thus on Christmas Eve all the candles would be burning during the devotional period. Some families use just four candles, lighting only one for each daily worship period during the first week; two candles for the second week, and so on throughout the whole Advent season. Advent means "coming", and the church—year season bearing that name is a time of preparation for the coming of Christ. It recalls the coming of Christ to Bethle— hem as a baby; his coming into our hearts; and his coming at the end of the world. Our meditation on these comings should deepen our love for Christ and prepare our hearts to receive Him. The Advent wreath may help us to do this. The circle of greens symbolizes the earth and the need of everyone for Christ. The ribbons may be of purple, the color of royalty, and thus remind us that Christ is our King. The lighted candles remind us that Christ is the light of the world whose coming dispels the darkness of sin. 61

To be sure that the meaning of the wreath is understood, Bible verses should al— ways be read when it is being used. A good plan is to read Old Testament proph— ecies of Christ's coming together with the New Testament fulfillments of those prophecies. Much of our modern preparation for Christmas is totally unrelated to the true meaning of the season. An Advent wreath, properly used, may help us to keep our thoughts centered on Christ without whom no season has either meaning or value. 4. 9

CHRISTMAS CAROL CANDLELIGHT SERVICE

presented in The University Park Methodist Church—The Reverend Robert Scoggin, Minister of Music

The musical numbers, only, are listed below, together with the publishers. Many of the selections will be known to our members. The listing is given to show a fresh approach to programm— 1?\ ing.

CAROL OF PROPHECY--Let All Mortal Flesh Keep Silence Gustav Holst Chancel Choir (SATB—Galaxy) CAROL OF JOY A Carol Betty Jacobson Chapel Girls Choir (SA—Birchard) CAROL OF THE ANGELS Hark The Herald Angels Sing The Charles Wesley Hymn Congregation and Choirs CAROL OF THE SHEPHERDS Whence Come Ye? Clarence Dickinson Chancel and Chapel Girls Choirs (SATB—H.W. Gray) CAROL OF THE KINGS Three Kings Healey Willan Chancel Choir (SATB—Oxford) CAROL OF THE QUEST Carol Of The Questioning Child Richard Kountz Chancel Choir and a group of children (SATB--G.Schirmer) Offertory The Handbell Choir playing familiar carols CAROL OF THE BELLS Carol Of The Bells M. Leontovich Chancel Choir (SATB—Carl Fischer) CAROL OF MACE Peace On Earth Austin Lovelace Chorister Girl and Wesley Boy Choir (unison—Church Choral Services) CAROL OF THE FIRST CHRISTMAS 0 Little Town Of Bethlehem The Phillips Brooks Hymn Congregation and Choirs CAROL OF THE MOTHER Star Candles Michael Head Caroler Choir (SA—Boosey & Hawkes) CAROL AT THE MANGER Away In A Manger Anonymous Cherub Choir (in most hymnals) CAROL OF THE DRUM Carol Of The Drum K. K. Davis Chancel Choir (SATB—=Wood) CAROL OF THE REEDS Carol Of The Singing Reeds Alfred H. Johnson Chorister Girl and Wesley Boy Choir (SSA or unison—J. Fischer) CAROL OF THE BEASTS The Friendly Beasts Clarence Dickinson Combined Choirs (SATB—H. W. Gray) CAROL OF THE NATIVITY Silent Night Joseph Mohr Congregation and Choirs 62

Numerous playlets, and good ones, are readily obtainable. Possibly another one is superfluous at this time. However, Leslie found the following rather differ— ent in approach, and thought that some would find it useful. It was "made up" by Mrs. Richard (Virginia) Mitchell, Grace Presbyterian Church, Long Beach, California, a ten year member of the Guild. She does very excellent work with children's choirs, and has agreed to write some articles about her pet ideas and projects. This un-named playlet was done during Christmas—time 1958. All the music is from The Hymnal for Boys and Girls, edited by Parker and Richards, pub— lished by D. Appleton—Century Co. However, all the music may easily be found in other hymnbooks with the exception of "0, I Would Go To Bethlehem", words by Leonard Young, music by David Mck. Williams. This, in addition to being in the above mentioned hymnal, may also be found in Mr. Williams' "The Pageant Of The Holy Nativity" published by H. W. Gray Co. "We will use one of the many Christmas customs which dates back to the first religious services, and signifies one of the many attempts made by the early church fathers to combine the religious and secular music of the people. Saint Francis :of Assisi, Italy, was the great preacher of the 13th century. He was responsible for a religious musical revival which gave to the world the music that is still such a vital force in all celebrations of the Christmas season.

"Saint Francis, feeling that the Spirit of Christ should not be confined to the generally accepted idea of "The King of Majesty, Who sits in Judgment on the World", desired to bring back to the youth of his church the picture of the "Heavenly Child Jesus", the Babe lying in the manger. He felt that this could be a living reality by dramatizing the event, and have all the young people them— selves participate. So a replica of an infant's cradle was set up in his church in Greccio on Christmas Eve in 1224 A.D. To this scene the children brought gifts, the young people brought songs and dances, and the elders brought their prayers as a tribute to the New Born King. Thus the Praesepium or Creche originated.

"As time went on, these creches in churches became more and more popular. Christian leaders who followed realized the importance of keeping Christmas a time of joy and happiness, and as time went on this theme was elaborated upon to depict the holy family, shepherds, and wise men. As many churches could not afford to have these figures in form of statues, they often depicted the story in tableaux which was enacted by the young people of the congregation. But al— ways there was dancing in a circle about the Creche and it was these circle dances that developed into the first Christmas carols that have come downto us. The one that you all know is "Adeste Fideles" or "0 Come, All Ye Faithful". If you sing that in slightly increased tempo, giving it a lilting rhythm, you will recognize its relationship to the early creche dances.

"Scene opens with narrator on stage with monks dressed in choir robes with rope as belt come down the aisle. One of them says, "A song etc." and they and congregation join in singing "0 Come, All Ye Faithful" (Monks to be 7th and 8th Grade boys) "Dialogue continues with talk of making a manger scene which the monks place on stage. A monk says, "Let's sing, it is time to call the people." In the mean— time, the Primary Grade children are up front stage and sing "Hark, the Herald Angels Sing" 1st verse or more if they can memorize it. Primary Grade children 63 in costumes of the national dress of people round the world, i.e., Dutch, Czech, French, Japanese, U.S., Swedish, walk on stage and sit at foot of the creche. Choir sings 1st two verses of "0 I Would Go to Bethlehem" while costumed child— ren are taking their places.

Narrator continues then with Nativity Story. Mary and Joseph come down aisle and take their place on stage. Choir sings "Inn at Bethlehem".

Angels, 4, 5 6th Grade girls who are not in choir come through side door and say in unison, "Behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior, who is Christ the Lord. And this shall be a sign unto you. You shall find the Babe wrapped ins waddling clothes, lying in a manger." In addition, 3 strong voices in rear of church, also angels, and Choir then say in unison to represent the multitude of angels "Glory to God in the highest, and on earth peace good will toward men." Angels depart.

Narration continues and shepherds at side and back of sanctuary say "Let us now go even unto Bethlehem, and see this thing which is come to pass, which the Lord hath made known to us." (Shepherds are 6th Grade Boys) As they walk up to creche scene, the Jr—High Girls sing 1st two verses of "First Noel". Following the shepherds come the Kindergarten and Nursery children who assemble around creche and sing "Away in a Manger". In the meantime, the shepherds have gone off stage, first kneeling at creche in worshipful manner. Nursery and Kindergarten children walk off and Jr. High Girls sing "Bring a Torch". Narration continues and gets to part about the Wise Men. These then come down center aisle and kneel before the creche and lay down their treasures. As they kneel the choir sings 4th verse of "0 I Would Go to Bethlehem". As the people on stage leave, congregation sings "0 Little Town of Bethlehem" all four verses." CUES FOR ENTRANCES OF PARTICIPANTS AND MUSIC NARRATOR: The day before Christmas dawned crisp and clear, and the pale gold Italian sunshine lighted the ancient Roman Highway where the good monk, St. Francis, and his little band of followers had been journeying since long be— fore daybreak. FRANCIS: A song, my little Brown Brothers. 'Twill help to shorten our journey. JOHN: And you shall have a new chant, good master. It will be of the Christmas season. Harken, brothers, Let us all sing, 0 CONE ALL YE FAITHFUL (John motions congregation to join in singing) NARRATOR: But the clear brown eyes of St. Francis became sorely troubled, and when the song of joy was ended, he stopped under a tree to rest. FRANCIS: Little Brown Brothers, my heart is filled with great sadness that here in our beloved land, the people have forgotten the birth of the Christ Child. NARRATOR: Quietly the young monks gathered around him. (front middle stage)

JOHN: Have courage, master, 64 FRANCIS: Ah, my brothers, your song has helped me to find a way to make them remember. JOHN: Tell us, good master. FRANCIS: Very well, for I shall need your help. Yonder lies the village of Grecia, where we shallspend the blessed night of the Nativity. If we can arrive there in time, we may perform the miracle that will help the people to understand the meaning of Christmas. NARRATOR: With glad hearts, the eager monks quickened their steps and arriv— ing at the church, they worked with such speed, that when the purple shad— ows had deepened into Christmas eve, the little creche was finished. (All monks go back stage and bring in properties to make manger scene. While monks are doing this, Primary Group goes up front stage and sings HARK THE HERALD ANGFT$ SING, (verses 1 and 2). Primary goes back to seats.) FRANCIS: (as he surveys the newly created manger scene, and puts finishing touch) It is time to call the people. (CHOIR sings 0 I WOULD GO TO BETHLEHEM (verses 1 and 2) (As Choir sings PRIMARY COSTUMED CHILDREN walk onstage and sit in front of creche.) NARRATOR: The story opens....When Mary and Joseph entered the town they found the streets already crowded....Yet Joseph had to find shelter for Mary was about to give birth to a Child. (Choir sings verses 1, 2, 3 of Inn at Bethlehem by Dickinson. At beginning of music Mary and Joseph enter from back of sanctuary, and walk down center aisle to take their places on stage. At end of music, ANGELS enter south stage door, stand on steps and among trees. At same time, several ANGELS enter back baldony„ and await their cue.)

NARRATOR: Actually the stables of Christts time in Bethlehem exist in southern Palestine even today. (SHEPHERDS take places at back entrance to sanctuary and also at south side of sanctuary at steps coming down from second floor)

NARRATOR: On the slopes of the rocky ridge just outside the town of Bethle— hem,..And the shepherds on the hill Outside Bethelehem just have talked among themeelvesiii4arince and Savior Of Israel would be born in their own home toWn of Bethlehemi The Bible tells how the anhoUnding angel appeared before these shepherds, saying: ANGELS: (in front) Behold, I bring you good tidings of great joy, which shall be to all people, For unto you is born this day in the city of David a Savior) whiCh .is Christ the Lord. And this shall be a sign unto you, Ye shall find the babe wrapped in swaddling clothes, lying in a manger‘

NARRATOR: Then there, was a multitude of angels praising God, and saying: ALL ANGELS: Glory to God in the Highest, and on earth peace, good will toward men (angels leave from Balcony and front) NARRATOR: After the angels went up into heaven, the shepherds said, ',Let us now go even unto Bethlehem, and see this thing which is come to pass, which the Lord hath made known unto us. The shepherds deserted their flocks and went down into Bethlehem. 65

(Shepherds walk onto stage and kneel on one knee before creche) NARRATOR: They went directly to the stable at the inn and there they found, as the angel had said, a babe lying in the manger. They fell to their knees and worshipped Him. (Jr. High Girls hum FIRST NOEL and at place where shepherds leave stage break into chorus singing, Noel, Noel, etc.) When they had seen the infant Jesus, the shepherds went out and told everyone they net what the angel had said about the new born Savior. (Shepherds leave stage and pause in front of choir and kindergarten child— ren and make conversation as "I saw the Baby Jesus in Bethlehem.") All those to whom they repeated the story listened in wonder and awe at what they heard. The shepherds then returned to their flocks, praising God for what they had seen and heard. (Jr. High Girls sing BRING A TORCH. At finish, several girls assist NURSERY AND KINDERGARTEN to front stage and they sing AWAY IN A MANGER.)

NARRATOR: After the shepherds, came the Wise Men Go and search diligently for the young child; and when ye have found Him, bring me word again, that I may come and worship Him also. (Three Wise Men begin walking down center aisle from back of sanctuary, go up to creche, kneel, and place their gifts before it.) They laid before Him all the treasures and gifts they had brought, in— cluding gold, and frankincense, and myrrh. (Choir sings 4th verse of I WOULD GO TO BETHLEHEM -- During singing, people on stage leave.)

OFFERING

HYMN — Silent Night. * * * * * * * * * * * * * * * * * * * * * * is * * * iE * * * * * * ADDITIONAL MUSIC SUGGESTIONS FOR CHRISTMAS By Leslie

THE OXFORD BOOK OF CAROLS -- this gem is doubtless known to most Guild members. If not, you owe yourself the pleasure at least, of owning the finest and most complete collection of carols available for all seasons. Naturally, the Christmas section is the largest. SING WE NOEL K. K. Davis E. C. Schirmer #1574 IT CAME UPON THE MIDNIGHT CLEAR T. F. Dunhill Edw. Arnold Co., #19 JOSEPH TENDER SHEPHERD MINE Reiman, arr. Dickinson Gray,S.C. #210 SEE THE INFANT Gretchaninoff arr. Bitgood -Gay,C.M.R. #1690

The above four are "old—timers", have stood well the test of tine and usage; they merit your consideration if you have never used them,

SAW YOU NEVER IN THE TWILIGHT -- Austin C. Lovelace Gray, C.M.R. #2553 This is one of the finest numbers toAlave come from Dr. Lovelace. The text is about the Wise Men, and is labeled an. Ephiphany Carol for unison voices. However, it certainly may be sung in any Christmas service. Musically, the three stanzas are essentially alike. Your boys and girls will like this one.

ABINGDON CHRISTMAS CAROLS -- This most attractively gotten together booklet of 21 hymns, carols, and songs for Christmas is just off the press in time for Christmas 1960. Seventeen are with the music. If you need something like this for caroling, dinner meetings, etc., this booklet is for you. No price is given; it is issued by the Abingdon Press, of Nashville, Tenn.

N\N Recently a letter came to Leslie from Charles W. Malloch, Youth Director and Parish Assistant of the Augustana Lutheran Church, Denver, Colorado which started thusly--"One year ago today, I experienced the real pleasure of being in a Work- shop conducted by Ruth K. Jacobs, an event I shall always remember and cherish in my life. Thank you for your continued work with the Choristers Guild....En- closed is our service of last year of Advent and Christmas." Though some of the ideas and even statements are made in the early portion of this section on Christmas, yet these can bear repeating. Mr. Malloch first explains---

"One of the lovely pre-Christmas customs which aas come to America from Germany and the Scandinavian countries is the religious ceremony centered around the lighting of Advent candles—one for each Sunday in Advent--in preparation for and anticipation of the celebration of a truly Christian Christmas. Varia- tions may include a small candle for each day of the season or four white candles to represent the intervening days of the week and the festival of Christmas. "As we stand at the threshold of another Church year a keen awareness is sensed by all Christian Educators of their responsibility of self-preparation, but even more significant their leadership in preparing others. "The four Sundays before the Festival of Christmas comprise the season of Advent. That season begins on the Sunday nearest November 30, and always in cludes four Sundays. Advent means coming. It is a season of preparation for the coming of the Messiah, "In Advent we prepare ourselves for His coming into the lives of each of us. He must come into our hearts. They must be open wide to receive the Lord, the Christ Child, who came in the flesh to live among men as one of us; who was temp- ted, yet without sin; guiltless, yet became guilty to redeem manking to God. "In Advent we also prepare ourselves for His coming in glory at the end of the world to rule over a Kingdom that shall have no end. "Therefore, during Advent we are interested especially in three sections of the Word of God—the prophecies of the Old Testament which foretell Christ's cm- ing, the stories in the New Testament which surround His coming on earth, and those passages which remind us that He will come again. "For our service, a carpenter, who is a member of our congregation, built a huge wooden form to be placed in the chancel wound with cedar, pine, balsam or any other evergreen. Wooden candleholders (cut on the bias) are glued to the original frame. For our service, we used eight candles -- four red and four white -- the four white candles were removed after the service and each Sunday the candles were lighted as a part of our regular worship preceding the Collect for the day. "The wreath is constructed with three legs (2 of equal length) and the front one shorter) so the portion of the wreath nearest the altar is elevated."

After the Organ Prelude, Procession Hymn (0 Come 0 Come Emmanuel) and Invocation, the service was as follows: AN ADVENT PRAYER (pastor and congregation) Lord Jesus Christ, Thou Who earnest to Israel of old, just and having salva- tion;- We thank Thee that Thou still comest to Thy Church in Thy Word and Sacra- ments, to preach goad tidings to the poor, to set at liberty them that are bruised, to proclaim release to the captives and recovering of sight to the blind. Grant us by Thy Holy Spirit to receive Thee with willing hearts and joyfully to hail Thee as our King. Strengthen us that we may fearlessly confess Thee before the world. Grant us grace that with watchfulness we may await Thy coming in glory, and in that hour be found ready to stand before Thee and with Thee to enter into Thine eternal joy. Amen. At the time of the lighting of each of the candles, following the reading of the Scriptures, the pastor will turn to the altar to read the first part of each of the printed Antiphons. The congregation will pray the response. Please remain seated. 67 THE PROPHECY: Isaiah 53:3-6 Pastor: 0 Emmanuel, our King and Lawgiver, the Hope and Savior of the Nations: Congregation: Come to save, 0 Lord, our God. App]achian Folk Song by the Carol Choir I Wonder as I wander (SA) G. Schirmer #9498 or Jesus, Jesus Rest Your Head (SAB) arr. Niles G. Schirmer #9456 THE PROPHECY; Isaiah 9:2-6 Pastor: 0 Key of David and Sceptre of the house of Israel, who opens and no one closes; who closes and no one opens: Congregation: Come and lead out of prison the captives who sit in the darkness and shadows of death. Ruthenian Carol by the Boys' Choir Carol Of The Questioning Child (SATB) G. Schirmer #9893 THE PROPHECY: Isaiah 40:9,10 Pastor: 0 Wisdom, who proceeds out of the mouth of the highest, boldly reaching from end to end of the earth, and sweetly ordering all things: Congregation: Come to teach us the way of wisdom. Anthem for Choir, Speech Choir, flute and organ A Carroll (SSA) Summy-Birchard #B-965 THE PROPHECY: Isaiah 7:14; 40:11 Pastor: 0 King and Desire of Nations, the cornerstone who makes all peoples one: Congregation: Come to save man who Thou didst form out of clay. Anthem by the Boys' Choir Carol Of The Little King (SA) Gray, CMR #2260 THE PROPHECY: Isaiah 35:1-3,10 Pastor: 0 Daystar, Brightness of the light eternal and Sun of Justice: Congregation: Come and enlighten those who sit in the darkness and shadows of death. Spiritual by the Carol Choir Go Tell It On The Mountain (SA) Galaxy #1960 or Behold The Star (SATB) arr. Dawson-Music Press #111, Tuskegee Insti- tute, Alabama THE PROPHECY: Zechariah 9:9,10 Pastor: 0 Root of Jesse, who stands as a banner for the peoples, before whom kings are to hold their tongues, and whom nations shall earnestly seek Congregation: Come to free us, and do not delay long. Echo Carol by the Cherub Choir Echo Carol (unison) from Select Unison Anthems For Children--Flammer or Now The Holy Child Is Born (SA), from More Choral Gems From the Master for Young Voices, Boston Music Co, THE PROPHECY: Job 19:25,26 Pastor: 0 Lord and Leader of the House of Israel, who didst appear to Moses in a burning flame and who gayest him the Law on Sinai: Congregation: Come to redeem us with outstretched arms. Antiphonal Anthem by the Carol Choir Sing Gloria (SATB) Remick Music #5-R3138 or Hasten Swiftly, Hasten Softly (SATB) Richard Kountz Galaxy #1750 SCRIPTURAL ANNOUNCEMENT OF THE BIRTH OF CHRIST: Luke 2:8-16 Pastor: The Word was made flesh and dwelt among us. And we beheld His glory, the glory as of the Only-begotten of the Father, full of grace and truth: Congregation: In the beginning was the Word, and the Word was with God, and the Word was God. Cradle Hymn by the Boys' Choir Away In A Manger in most hymnals The service closed with the Offering and Benediction. Most of the music used is of course feniliar, but is given in the belief that it will help someone to build an Advent service. It should be stated again that much music written for various voic( combinations can easily be sung by children's voices in unison. Do not pass up an SATB anthem just because it is published as SATB. 68 During the Offering in the above service, Mr. Malloch used or suggested: The First Nowell (SS) arr. K. K. Davis, from the 2nd Belfry Book for Junior Choir, Remick Publishing Co., or Basque Christmas Carol (SATB) arr. Erickson for choir, castanets, finger cymbals and tambourine Gray, CMR #990

* * * * * * * * * * -3: * * * * * * * * * * -3E -3E * * *

A CHR13TMAS GIFT TO THE NATION

Adult Choirs (any number of members), Childrents Choirs (preferably 25 or mare members), Glee Clubs, other singing organizations, Handbell Ringers, and Relig— ious Drama. Groups that are interested in giving a program during the 1960 Na— tional Capital Christmas Pageant of Peace, kindly write or call Nancy Poore Tufts, Music Chairman, 9051 River View Road, S.E., Washington 22, D.C. Telephone: CHerry 8-8072.

The Pageant will be opened by President Eisenhower at 5:00 P.M. (EST) on December 23rd, as he presses the button illuminating the National Community Christmas Tree in the Park behind the White House. Programs will be scheduled from the evening of December 23rd through the evening of the 31st.

Dozens of smaller trees, representing States and Foreign Countries will surround the 75—foot Community Tree which is coming from Oregon this year. There will be a large Nativity Scene, live animals, displays, and an enormous Yule Log. Re— ligious ceremonies and Christmas Music by Armed Services Bands, Church Choirs, Schools, and Community Groups will be presented on the main stage.

The Pageant of Peace represents the effort on the part of American citizens of every race and creed to dramatize the Christmas Message of Peace on Earth, to Men of Good Will everywhere,

Your boys and girls, particularly your Primaries will enjoy making cut—outs of this pattern.

The vestments can be colored and perhaps each boy or girl may go so far as to paste a same size picture of his own head at the top.

The cut—outs would be splendid for Christmas programs of one kind or another.

Of course, use heavy paper.

69 NANCY POORE TUFTS sent in the following. It is an inscription seen at the entrance of Stoke Poge Church in England. It seems to be a very suitable inscription for your Choir Room, Our courteous Lord willeth That we should be as homely With Him as heart may think Or Soul desire. But let us beware that We take not this homeliness So recklessly as to Leave courtesy behind. by Lady Julian of Norwich * * * * * * * * * * * * * * * * * * * * 3c * * # * * * * * 4E- * it * * 41- * # * SONE PERSONAL NOTES Typical of the responses to my request in the October Letter concerning the inclusion of Ruth's last picture in this issue, is the letter from Nadeen Brook- shire who guides the graded choir program for the Texas Baptist Baptist Conven- tion. She wrote, "I shall earnestly request the inclusion of Ruth's picture in the November issue for myself as well as for the many who will want it, but will not write." Many however have written. Characteristic of these requests is this excerpt from a letter from Mrs. Robert Mitchell, St. Paul, Indiana, "I also want to say--please do include a recent picture of Ruth in the Letters. Should I live to be a thousand, I shall never forget her and my wonderful three weeks at Christian Theological Seminary in Indianapolis several years ago." Thus is included a copy of a portrait taken by Douglas Lyttle last March in Kalamazoo, Michigan. It is by far the finest picture ever taken of her, Mr. Lyttle caught her spirit and personality as no one ever did before. Many are the letters of encouragement which have come my way; for these I am deeply grateful. My difficult and heavy load is made the easier because of your heartening expressions of good will. I cannot possibly answer individually each of your letters. Please then accept this simple - -THANK YOU. Several have written concerning the availability of the series of Christmas carols with pictures of their birthplaces which appeared in the December 1959 Guild Letters. A limited number are available on a first come basis. They are Egt each in lots of less than one hundred; 50 each for one hundred and more. Please, 0 PLEASE—when you move or even plan to move, please send immediately your change of address, Our return postage costs are higher than they should be. Do not expect the Letters to be automatically forwarded unless yo'i leave specific instructions with agreement to pay forwarding postage. The Letters are Third Class mail. The Guild however does guarantee to pay the return postage to the Guild office if the Letters are undeliverable due to your moving or for some other reason. A page of ALL IN THE FAMILY was prepared for this issue, but in order to get Ruth's picture in under the postage weight limit, the page will appear in en- larged form next month. The Reverend William Grime, one of the very fine friends of the Guild, and the composer of much fine music for children has just sent me 10 preview copies of his 1960 Christmas greeting. It is a lovely little carol of three stanzas best suited perhaps for the Primaries. I shall be happy to share one copy each to the first ten members writing for a copy. It is copyrighted by the Broadman Press. Please do not attempt to copy it. May your Thanksgiving be one of sincere thanksgiving for all the blessings you have received from the hands of God as well as from your fellowman. May you also be thankful for the blessed and rewarding task of helping boy and girls to grow into Christian attitudes through your talents in music, 70 THE NATIVITY Could every time worn heart but see Thee once again, A happy human child, among the hoMes of men. The age of doubt would pass-- the vision of Thy face Would silently restore the childhood of the race. Henry Van Dyke

From a CHRISTMAS CAROL What can I give Him Poor as I am? If I were a Shepherd, I would give Him a lamb, If I were a wise man, I would do my part, But what I can I give Him, Give my heart. Christina G. Rossetti

0 Holy Child of Bethlehem Descend to us we pray; Cast out our sin, and enter in, Be born in us today. We hear the Christmas angels The great glad tidings tell; 0 come to us, abide with us, Our Lord Immanuel. Phillips Brooks

C.;HORISTERSI GUILD LETTERS Volume XII December 1960-61 Number 4 Ruth Krehbiel Jacobs, Founder Arthur Leslie Jacobs, Editor Norma Lowder, Associate Editnr Helen Kemp, Nancy Poore Tufts, Contributing Editors Published for its members by the CHORISTERS GUILD Box 211, Santa Barbara, California Copyright (C) 1960 - -Choristers Guild DEAR GUILDERS - - - - Henry Van Dyke, one of our country's truly great and inspired men of letters wrote many years ago, "There is a better thing than the observance of Christmas day, and that is, keeping Christmas....Are you willing to forget what you have done for other people, and to remember what other people have done for you; to ignore what the world owes you, and to think what you owe the world?....Are you willing to stoop down and consider the needs and desires of little children? Are you willing to believe that love is the strongest thing in the world - -stronger than hate, stronger than evil, stronger than death--and that the blessed life which began in Bethlehem nineteen hundred years ago is the image and brightness of the Eternal Love? Then you can keep Christmas. And if you can keep it for a day, why not always? But you can never keep it alone." Certainly, you as a children's choir director cannot keep Christmas alone; you can enjoy Christmas as can few others. Through that enjoyment, you have an unparalleled opportunity to lead boys and girls into right attitudes towards Christ - mas --understanding, sharing, giving. A child is uniquely receptive to the reasons for the coming to earth of God through the medium of a babe. Be certain you are clear in your own thinking, and then clear in your talks with children. Think your position through --read --study --meditate- -pray. Forget platitudes and gen- eralities. Children are smarter than you may believe. Your Christmas then may become a very hallowed one. Your officers and staff earnestly express the wish for a Blessed Christmas for you and yours.

Nita Akin,president Arthur Leslie Jacobsleditor Norma Lowder,associate editor Helen Kemp,Nancy Poore Tufts,contributing editors Ann Alexander,office secretary

OEM INTRODUCING - - --ADRIENNE (Mrs. Zee.) REISNER A short time ago, Brent Stratten of the First Christian Church, Wichita Falls, Texas, wrote me about Mrs. Reisner. He enthused about her---said she was terrific in the field of hymns. After a bit of correspondence with her, I discovered a gracious lady, eager to be of service, and ready to write hymn study pages for the Letters. In this issue, you will find her first offering--"Infant Holy". I'm sure you will agree that it is excellent. There is still time to use it this Christmas. Mrs. Reisner wrote in part, wonder if the whole thing is keyed more to the primary level than you wanted, I found myself trying to speak on paper as I speak to my own children's choirs. Personally, I find it more difficult to make things simple enough for the younger children. It seems to me that any director can easily upgrade his material to fit the needs of older children. Breaking down more advanced material to the primary level is not as simple in my opinion. Though I did not take time to do it, it would be an easy matter to make a list of questions from the material I sent if a questionairre is desirable..." More about Mrs. Reisner personally next time.

IN THIS ISSUE Thematerial which Nancy Poore Tufts has sent in these recent days, is so Christ - masy, and therefore, timely, that you will find all of it in this issue. Nancy's book, "The Art Of HandBell Ringing" is being published by the Abingdon Press,and will be released March 13, 1961. You will find enclosed, a little pamphlet, A Christmas Service For Family Wor- ship." Children are freely, and often unscrupously used by commercial interests to promote all sort's of projects and sell sometimes dubious quality products with and to their parents. You, as a children's choir director should certainly try to promote through your boys and girls, a family Christmas service. Use the enclosed service outline as a guide; make copies of your suggested service for each boy and girl; talk about it; urge it; believe in it. You will then become a part of a needed vast offensive against the crass commercialism into which the celebration of Christmas has sunk. Help put Christ back into Christmas11 -72- AN OLDER VERSION of "THE TWELVE DAYS OF CHRISTMAS"

Arr. for Solo or Unison Voices with Handbell Accompaniment (3 to 3 sets ad lib) (for Ellen Jane Porter) By Nancy Poore Tufts Moderato 1. 2...... , , „

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"THE TWELVE DAYS OF CHRISTMAS" Page 2

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"THE TWELVE DAYS OF CHRISTMAS" by Nancy Poore Tufts

"The 12 Days of Christmas" carol is an ancient Yule Song of England, and is typical of many early carols. In quaint mingling of praise of the Lord with praise of feasting, these early carols represent perfectly the spirit of Christmas in Tudor days -- "I pray you, my masters, merry bell' This was the keynote. No work was expected. The abundance of the rich was shared with the poor, many keeping Open House through Twelfth Night. The brotherhood of humanity was emphasized during this time of the year by cancelling debts, setting free prisoners, and the expression of good will among all men.

This quaint carol is one of many "accumulative" folk songs or forfeit games which were popular with country singers who regarded them as tests of endurance, memory, and sometimes sobriety. Each person, in succession, has to repeat the gifts of the day or pay a forfeit for every mistake in the list or the order. This is a relic of certain ancient Yule or even Druid customs and ceremonies.

On another page in this issue you will find an arrangement for Junior Choir and Bell Choir of an earlier version of "The 12 Days" than that generally heard in Imerica today. 19th century authors such as Halliwell and Husk: and the late Cecil Sharp list other variations. One version: Ten Ships a-sailing, etc. "The First Day of Christmas My Mother sent to me Eleven Ladies spinning, etc. A Partridge in a Pear Tree. Twelve Bells a-ringing."

Four Canary Birds

Yet another version, from around 1700, lists 364 gifts received by the lucky lady -- one for each day in the year, save one!

A "Twelve Days of Christmas" party has always proved tremendously popular with my children's choirs, with grown-ups, too, especially as a pick-up for the let-down following Christmas, or a social hour after an Epiphany Service. The entertainment and decorations center around the singing of the carol, and the children will "sing it again" until exhausted, if permitted. Arrange the singers (or the party) into eleven teams each responsible for one section of the song: "Two Turtle Doves", "Three French Hens ", "Ten Pipers", etc. Each team, at the proper time, must rise, sing, act out its part, then sit. I always choose one child, often the youngest, to stand in front holding the "Partridge in a Pear Tree". (Quickly cover a small, artificial Christmas Tree with sprigs of laurel or other leaves; tie on artificial pears from the dime store, and top it with a fat, perky, brown bird made from a roll of cotton and brown crepe paper.) Each time the refrain "And a partridge in a Pear Tree" is sung, this child might be instructed to revolve like a mechanical toy or make some repetitive gestures... Have a "dry run" of the carol to check the teamwork, then you're set for an hysterical stunt. Of course, a good, fast pianist, and an authoritative leader are necessary....Refreshments might include wassail or holly-berry punch (fruit concoctions) and Christmas cookies. A finale with a bit of caroling and chiff- chaff will leave the children enchanted, and already crying, "Are we gonna do it again, next year?" OF COURSE WE ARE! Unless you'd rather have an Epiphany Pie Party AND CALENNIGL!L

"Now that we're Decembering, It's time to be remembering."

A CHRISTMAS CARD CHOIR ROOM: What do you do with your most beautiful and artistic Christmas cards? I have been hoarding mine for years and can almost paper the Choir Room with them during the holiday season. Kathryn Hill Rawls has collected a frieze of Choir Boy cards that process completely around her music office and covers several doors and a wall. I can now arrange a Holy Family corner (those rich and colorful copies of the Old Masters from the Washington Cathedral Assn. and the Metropolitan Museum of Art, etc.) and a whole wall end of Christmas Bell cards. Junior Choristers take great pleasure in collecting and fastening up such a display every year, as well as arranging an Advent Wreath and then a Creche. I am satisfied that these ideas have left an indelible impression of what is good and bad taste in cards and decorations.... Past Church Bulletins have written up my "Christmas Card Choir Room" and a number of church friends still bring me their favorite cards; and I have found piles on the organ bench following spring cleaning!.... Direc- tors who have no permanent Choir Room might consider decorating portable screens, bulletin boards, or hall walls. -75- CHRISTMAS AWARDS AND GIFTS FOR CHOIRS: Bell Choir and Choral Directors often have a real problem in locating suitable and appropriate awards and gifts for their Ringers and Singers. Some towns do not stock unusual items with musical or bell motifs. This year's Christmas Mail Order Catalogues offer an amazing number of interesting and original ideas and designs. This arm—chair shopper, sitting in front of a blazing fire, has listed some attractive suggestions. Unless otherwise noted, prices are about a dollar.

1112 Days of Christmas" Paper Napkins — Adriane, St. Paul, Minn. or Burgess House, Minneapolis 15, Minn. or Krebs, Westerly, R.I. 1112 Days of Christmas" Candle ($1.98) — Spencer Gifts, Atlantic City. Christmas Carol Paper Napkins — Adriane, St. Paul, Minn.; Horace Anderson, 1234 E. 47, Chicago 53; Maid of Scandinavia, St. Paul; Miles Kimball, Oshkosh; Meredith's, Evanston, Ill. Sunset House, Beverly Hills, California. Christmas Carol Plastic Cloth — ($2.50) — Adriane, St. Paul, Minn. December Sugar Cubes, with Bell and other design — Miles Kimball, Osh. G Clef Pins (21"); Pitch Pipe Pin or Tie Clasp costs more — at Daniel Low's, Salem, Mass. Grace Note Shelf — Miles Kimball, Oshkosh. Jingle Bell Bow Ties for Men and Boys — Spencer Gifts, Atlantic City. Music Charm Bracelet — Daniel Low's, Salem, Mass.

BELL RINGERS' SPESHUL: Bell—Ringing Santa (61" wind—up toy) — Breck's of Boston 10, Mass. Cookie Cutters — Dime Stores and Department Stores everywhere! Golden Bell with cone decoration ($1.25) — Adriane, St. Paul, Minn. Plate with Bell Design — Sunset House, also at Adriane. Rattan Bells — large and small — — — Breck's of Boston 10, Mass. Salt and Pepper — Bell Shaped ($1.25) — Burgess House, also Adriane. Soap with Bell Design — — — — Miles Kimball Oshkosh. Wreath with Bells, also a Brass Bell Door Cluster — Miles Kimball. AT WHITTEMORE'S, 12 Ashburton Place, Boston Mass. Advent Wreaths ($3.50), Advent and Nativity Calendars (30¢ and 500) Manger Bell — @ 75O or $7.50 per doz. (Plastic encloses Holy Family) Plastic Angel Call Bell — @ 40¢ or $4 per doz. WAS—HAILE! NPT

Dear BELL FRIENDS:

Cousin Leslie and others have asked about the Tufts' 3—month "Bell Crawl" abroad this past summer. As you may know, we were guests of Mr. and Mrs. Hughes of the Whitechapel Bell Foundry in London in between a number of short trips about England and on the Continent. In England we attended the York Festival, the Three—Choirs Festival, the Haslemere Festival (the Dolmetsch Recorders and other Old Instruments), the Gloucester "Son et Lumiereu, the Bath Tattoo, the Royal Tournament, two productions of "Noye's Fludde", the International Eisteddfod in North Wales, and numerous organ recitals, other concerts, and plays. We in— spected 15 major Cathedrals and heard many of their great bells; we also heard about 25 other Tower Bell teams ringing changes. We huffed and puffed up into 6 "Ringing Chambers", worshipped in the "Bell Ringers' Chapel" of Lincoln Cath— edral, and toured the Taylor Bell Foundry of Loughborough. We visited and rang —76— with the Norbury Handbell Ringers of Stockport, Norman Chaddockts HB Ringers of Rotherham, Frederick Sharpe's HB Ringers of Launton near Bicester, the Whites of Appleton, and the Ecclesfield Ringers near Sheffield, We heard a team of HB ers from the Ancient Society of College Youths attempt a peal of Stedman Cinques. Mrs. Hughes instructed us in 4—in—Hand Ringing and Solo Ringing, and Mr.Hughes is, of course, an encyclopedia of bell information....During August we had the privil— ege of seeing that historic religious drama "The Passion Play" at Oberammergua; attended Music Festivals in Munich and Brussels. We were thrilled and inspired by the great "Singing Towers" (Carillons) of Belgium and Holland — notably at Bruges, Malines, and Amsterdam, and toured the Petit & Fritsen Bell Foundry of Aerie— Rixtel. We returned home in mid—September with some 13 packages of music, books and souv— enirs, overflowing buckets of fresh ideas and material, and a golden store of never—to—be—forgotten memories of glorious sounds and magnificent sights. A quick jump into harness — the resumption of choral and bell—ringing programs — brings us rapidly to the brink of the Christmas Season. On our desk we found two new highly—recommended Handbell publications: 1.Dr. Whittlesey's "Ringing and Singing" H. Flammer Price $1 — For sets 12 to 2 Octaves (Grand, large black notes) 2."Christmas Music for Handbell. Choirs" arr. by Norris Stephens Price $2 — For small and Large Sets G Schirmer (also large notes) The District of Columbia Chapter of the American Guild of Organists is sponsoring an Advent Junior Choir Festival on December 4. This Concert will feature Handbell ornamentation for the anthems "Christmas Song" by Hoist, "Ring, ye Bells", a Bo— hemian Carol arr. by Dan Hermany, and "Chiming Christmas Bells" by Dr. Whittlesey. A solo group will be rung on Handbells during the Offering, while the choristers rest. The IIId Area Regional Convention of the American Guild of Handbell Ringers will be held in Washington, D.C. Dec. 28-29 with headquarters at New York Avenue Pres— byterian Church. Write Chairman Slater Mounts, Talbot Ave. Baptist Church, Nor— folk, Va. for information. Directors interested in Handbell Ringing should by all means join the Guild. Write Box 3141, Washington 10, D.C. May I wish you all the Holiest, the Happiest, the Ringing—est Christmastide — ever, --Nancy Poore Tufts

* * * * * * * * "IN THY DARK STREETS SHINETH" There's a world—wide agreement and conspiracy at Christmas time to turn gloom into gladness, to make the dark places shine. Men do not wait for God's morning to break resplendent far above their heads. No, rather, in the midst of midnight blackness they set their candles alight and kindle welcoming fires on every hearth. From unshuttered windows and from doors flung wide yellow light streams out into the darkness. It is when the year is at its coldest and the nights are at their longest that the carolers go out to sing. The beautiful and beloved Christmas stories, too, are all set against a background of long shadows and of night: Mary and Joseph came late and weary to the inn where there was left for them "no room"; the shepherds watched their flocks "by night"; the wise men saw a star --and all men know that the stars pale out with morning. "ITwas the night before Christmas" that men heard "the herald angels sing." All this is but our way of confessing--whether in our glad haste of overcrowded days we stop to recall it or no --that we are aware that at this season of the year far away and long ago, God, in His goodness, gave us in The Babe a light to shine upon our often shadowy ways that we might walk them unafraid. Indeed, a light has shined into our darkness and no man need grope any more! --From First Church News, First Congregational Church, Columbus, Ohio Edward Johe, Minister of Music, and Louise Johnson, assistant -77-

110

/ dr' 4k (ANI)Lf:J IN ./72 ./././ irnukt,hulublest c.,leam of light THE CHURCH FOR ALL . . /..///,/ /2 • /r it ro:ls back tr&. Fhadows. And ALL FOR THE. CHVIOF :...trik"..rig- the nea-fallen snow, it casts The Church iii the creater.:t lac, 'or c.ri ea:th fur the buitraing of dazzlitg Laic upon 1:,oul,hs it pine cLarriot er an.ir 'roodcitizenahrp it %rad holly. is a' :riot ehou9e 01 tpiritual values. litiithwat a kiti.ortg Churcti rtile:' Like a candle in the de,to-7. ract-r- nor civ:Izlt:i C.a.' 1'1/ //)//1,/; , • roils hack the :.-,11a-jow., tirue. and s1.1" ,IVE, Th,...,:e ere !cur saund • • i.e.r.t%tria 'cry ever. per .1.,Duchinc, - 0'r sou! / 71/ the r:fe ot :nat., g-ves an 7.itteritt, services ;•aura of pea..-e: and good vi',11 to every ,agulur3.y ,at-i d. sp-u r poit the Church ft.,ey cc: ,:t) c..7ay. and cie-.A. P i'or his own sak6. (',.i. Pa ris i r- i it was truly the sirr,1Dlest arid hurn• hifdn's ,ake. (2! iro:' the :eke --•.i -.;:"; corri,..turti,y and ri•aticia / 'Lest eNn-Aat in history, thiz birth of a .E0. the sake .iif rite Church its& /f:// ;//.yLii :filth:7 in a But from. sn7nes ..whi•rh rif•eds his rr, ova! and set- r10( s,.1ort. Pkirt to gr, to C chu:ch rec.:h.:11y or-it, read yo!n ha. ne o the ne! bib citr•y. / Light, to reflect it u2on Day. Look Chapret Verres the a:-!..yund us; this is peace and SurCay . . I john 4 4-21 rt(..:inday... Matriae,v 23 Ttre,day.... Luke 1.12 Like a candle ;n the night the Weenesd'y L•.ke .22 T' ur 22 1:32Si '\ ;ft Church bechons us to the =,-leam of its sdrry. Luke \'‘''' SFT. YuLr'dY a Y: ,.,„-, =-,-eles T rt..,e 4. . And ::s- we come. to 1AIc;b st ew ' J/! 12'12 6116151O2 f /I live by tw„ Church's tei,,ching, our irr-- ...... '"'",...„, . 11,1,1, / faith will roll 7bac1: the shadows for // those arouni Lr. atensmagisMittsmenekageibRosraamenk \ 1 I ,,, % 1 ', . 1

I NFANT HOLY, INFANT LOWLY

From the Polish Para. by Edith H. 1. need (1885-1933) Polish Carol

In - fant Ho - ly, In - fant low - ly, For His bed a cat-tle stall: Flocks were sleep-ing: Shop-herds keeping Vi-gil till the mor-ning new

9-- t 5 _1

Ox - en low- ing_, Lit - tle knowing Christ the Babe is Lord of all. Saw the glory, Heard the sto - ry, Ti -dings of a gospel true.

Swift are wing - ing, An - gels sing - ing, No - els ring - ing Thus re- joie - ing, Free from sor - row, Prais - es voic inc

Ti - dings bring - ing: Christ the Babe is Lord of all. Greet the mor - row: Christ the Babe was born for you. A - MEN.

Harmonization by David Hugh Jones 1953 Found in The Hymnbook, published by The Presbyterian Church in the U. S. A. (1955) This tune will be found also in many other hymnals and books of Christmas songs and carols.

This charming carol comes to us from Poland. It is a very easy carol to memorize because we can picture in our minds the story the words tell.

The tune also is easy to learn for the first and second lines are exactly the same. The third and fourth lines use a four note melody over and over again, each time moving just one step higher (scalewise) for the beginning note. (In musical language, we call the four note melody, a motive, and the repetition of it, a succession of sequences).

The rhythm too, follows a pattern that is the same throughout the carol. There are always two half counts (eighth notes) followed by two whole counts. Some- times the two whole counts are two quarter notes, and sometimes, they are one half note. Let us think now about the story this poem describes. "Infant holy, Infant lowly, For His bed a cattle stall: "Oxen lowing, little knowing Christ the Babe is Lord of all." -79- In your imagination, can you see the Holy Babe lying in the manger? Can you see the cattle, some lying down in the hay, some standing up, all making their own funny cattle sounds? They do not know that the little baby who is sharing their stable is Christ, the Lord of all, do they? They do not even know they should be quiet when a baby is sleeping!

Let's see how the poem goes on-- "Swift are winging, Angels singing, Noels ringing, "Tidings bringing: Christ the Babe is Lord of all."

Can you try to imagine how the angels looked, winging their way to earth? Can you try to imagine how angel voices sound? The angels were singing the carol that told of the birth of Jesus.

The next lines tell us who heard their songs - - "Flocks were sleeping: Shepherds keeping "Vigil till the morning new, Saw the glory, "Heard the story, Tidings of a gospel true."

This is a different picture, isntt it? We now think of the sheep sleeping on the hillsides while the Shepherds keep watch over them, waiting for the morning to come. Yes, it was the shepherds who first saw the glory of the angels, and heard the news of Jesus' birth from them.

The last lines of this poem tell us that Christ came into the world for us. "Thus rejoicing, Free from sorrow, Praises voicing, Greet the morrow, "Christ the Babe was born for you."

If we put this story in our hearts, we will show by the way we live, that we believe it. This then, is what the words mean-- So roil be happy. You be free from sadness. You sing (or speak) praises. You welcome tomorrow because Christ the Babe was born for yall This is the true message of Christmas.

Here now are some hints for memorizing the words easily--

1.learn all the rhyming words in their proper order-- holy, lowly, lowing, knowing, winging, singing, ringing, bringing, sleeping, keeping, glory, story, rejoicing, sorrow, voicing, morrow.

2.learn the order of the subjects in the story-- 1st line--the baby 7th line - -the carols 2nd line--the manger 8th line--the news 3rd line--the cattle 11th line --the sheep 4th line--the angels 12th line - -the shepherds 5th line--the angels 6th line--the angels

3.ask your director to divide you into groups of four or six. Then see how fast each group can go from phrase to phrase without forgetting which phrase comes next. You can do this first just saying the words. Then after you have learned the tune, you can sing the phrases. Here are some word definitions, or meanings -- infant - -baby stall - - -stable or barn lowing --cattle sounds swift -- -fast Noels -- -Christmas carols tidings - -news flocks - -sheep vigil - --keeping watch rejoice --sing or speak with joy thus -- --so sorrow--sadness voicing--singing or speaking greet- —welcome -80-

frl

Cut to edge of paper

' L) 67;4,1 Cut to edge of paper

I e-H Cut to edge of paper

Cut to edge of paper

Color carefully all the figures — gray, donkey; brown, manger; baby clothes, white; sheep, gray; dove, brown; Joseph's cloak, red and purple; Mary's clothes, blue. Bring long ends of paper base for each figure around back and paste or staple ends, to form base to stand upright.

—81— Cut to edge of paper & paste

Cut to edge of paper

Cut to edge of paper —82— WHAT1 NO SANTA CLAUS?

Mrs. Bruce Milligan is Childrens Choir director in the Presbyterian Church, Salem, Ohio; her husband is the minister. During Christmas time, 1958, the Milligans were in Okmulgee, Oklahoma, where in the First Presbyterian Church, Mrs. Milligan presented a Christmas Vesper service about which she wrote, "This was the first of its kind here. The pattern has been an unrehearsed sort of program by the children followed by Santa Claus, treats and refreshments Many were doubtful, and some thought our children would leave the church to go where Santa was. But it was not the children who were object- ing. They were approached with the idea of some— thing they could give as their own gift to the King. How did they respond? Santa is gone forever...One doubter gave me $50 for the work of the youth choirs. We felt the children should have the thrill and pleasure of giving, and give of themselves. We felt that music was something which they could truly give of themselves. Thus this servicemas offered as a Christmas gift to the congregation by all of our choirs. There were 115 voices in all; the church membership is about 450. The four and five year olds were kept out of the service until time to sing, and then stayed to the end."

Following is the service in outline. Though the music is undoubtedly known to all our members, yet this outline may help someone. The music for children and youth only is given, though the adult choir participated in the service.

THE MESSAGE OF THE ANGELS, Angels We have Heard On High from a Treasury of Christmas Songs and Carols, Houghton Mifflin Co.,Boston sung by 3-6 grade and adult choirs GLORY TO GOD fromWhen A Little Child Wants To Sing, Westminster Press sung by 1 and 2 grade choir WHILE BY MY SHKH,P from Hymnal For Youth, Westminster Press sung antiphonally by 1 and 2 grade and the 3-6 grade choirs THEREIS A SONG IN THE AIR from most any hymnbook sung by Junior Hi choir THE SNOW LAY ON THE GROUND Leo Sowerby sung by 3-6 grade choir CAROLS TO THE CHILD-=Sleep My Little Jesus from Vesper Chimes, Westminster Press --Rocking Carol from When A Little Child Wants To Sing both sung by 1 and 2 grade choir both also available in A Treasury of Christmas Songs & Carols GENTLE MARY from Presbyterian Hymnal, found however in most denominational hymnals sung by Junior-Hi choir GO TELL IT ON THE MOUNTAINS arr. Ringwalt from Youth Sings, Shawnee Press sung by Junior-Hi choir MANGERCAROLS- -Here We Come to Bethlehem In A Tiny Manger Little Baby In A Manger Away In A Manger all from The Little Child Sings, Standard Publishing Co., Cincinnati sung by 4 and 5 year olds —83— Mr. and Mrs. ANDREW FLANAGAN, Church of the Covenant, Erie, Penna., presented in 1958 while with their former church, Westmont Presbyterian, Johnstown, Penna. a service of Carols and Anthems For Christmas which was arranged in a rather un— usual manner. The music noted in part as follows, may help you with any last minute plans, NOEL ACCORDING TO ST. LUKE SCRIPTURE READING--Luke 2: 1-20 THE HUMBLE SHEPHERDS "....so to the humble and lowly, heaven comes down...." (for SA, Boston Music Co., #2934) HERE'S THE STAMP, Eric Thiman "...baby Jesus, lovely child, looking up with eyes so mild...." (for unison, Elkin & Co., #2157, order from Galaxy) TRLL US SHEPHERD MAIDS Mary Elizabeth Caldwell "...we have seen a wonder, shown to us this day...." (for SATB, H.W. Gray Co.)

NOEL ACCORDING TO ST. MATTHEW SCRIPTURE READING--Matthew 2: 1-12 OH HOW BEAUTIFUL THE SKY arr. Christiansen "...Wise men by the star were led to the lowly manger bed...." (for SATB, Augsberg Publishing Co.) JESUS SLEEPING IN A MANGER K.K. Davis "...lullaby, lullaby, sing our little Jesus to sleep..." (for SABI Summy #1465) NOEL ACCORDING TO =ENDS AND TRADITIONS EXPLANATIONS CAROL OF THE WTTS arr. Peter Wilhousky "Hark how the bells; sweet silver bells, All seem to say, 'Throw cares away'..." (for SATB, Carl Fischer) THERE WAS A ROSEBUD BLOOMED IN THE SNOW Shaw "....From a fair tree, this bud did grow...." (for SATB, Nobello) I SAW THREE SHIPS arr. Hattey "...on Christmas Day in the morning" (adapted from a sequence of carols,Oxford University Press) THE FRIENDLY BEASTS arr. Clarence Dickinson (adapted from the SATB, H. W. Gray) (sung by all the youth choirs, each representing one of the beasts) DECK THE HALL "...troll the ancient Christmas carol...." (for SATB, H. W. Gray Co.) 0 HOLY NIGHT Adam ". ..It is the night of the dear Savior's birth...." (for combined choirs)

It is probably too late to help for this season, but you can be investigating the music of the following listing for Christmas 1961. This music was used by Dr. Roberta Bit good in Calvary Presbyterian Church, Riverside, California in 1958. The hymns are listed, and were sung of course by congregation and choirs. Introit — —CHORALE, VOM HIMMEL HOCH (first stanza sung as a solo from rear balcony; second by all choirs in the Narthex) Procession--Hymn, 0 COME ALL YE FAITHFUL Invocation -84-

The Prophecy Isaiah 9:2, 6 MORNING STAR Hagen-Curry (H.W. Gray Co.) (sung by all choirs except Cherub) CAROL, CHTTDREN, CAROL from Primary Hymnal, Westminster Press (sung by the Cherub choir alone) PERSONENT HODIE (On This Day) Geoffrey Shaw (Oxford Book of Carols) (sung by all choirs) The Shepherds And The Angels Hymn-0 LITTLE TOWN OF BETHLEHEM A LITTLE SHEPHERD MUSIC (flute solo) Harold Rohlig (Concordia Pub.House) RESONET IN LAUDIBUS (Long Ago and Far Away) arr. R. Vaughan-Williams from New Lutheran Hymnal (sung by all youth choirs) The Birth Of Jesus Luke 2: 15, 16 THERE IS NO CRADLE R,ADY W. Lawrence Curry from Anthems for Mixed Choirs; also from Primary Hymnal,Westminster (sung by Cherub, Boys and Chancel choirs) Press Hymn, AWAY IN A MANGER INFANT SO GENTLE arr. Ralph Marryott from Primary Humnal, Westminster Press (sung by Cherub and Chancel Choirs) The Adoration Of The Magi Hymn--WE THREE KINGS HERE WE ARE IN BETHLEHEM Healey Willan (Oxford Press) (sung by Chancel Choir only) FROM EASTERN LANDS Austin Lovelace (Summy-Birchard Co.) (sung by all choirs except Cherub) Dedication John 1:1-5, 14, 51 NEW YEAR CAROL (Greensleeves) arr. George Lynn (Presser Co.) (sung by all choirs except Cherub) GLORIA, GLORIA Mary Elizabeth Caldwell(Schmitt, McCreary) Hall,

(sung by all choirs except Cherub) Offering 0 HOLY NIGHT Adolph Adam Benediction

Many are the Christmas recordings which the record companies grind out, but also many are the recordings which are poor in taste, quality of recording and of performance. Here is a listing of some which are good; these are all from previous years. Two are repeated in the listing for the Boys and Girls gift suggestions. CEREMONY OF CAROLS sung by the Copenhagen Boys Choir, Benjamin Britten, composer and conductor. London Records #LL 1336 CHRISTMAS HYMNS AND CAROLS Robert Shaw and the Shaw Chorale an older record, but still one of the best-all adult voices RCA Victor #LM-2139 0 TANNENBAUM, Christmas On The Rhine adult voices except one by children Decca #DL 8388 CHRISTMAS SONGS sung by the Obernkirchen Children's Choir Angel Records #65021 CHRISTMAS IN AUSTRIA sung by the Vienna Choir Boys Capitol Records #T10164 A FESTIVAL OF LESSONS AND CAROLS sung by King's College Chapel Choir, London Records #5523 Cambridge, England THE CHRISTMAS STORY IN CAROLS sung by different choirs, and the Scripture read by Basil Rathbone- -the program may be used as a model for a Westminster Records #6034 Christmas service. -85-

CHANSON DE NOEL, Christmas Carols of France some sung by children's groups, others by a lovely soprano voice, harpsichord and harp acconr- paniment, new 1961 Vanguard Records #497 CHRISTMAS IN FRANCE sung by the child singers of Versailles Capitol Records # T 10108 CHRISTMAS IN GERMANY sung by the Bielefelder Children's Choir Capitol Records # T 10095 CHRISTMAS CAROLS sung by the Welch Chorale, music accompaniment by the music boxes from the Bornand Collection Vanguard Records # 428 MUSIC FOR THE FEAST OF CHRISTMAS sung by the Ohoristers of Ely Cathedral, England; old, liturgical music, beautifully sung London Records #5524 CHRISTMAS IN SPAIN by the Madrid Concert Orchestra and Chorus Interesting music of a different nature from what you have heard before United Artists Records #6059

If you experience difficulty finding these records, they are readily obtainable from the Gramaphone Shop, 9 East Canon Perdido Street, Santa Barbara, California.

•: • K!" --*'"

HOW TO SPOT A GIFTED CHILD

New York--What is a gifted child? Usually a child with an intelligence quotient of 125 or above is considered gifted or superior.

Under this definition, 6.5 per cent of the 40 million elementary and high school students would get into the talented category, or a total of 2,600,000 in the nation.

Most parents do not know the IQ's of their children. How do you recognize a tal— ented youngster? A National Education Association report, just issued on the gifted, observes that talented boys and girls exhibit the following abilities:

1. They use a large number of words easily and accurately. 2.They learn easily and rapidly without much rote and drill. 3.They have a longer attention span on challenging material. 4.They ask meaningful questions. 5.They have an active interest in a wide raage of topics. 6.They comprehend meanings, recognize relationships and reason clearly. 7.They grasp abstract concepts. 8.They use original methods aid ideas. 9.They are alert and observant. 10.They have great powers of retention. 11.Their questioning attitude makes them interested in finding out the reasons for observed phenomena. They constantly ask "why?"

Do you have a potential genius in your home?

7977,"7".%770:5, -86- ALL IN THE FAMILY JAMES STEWART BOLES, Minister of Music, John Knox Presbyterian Church, 2929 E. 31st St., Tulsa 5, Oklahoma, a long time loyal and enthusiastic member of the Guild, asks to be placed on your mailing list for the exchange of choir papers, choir lists and materials. Jim does an outstanding job; you will be a gainer in an exchange. HELEN JUN MARTH, First Presbyterian Church, Alton, Illinois, recently wrote a collection of anthems, "Worship In Song" for young people and children's choirs. It is published by G. Schirmer, price not indicated. Some selections are for unison voices, others for one, two or three choirs; five include optional arrangements for a Bell Choir. As with all collections, you may not like some nuMbers„ but there will be plenty which you will like and find useful. STEPHEN FARROW, organist-choirmaster, Westminster Presbyterian Church, Greenville, South Carolina, an enthusiastic new member, wishes an exchange of ideas concerning the use of the Choristers Guild Service Cross. The Guild has as yet set up no clearly defined pattern. The use of this Cross has increased very substantially during the past year. How do you use the Cross--for what purposes --onwhat bases is it given a chorister? Suggestions have been made by the Guild to individual users. Should the Guild establish a definite system as with the Choristers Guild Pin? Please write in your opinions and practises. The Guild should like to know as well as Mr. Farrow. HELEN H. KEMP of Oklahoma City, one of the Contributing Editors of the Choristers Guild Letters, recently headed a three day Junior Choir Directors Workshop in Bethel Collage, North Newton, Kansas. The event was sponsored by the Mennonite Song Festival Society in cooperation with the Choristers Guild. Reports indicated a real success and a large attendance. A workshop is possible for your area. Qualified leaders are available. Write the Guild office for information. BOB SCOGGIN, University Park Methodist Church, Dallas, Texas, suggested the My Musical Pumpkin which appeared in the last issue of the Letters. KENT BALYEAT, First Baptist Church, Wichita Falls, Texas, provided the Christmas cross word puzzle in the last issue. MRS. GEORGE (KATHERINE) BECKER, supervisor of the Choir School, First Methodist Church, Peoria, Illinois, is an excellent artist, and provides many of the interesting original drawings for the covers of the music programs in her church. She just might give you permission to copy and use some of them. She does not know this is being written about her, but she is a gracious person, and will be happy to hear from you anyway. HELEN KEMP and NANCY POORE TUFTS, our two regular Contributing Editors, both with lively imaginations, and a deep sense of loyalty to the Guild deserve our highest praise and sincerest appreciation for the.help they give all of us so regularly. These few words are just completely inadequate, but at least in this small way, we can thank them. Let all of us now say together - -THANK YOU, Helen and Nancy. MARY ELLEN HANES, Cherub Choir Director, United Presbyterian Church, Prosser, Washington wrote recently in part, 'Perhaps I should pass along something we are finding very helpful this year. We have a number of rambunctious little boys, and girls too for that matter (and who hasn't? Leslie asks). Getting them quieted for choir without spoiling all their pleasure in coming is a problem. Stories bore them; games over-excite them; free play carries over into choir time. A mother of three boys suggested and offered to carry out the serving of cookies and fruit juice as the youngsters come in. It's not a bribe or a party--just something to fill that aching void. They do quiet down and seem amazingly calm when I arrive. Parents take turns in providing the refreshments and seem happy to do so.“ Maybe this idea is for you. Miss Hanks also writes that two books, "Let's Sing" by Thompson, and "Song Wings #211 are out of print. Have others been able to secure these? Miss Hanks would like to know of other books for Primaries which you may have found successful. Please write. -87- ALL IN THE FAMILY (Continued) MR. AND MRS. R. Y. ELLISON and son DAVID, age 10, spent the school year 1959-60 in Europe during Mr. EllisontsEabbatical. Mary Ellison is Minister of Music, Plymouth Congregational Church, Miami, Florida. These folks enjoyed the priv— ilege of celebrating the Christmas season last year in Austria. The Christmas Eve service, they attended in the Schubert Church in Vienna. Carols were sung before the service accompanied by a zither and two recorders, mmt delightful, they wrote. The service was warm and friendly, and gave them the feeling that Christmas begets the same spirit in Christians everywhere. On Christmas morning, they heard the Vienna Choir Boys in a service in the chapel of the former emper— orts palace where this group regularly sings. The Ellisons reveled in the manner in which these boys sang a Mozart Mass. The family went on to Salzburg to hear more Mozart. How wonderful that young David was able to store such experiences in his young mind. ED KARHU, minister of music, First Methodist, Oklahoma City, deserves many bou— quets on his long and successful tenure with that church. His choir paper, Voice Of The Choirs, is celebrating its tenth anniversary year. MARGARET DOW, Honolulu, Hawaii, writes, "For your information, there have been "musical missionaries" for years. I was one under the American Board for 26 years. The Methodists and Presbyterians also have had them." This is probably in reply to Jim Camp whose letter appeared in the October issue. GLORIA SING, Sacramento, California, a long—time friend and member of the Guild continues to make the stencils for the music pages of the Letters. Our sincere thanks are given to her in this way and at this beautiful time of year. ROBERTA BITGOOD, one of our Guild Board of Directors recently moved to Redford Presbyterian Church, Detroit. She and her Sanctuary Choir were recently in— stalled and dedicated in a beautiful service. If you are seeking the plan and details of such a service, I'm sure that Dr. Bitgood will be glad to send you a copy. Address her, 17226 Redford Ave., Detroit 19, Mich. Possibly she may even send you a copy of her article, "Those Old Songs", if you ask her. EITEEN LUM, that small dynamo of big output, director of music of Kalihi Union Church, Honolulu, recently sent in some news of our 50th state. She informed us that Melvin Gallagher of Central Union Church, Honolulu, one of the prime leaders in church music in the islands, is preparing a group to sing Bach's B Minor Mass in May. She wrote further concerning the Oahu Children's Choir Festival which Ruth conducted for two years, "The Children's Choir Festival is coming along smoothly with one more Methodist Church Children's Choir joining us this year. They just started this year and already have 50 children singing in it." Eileen is the organizer of the festival as she was last February when nearly 400 boys and girls took part. Of the work in her own church, she wrote in part, "On.... the Music Ministry was dedicated to God. The entire morning worship was taken over...by the five choirs It's so thrilling after hours and hours of work and headache, and even backache, to sing finally and then lift up people into the presence of God A church in town asked our Youth Choir to present an evening musical service....Everytime I standin front of them to lead, I do so in fear and trembling, not knowing what's coming out this time. Sometimes they sound purely awful, and other times, you have never heard such warmth and good tone. I keep reminding myself that the teenager is terribly up and down himself, and even unstable; so I prepare myself for the worst, and find that sometimes, it's not nearly that bad....The Children's Choirs continue to grow; I'll have to di— vide the groups again soon, too large to handle." So you see, you are not the only one with problems. Often the best success grows out of large problems through which you have struggled. Again,---to the large farflung Guild family---A BLESSED CHRISTMAS Send in your Christmas programs. —88— BOYS AND GIRLS

Perhaps you have decided to give your director a Christmas gift. Now you begin to wonder what to give. The following list will help you to decide. Directors often like books which will help them to improve your own choir singing. The best Christmas gift however which you can give your director is to sing the best you know how, to come regularly and to behave properly, These are the finest gifts. But here is an additional list: BOOKS THE CHILDREN'S CHOP by Ruth Krehbiel Jacobs. This is a book full of plans to make your choir better and to grow. It costs $4.95 postpaid. THE SUCCESSFUL CHILDREN'S CHOIR by Ruth Krehbiel Jacobs. This book willhelp your director to know how to help you to sing better. It is a book about children's voices. It costs $1.50 postpaid. The above two books may be obtained directly from the office of the CHORISTERS GUILD, Box 211, Santa Barbara,California. ORGANIZING AND DIRECTING A CHILDREN'S CHOIR by Madeline Ingram. This book will also help your director to help you. It costs $2.50 and is published by the Abingdon Press.

MUSIC AND WORSHIP IN THE CHURCH by Austin C. Lovelace and William C. Rice. This book is about church music in general, about adult choirs as well as children's choirs. It costs S4 and is also published by the Abingdon Press. THE HYMN AND ODNaLGATIONAL SINGING by James R. Sydnor. This book will help if your director is also the Minister of Music. It tells all about how to help the choirs and congregation to sing hymns better. It costs $4.50 and is published by the John Knox Press, Richmond, Virginia. CHILDREN AND MUSIC by Beatrice Landeck. This book will help your director to learn that you are much more musical than sonetimes he or she thinks. It costs $3.50 and is published by William Sloane Associates, New York City. THERE'S MUSIC IN CHILDREN by Emma Dickson Sheehy. This book will help your direc— tor to learn that everyone of you are young musicians, and that everyone of you can sing well. It costs $3.50 and is published by Henry Holt & Co. Here is something else which you may like: THE CHORISTERS GUIID SERVICE CROSS is a handsome cross finished in antique sil— ver, is 22 inches long, and is to be worn around the neck on a collarette. It costs $2 without the collarette. However a choirmother may make one of these ac— cording to a pattern which will be furnished. It may be purchased from the ' Choristers Guild, Box 211, Santa Barbara, California, There is a Federal excise tax on this cross, but if you purchase one for your director, the Guild will pay the tax because the Guild is proud of all its member directors. Perhaps your director would like a fine recording of some children's choirs. Here are a few suggestions. These may help your director and you too, to know how you should sound when you sing. CHRISTMAS SONGS sung by the Obernkirchen Children's Choir Angel Records #65021 CHRISTMAS IN AUSTRIA sung by the Vienna Choir Boys Capitol Records #T 10164

—89—

THIS 'N THAT A Little Assistance For your Boys and Girls ---One of the most delightful experiences a children's choir director may enjoy is to sense the excitement when little heads get together to figure out something to give their director for Christmas. Inevitably, mme parent will ask you outright, your wishes. There is a better way. Let the youngsters decide themselves. You may post page 89 on your bulletin board (only of course if you have heard some rumors). Your boys and girls will be proud of themselves and enjoy making up their own minds.

Often a meMber writes in to request help with an SAB choir group, A small volume entitled the "SAB Choir Trainer" by Carl Vandre has proven helpful to many. It is publt.thed by Mills Music.

The late King George of England in a Christmas message some years ago closed with the following story:--A boy was carrying a smaller boy up a hill. Someone asked, "Isn't that too heavy a burden for you?" The boy replied, "It isn't a burden; he's my brother." "That," said the king, "is the true spirit of Christ- mas."

Many have been asking for the return of Choir Crow. He will make appearances again from time to time, Virginia Mitchell's Christmas playlet about St. Francis in the last issue was unhappily not quite complete. Wrote Virginia recently, "...the narration in full is not included; so should anyone want that, I still have copies. Also, it does not mention that we did borrow many Christmas trees from a sale lot, and banked them on one side of the stage to represent the forest for the first part. A commercial artist made a stained glass window, using as a base and frame a huge piece of cardboard which we obtained from-a mattress factory. This was cut out appropriately; different colored papers were pasted on the back. Back of that, we had flood lights. At the beginning and end of Silent Night, the lights were turned on for this center of interest which was on the center wall of the stage. It made a terrific effect to imply modern day church, Christianity, etc." If you care to get the additional narrative, write Mrs. Richard Mitchell, 3341 Wimbleton Drive, Los Alamitos, California. I'm sure Virginia will answer. She is that kind of person. To all who have presented services and programs dedicated to the memory of Ruth, I express my sincere appreciation, and share a sense of participation. It would be well nigh impossible to list all the events in the Letters, and I shall do my best to acknowledge each that I learn of with a personal letter. A recent letter from Nancy Tufts chides me for the use of my initials only. She wrote, "By the way, where do you get that A. L. stuff on the front page? Please spell out your Christian names from now on, or I shall start a nasty rumor that your name is Algernon Lllllewelllyn." My names are Arthur Leslie; I've never liked to use both; my friends call me Leslie. Hereafter the full moniker will be on the front of the Letters so Nancy's rumor willhave no basis in fact. Please send in as soon as possible copies of your Christmas programs.

Permission to use the page, "Candle In The Night" was graciously given by the Keister Advertising Seroyice, Strasburg, Virginia.

ao) —90— "Roll out, 0 song to God: Move on, ye throngs of men Chances and changes come and go; God changeth notl Amen." (four lines from a hymn by F. Sewall in the Swedinborgian Hymnal)

"May your ringing in 1961 lift many more of God's children 'into His gates with thanksgiving)." (New Year's greeting from the Reverend Wm. R. Grime to Bell Ringers everywhere)

A Recipe for A "Happiness Cake" 1 cup Common Sense 1 to 2 cups Justice 1 cup Love sifted with 2 tablespoons Mutual Confidence Add a large portion of Sense of Humor Spice to taste with Joy and Nonsense Bake in a warm oven of Appreciation Ice with Graciousness Garnish with General Approval,

A Prayer: "Grant me today the simplicity of childhood, the enthusiasm of youth, the wisdom of maturity and the gentleness of old age." -Marian Nilmhurst

CHORISTERS GUILD LETTERS Volume XII 1960-61 January Number 5 Ruth Krehbiel Jacobs, Founder Arthur Leslie Jacobs, Editor Norma Lowder, Associate Editor Helen Kemp and Nancy Poore Tufts, Contributing Editors

Published For Its Members By The CHORISTERS GUILD Box 211 Santa Barbara, California Copyright (C) 1961 Choristers Guild Dear Guilders: - - 1 9 6 1 - The beginnings of two poems, the first, Door And Keeper by Lucy Larcom; the second, The Gate Of The Year by Minnie Louise Haskins cone vividly to mind as I contemplate the New Year with all its knowns and unknowns.

"We pause beside this door. Thy year, 0 God, how shall we enter in?"

and "And I said to the man who stood at the gate of the year: 'Give me a light, that I may tread safely into the unknomnif And he replied: 'Go out into the darkness and put thine hand into the Hand of God. That shall be to thee better than light and safer than a known way.' So, I went forth, and finding the Hand of God, trod gladly into the night. And He led me towards the hills and the breaking of the day in the lone East."

And the breaking of the day reveals a gleam. But "unless you follow the gleam, you will see it no longer. Faith begins as an act of will."

In spite of the desire, intense at times, to know the future, yet few would have the courage to face and accept the knowledge. Thus, while the unknowns are many, and possibly shattering in their final and later impact, yet the knowns ad up to an impressively greater total. We know the love of God for us is ours for the mere accepting; we know that Jesus Christ is our Savior; we know that our sins will be forgiven if we are honestly repentant; we know that we can obtain strength and courage from God; we know that earnest honest prayer reaches the throne of God and extends our human strengths and abilities; we know that we shall possess friends if we are friendly; we know that honesty is the only policy for the Christian; we know that he who would save his life, must first lose it in the service of others; we know that when we carefully plan our work that better results will accrue; we know that our work with children is a high calling and that it demands our best; we know that Christ never promised that we should be free from problems, sorrows and heartaches, but that He did promise that we could find the strength to meet adversities from God through Him. All these and a host of lesser knowns ad infinitum, are ours for the New Year. When these known dominate our thinking and our living, the New Year will be one of growth, possibly even of attainment in some small area of life. Then let us anticipate eagerly the New Year of 1961, and with St. Paul say in substance, "I must also see Rome." May this New Year then be more than a Happy one; we earn our happiness - -may it be also one of growth spiritually, mentally and emotion- ally. And may the God of grace be with you and yours, = 3E = * * = 3C = * * = * = 3E- = # = * = * = * = * = * = * = = # = 4(- = # =

Two minor errors crept into the score of "The Twelve Days of Christmas" on pages 73 and 74 of the December issue of the Choristers Guild Letters. Here are the corrections:

Measure 1, last Measure 15, second two eighth note chord on top notes should be should be

Please make these corrections in your December issue. —92— RELIGIOUS DRAMA AND CHORAL SPEAKING Nancy Poore Tufts

A rainy day's browse in the London bookstores of SPCK and Foyle's, unearthed the following selection of Religious Drama and Choral Speak- ing material, Many of these one-act plays, playlets, mummers' plays, etc., seemed to be of unusual practical and artistic interest. A number call for choral speaking or for musical backgrounds, or choral, instrumental, solo or bell parts. Most of these plays or books may be obtained through SPCK, 69 Great Peter St., London, S.W. 1; others from Foyle's, 113 Char- ing Cross Rd., London, W.C. 2, or French's, 25 W. 45th St., New York City, The prices quoted are approximate.

For small children or juniors (4 to 11 years old) Biblical Plays For Young People by Katherine McLean, production book available - -Volumes I through IV--all short, three playlets in each, published by Cassell, SPCK-- 350. Let's Prepare A Nativity Play by Freda Collins, short playlets for young children published by Miller - -SPCK--$1.00.

London Dramatic Books by Rodney Bennett - -short scenes - -Book 1 for ages 5-7 years; Book II for ages 7 -11 --University of London Press - -SPCK - 750

The New Born King by Beryl Strynell- -twelve scenes originally written for a kindergarten or junior Sunday School---cast of 70,but may be reduced easily--SPCK-500

For fifth, sixth and seventh grades A Dramatic New Testament Book by G.H. Holroyd--Book I, A life of Jesus taken from the Gospel--Book II--the Kingdom of God as shown by the life and teachings of Jesus; both books are short scenes with choral speaking and are appropriate for radio, class work, etc.--published by McMillan--SPCK--50¢ each.

Seven Plays For children--church plays written to be played and enjoyed by children--four are for Christmas, one for Easter, one morality, one general - -pub - lished by the Religious Drama Society- -SPCK --500

For Junior Hi and Young Teensters Chorus Plays by Clive Swanson (Youth Theatre #4)--nine playlets, four of which are religious, all With choral speaking parts--published by Black--SPCK

London Dramatic Books,books III and IV--University of London Press --Foyle -500 ea.

London Dramatic Books--third series,Book II--University of London Press-Foyle-500

Miracle Plays by Anne Malcolmson- -seven plays adapted for girls and boys - cludes the ',York!, Nativity and "Noah's Flood,'--published by Houghton-Mifflin -- SPCK - -$2.00

For Teensters axd Older Coventry Nativity Play, adapted by Warner- -runs for 40 minutes - -cast of 20 to 25 published by Sam French, or from SPCK--35¢ Christmas and Easter--The Troubadour Plays--two one-act plays SPCK--350 -93-

Religious Drama dnd Choral Speaking (Nancy Poore Tufts) continued Christianity In A Great City by Hardill & Walton- -five short plays on the 1pistles to the Corinthians - -published by the SCM Press --Foyle - -600

Christmas In The Market Place by Henri Gheon- -runs about 45 minutes, is in three sections--first performance was by the Pilgrim Players of Canterbury twice presented in the crypt of St. Paul's Cathedral --SPCK --750

Cry Dawn by C.W. Turner--a sequel to Christ In A Concrete City—runs 50 minutes- uses four men and four women--published for the Religious Society by SPCK in 1959 - -75¢ Four Sacred Plays by Dorothy Sayers--one act e ach--re-issued in 1959 by Gollanz SPCK

New Testament Plays by Katherine McLean published by Hulton--SPCK--60O

BOOKS Biblical Costumes by Marian L. Wright with adaptions for use in plays - -SPCK-500

Religious Drama For Amateur Players by the Reverend Arthur B. Allen--This book was written with particular reference to performances by church groups. Mr. Allen's advice is straightforward and practical, based on his own successful experiences. Its main value is that it contains complete examples of suitable plays. These include - -two mimes of Nativity, The Good Samaritan, A Cycle For Holy Week, plays based on Pilgrim's Progress. An excellent appendix lists available plays worthy of consideration by amateur groups. Some plays are with choral speaking parts. Published by Faber & Faber, SPCK $3.00.

N 0 T REVERENDS

In his Diocesan paper, Bishop Stephen F. Bayne unburdens his soul in this fashion: "If you have any respect for the clergy- Is blood pressure, PLEASE do not use the word 'Reverend' as a title. It is wrong. It is sinful. It is against Emily Post. It is ungrammatical. It is everything that is loathsome and horrible. 'Reverend! is an adjective, like 'Honorable' which is used to modify a noun - as !The Reverend Mr. Brown!, or !The Reverend John Brown'. It is NOT a title. It is ALWAYS prefixed by !the!. It is NEVER used with the last name alone. Bish- ops are 'The Right Reverend'; Deans are 'The Very Reverend'; Archdeacons are !The Venerable'; Parish priests - those peasants - are !The Reverend!. End of annual blast on that subject." --From "Now" - Diocese of Delaware. Call me Brother, if you will; Breathes there a priest with soul so Call me Parson - better still. dead, Or if, perchance, the Catholic frill Who never to his Lord hath said: Doth your heart with longing fill - "On boney knees I humbly bend, Though plain Mister fills the bill - Lord, stop men calling me Reverend." Then even Father brings no chill And to his flock on Sunday Morn, Of hurt or rancor or Did all the faithful sternly warn, To no D.D. do I pretend, CIO call me Parson, oall me Mike, Though Doctor doth some honor lend; Call me Father if you like,' Preacher, Pastor, Rector, Friend, Call me Mister, call me Friend, Titles almost without end And loving ear to all I lend. Never grate and neter offend But 0 my heart with woe you rend, A loving ear to all I bend. Wheneter you call me Reverend!" But how the man my heart doth rend, ilho blithely calls me Reverend. Contributed by Nancy Poore Tufts. -94-

PRIMARY CHOIR PLANS -- JANUARY THROUGH MARCH By Helen Kemp

THEME: MUSIC AND THE BIBLE The Story of Christ's birth is a magnificent one and worthy of all the joy we share in celebrating it at Christmastime. Now is the season when we should lift the Baby Jesus from His manger bed and tell our girls and boys how He "grew in wisdom and in stature and in favor with God and man", through His boyhood and manhood, to become our Savior and King. We, as choir directors, have a rare opportunity to teach this story through music, and make it live in the hearts of our children.

JESUS BOYHOOD "And Jesus increased in wisdom and stature and in favor with God and man." Luke 2: 52 "0 Jesus So Sweet" pg. 62 Greehnill Jr. Choir and Duet Book; arr. K.K. Davis 'When Jesus was a Little Boy" pg. 72 Hymns for Primary Worship "The Boy of Palestine" #105 Sing, Children, Sing JESUS BEGINS HIS WORK "And He went about all Galilee, teaching, preaching and healing" Matt.4: 23 "Jesus Was A Loving Teacher" pg. 85 Hymns for Pri. Worship tt If "The Children's Friend" pg. 83 "Jesus in Galilee" pg. 77 It it "I Would Follow Jesus" pg.123 'I ft tt OUR RISEN LORD "He is not here; for He has risen, as He said." Mtt. 28:6 'We Will Be Merry" pg. 96 Hymns for Pri. Worship A "Once There was a Garden Fair" pg. 95 "Christ's Holy Morn" pg. 97 "Lo, the Winter is Past" pg. 210 11 if It "Christ the Lord is Risen Today" K.K. Davis 10—G1855 Remick Music Co. (Anthem to be used combined with adult choir. Children respond with Alleluias. JESUS' ASSIGNMENT TO US "Go therefore amd make desciples of all nations----" Matt. 28:19 "All over the World" pg. 3 Walk the World Together: Ethel Croninshield, Boston Music Co. "Men and Children Everywhere" pg.113 Hymns for Pri. Worship "In Christ There is no East or West" # 479 The Hymnbook (Pres.) "We Will Send the Message Far" pg.147 Hymns for Primary Worship DEVOTIONAL SONGS "God Whose Name is Love" pg. 5 God's Singing Children Lorenz Publishing Co. "God is Where You Are" pg. 5 It "Glad That I Live Am I" pg. 49 Songs of Praise for Boys & Girls (Oxford) "When I Am Happiest" pg. 1 Song and Play for Children-.

—95— A CHORISTER'S BIRTHDAY SONG "Glad I Am to Grow" pg. 129 Hymns for Pri. Worship (To be sung for children who have had a birthday during the previous week)

SONG FOR FUN "Laugh a Little Every Day" pg. 19 Walk the World Together "Rounds" in the Choristers Little Hymnal

COORDINATED STORIES (Very important to this unit) A Small Child's Bible (Book Form) Pelagie Doane Oxford Un. Press *Your Particular Church School Literature

(Find out what extra booklets are available for your Primary Children. Coordinated stories will make the suggested songs so much more valuable)

STUDY OF MUSICAL NOTATION (S P E C I A L P R 0 J E C T) "The A-B-C's of the Do-Re-Mils" Set I Available from: Choristers Guild .50 47 El Arco, Santa Barbara, California (Planned for 1 lesson each week)

= * = * = * = * = * = * = * = * = * = * = * = * = * = * = * = * = * = * = * = * =

Among the children's choir directors groups in the country, one of the oldest and most active is the Choristers Guild Chapter in Lynchburg, Virginia. The members of the chapter have their problems as do you and I. All children's choir directors must at some time or other face the challenEe of this modern day which relagates the church to a second or third place in the lives of both adults and children. Bishop Pike of the Episcopal diocese of California in a recent issue of Look magazine, has forcibly brought this situation to our attention. The following clipping from the Lynchburg News states the case in another way. The clipping was sent me by Madeline Ingram who wrote that a committee worked long and hard to write exactly the feelings of the Guild Members. Reading it will help you.

"HEADERS DENY CHOIR WORK A MERE 'ACTIVITY' FOR CHIDDREN

To the Editor of The News: Sir: The issue of your paper dated Nov. 6 carried a report by Miss Robin Gross of the growing concern of Lynchburg elementary school principals over the maze of "activities" surrounding the lives of young children in today's society. May we say that we, too, are much aware of the terrific pace today's children have to follow. It is a factor with which we also have corttantly to deal.

We would take exception, however, with reporter Gross and the principals. Listed in the article among the various "activities" crowding the lives of children were church choir rehearsals. Our objection is based on the fact that youth choirs in Lynchburg churches are not a mere "activity". They represent, rather, what has grown to be a vital part of the over-all program of Christian education within churches, as well as a means of active participation in the worship of Gcd not otherwise available to children.

Parents in our city have come to recognize the educational and spiritual values of youth choirs, as can be seen obviously in the steady growth of these organizations during the past 20 years.

These values can be fully revealed to any who will see, during the coming (Continued on page 108) -96- THE CHILDREN'S CHOIRS RESOURCES CLOSE AT HAND

One of the requests we hear most frequently is that for materials. I know of no better source of material than your denominational hynmal. Next to the Bible itself, the hymnal will most adequately express your Christian beliefs.

When our children are promoted from Primary Choir to Junior Choir they are presented an engraved copy of "The Methodist Hymnal". This, along with the Bible which they receive at the same time as a part of church school promotion, becomes one of their most prized possessions, and one which is used at every rehearsal and service thereafter.

In our hymnal, as no doubt in yours, there are many types of hymns of varying caliber. One of our jobs at this point is to be selective. What are the qualities of a good hymn? Dr. Austin C. Lovelace, minister of music of First Metho- dist Church, Evanston, Illinois, and professor at Garrett Biblical Institute, lists the following:

1. It has simplicity of thought, text and language. 2.It contains a balance of feeling and thought. 3. Ideas are drawn from the familiar. 4. The hymn is capable of being sung sincerely. It is reverent. 6.It is dignified. 7. There is beauty of thought and truth. E. There is a unity of thought, yet variety in its presentation. 9.The approach is positive. 10. It is the best possible expression of a given truth. 11. The melodic line must have quality and character. 12. Rhythm must undergird and carry forward the text. 13. Harmony must move so all parts have interest. 14. Text and tune are equally important.

Recently I had occasion to discuss at some length the field of church music with a retired minister in Houston. Especially important in his evaluation of hymn singing was the suitability of a text. Vivid in his memory was a revival held in another state during which two ten-year olds sang "I was sinking deep in sin, far from the peaceful shore." "What," said the minister, "could these children possibly know about sinking deep in sin? Oh, yes, granted they were singing a catchy tune; but what about the text?"

He further urged that we examine the hymns we sing to be certain that we can sing them with sincerity. "Are ye able,' said the Master, 'to be crucified with Me?' No, I don't really think I am; yet I sing rYes1 I am able.' Surely I don't mean it."

Yes, in the selection of hymn tunes, we who dare to teach must never cease to learn. In our church, we select hymns to be sung as hymn-anthems (the second anthem on every other Sunday). Included in this year's list were:

Sing Praise to God Who Reins Above Come Ye Faithful Immortal, Invisible The God of Abraham Praise I'll Praise My Maker While I've Breath For All the Saints All Creatures of Our God and King Once to Every Man and Nation Now Thank We All Our God 0 My Soul, Bless God, the Father

These hymns, along with ten others, were studied by members of every choir from the junior age up, and used in other phases of the church and church school as well. During the summer months we are repeating many of them as hymn-anthems. While this is not a "hymn-of-the-month" plan as carried on successfully in many churches, it serves approximately the same purpose.

We should remember that the hymn learned today is the tradition of tomorrow. The little child has no tradition except what we pass on to him. He has no basis at first for judging values - leaders are responsible for that. He takes what we give him. It is up to us to choose that which is sincere, true, and reverent expression of the faith that is ours.

MORE ABOUT OUR RESOURCES IN OUR HYMNALS

It is important that children become familiar with the "feel" of using the hymnal; that they know the various indices, and that they are at home in the mechanical as well as the spiritual use of the book. This can best be taught in the junior choir. In fact, I am reasonably sure that I spend from one-half to one- third of my junior rehearsal time with "The Methodist Hymnal".

After pericds of study, we devise questions and review in form of games. These may be used during the rehearsal, preceding it for those who are early, or at one of our occasional parties. As an example, here are a few that we used last May:

From what hymn does this phrase come? 1. Come and reign over us (Come, Thou Almighty King) 2.His Kingdom is glorious and rules over all (Ye Servants of. God) 3. On earth is not His equal (A Mighty Fortress Is Our God) 4.Awake, my soul, and sing of Him Who died for theTTCrown Him with Many Crowns) 5.Well supply Thy sons and daughgers and all fear of want remove (Glorious Things of Thee Are Spoken) 6.All ye who hear, now to His temple draw near (Praise to the Lordr 7.Give to us peace in our time, 0 Lord (God, the Omnipotent7- 8.Sons of men and angels say, Alleluia (Christ, the Lordo is Risen Today) 9.Yet in thy dark streets shineth the everlasting light (0 Little Town of Bethlehem) 10. God in Three Persons, blessed Trinity(Holy„ HoJy, Holy)

Identify this hymn upon hearing the rhythm clapped: 1. For the Beauty of the Earth 6. Joy to the World 2. Fairest Lord Jesus 7. Come, Ye Thankful People, Come 3. Prayer of Thanksgiving 8. Rejoice, Ye Pure in Heart 4. Silent Night 9. Soldiers of Christ, Arise 5. All Creatures of our God and King 10. This Is a Fatherts World Identify the hymn upon hearing any one phrase played: 1,Joyful, Joyful, We Adore Thee 6. Hark, the Herald Angels Sing 2,Praise the Lord, Ye Heavens Adore Him 7. Faith of Our Fathers .3. Now the Day Is Over 8, All Glory, Laud and Honor 4.Immortal, Invisible 9. In Christ There Is No East or West 5.Now Thank We All Our God 10. For All the Saints TheHYMNSsheets which appear in the Choristers Guild Letters are also de- vised as a review of hymns. Our children seldom miss; this is more than we can say for even our adults.

During the year, our juniors chose as their favorite hymns: 1) A Mighty Fortress Is Our God; and 2) Praise to the Lord. Yes, the only limitations of our children are those we put upon them. The depth of their appreciation is impossible to measure. -98- Especially recommended for your use: Bailey. The Gospel in Hymns. Charles Scribner's and Sons. 1954 Benson. The Hymnody of the Christian Church. John Knox Press. 1956 Demarest. The Canyon Hymnal for Girls and Boys. Canyon Press. 1958 Primary edition, Junior edition, Leader's edition Hymn Society of America. The Hymn. (297 Fourth Ave., New York 10, N.Y.) gdlofirress Dover Publications. 1957 MacKay.Julian, 1131j1-3ioS:nrg;:Nelwi7n1g:gYAbfniT This makes an excellent gift for junior age children. McCutchan. Hymn Tune Names. Abingdon Press. 1957 McCutchan. Our Hymnody. Abingdon Press. 1937 Most hymnals have accompanying books, as this accompanies The Methodist Hymnal Syndor. The Hymn and Congregational Singing. John Knox Press. 1960 A new publication, and an excellent one.

And, of course, what better gift oruaward” than the Guild's own "The Choris- ter's Little Hymnal"?

ANTHEMS FOR CHILDREN'S CHOIRS EXAMINED DURING THE CHORISTERS GUILD SEMINAR LAWRENCE COTJECE, APPLETON, WISCONSIN JULY, 1960 Selections by Norma Lowder Albert Peek Rise, My Soul, and Praise God's Kindness Concordia 98-1481 U Optional violin, flute or recorder Bach-Lovelace Lord and Saviour, True and Kind Flammer 86162 SA Bach-Malmin 0 Joyous Easter Morning Augsburg 1235 SSA Bouman 0 God, I thank Thee Heartily Concordia 98-1089 U Caldwell The Garden B.F. Wood 748 Easter Couper Let the Merry Church Bells Ring J.Fischer 8438 SA Easter Optional Handbells Cherubini Like as a Father Summy-Birdhard 5297 SSA Curran Blessing G.Schirmer 10222 SA Dvorak God Is My Shepherd G.Schirmer 9458 SA Faure Holy, Holy, Holy FitzSimons 5017 SA Fusner Now the Green Blade Riseth H,W.Gray 2232 Easter Handel-Perris Forever Blessed Be Thy Name Summy-Birchard 2128 U, descant Jenkins Let Us Rise with Jesus Flammer 86164 U, Easter descant Kindermann Creator Spirit, by Whose Aid Concordia 98-1482 SA Optional Violins (2) Kindermann Dear Christians, Praise God Evermore Concordia 98-1503 Optional Violins (2) Lenel All Praise to God Who Reigns Above Concordia 98-1142 SA Lenel Lord, This Day Thy Children Meet Concordia 98-1403 SA Lewis All Things Summy-Birchard B1629 U Lipscomb We Praise Thee, 0 God G.Schirmer 10724 SA Lovelace Anthems for Junior Choristers Summy-Birchard Six anthems for general use Lovelace Blessed Man Whom God Doth Aid J. Fischer 9059 Optional Flute -99- Lovelace Carol of the Mother H.W. Gray 2241 SA Mother's Day Lovelace Easter Flowers are Blooming Bright H.W. Gray 2513 U Lovelace Kindly Spring Again Is Here J. Fischer 9019 U Lovelace 0 Risen Lord G.Schirmer 2614 SATB Combined Choirs Malmin Adoration Augsburg 1239 SA Malmin Heavenly Spirit Augsburg 1237 SSA Marcello Give Ear unto Me Novello 1522 SA Marcello 0 Lord, Our Governor Concordia 98-1045 U Olds Let Us Praise God Schmitt, Hall & SSA Choric Speech or Narration McCreary 2547 Peek The God of Love My Shepherd Is Canyon Press 5602 SA Pfautsch I Lift My Eyes Summy.-Birchard 2101 SA Pfautsch Thy Little Ones Are We Concordia 98-1140 SA Rawls Bells of Spring J. Fischer 9186 SA Optional handbells Rawls Touch Hands Around the Rolling World J. Fischer 9075 SA Stanton God is Here with Us J. Fischer 9208 SA Thiman A Seasonal Thanksgiving G. Schirmer 8740 Warner Holy Ghost, with Light Divine Concordia 98-1363 SA Warner The Sun Shines in Splendour H.W. Gray 2589 SA, descant Wienhorst Come, Ye Children, Praise the Saviour Concordia 98-1437 SA Wienhorst Hosanna Be the Children's Song Concordia 98-1359 SA Willan We Praise Thee, 0 God Concordia 98-1059 Williams Shout the Glad Tidings Augsburg 1253 SA Wolff Saviour, Like a Shepherd Lead Us Concordia 98-1358 SA Anthems for the Juni^r Choir, Book 4 Westminster Press Code: U = Unison S = Soprano A = Alto * * * ie * is is * * # * * is it- * * ie it- ie * * ie it- it- ie ie * * * ie ie. it- ie. * ALL IN THE FAMILY DONA M. HOFFMAN, Seattle, Washington. Whenever this name ar.d address appear on an envelope, I anticipate interesting contents, Certainly I was not disappointed recently when a letter came (it was a copy of one which had been sent to mothers of her children's choir members) which started thusly:—"Hello Again — A grudge fire will be held for the Carol Choir on October 17. This get—together will in— clude campfire singing, and the roasting of marshmallows, The highlight however of the short event will be raking the rustling leaves into a mound, and the writ— ing by each on a slip of paper, all the grudges held against anyone. The lists will be collected and placed with the leaves. Along with the smoke, all our grudges will disappear into the crisp air. You are encouraged to help your child consider his ill feelings towards anyone, be it teacher, brother, sister, parent, friend or foe. There will be NO reading aloud of the grudges. The children will meet at the Church at 6 P.M. on the above mentioned Monday." This seems a good idea, and certainly may be adapted for an indoors grudge party around a fireplace. Mrs. Hoffman is the same person who appears in this issue under the heading, "How Would You Answer?" HARRY R. HOOK, minister of music, First Methodist Church, Albuquerque, New Mexico, and a staff from his choirs are publishing a monthly paper called PITCHPIPE. It is splendidly edited in a most attractive format. Mr. Truman Williams, the editor states that PITCHPIPE will be sent to anyone who requests a place on the mailing list. Further, Mr. Williams wishes to receive the choir papers of other churches. Address Mr. Williams at the church, corner Fourth and Lead, S.W., Albuquerque. —100—

JUST WHAT KIND OF TONE QUALITY DO WE WANT FROM OUR CHILD REN? Roberta Bitgood

Many volumes and chapters have been written on the child voice! Yet every direc— tor must have a concept of his or her ideal tone to which all sounds must be com— pared, and towards which all groups must strive. Somewhere-between a lifeless thin apathetic one and that ugly throaty tone that is all too common (on familiar material) is that kind of tone that a conscientious director wants. There are times, especially in rehearsalsithat we get anything but the ideal tone. When children know their material: and like it a little too well, you know what happens. They shout. On the other hand, when they are learning some— thing new: and they are a bit lazy mentally and physically, that lazy lifeless tone comes forth: that is quite lacking in every good positive quality.

I like to start any new group vocalizing on a fam— iliar melody. Since we are speaking of church choirs, let it be a good hymn tune, or at least as passable a one as possible. I like to use the c:) p vowel "ah" first, insisting on a wide open mouth with a completely relaxed jaw. The old trick of putting two fingers vertically between the teeth helps to keep the mouth open, and after the novelty has worn off most — children can keep their fingers in this position and at 1- 1: r the same time relax. There is always a joker in the choir FEE-r\F"3: rv-T— who tries to use a fist, but even this novelty passes. If the director is in front of the children, showing the proper mouth position, and the attention of the children is focused, one can get a semblance of correct sound the third or fourth time through. Experimenting with different keys stimulates the interest. Even the uninitiated child can hit those high Fis and Cis the first day, given the right mouth position and a little energy. After trying "ah": I like to use "oh" the same way — different keys, open mouth, relaxed jaw, energy! After this, I settle for "oo". When I took my first course in vocal work for children, the emphasis was on the vowel "oo" and on head tones. I have come to realize that it is not necessary to restrict the child voice to "head tone". The sound has more character if there is some "body" in the tone — it has been called "undertone" by some. This has nothing that resembles the ugly shouting tone we get from the average group on "Onward Christian Sol— diers" or "My Country Ins of Thee".

We have all discovered that it is one thing to get a gocd sound on an exercise (arpeggio or melody) and another to get it on words. Two things I have found helpful, and both of these must be thought of con— tinually to keep good tone flowing through the choir. First, have on hand al— ways something that is quite slow and sustained that demands a fine legato. It is —101— amazing how fast an inexperienced choir can learn the tricks of a good legato by rote, if the director insists on the children watching and holding those "vowel moulds". This is accomplished easier on a piece that has few words, that moves slowly from note to note. A few phrases of the Handel "Thanks be to Thee" or Bach "Come Dearest Lord" illustrate this. Second, on hymns and other pieces that have more words that move along more rapidly, reading aloud with active lips before singing is surely very helpful. Those second and third verses of familiar hymns tax the reading ability of Junior age children, and often it is laziness in reading words that produces the ineffective tone we hear on unfamiliar material. If they get the habit of speaking the words firmly, the crisp consonants, it begins to carry over into the singing a little faster.

Assuming that we have induced some body into the tone, and some enthusiasm into the words, when do we have to start worrying about the "over eager" tone. The answer is -- the minute it starts. My children know I will not permit even one phrase of that offensive quality; I will stop any phrase the instant I hear it. I will ask for a showing of hands: "How many know the difference between singing and screaming?" I may even demonstrate how bad their screaming sounded to me. I threaten to stop them right in the middle of church if they do it! (of course I have neverdone it.) I will try to find new ways to tell the children I want it as solid, and even as loud, as it can be, without sounding like shouting. In order to sing with confidence, they must know the material. And in order to know the material, much repetition must take place, especially of difficult phrases.

To sum up, what sound do I want from my children's choirs? A natural sound that has vitality, using the full power of the voice without shouting for fortissimos, and the same kind of sound with vitality, but less volume, for softer passages. I want them to know that music is more interesting if it has contrast where called for, and that a choir is a really good choir where everyone watches the director, and remembers that everyone must try for the same thing at the same time. * * * * * = * * = * = * * * = * * * * * = * * * *

THIS 'N THAT Lack of space in December issue of the Letters prevented the inclusion of the regular monthly instalment of Normals series of articles. It is in this issue together with the regular January instalment and a list of music suggestions. The Love Offering in Ruth's Memory which Nita Akin initiated last summer by letter, new stands at $960. Perhaps additional contributions will come in. A larger sum is hoped for to provide the needed office help. Adrienne Reisner who is now doing some of our hymn-study pages, lives in Fort Worth, Texas, where she is organist-director of St. Andrew's Episcopal Church, and of Temple Beth El Congregation. She has had a wide background of training and experience in Church music. The best training however for her work with children's choirs is her own family of five children---Zac, Jr, 13; Julie, 11; Mary, 9; Jennie, 8; Amy, 3. The Guild is indeed fortunate in the addition of Mrs. Zac Reisner to its contributing staff. As this is written, a flood of Christmas greetings is pouring in upon me. I wish earnestly that I could answer all of them individually. Since thatis impossible, the best I can do is to thank each of you as appreciatively as bare words are able to express, my gratitude for your kind and generous good wishes. When you read this, Christmas 1960 will have gone, but Christmas is not just for a day, a week, or even a month; it is for always. Without Christmas, there can be no Easter. Our hopes and dreams are always beyond us. So this year will be another preparation for another Christmas by the way we live, think and act. Easter comes early this Church Year - -on April 2, 1961. The February issue of the Letters will stress the Easter message. -102- A NEW FEATURE

From time to time, requests have come to the Guild for specific helps for the Roman Catholic director of children's choirs. Recently, a gracious offer by Mrs. F1eanor D. Fossick of Nashville, Tennessee to write in this area solved cur prob— lem. In this issue, starts a series entitled CANTATE DOMINO which will appear every month. Mrs. Fossick has a background of 32 years as a Roman Catholic church musician, most of which was with Christ The King parish, Nashville. Among other organizations, she is a member of the North American Liturgical Conference, and the St. Gregory Society of America. She writes a column weekly for the Ten— nessee Register, the official organ for the Nashville Diocese. She is now re— tired, but spends her time in research on the Liturgy. She writes, "Actually, I am as busy as ever." It is hoped that this bi—monthly page will be of value and interest, not only to our Roman Catholic members, but to the others who may in— crease their knowledge thereby° Some may desire to write Mrs. Fossick directly concerning the column, suggestions for it, or to request help for individual prob— lems. You may contact her thusly--Mrs. Eleanor D. Fossick, 1010 — 18th Avenue, South, Nashville 120 Tennessee.

CANTATE DOMINO by Eleanor DuBuisson Fossick

"Sing to the Lord---" In the Choristers Guild children of the nation join hands and sing joyfully to the Lord. The Guild gives our children a sense of unity; it gathers together its family of youngsters, regardless of creed and, although each grcup honors Our Lord with hymns beloved by its own religion, no harsh dissonan— ces are wafted heavenward because in the hearts of children love of God is un— tainted by hate and prejudice.

This page will be devoted to choristers in Catholic schools and to the music of the Catholic Liturgy.

A. few words about the history of the liturgy and suggestions for appropriate hymns and chants will be a feature. Occasionally, we shall include a little playlet for your pastor's feast day, for the feast day of your parish church or school nr for some special season, such as Christmas or some eventful day in our nation's his— tory.

We are happy to have our first letter appear with the New Year. Choirmasters ,)f all beliefs should be making resolutions to have only the best music in their churches. Catholic choirmasters have too long neglected to carry out the wishes of the Church regarding the "handmaiden of the Liturgy": MUSIC, Too 1,--mg have we remained apathetic; content to take the "easy way" allowing ,our young people to sing the weak, sentimental hymns that invaded our Hymnals in the 18th and 19th centuries until these "impostors" have come to be known as "the old hymns". In reality, the old hymns are the glorious ancient chants of the early church.

Christmas 1960 has come and gone, but a veritable wreath of feasts surrounds it. This month of January contains, within the "wreath" the feast of the Circumcision of Our Lord; the feast of the Holy Name of Jesus (originated by the Franciscans in the 16th century); Epiphany --- one of the oldest and mast important feasts of the church. The word "Epiphany" means "manifestation". This feast was kept as early as the third century; by the fourth century the custom had spread to the western world. On this day we commemorate the manifestation of the glory of Christ in the Offertory Chant of the Mass: "...all kings of the earth shall adore Him; all na— tions shall serve Him,.."

The feast of the Holy Family fccurs within this post—Christmas seasnn and the "wreath" ends with Candlemas, or the feast of the Presentation of the Child Jesus in the Temple. There are twenty—eight days of preparation for Christmas --- -103— beginning with the first Sunday of Advent, and after Christmas, there are forty days observance of the Feast. In the early days of the church, carol—singing be— gan on Christmas Eve and was continued throughout the forty days until Candlemas Day. No Christmas music was heard during the Advent season.

SOME APPROPRIATE LITURGICAL HYMNS

A pretty hymn to The Holy Family is in The Parish Hymnal, (No, 37). This little book is an excellent, inexpensive collection of hymns compiled by the Gregorian Institute of America, Toledo, Ohio.

The beautifully simple chant setting of "Jesu, Dulcis Memoria" is unsurpassed as a hymn to the Holy Name and may be found in the St. Gregory Hymnal, published by the St. Gregory Guild, Philadelphia. The very pretty part—song arrangements of this motet also appear in the St. Gregory Hymnal. Hymn No. 17 is an English translation.

For the Feast of Candlemas the exquisite twelfth century chant: "Ave Regina Coelorum" is indispensable. For those who prefer it there is a very singable two—part arrangement of this motet in Father Carlo Rossini's "Canticum Novum", published by J. Fischer. This collection from the prolific pen of Father Rossini, contains a wealth of approved material for Catholic choirs. His "Laudate Puerin Hymnal is a splendid compilation of Latin motets for unison singing; it is es— pecially valuable in religious communities where choir—personnel is contantly changing.

Some Hymnals, besides the Parish Hymnal mentioned earlier, that should be in every Catholic church and school library are: "Pius X Hymnal" published by McLaughlin—Reilly; "Catholic Hymns" compiled by Father John Seiner, Director of Choirs at the National Shrine, Washington, D.C. This hymnal is published by the Gregorian Institute. Cyr de Brant's "Mediator Dei" is a gem of a collection that is superior in texts and music. In this same category we might mention 'The Parish Hymn Book" and the People's Hymnal" publications of the World Library of Sacred Music, Cincinnati.

Our hope for better church music lies in our present generation of youngsters. Great strides have been made by the NCMEA and other organizations in recent years and it is our duty as choirmasters to follow the lead of dedicated church musicians who are paving the way for us. It is our responsibility to provide the singing Catholics with good hymns, withholding from them the weakly—harmon— ized, saccharine Masses, motets and hymns that are the unworthy servants of the Liturgy.

Write us your choir problems and experiences. Let us in on your plans and ideas for promoting the music of the liturgy. Enroll your choral groups in the Chor— isters Guild and invite your associates to do likewise. Above all, write us ycur requests for the topics you would like to have featured in your own page: "Cant ate Domino". * = * * * * == * == * == * == * =--. * =-- * == * == * =--. * ==

Nancy Tufts, our very ebullient (look this one up --she really is) Contributing Editor, has suggested a collection of the Hand Bell arrangements which she has made for the Choristers Guild Letters in the last few years. Nancy has received numerous requests for permission to copy or re—arrange these pieces. Since all Guild material is copyrighted, such requests are impossible to grant. Would such a collection be of interest to you? The Guild is working on the idea, and may have the collection available by mid—January. About 25 arrangements would comprise the folio. Please let me hear from you on this matter. —104— INTRODUCING VIRGINIA MITCHELL

Virginia has been a member of the Choristers Guild since 1950, the second year of the Guild's existence. She was for a long time the successful director of the Children's Choirs program of First Congregational Church, Long Beach, California. She relinquished a regular position so as to devote her talents and experiences to children who are under—privileged in some way. She now directs the children in a Japanese church, and plans to write about her warm experiences with these folk. The following story speaks for itself, Here, Mrs. Mitchell reveals an— other facet of her warm and generous personality. Anyone who cares to write may reach her at 3341 Wimbleton Drive, Los Alamitos, California.

"I JUST WANT TO BF NORMAL" by Mrs. Richard (Virginia) Mitchell

Suddenly your thoughts are racing tumbling searching for a solution. You are completely remote from others in an aloofness which recalls the sensation of the first time you were given ether because your tonsils had to come out. What do you say? What can you do? Here you are in the warmth and security of your own home giving a piano lesson to a handsom lad of eight years. A boy who has per— fect pitch with a voice that is clear, soft, but whole as C above middle C on the flute. His mind is like a sponge absorbing the mechanics of music notation,. For a moment you have digressed from the high concentration of the lesson just tc chat. And you said, "What do you want to do when you grow up?" Raising his head which was bent low, he said, "I just want to be normal." This charming bubbling smiling little boy is blind since shortly after birth.

You shuffle in your chair, and your mind flashes as lightning to the chain of events that led to this situation. About six years ago you were at a meeting of the music fraternity Sigma Alpha Iota at which one of the members told of the lack of braille music transcribers, and at that time no volunteers were available in this area, and requests for music to be brailled were sent to New York where there was a long waiting list. This sounded quite inconvenient and frustrating to those concerned. A few months later a feature article appeared in the local paper describing the activities of a braille transcriber of books, and the story went on to say that this lady taught literary braille transcribing. You phoned her to say you'd like to learn music braille. This is a special code, she in— forms you, which she doesn't know since you have to know music in order to do it, and music she doesn't know, But she has seen a printed music code book and will get a copy. We deciced that since music has considerable literary notations that it would help to learn the braille literary code. During the time of study— ing the twelve weekly lessons, you thumbed through the music code book. This was an ink print edition of the same book in braille which was designed for the blind. It is exercises in learning touch reading of elementary music notation and called "Primer of Braille Music". As a sighted transcriber, you had to sep— arate the wheat from the chaff. After having a working knowledge of the music code and brailling many pieces of music for people you'd never seen, one after— noon a lady called saying she had a six year old blind boy who wanted to play the clarinet. They had a clarinet teacher willing to teach him, but neither the boy nor the teacher knew braille music code, nor did they have any music in braille for the clarinet. We used an ink print copy of the elementary method in use in the public schools, and proceeded to dictate the book to the boy, telling him the signs to braille, and he learning each one as it came into play. In addition above the braille line decoding it back to writing for his clarinet teacher. Months later everybody is happy and pleased as the boy knows music code, and the teacher has become so interested in braille that he is proficient in brailling special numbers for his bright student. Then we begin the piano lessons. That is not enough. The private lessons in clarinet and piano are not really meeting —105— the basic need of a group activity.

CHOIR1 Yes, that would be the answer. The joy of singing in a group and belong— ing to something splendid. Right here in our area we have one of the finest boy's choirs in the nation. Would the director bother with him because of the extra time involved? The director would have to plan future music in detail far— ther ahead than usual so that it would give the volunteer transcribers time to get it done. We'd have to search for a hymnal in braille. If it is not in braille, we'd have to ask transcribers to please do it,

All the anthems and responses would need to be done. A bare minimum of having the text in braille for him. Problems, yes, but not insurmountable. But we can't divulge our thoughts to him yet. We scurry through the rest of the lesson. There is much to be done.

"Yes," the director said, "I will be glad to interview him and if his parents are willing to see that he is present for all rehearsals and services, we will let him be one of our probationers." He is now a full fledged member of the choristers. To participate in this group is the most important activity in his life. Furthermore, he does the processional and recessional down that long aisle straight as can be, up the steps to the chancel and into the pew as every chor— ister has been taught to do in a dignified manner. His participation has served as a real insprration to the other choristers and congregation.

You perhaps know right now of a blind child who musically could meet the require — ments of your choir. If not now, at some future date, you can be sure that one of these little people will cross your path. If you inquire around, there is probably a blind child or several who could benefit by the wonderful activity of being in a Children's Choir. You would have the privilege and pleasure of work— ing with them.

The enclosed card is furnished through the courtesy of Mr. A.T. Hunt, Director of Braille Institute of America. Here you can see the raised dots used in braille. From the six dots are a total possible 63 combinations and, as it states, a total of 258 distinct characters and word signs which is achieved by using two or three cells as a combination. Each unit of space which could have the six dots in it is referred to as a cell. For instance, the first line of raised dots on the card has ten cells.

The next article will outline the rudiments of braille music code, list the United States regional libraries for the blind where you can obtain additional information in your area, list references on music code, sources of music already in braille, and the organized music transcriber groups. = * * = = * = * = = * = * = * = * = * = * = # = * = = * = * = * = * = MORE OF THIS 'N THAT "A Spring Carol" is the most costly feature yet included in the Guild Letters. Each copy costs the Guild for manuscript work and printing alone, exactly 222O each. An extra supply is available at 25O each postpaid if you wish extra copies. That then is less than complete cost.

The General Assembly of the National Council of Churches in the U.S.A., met in early December in San Francisco. Tuesday, December 6, Christian Education held the major spotlight in the program. One group meeting was on "Music Contributes to Christian Education". This was the first time, at least to the best of my knowledge, that music was included in the general program of the assembly. It was my privilege to attend many of the sessions as the Guild representative. I plan to bring you my experiences and thoughts in an article next month.

—106— IN THIS ISSUE, the Choristers Guild Letters go "all out" with "A,Spring Carol" as the music supplement. The piece was written by Ronald Combs, a student at the time of Parvin Titus, for the Cincinnati Junior Choir Festival. Helen Kemp of Oklahoma City first brought it to the attention of the Guild some months ago. Mr. Combs has graciously and generously given the rights of "A Spring Carol" to the Guild.

The dearth of excellent, challenging material for established children's choirs is almost of famine proportions. Many directors will therefore welcome it. Num- erous fine children's choir anthems are written, but the publishers generally will not touch them. These state that they must print things which sell. Axed to a great degree, who can blame them? They must stay in business; they can sell only what directors will buy. Consequently much sentimental drivel is foisted off on children in the name of religious music.

Frankly, "A Spring Carol" is not for every children's choir; some should not even attempt it. Furthermore, some directors will shy away, at least at first, from it. Some will say that the piece is too difficult for their children. That may be the case. However, directors must be certain that their judgment is not a reflection of their own fears, and possibly even, negative attitudes. Do not "sell" your children "short". They can be successfully challenged. Remember that they are growing up in a totally different tonal world from that of even a few years ago. Youngsters these days, accustomed to hearing modern jazz, also accept readily what we older persons term dissonances. If you do use "A Spring Carol", be certain that you are completely acquainted with it, and that you adopt a positive attitude and use a positive approach towards it. It can be learned.

Now let's look at the piece itself a bit. It may not be a masterpiece (who knows that anyway?), but it is a goal piece, well written for children's voice. Note that the accompaniment is for organ, and will not easily lend itself to the piano. Furthermore, the accompaniment is completely independent. Therefore, it must not be used until the vocal line is completely learned. I earnestly suggest that the words and music be taught and learned completely separately. Make a game of learning the words. Some youngsters may even be challenged to find the text in the Bible. (It comes from the Song of Solomon 2:11 and Proverbs 11: 6, 7, 9). Explain the meaning of the words in terms the boys and girls can understand. Be certain they know the words perfectly before these are fitted to the music.

The learning of "A Spring Carol" should be a fairly long-time project. It would be a splendid number for a Children's Choir Festival. The music may of course be started with the children along with the learning of the words, but always, separately. The music should be approached at first entirely through the rhythm. Make a game of clapping the actual rhythm before doing any actual singing at all. When the music is sung at first, use only wordless syllables such as luh or fuh. The voice parts are actually rather easy. The first and last sections of the voice parts are except for a few notes, alike. Learn the first part; then learn the few differences in the last section, and only then, learn the last section, still by clapping and syllable singing. Next learn the final ending. Except for advanced choirs, or for use with a junior-hi girls group, I suggest the omission of the second voice part in the last section.

Now the boys and girls are ready to learn the music of the middle section. All this time, the regular accompaniment has not been used with the choir. When this has been accomplished, next then the children are ready to clap the whole anthem from the beginning, saying the words in rhythm. After this has been done a few days, then the choir is ready to clap the rhythm and sing the words at the same time. You are now ready to put it all together with the organ accompaniment. The unusual quality of this accompaniment will not now bother the youngsters since they know their part, and are independent of the accompaniment. Following these prodecures will practically insure the complete learning of the anthem by the -107- choir, and you will have gained much too.

All these procedures may sound formidable; actually they are simple and follow logically. The piece is broken into its components and really learned. Too often a piece is attempted to be taught straight through from the beginning to the end, a mistake almost always. Your children will always learn much more quickly, sure— ly and securely when you devise a plan of learning for each piece, and follow your plan. The business world advises young men, "Make a plan, and then follow your plan." Children's Choir Directors can or should do no less.

If you still hesitate) may I urge you to call upon your courage to believe that your boys. and girls can learn this particularly if you have a group which has sung together for quite sometime, and has had musical background and experience. Try "A Spring Carol". Please write me your reactions, and the results you obtain with your choir.

Now one final word --I am making a real endeavor to locate good, new unpublished anthems for children's voices. Some fine ones are in the files now, waiting for inclusion in the Letters. Some are very easy, others more difficult, but all good in my estimation. Next month will appear a setting of the Legend of the Dogwood.

It is rather difficult to know what to include in the Letters unless I hear from you. Are these music supplements of value? What in the Letters do you like? What do you NOT like? I expect to hear from you.

= * = * = * = * = * = * = * = * = * = * = * = * = * = * = * = * * * * * "Readers Deny Choir Work a Mere 'Activity' for Children (continued from page 96)

Christmas season when hundreds of children will not merely "perform", but re—tell through music the story of the birth of Christ. The same is true for Lent, Eas— ter, and other special seasons. In some churches the children's choirs are a part of every service of worship.

And for more than 20 years these young choristers have extended their talents be— yond the doors of individual churches as they have joined together for the annual Junior Choir Festivals. For nearly 10 years high schoolers have done the same thing in annual presentations of the Gymanfa Ganu.

This education has two purposes: first, a better understanding of God through the study of music; secondly, an active part in guiding self and others in wor— ship through messages based on music. Indeed, it is true that our children are heavily burdened with activities. But may we not classify church choirs in such a category any more so than we would Sunday School or worship services. --LYNCHBURG CHORISTERS GUILD By: Mrs. C.R. Hughes, Sec."

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" A SPA* tJa eA Rd." 8. TO KEEP A TRUE LENT Is this a Fast, to keep The larder lean And clean From fat of veals and sheep? Is it to quit the dish Of flesh, yet still To fill The platter high with fish? Is it to fast an hour, Or raggtd to go, Or show A downcast look and sour? Nol iris a Fast to dole Thy sheaf of wheat And meat Unto the hungry soul. It is to fast from strife, From old debate And hate; To circumcise thy life. To show a heart grief-rent; To starve thy sin„ Not bin: And thatts to keep thy Lent. ---Robert Herrick

The beautiful must be encouraged, for only a few are able to create it, and yet, so many have need of it. - - -Goethe

I have become absolutely convinced that neither Death nor Life, neither messenger of heaven nor monarch of earth, neither what happens today nor what may happen tomorrow, neither a power from on high, nor a power from below, not anything else in Goths whole world has any power to separate us from the love of God in Jesus Christ our Lords --St. Paul in Romans 8: 38-39 J.B. Phillips translation

CHORISTERS GUILD LETTERS Volume XII 1960-61 February Number 6 Arthur Leslie Jacobs, Editor Norma Lowder, Associate Editor Helen Kemp and Nancy Poore Tufts, Contributing Editors Published for its members by the CHORISTERS GUILD Box 211, Santa Barbara, California Copyright (C) 1961 Choristers Guild

A GREETING

Dear Guilders:— For the many letters which I have received to wish me well as the new president of the Choristers Guild, I thank you sincerely. I am very grateful; they have been helpful and encouraging. It is my earnest desire to be of real help to the Guild. Will you pray that I may be completely guided. The Letters are wonderful. It is a great joy to work with such wonderful people--all of you. I wish for each one of you, every success for the entire New Year of 1961. Sincerely,

IN THIS ISSUE

This issue of the Choristers Guild Letters begins a new feature entitled, Irving, a cartoon series which will appear from time to time. The cartons are by Mrs. Norman Clark (Sally) Lane of Denver, Colorado who is assistant organist and chil— dren's choir director of Montview Presbyterian Church in Denver; she is a recent graduate in Church music and organ of the University of Colorado in Boulder, the department head being Everett Jay Hilty, another of our Guild members. Sally was married last June to an organ builder. She has a thorough grounding in drawing technics and form; she also teaches piano, and states she does it enthusiastical— ly. A listing of her current activities would make you dizzy so they will not now be set down. And how old do you think she is--still young enough to admit all of 22 years. Concerning Irving, Sally wrote, "Irving was born this week right into a junior choir. His overall purpose is to share experiences as a choir member. He can do this in a variety of ways; he will subtly teach by being either a winning good example, or by being a funny bad example; he will occasionally plug the Choristers Guild pin and hymnal; Irving will be shown sometimes with a sketch of the antics of his junior choir; he will encourage respect and apprecia— tion of choir mothers, the director, the organist and the worships service; he will get some help from my organ—builder husband, to help Irving show other Chor— isters about organ pipes in pointing up their "human" characteristics, such as lips, ears, cap, foot, mouth, etc. These are the ideas which pop into my head this afternoon. I shall appreciate help, comments and suggestions as tonneedful areas of subject matter." Here is the place where you can fit in. Send in your ideas and suggestions. Irving will be a real help to you in your work.

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Mrs..ZAC (ADRIENNE) REISNER appears again with two Hymn studies. As you will note, she has addressed these directly to the boys and girls in a very personal, chatty and informal manner. Please remember that these studies are copyrighted as is all material in the Guild Letters. Additional copies of these pages are available at the regular study page price of 4 each in lots of 200 or less; 310 each for more than that number. Lots may consist of any grouping of note book materials available from the Guild office.

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THE CHORISTERS GUILD WILL SPONSOR A SUMMER

SEMINAR

IN OKLAHOMA CITY

THE LATTER PART OF JUNE

Plan now to attend -- better yet -- enroll. Exact dates and details will be announced later. HOW WOULD YOU ANSWER?

Some weeks ago, the following letter from a new members, with a few deletions, came to Ruth Jacobs; the writer did not then know that Ruth had died. Following further, is an answer in part, from Leslie,

"Dear Ruth Jacobs -- -I took over a group of 12 to 15 children in February 1959 and finished the year in the Church. We started the junior choir in October, 1959, and ended after Easter, 1960. Attendance was around 25 with some drop outs and some new members and four boys. This is an enthusiastic group that doesn't want me to quit. At the moment, I am debating whether to keep on or not. I felt most inadequate; I couldn't control the somewhat constant talking of the children; I sent a few home and felt that the only reasons they kept coming were that they liked music, had respect for my knowledge of music and that our person- alities seemed to agree.

"In a way, I would rather interpret music via my own playing than struggle with ways and means of keeping up children's interest. It seems as though the bulk of the time is spent in learning words and music and that interpretation tends to become secondary. Your "The Childrens Choir" book was the best help I had. Mrs was also a help and inspiration.

"My qualifications are- music major in organ some 20 years ago one year voice training one year as director and organist of trained college voices two years private piano teaching

"My disabilities are- no child psychology training no child voice training lack of imagination small voice which is gradually becoming unable to reach notes an octave above middle C comfortably

"My desires are- to do some service for the church to get back into something musical (I am now doing two piano work with a coach)

"Any comments --if you have time --as to my suitability in this field of endeavor will be greatly appreciated. I am not questioning the values of a Junior Choir,"

Here is Leslie's reply in part--

"I shall attempt to answer your letter from out of my own experience of many years of working with children in church choirs. Enclosed you will find a sheet of suggestions regarding discipline. These hints were prepared by Margaret Kendrick of Atlanta, Georgia, who has been a very successful teacher—one who loves children dearly, but certainly makes them behave without their actually knowing it or realizing it

"The successful director of Childrens Choirs derives his greatest reward from noting and realizing the developmental progress and process of the children with whom he works. The individual who is interested primarily in his own performance should think twice about his own ideas regarding the Childrens Choir and his own attitudes toward them, The trend today in music for music educators is primarily the creation of a very large body of people who are genuinely interested in making music a definite part of their lives, and of every-day lives at that, rather than in high grade professional performance. The performance level of -105- persons now who make their living in performing only, is at such a high level, that most of us can never attain fully to it, or even begin to get there. Thus, we must put our telents to work in helping other people. It seems to me that the greatest desire must be to help others, and in your case, youngsters. The slogan of our organization is "The Development of Christian Character Through Childrens Choirs". There can be no greater purpose or aim than such a one as the Guild suggests. Then further, the level of perfection of children's choir is not the perfection of an older group, nor even of an adult group, nor certainly not of yourself. We must always realize that there exist degrees of perfection, and what may be perfectly wonderful and fine at the youngster's level of performance, is way down the ladder for an adult. It seems to me further, we must recognize that children will be wiggly, and that there will be a certain amount of inattention that will happen in any rehearsal, even in the very best ones, Chil- dren are not little angels and cannot be expected to be such. The only time that they nay ever be considered so is by their pappas and mammas when they walk down the aisle to the chancel or choir loft in a worship service. They are human beings in their own right, subject to all the foibles, weaknesses and problems that all the rest of us possess. If I should like to publish your letter and ask our members who will, to send in their replies to you via me. After a number have come in, I shall glean the best data from them, and use it in an article for a later issue of the LETTERS." The Guild exists to help its members, to promote children's choirs, to help boys and girls through their choir directors to grow into Christian men and women. The writer of the above letter obviously is sincere, wants help, and is waiting for more of it. She answered Leslie's letter in part,"...It presented some new ideas and a new approach in attitude." What would you have written her? We here in the Guild office eagerly await hearing from you. Please do write, ii4H881-**ii-kg-38£4(-388H8HHHHeCiHHHHHHH8H8H8K-5.9HHHHH888HK-38888H1-38C-388H8t-A-N-388HHH8888i-N-38:-)888: Here is another HOW WOULD YOU ANSWER letter from one of our newest members. It is challenging in the extreme, forceful, from a woman in the Pacific northwest who is all on fire. Her enthusiasm and apparent energy alone will carry her far. But she needs help; she is one of our large Guild family. You who are older in experience, or who have ideas and plans abounding, please write in YOUR answer. Here is the letter in whole except for signature and address. "Yes, I have a probleml Just a new member and alweady causing trouble - -that's met MONEY. How does a choir get enough to grow on? I must take up with the S.S. Board every little incidental item I want to buy (even chalk), or I must pay for it myself which I usually end up doing, except in the case of hymnbooks, which I fought for. "We have given occasional concerts, and the offerings barely cover the small expenses incurred. 'Tickets' are frowned upon by this church. Octavo music, dear to my heart because of variety and choice, is way out of line for us financially. "I am fighting an all-over apathy. 'Here is a job,' they say, 'Here are the kids; now put them together and DO something!' "No, I'm not persecutedt The Finance Board has the same problem trying to pay for our building. But if we can lick the problem in the children's groups, our vital young-tomorrows, maybe at the very least, and our children's choirs will have set an example for their elders, and principles can be applied where needed. "I have 30 shining, eager faces waiting for your reply, on HOW to get the necessary funds without money-raising activities like dinners, etc. IS there a way? There's sure a pocket full of enthusiasm here! Your LETTERS I can see right now, are just the pick-up I've been needing. WONDERFUL." IS THERE A WAY? Let's have your answer, but quick, even if you are eyebrow deep in Easter preparations. —106— The Reverend WILLIA1 GRIME needs no introduction to Guild members; he is a dear friend to all of us; he has helped us all by his talents and abilities to write music for young children. The following article is the result of a request to write something pertinent to our work with children, Quoting from his letter, he stated, "I'm sure that you will be aware that I am touching on the central problem of all ministers and ministers of music. The end result with us is not to be just esthetics. As I say in the article, our task is the ministry of reconciliation, the highest of callings." You will all appreciate this thoughtful statement by Mr. Grime. Some may care to write him directly; his address is 15 Sunset Drive, St, Johnsbury, Vermont, He will graciously answer you.

WHY DO WE WORSHIP?

'Tis good for those of us who are ministers of music, charged with the responsi— bilities of leading children into worship to ask ourselves from time to time WHY DO WE WORSHIP? If we are not clear here we run the danger of giving our loyal— ties to the words we hear or pray or sing rather than to the Realities which the words describe. So let us briefly reappraise and reaffirm a few of the reasons why we worship that we may be giving an answer in belief and behaviour to those with whom we are privileged to serve.

I Why worship? Because worship is God's invitation to join with a part of the "company of the faithful" in offering thanks "FOR THE GREAT BENEFITS WE HAVE RECEIVED AT HIS HANDS". Notice, will you please, that one of these great ben— efits is — worship does not start with us. No, it starts with God. God as Holy Spirit, He does the inviting. He uses a church bell or other means to waken the desire in our hearts and minds to come and worship. You and I, we simply respond to this activity of the Spirit or we reject it. What a gift of grace

II Why worship? Because worship offers us a chance "TO SET FORTH HIS WET WORTHY PRAISE FOR OUR CREATION". Each of us is a unique self derived from God and kept in existence by God. We are not "one more" creature of God but "another child of God." Each of us is "a soul that can split the sky in two and see the face of God shine through". Each of us is designed to transcend time and space to seek communion with our Maker the Source of our existence. Surely thanks— giving for this gift was never intended to be governed by the coming of the right mood.

III Why worship? Because God gives us the chance to be grateful also for our "PRESERVATION". We are not one self today and someone else tomorrow. God, our Father, has fixed our identity, Could there be any order or friendship or culture or social good if we were one self today and another self at some un— known time tomorrow? The earth's axis is maintained for us at just 23 and a half degrees, no more, no less. All potentialities in our reason, discrimina— tion, perceptions of beauty, truth and courage are kept ready for development. Recalling facts like these saves us from taking these gifts for granted with all the penalties therein.

IV Why worship? To thank God "FOR HIS INESTIMABLE LOVE IN THE REDEMPTION OF THE WORLD BY OUR LORD JESUS CHRIST AND FOR THE MEANS OF GRACE" whereby we are turned from the love of self to the love of God and man. Do not let anyone narrow down for you this Divine action. "All have sinned and come short of the glory of God." But every one was redeemed by our Lord's birth, death, resurrection, ascension and by His coming again as Holy Spirit. Through these Mighty Acts, God's Church, the new Christian family, came into being. And each person for faith and penitence who so desires is made a member of this Christian family by Baptism. God does not wait till we are good enough before He accepts us into his family. He welcomes us into His household of faith —107— just as we are and He is willing again and again to give us His merciful fav- or so we can grow to be good enough and help Him with our further sanctifica- tion and the spiritual development of other members of His Church. To this end He invites us to cone often to the family meal, the Holy Communion so we might feed on His enabling grace, and rejoice in His saving Presence, delight in the beauty of His holiness, experience His creative judgments, offer ourselves, our souls and bodies to be a living sacrifice unto Him "who hath rec- onciled us to Himself by Jesus Christ and hath given us the ministry of reconciliation". Now, we do not earn or deserve any of this amazing grace. No, this is all a gift. This is the GOOD NEWS whereby we are set free to face God without shame or loneliness, set free to face others without pretense or grasping, set free to face ourselves with dignity and reduced anxiety and fear. No creature, no culture, no economic or social group can do this for us. Why worship? Because we must be endlessly thankful for this eternal love and thus be endlessly offering to God our good works to prove our thanks.

V Why worship? Because God gives us a chance through worship to be grateful for his gift, THE HOPE OF GLORY. When we were baptised we were put into the life that God always enjoys - eternal life. Then we began to be partakers of the Divine nature. Through contemplation, communion and faithful service we were given opportunity to grow in the grace of eternal life here and now. This is a gift let us remember for unaided we cannot put ourselves or our dear ones into eternal life. Therefore out of an abiding indebtedness for this matchless gift, through cloud and sunshine we would work now to do the will of God in all our human relationships for night cometh when no man can work.

This is, in part, why we worship. And as we in our Christian fellowships go forth this year to bring more of God's children into his life-giving Presence may we be used of God to bring them there saying or singing "Lord it is meet and right to worship Thee for our creation preservation and all the blessings of this life, but above all for thine inestimable love in the redemption of the world by our Lord Jesus Christ ,o the mans of4a.race and for the hope of glory". Amen.

rD (T1 Citi*) GARLANDS & BOUQUETS

From MRS. ROLAND SAFE, Compton, California --"May I also take the space to say what a blessing the Guild Letters are to a new inexperienced Choir Director. I took over the Primary Choir of our Church in September so that my own 6 year old boy could have a choir experience as his sister did before him. Nay only assets were a deep desire to succeed and a background of Church choir singing of over 20 years. I assure you, it takes a bit more than that! Again may I say, "thank you" to all those who contribute their knowledge to help people like me."

From MRS. W. W. WILMORE, Topeka, Kansas--a bouquet for Heleh Kemp for her work in the workshop held last fall in North Newton, Kansas. "I did want you to know how much the workshop meant to me. You were indeed an inspiration with your wealth of knowledge and ideas, and personality too. I had never had the pleasure of meeting Ruth Jacobs, but after experiencing the enjoyment and enrichment of the workshop with you as leader, I feel as if I had known Mrs. Jacobs. Thank you so very much for all the wisdom and spiritual help you gave me personally." From MRS. M.L. PATRICK, Auburn Heights, Michigan--"..for the Guild Letters. To me, they are very helpful, educational and if nothing else, they usually come when I need a "lift". I think most will agree that there are with the "joys" of children's choir work, periods of dark despair when you wonder if it really is worth the time, effort,nervous energy spent,etc. The Guild Letters are very timely..." -108- MOR6-- REFRESHING IDEAS FOR REFRESHING MATERIALS By Norma Next to hymn tunes, the bulk of our choir work will be done with anthem material. Here again, we must exercise selectivity. Dr. William Rice, professor at Baker University in Baldwin, Kansas, has list after list of anthems and hymns whose titles include such things as "There Ain't No Flies on My Jesus" and "Put Your Snout under the Spout Where the Gospel Comes Out". Impossible, you say? Unfor— tunately, a reality.

During the Choristers Guild Seminar last summer in Appleton, Wisconsin, regis— trants read through upward of one hundred anthems, most of which have been listed in Choristers Guild Letters. Should you be interested in reading through these anthems, your local dealer or Lyon and Healy, Chicago, Illinois, will be glad to furnish copies.- It is the hope of the Guild that all are durable, simple in mo— tive, beautiful, and worshipful.

Still numerous sources of material are available beyond the use of the hymnal and suggested anthem material. Have you used solo material for your juniors? For example, an entire service could be built around Dvorak's "Biblical Songs", many of which can be sung by children. One of the favorite Christmas selections used in my school chorus is "Star in the East" by Austin Lovelace.

Children can very effectively sing solo portions in SATB anthems. If your chil— dren sing every Sunday, this would be doubly desirable.

Antiphonal effects lend themselves to children's voices.

There is an increasing use of children's choirs singing solo portions of the great oratorios. Ours have sung "Come unto Me" from the "Messiah", giving added contrast between contralto solo and full choir. Further mention in a later issue will be made of work in this oratorio which our children have done. Do not overlook the material in your church school literature. If your denomina— tion does not publish a song book on each level, by all means make one for your— self; it will be invaluable.

Many of the textbooks used in public school music contain good anthem material. If you have occasion either in or out of regular rehearsal to use fun songs (and who doesn't), the best source of material will be the many books put out at a very nominal cost by Cooperative Recreation Service, Delaware, Ohio.

Have your juniors given a play? If not, I guarantee it as a most effective means of worship. "Amahl and the Night Visitors", given in the sanctuary as religious musical drama, proved to be as successful and moving a service as any ever held at Bellaire Methodist Church. This year, we hope to do "Noye's Fludde" by Ben— jamin Britten. (Boosey and Hawkes, 1958). The score will call for participation of adults; youth, children, congregation, strings, recorders, percussion and handbells.

Equally challenging will be the writing or arranging of an original play; "Paddy's Christmas", a story in a public school reader, was the basis of a musical play for our first graders. Juniors wrote one on the life of Charles Wesley, using many of his hymns. "Stories to Dramatize", by Ward, published in 1952 by The Children's Theatre Press, Cloverlot, Anchorage, Kentucky, will give you additional ideas, although you will soon have more of your own than could be included in any book. (By the way, the story of Paddy Bear, referred to above, is in this book also.) —109—

Youth or adults might enjoy "The Play of Daniel", edited by Greenburg, published by Oxford University Press in 1959; or "Second Century Service 11 by Bogue, published by Capital Church Publishers, P.O. Box 1646,, Washington, D.C.

Rhythmic interpretation of humns is being used successfully by many directors. Madeleine Ingram, of Lynchburg College, has discussed this in ',Organizing and Directing the Children's Choirs" (Abingdon Press, 1959). Other books which will be helpful are: Andrews. Creative Rhythmic Movement for Children. Prentice-Hall. 1954 Fisk. The Art of the Rhythmic Choir. Harper and Brothers, New York. 1950

Likewise, the speech choir is developing as a means of worship expression. Refer to: Hicks. The Reading Chorus. Noble and Noble. 1939 Walsh. Sing Your Way to Better Speech. Dutton. 1939

Finally, it is often advisable to have a yearly study project for your choir, either during rehearsal, or as an extension of it. Two areas of study which have been used with enthusiasm in several churches are those of Christian symbolism, and comparative religion. A highlight of an entire year's program came when our children sang the Bar Mitzvah service in the oldest synagogue in Texas. What we got in the way of inspiration and education far surpassed anything we may have given. Helpful in these areas are: Griffith. The Sign Language of Our Faith. Morehouse-Gorham. 1955 Rest. Our Christian Symbols. Christian Education Press. 1954 Stafford. Within the Chancel. Abingdon Press. 1955 Fitch. One Goa t the Ways We Worship Him. Lothrop, Lee and Shepard. 1944 Fitch. Their Search for God, Ways of Worship in the Orient. Lothrop, Lee and Shepard. 1947 Norma Lowder is organist and director of the Children's choirs of Bellaire Meth- odist Church, Bellaire, Texas; teacher of music in the Houston public schools, and associate editor of the Chorister's Guild Letters.

TINTINAMBULA.TIONS

Well, the exchange broadcast came off in fine style. Christmas Day evening, Monitor broadcast the Potomac English Handbell Ringers ',Serenading The British Embassy in Washington", and then the Handbell Ringers of St. Mary's, Launton, Oxfordshire, England ',Serenading The American Embassy in London% B.B.C. picked up the broadcast, and re-broadcast it throughout the British Empire. The announ- cer spoke quite interestingly of the growth of Handbell Ringing in the U.S.A., particularly in the past decade. My work was mentioned and that of the American Guild of English Handbell Ringers. He also referred to Frederick Sharpe, director of the British team who is president of the Central Council of Church Bell Ringers of England, and a famous campanologist and author. Mr. Sharpe's bells are of unusual interest in that they date from about 1670 to the present century, and have been repaired and tuned by himself. Mr. Sharpe owns over 700 bells; his Team uses about 75. I own just over 100 bells; may band used about 55 on the broadcast. We thought this interchange broadcast "hands across the sea at Christ- mastide" a heartwarming expression of good will and appreciation towards our English cousins. We owe so much of our most beautiful Christmas music to the English as well as the delightful custom of ringing musical handbells.

YE RINGERS ALL, that do come here Give head and hand and heart, The head for will, the hand for skill, The heart for worship's part. (An old rhyme for Bell Ringers)

-110- HYMN STUDY 0 SACRED HEAD NOW WOUNDED The original German words by Paul Gerhardt, 1656 The melody of H.L. Hassler, 1601; harmonised by J.S. Bach, 1729 Page 30 in the Choristers Little Hymnal

Dear Boys and Girls:

This hymn is one of the greatest treasures in sacred music. Actually, this type of hymn is known as a chorale, and this particular one is called the Passion Chorale because it tells of the suffering and death of our Lord. In your hymnal you will see that the words and tune were written over 300 years ago. Later, the words were translated into English and put to harmony by Johann Sebastian Bach. Just as you have memorized certain beloved passages of the Bible, such as the Twenty-third Psalm, The Lord's Prayer, etc., s3 should this hymn be singled out from all other hymns for every boy and girl to memorize. It will be difficult for you to understand the full meaning of the words, for most children have not known great sorrow. There are however many things that all of us need to learn when we are children, even though we will not fully understand them until we are grown up. I think you will appreciate this hymn most, if first you make a real study of the words. There are several words which we seldom use now in our every-day conversation, and some which are not used at all any more. So let's start by finding more familiar meanings to these words: anguish---sorrow languish weaken abuse - - - --torture transgression- -- - -sin visage - -- -face or appearance vouchsafe - - - guarantee

When you first begin to study this hymn, why don't some of you, perhaps seven or eight children, come prepared to read Matthew 27: 26-50? Let each read a few verses, keeping the story continuous. With this background, it will be easier to understand the words of the hymn. Then you might discuss the meaning of each line, putting it into your own words. Now you are ready to drill the words of the hymn over and over until they are thoroughly memorized. You can make games of this drilling as I suggested in the last hymn study at Christmas time. This part can always be lots of fun. When the words are no longer a problem to you, it will be am easy matter to learn the tune which is all within the range of one octave, d to d. The first and second phrases are exactly alike. There are many scale wise measures, and really not many intervals. You will learn this tune easily. Always remember though that the MOST important thing about any hymn is the words. Hymns are words! The melody is called the hymn-tune, but it is not the hymn. The dictionary says "a hymn is a song in praise or honor of Godil. So you see if you sang some words to a hymn tune that were not even about God, you wouldn't be singing a hymn, would you?

I hope you will be very thoughtful while you are learning this hymn. Keep in mind that it is like a jewel you are storing away in your heart. All of us know how beautiful jewels look when we hold them in our hands, or see them being worn. But did you ever stop to think that the good and beautiful things we store in our minds show too? They shine from our eyes and make our faces radiant: This hymn will help to enlarge and beautify your spirit. I hope you will learn to love it as I do. Your friend, HYMN STUDY 0 SONS AND,DAUGHTERS, LET US SING! Words by Jean Tisserand who died 1494 Music is a French Melody of the 15th Century Page 34 in the Choristers Little Hymnal Dear Boys and Girls:

What a joyous hymn we have here! Our last hymn, "0 Sacred Head Now Wounded" was about the suffering and death of Jesus. If you learned that hymn thoroughly, you will be able to enjoy this Easter hymn even more. One time I heard a minister say that we never could really appreciate Easter Day unless we had been through Good Friday. He meant that the me sage of Easter Day—Christ risen from the dead—is more meaningful to us if we have spent time in meditation about the sufferings of our Lord. You know how it is when you have not seen the sun for many days, when it has been rainy and dreary and dark for so long? Then when the sun breaks through in all its glory, we seem to appreciate it more than we usually do when it is shining day after day.

This hymn is even older than "0 Sacred Head". It is nearly 500 years old! Can you imagine how many, many Christians have sung this hymn through these hundreds of years? Before you begin to study it, I suggest that you read from the Bible as you did for "0 Sacred Head". In Matthew 28: 1-10, you will read the story of this hymn. I believe it will help you to see the story in your mind of the Res— urrection. When you begin to memorize the words, you will see that the story continues from one verse to the next. You will also see that there are no words (well, maybe one) that you do not know. That one word is "jubilee" which means "a time of rejoicing or great joy". Even if there are five stanzas in this hymn, each is so short that you will have all of the hymn learned before you know it. Even though all of you memorize all the words, this is a good hymn to use solo— ists with, or the boys may sing one stanza, the girls another. You will love to sing the Alleluias. This may be the hardest part, for when we feel so happy in— side, it is difficult to keep from shouting our joy. I know though that your director will tell you about this so that you will confine your enthusiasm to a good singing tone. I have written a little descant which follows, which you may want to learn. I hope you will have the opportunity to sing this hymn on Easter Day. I wish only that I could hear you all. Your friend caQ 0 SONS AND DAUGHTERS, LET US SING!

LD 0 sond & daugh --ters, let us sing etc.

Recently, many small orders have come in with remittances which did not include the applicable tax. Particularly has this been true of California residents in regard to the state and county sales taxes of 4% for the purchases of all kinds. All members should remember that the pins and crosses carry a 10% Federal excise Tax unless an exemption is filed with the Guild which must accompany every order. The burden of proof for an exemption is upon the purchaser. Often the tax is small enough not to justify further costs to the Guild, to notify the member. I have been paying such myself in order to keep the books straight. PLEASE, please include in your remittance the taxes applicable.

—112— THE CHURCH YEAR

The Christian Church Year seems difficult to some to understand, and indeed to some others, quite foolish, too formal and stilted. However, an increasing number of ministers and churches are finding it helpful and useful. The Church Year is the attempt to organize Christian practises and thinking, and has centuries of usage and tradition behind it. All Christian churches observe Christmas and Easter; many in addition observe Advent and Lent. Thus in actual practise, the Church Year is followed. It is particularly helpful to church musicians in advance planning. The Christian Church Year gives the Children's Choir Director opportunity to explain Bible events in an orderly fashion. Children will understand a parallel between a school day or semester with the definite order and happenings of the Church Year. In most non-liturgical churches which follow the Church Year pattern, the Trinity season is changed to Kingdomtide, a period when the church is at work in the world. In order for us all to understand the Church Year a bit better, the following is quoted from Lutheran sources:

"The Church Year begins with Advent Sunday - -the Sunday nearest the thirtieth day of November. "Advent" means "coming" and the Advent season (including four Sun- days) looks forward to Christmas, the day of Christ's coming. From December 25 to January 6 is the Christmas season.

"January 6 is Epiphany, the beginning of the season which stresses Christ's coming to all people. This season continues until the tenth Sunday before Easter. It may include from one to six Sundays.

"The pre-Lenten season (including three Sundays) is followed by Ash Wednesday which is 46 days before Easter and the first day of Lent. There are 40 weekdays and six Sundays in Lent. Easter is the first Sunday after the full moon which happens upon, or next after March 21. The Easter season is 40 days in length.

"The fortieth day after Easter is Ascension Day. Penticost, fifty days after Easter, is followed by Trinity Sunday which begins the Trinity season including from 22 to 27 Sundays." ÷-===+===4-===4-- -r-*-1--=+===4-=-=+ --+--_+---+ -4-- + + -4-

ASH WEDNESDAY--LENT

For those of you whose churches observe Ash Wednesday and Lent, a few words may be in order about them to assist you in your work with boys and girls. Children absorb quickly, readily and easily. At the junior age level, possibly not before, explanations are in order about what the adults around them are doing. They see and feel more than we even dream of. The observance of Ash Wednesday and Lent should become a part of their normal growing experiences.

The term Lent derives from an old Anglo-Saxon word, Lencton which had no religious significance whatever. It meant originally, lengthen. Since the daylight hours were gradually lengthening, lencton gradually came to mean Spring as well. Lent begins on Ash Wednesday, the fortieth week-day before Easter. Actually, Lent continues for forty-six days, the extra six days are Sundays and,are not reckoned as fasting days. There is considerable disagreement about the symbolism of the forty days. Four principal views hold, 1) the forty days during which Jesus fasted in the wilderness, 2) the forty days spent by Moses on Sinai, 3) the forty hours of Christ's entombment, 4) the forty days between the resurrection and the ascension. Since the fourth century, Lent has been devoted to Christian nurture through discipline and penitence. "Objections to what may become a mechanical or spiritually blind observance of certain physical disciplines ought not to lessen the possibility of making this period one of genuine spiritual restoration, commitment and recreation".* For Protestants Lent should become a period of soul refreshment, the forgetting of self, and the doing for others. *quoted from Worship Resources by Charles L. Wallis. -113- (Ash Wednesday--Lent (continued) For centuries in nearly all religions, penitence has been a basic part of relig— ious observance. The Jews particularly practise intense penitence by the sitting in a heap of ashes, clothed only in a sackcloth (probably our modern gunny sack) and strew ashes over their heads as they bewail their personal and public sins. Pope Gregory the Great, about 600 A.D. introduced the custom of dusting ashes on the foreheads of the penitent at the beginning of Lent, and thus established Ash Wednesday in Christian practise. Whether we observe Lent and Ash Wednesday or not, our youngsters should learn the religious practise of others. I would urge you not to give your juniors, or even your junior—hi group, all this information at once, and- not even merely as information. Intertwine it with their learning of an anthem, a hymn. Make it a part of their experiences if at all possible. Ash Wednesday and Lent can be as real to boys and girls as to adults; often they will accept the implications more earnestly than adults. Never undervalue your youngsters? abilities.

( cVr\cis'. „

SEE WHAT YOUNGSTERS CAN DO.

In the October issue, it was suggested that youngsters "make up" words in Long Meter for, say the tune, Old Hundredth, and that some of the sets of words would be published. Here are the words which two of our Guild members sent in.

From MRS. STUART JONSON, Elm Grove, Wisconsin, director of the Wesleyan Singers, the junior choir of the Community Presbyterian Church.

Thank Gcd for wonders of His earth; For flowers and birds, the trees and sky. We thank Thee for our Savior's birth, And sing our praise to God on high.

From MBS. CAREY HARGREAVES, First Baptist Church, Bakersfield, California. By the Juniors-- By the Junior—Hi Choir--

We're thankful for Thanksgiving food We're thankful for God's loving care, And for our parents' loving care; Faithful, understanding pastors; We're thankful for this lovely church, We're thankful for what churches share, The Holy Bible we all share. Lovely homes with patient parents.

We're thankful for freedom on earth, We're thankful for delicious food, The sun and moon that give us light; For the tender tasting turkey; We're thankful for all animals, We're thankful for the birds to sing, For God's loving care through each For all the marvelous country. night. \(-‘ \(/

4..)\ /0\ Choristers Guild pin order time will soon be here. An order blank is included in this issue. Please use it when ordering pins; its use will greatly facilitate the correct and easy filling of your order. Please note the request to use for the return of pins for additions, the small weekly offering envelopes which are available in most any church office from a previous year. Again, it is suggested that the- basic pin in the gold—filled quality costs only 500 more than the Me — tone pin, a gold wash, and lasts many, many times longer. If your youngsters keep their pins, and many do, the gold—filled quality is strongly urged. She two quality pins are absolutely alike except for the amount of gold on each.

—114— A REPORT

The General Assembly of the National Council of Churches in the U. S. A. of which the Council of Religious Education is a member body, met early in December in San Francisco. My chief interest lay in the meetings of the Council. One afternoon, those interested in the educational field had unhappily, to choose between twenty—four separate topical meetings. For the first tine to my know— ledge, music was officially included under the heading "Music Contributes To Christian Growth". The session was very ably handled by Mr. and Mrs. Richard Alford who have built up the effective music program now operating in the First Methodist Church, Glendale, California. About thirty enthusiastic persons at— tended the session.

Unhappily some religious education leaders still view music with suspicion. However, the attitudes of both groups, religious education directors and music— ians, is becoming more Christian, Real respect and cooperation are growing to the immense benefit of youngsters everywhere.

The use of the regular denominational hymnal was stressed, and much of the meet— ing centered around ways to use it. Mr. Alford outlined on the board what ac— tually most denominational hymnals can teach youngsters. It can stress and teach The Consciousness of God The Christian Church The Life of Jesus The Christian Family A Christ—like Character The Plan of the. Universe The Social Order The Bible

Our job as Christian Music Educators is to put the Hymnal into its proper focus. Part of this focus is to get- the Hymnal back into use in the homes of our boys and girls. A father ainging„ "0 God Our Help In Ages Past" in the shower, has a greater influence than anyone may imagine. Christian attitudes are quite largely caught rather than taught in the home. The songs, and or hymns which children learn do help to formulate their attitudes. As much as possible, boys and girls should learn the folk songs of other nations to stimulate the feeling of a world together. A good book for this purpose in case you do not already know or use it, is "The Whole World Singing" by Edith Lovell Thomas published by the Friendship Press.

The change in attitudes towards music generally in the childrents field has been a gradual one, and is not yet complete. It is with modest pride for the Guild to state that the late Ruth Krehbiel Jacobs through the Choristers Guild helped to bring about such change. In the words of Dr. Edwin Dahlberg, immediate past— president of the National Council speaking to us educators, he entreated us, "We must be something better than our best for it is a sin to be just average."

The general program theme of the Assembly, "Jesus Christ) Living Lord Of All Life" was admirably carried out. Challenging addresses were delivered by Bishop Oxnam who called our space ships, missiles, rockets, "Atomic Garbage" hurled into space in an attempt to create for ourselves a God. Bishop Pike stressed the crying need for parents to resume their God—given roles as the real educa— tors of their children. The Reverend Joseph Sittler of the Divinity School, University of Chicago one noon in the daily Worship Service used as the back— ground 1 Corinthians 3: 13-16, and proceeded to preach a sermon, the impact of which is still with me. After it was over, I came to with a start to realize that it was a powerful evangelistic sermon, one however which intelligent men and women would listen to and accept --no thread—bare cliches, no drivel, no ranting and shouting to cover up a lack of thinking—just the plain old—new fashioned gospel.

Such a gathering was for me at once challenging, stimulating, and sobering, —115— depressing. Ten thousand people should have been in attendance instead of the goodly thirty five hundred. We all need to be jolted, and jolted lard at times. Woe is the individual who never feels the need to get out of his own little do- main at times. Honestly, most of us fear to learn something new. Then there exists the tremendous devisiveness among Christians. We cast suspicious glances at the other fellow because he crosses a t or dots an i theologically different from us. The singing of praises to God to hymns and spiritual songs may yet prove to be our most powerful adhesive and cohesive force. So you, I, all children's choir directors face a stupendous task and duty with our children.

,) L) C.J EJLi LL3 ,-) cra FYt_.3 ALL IN THE FAMILY

ROBERT L. JONES, Allapattah Baptist Church, Miami, Florida, conducts an energetic and effective music program in his church. Sometimes we directors are fearful of making real rules fpr our children's choirs, fearful that any will be too strict and that children will not come because of them, etc., etc., etc. How- ever, children respect rules and regulations, especially if they are fair, can be adhered to, can understand their reason, and are explained to them. In a recent issue of THE ALLAPATAH PROCESSIONAL, the monthly paper of the music work, Mr. Jones had the following concerning the dress of his boys and girls. Possibly these are not for your choir; you are the sole judge) but rules MUST be a part of children's choirs, and they MUST be adhered to. The following is quoted from the paper. WHAT TO WEAR

1--IN THE REHEARSAL

Girls wearing slacks, shorts, or other Boys must be properly clothed after sports attire will not be admitted to leaving the playground before being choir rehearsal. admitted to the rehearsal room.

11 - -FOR SERVICE PARTICIPATION

Girls will wear black shoes) white Boys when wearing choir robes will socks, white dresses or blouses with wear black shoes and long-sleeved their choir robes. white shirts.

A Church music event which took place in Des Moines, Iowa last November 20, should be proclaimed from every house-top. While it had excellent local publicity and support, yet the event had little national notice. The choral work, ”Earth. Shall Be Fair" by Robert Ward was sung by a large chorus of adults, youth and children from sixteen of the area churches. What made this presentation really unique however, is the fact that the work was commissioned by the Des Moines Area Council of Churches. Here is an approach to the betterment of Church music which is at once old and original. We Church musicians gripe a good deal about the quality of the Church music available, and yet do nothing about it. Further, some of us complain that no new exciting Church music is being written and published. However when such is available, it is either pol- itely ignored; is felt to be too umodernu (whatever that means), or "my congregation would never stand for that" attitude. Actually most of us stay comfortably in the rut of yesterday, or even the day before that.

This event in Des Moines must be hailed for its adventuresomeness if for no other reason. Probably most individual choirs may never, or even are not able, to sing this particular work, alone. With other groups however, they can. Herein lies the great joy and excitement in city-wide Church music undertakings. Next -116- (All in the family--continued) timo y_a are pien thy; opportunity to participate in such, respond e.:luhusAastic— ally in the affirmative,

In this presentation, fifteen children, eight youth, and ten adult choirs sang. The Central Iowa Chapter of the Chorister's Guild recruited and trained the children's and youth groups. This chapter is the largest such group in our Guild. One of our Guild members, John Dexter, minister of music of Plymouth Congrega— tional Church, selected the text from the Psalms, and used also the text by Clifford Bax of "Turn Back 0 Man". Use of the tune Old 124th was made by the composer to which the words by Bax are usually sung, A review stated, "libret— tist Dexter compounded a stirring fabric of words for composer Ward to embellish and emphasize". This event was important to the Choristers Guild additionally because so much opportunity was given to children's voices who represented in the text and music the angelic choir singing of what earth can be.

Two years ago, this same Council commissioned a work by Norman Lockwood which was similarly presented. The Council now plans a commissioned work once every three years. A single church cannot afford to have new music written to order for it, but a group of churches together can. Now go out and stir up your community. It is your duty as well as privilege.

411... IVO .41 OM .1 1011•11 woe ems aim Two of our Guild members, missionaries in Japan, write letters from time to time to their friends and others interested, and send them through duplication from the headquarters of their respective boards. One is Presbyterian, the other Methodist. These letters are most interesting. Read to your children or posted on their bulletin board, they would bring greater understanding on the part of your boys and girls, and certainly pique their interest. Write either or both these members directly (they will be most pleased to hear from you), and ask to be placed on their mailing list. Air mail folders to write them may be purchased at your Post Office for 14 each,

0 yes, their names and addresses: James R. Camp Merle Kelly Sassoon Apt. House 4, Flat 129 17 Chokyuji Cho, Higashi Ku Yammamoto—dori 2 Chome„ Ikuta—ku Nagoya, Japan Kobe, Japan

Our Guild family is large, varied and reports many activities. I wish sincerely that I could report all the happenings. Best of all, I wish that I could acknow— ledge receipt of all programs, stories, reports. Please understand that I want to hear from you at all times, and please understand if I do not write you each time. The items selected for All In The Family have either general interest, are the unusual, may be helpful to others. So I must be arbitrary, and choose. Be— cause I am human, and thus biased in some way, I may not always choose the best items. If your event is not mentioned, please understand. If you feel strongly that your event should be published, please prod me. I'll not complain. 70 ,7(5/7-076/.-yro/ 0 cv „(P,t •,-:) •e , AN IDEA----AND A CHALLENGE FOR YOUR COMMUNITY

"'Has the Children's Work Committee of the United Churches ever considered having services for children on Good Friday?' a friend asked me about eight years ago.

III replied that as far as I knew, the matter had never been considered, possibly because most of the experiences of Good Friday are beyond the understanding of young children.

u'I realize that,' she said, 'but I am concerned about our Protestant children. —117— (An Idea --and A Challenge for your Community--continued) The public schools are closed on Thursday and Friday before Easter as well as the following week. The Roman Catholic children, whether or not they understand what's going on, are in their churches. But for our boys and girls, this is just another holiday.'

"These remarks posed a challenge which we debated at the next meeting of the Chil— dren's Work Committee. The criticism certainly was true, but we wondered if we could do anything that would be meaningful for children. Confining our efforts to children between the ages of eight and twelve, we tried to think of Holy Week as they see it."

So starts an article, "A Children's Service For Good Friday" by Helene M. Suiter who is Associate •Secretary and Director of Children's Work, United Churches of Lackawanna County, Scranton, Pennsylvania in the January issue 1961 of the Inter— national Journal of Religious Education. Get a copy and start something in your community which will have a long range effect. Undoubtedly a copy may be secured by writing International Journal, 475 Riverside Drive, New York 27, N.Y. I be — .lieve a single copy is 750 postpaid. n 0 (7)--- D--(.1-)D7()) THIS 'N THAT

Easter comes early this year, April 2. Begin NOW to prepare for it. Lent begins on Ash Wednesday, February 15. *** *** Do you know a little booklet, Anthems for Junior Choirsters by Austin C. Lovelace published by Summy—Birchard? Here is a bargain for 750 - —six anthems, all excel— lent, all usable, each interesting. The last, "The Whole Bright World Rejoices Now" is just what you may be seeking for Easter for your juniors. *** *** The Work 'N Eaters, that group of faithful Santa Barbara Junior—Hi, Senior—Hi and college girls who assemble the thousands of pages of the Guild Letters each month, ran short of the Braille explanation card which was a part of the January Letter. If you did not receive one of these cards, and wish one, please write for your copy. *** *** This item has nothing to do with Children's Choirs, but because some of you also have charge of adult choir work, it is included. The other evening in a reading session in Los Angeles, I heard and then examined as exciting a new Easter anthem as I've ever known. It is for an adult choir only, one which is not fearful of a new approach. It is not really difficult, but not easy. The way a choir will receive, and then learn it, is the manner in which you learn it yourself, and then present it. It is "Jesus Christ Is Risen Today" by Alan Hovanhess published by Associated #A-309. Get a copy at least for your own stimulation. *** Some significant publishing in the Church music field is being done these days by the Abingdon Press, Nashville, Tennessee which is a part of the Methodist denom— ination publishing house. A batch of music has just come in from Abingdon for review. Unhappily this Letter is now complete and must go to the stencil cutter. This music will be reviewed next month. I may say though thatin the batch are five wedding solos by Austin C. Lovelace which will help to restore religious meaning in the music of a wedding ceremony. Such music was long overdue. *3 t- *** One of our members, Earl Roland Larson, Duluth, Minnesota, has written some ex— cellent things for children's voices. Several have been published by J. Fischer; one you may wish to examine for Easter use, Easter Alleluia, #9180 in the Fisbher catalogue. Unfortunately, Mr. Larson's review copies often come in between times and unfortunately become buried under other things. —118— THE PURLOINED LETTER Some Palm Sunday and Easter Suggestions for You by Esther Wiedower whom you already know. Edgar Allen Poets idea of concealing a thing by leaving it in plain sight, is something which we perhaps should reflect upon occasionally. For instance, the Oxford Book of Carols abounds in good, likeable, useful tunes. Yet how often do we consider them either for juniors or seniors? Now the Green Blade Riseth, arr. Fusner - unison - CMR-2232 Gray Originally in the Oxford Book of Carols, under the title, HLove Is ComeAgain." Range of a sixth: g-e. For an additional change in the accompaniment, try chimes or handbells on page 3, and also follow the final chord with a final note on the bells. (Good for junior choir, but the adults could do something with this one.) Christ Our Passover McIlwrgith - chant - CMR-2010 Gray This is not everyone's dish of tea, being part of a liturgical service. A good introduction to chant, and if Episcopal choir boys can sing it, there is no reason why children of comparable age in other denominations cannot do likewise. Isn't liturgy part of an education in church music? And isn't this one reason why we have junior choirs - as part of education? Since Thou Art Risen Bach-Easson - unison - 10640 G. Schirmer From cantata #15 this looks like a greatcdeal of Bach: tougher than it really is. 'Tis Easter Day Davies - unison, optional descant - 86141 Flamer The more usual Easter Text for Children, as contrasted with the two titles immediately preceding, which are more adult in approach. (To those who argue that the children must understand what they sing, I should like to say that I doubt there are many adults who understand the Resurrection.) All Glory, Laud, and Honor arr Davis - descant - 1547 E.C. Schirmer The familiar Palm Sunday hymn text to the equally familiar Teschner tune, but in an unfamiliar key -- B. The verse beginning uThe company of angels" is omitted, and the first verse repeated as the third. Lift Up Your Heads, Ye Mighty Gates Walker - unison - MR-2452 Gray A change from the tune Truro, and there is no reason why this should be confined to Palm Sunday. It is spirited even when it is quiet. Lamb of God, I Look to Thee Bengson - unison - CMR-2635 Gray A 1960 copyright dedicated to the children's choir of Calvary Presbyterian church, San Francisco. If you need a quiet Easter anthem, this is it. The Robin and the Thorn arr Niles - unison - 9326 G. Schirmer How the robin got his red breast in a plaintive little melody with some half- steps and an augmented second. Your choir will like it. The director may have to convince herself.

The page isn't long enough, but here are four additional titles worth a look: Easter Flowers Are Blooming Bright Lovelace - unison - CMR-2513 Gray Song for Easter Eichhorn - unison - CMR -2057 Gray. And for those who want two parts, Blanche Byles, a North Hollywood, California composeri has Easter Carol, 10407 G. Schirmer. This would be good also for the Sunday following Easter. Another of the same title is by Rockefeller, also two part, CMR-1966, Gray. The ualleluies utilize a bell figure which should suggest something about the accompaniment,

Note by Ye Editor - -- -About two years ago, Oxford Press made available in leaflet form selling for 10O and 15O each, many, in fact about half, of the carols in the Oxford Carol Book. A listing may be obtained by writing Oxford University Press, 417 Fifth Avenue, New York City 16.

-119- BALLAD OF THE DOGWOOD TREE

The composer of the music supplement this month, Brookes M. Davis is the minister of music, First Methodist Church, Santa Barbara, California. He is my successor in the position which I resigned in September 1956 to go into full- time work with the Guild. The Ballad has been sung numerous times in First Methodist Church, and has always been warmly received. It should become a part of your Children's iA Choir repertoire. The only real difficulty lies in a mem- orisation of the words, but the imaginations of your boys 0'11 1--)) and girls can be fired to the degree that the learning will be easy. Additional copies of the Ballad are available for 15O each postpaid. Here is what Brookss says about the Ballad--

"The Ballad of the Dogwood Tree" was inspired in this musical setting by the expressive manner in which Louise Marsh Gabriel, a West Virginia poet, set it to verse. The "Ballad" originally appeared in a Spring, 1948 issue of Classmate, the weekly church school periodical for youth of the-Methodist Church.

Here is a setting of the old legend in a truly folkish style, and the strong rhythm of the verse seems to fairly sing its own tune. Upon seeing the poem: its musical setting was not long being composed, and soon made its appearance on a ballad and folk song recital with much success. For a number of years, the "Ballad" was presented as a solo using an autoharp for accompaniment, but was just as effective when transferred to the church using a choir of boys' voices.

For this setting the melodic line was extended to avoid the monotony of repeated tune, as is sometimes the case with folk ballads. A number of verses from the original were omitted for sake of length, but are preferred when time permits, and are inserted below. The responsive phrase in parenthesis at the end of each stanza may be omitted when sung more formally in worship if desired. How- ever, such refrains are found throughout folk music, and seem to enhance the quality of the ballad. A solo voice inserted for some of the stanzas will add interest also.

When available, the use of autoharp, guitar or lute is suggested, and the proper chords have been inserted above the accompaniment score. In performance, be careful to sing in a very free and linguistic manner. The melody as here noted can only partially hint at the natural manner of rhythmic performance. The final stanzas in major should gradually build to the fullest climax, and an alternate ending is provided for low voices or additional alto.

Omitted stanzas:

3-b. 4-b. Then cruel nails scarred arms and foot, "Since you have shared my suffering, With thorns the top was scarred; In pain you die with me; With stains of sacred crimson blood Then nevermore shall wicked men The fair, fresh wood was marred. So use a dogwood tree. 3-c 4-o. The dogwood tree, the dogwood tree, "Your trunk shall twisted grow and small, It shuddered through and through; Your head be ever low, Each fibre ached with grief and shame But you shall have the fairest flowers That Christ should suffer so. That in the forest grow.0 -120-

BALLAD OF" THE Dona wocz) 7-1? e 40(115C MARSH aAeRfEt- BROOKES M. 40,1V/.5

C--1101k 12 2 ) fir • , ae 40 FREE- FLOWIffq "r 1. Green cedars grew on Leb- a- non, Strong nu 5PErcei RiirrkiAl 3. They loped its spreading branches there, they To /-TARP OR P/4A1.0 prli ziPPyv-L am I)," 19 2 I

WV) 9 z , 0 7 C E : r.r

,r,0 . dP f; .0 G.P.) .. erj j) ..I were the oaks and tall; But the 1Gdogwood tree, the dogwood tree waE hewed its living wood; With center post and crossarms nailed A ,Y) Dm C Thcy el e 1° 4 ...Q.._ 0 a c. 9: c2 0 0 ° JE ca sc)

il 40 , . . fairest of the al . (Yes! Was fairest of th al .) 2. They made the Ho- ly Rood. (Yes! They made the Holy Rood.) 4. Though Pm q 13 WI 0 0 411-i - -1 '

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S, V ') or o at ow 411P searched the woods of Pal- es-tine, The trees stood stra ght and dy- ing ther e up- Bon the cross Christ felt the sym- pa- A 7 m a Pr

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IKeeps an Eye on Ike Direclor R V I N G 0 THE SONG OF THE LILIES The lilies say on Easter day, "We give, we give, We breathe our fragrance on the air, We shed our beauty everywhere: We give, we give."

The lilies say on Easter day, "We live, we live. In darkness buried long we lay; The sun awoke us one spring day/ We live, we live."

The lilies say on Easter day, "Give children, give: Give love and kindness everywhere; They truly live Who truly share! Give, children, give." --Lucy Wheelock

NATURE'S CREED

I believe in the brook as it wanders From hillside into glade; I believe in the breeze as it whispers When evening's shadows fade. I believe in the roar of the river As it dashes from high cascade; I believe in the cry of the tempest 'Mid the thunder's cannonade. I believe in the light of the shining stars I believe in the sun and the moon; I believe in the flash of lightning, I believe in the night bird's croon. I believe in the faith of the flowers, I believe in the rock and sod, For in all of these appeareth clear The handiwork of God. --Anonymous

CHORISTERS GUILD LETTERS Volume XII 1960-61 March Number 7 Arthur Leslie Jacobs, Editor Norma Lowder, Associate Editor Helen Kemp and Nancy Poore Tufts, Contributing Editors Published for its members by the CHORISTERS GUILD Box 211 Santa Barbara, California Copyright (C) 1961 Choristers Guild _rA3 -14 --t171 And he said unto them, "Be not afraid, for I know that you seek Jesus which was crucified. He is not here, for He is risen as He said." This is the message of Easter --a risen Christ, risen so that we may also live again. But a risen Christ must also become for us, a realized Christ, incorporated into life, an incarnated spirit of love and good will, the embodied purpose to serve and to help ---a wa of life--something to live.

LAL— L'\_ ( IN THIS ISSUE Some time ago, I asked John Burke, First Baptist Church, Oakland, California, who composed the music of All Things Bright and Beautiful which appeared in the Sep- tember 1960 issue, to write an Easter number. He came through handsomely with It Is The Joyful Easter Time, an arrangement of an old Cornish Carol tune. Cop- ies of this arrangement are aVkilable fromthe Guild Office for 15O each postpaid. Following are the comments by Mr.Burke on his new piece - - Notes on "It is The Joyful Easter Time" This is a simple Cornish Carol, with a range of only an octave, and a very melodic melody with few interval skips, that should becasy to teach. The first two phrases are identical, except for the pickup beat. The third phrase, in a different rhythmic pattern, has the only interval skips and these are only thirds. The last phrase is the same as the first, with one exception-- the half note on the second beat that eliminates the f sharp of the third note of the beginning, Because of the simplicity of the melody, the attempt has been made to further the interest by the use of descriptive accompaniment, in particular the use of a bell-like motive in the second and third verse, to characterize the idea of the "merry bells" ringing out their chime, described in the first verse. The use of the descant in the second and third verses is optional. It could be used on the second verse, and not on the third, if the closeness of the canon in the third verse becomes difficult, or not at all. The melody of the second verse is the same as the first. The hallelujah of the descant becomes in turn the opening part of the third verse, and introduces a canon between the melody and the descant on the single word "hallelujah". There is a cumulative bell effect with the canon and the accompaniment for the third verse, which rises to a climax on the final hallelujah, after which the little bell motive that serves as a bridge between the first and secone verses is reit- erated as a coda. In teaching the piece, it is recommended that the first, second and third verses be taught, without accompaniment, until the melody is well known. Second- ly the descanters should learn their first part which occurs during the second verse, and will be quite easily picked up., Add the two parts together, then do the first and second verse, before tackling the more difficult third. Since the majority who are singing the last verse will have learned this at the beginning, then the descanters should have the attention until they have learned the third verse. It should be noted that the canon is different in two respects. The melody is now in the minor key, and it begins on the 3rd instead of the 6th beat. Also the descanters must realize that tle last three measures of their canon is different than the other part which they are copying. The accompaniment is written for the piano so that the bell-like percussive quality will come through, though it can be adapted easily to the organ. The only other part that may need special attention is the fast 8th note Hallelujahs. If they are first taught on fa,fa,fa, for each 8th, before using the word Hallelujah, it will help give them the equal, and clean rhythm that is necessary. The entire piece should be done in a moderate tempo, with a swinging, joyous feeling. -122- CANTATE DOMINO

Eleanor DuBuisson Fossick

SKI J-NN\ "It is Lent !" How often, preceding the glorious Day of Resur- rection, is the Catholic child reminded that he should forego this or that pleasure or del- icacy to discipline himself by small sacrifices in honor of Him Whose death we will commemorate on Good Friday.

Children show quite as much fortitude as adults in following the liturgy during the Lenten season. Their young minds, unclouded by doubt, unwarped by ambition, find delight in making an extra effort to "be good" forforty days. For those who make it to the end of Lent, with no broken resolutions, the struggle will be easier afterward. Once the liturgy is understood and loved, it permeates our worship and carries over into daily living. When we have attained the true spirit of the liturgy we no longer experience rebellion over the so- called "new rules" as promulgated in the September 1958 Decree on Participation in the Mass.

In truth the liturgical movement is not new at all, but a restoration of public worship as it was when the church was young. Superficial, half-hearted assistance at Mass must give way to an active, reverent participation with the cele- brant. Priest and congregation, praying together have been called an "antidote against Communism", and it is also a weapon against Catholic egoism.

In the case of the Restored Easter Vigil the idea of lay participation is as old as the church itself; the new Decree simply states that the people are to have restored to them that which is rightfully theirs, but the people -- being what they are -- will put up resistance to an order that requires them to bestir themselves from their lethargy and give voice to their worship. They will blame the pastor for interfering with their comfort; they will castigate the Choirmaster for his "new-fangled" ideas, and it is for him to quietly, but firmly, pursue his course and assume the monumental task of educating the congregation to pray and sing. This will mean hard work, discouragement, imperviousness to criticism and a feeling of hopelessness and helplessness. However) if the long-suffering:. Director will persevere his reward will come when, at long last, he finds himself a member of a praying, singing congregation!

But, where shall he begin? With the children, of curse: By teaching the children the Dialogue Mass with appropriate hymns, as well as the Proper and Ordinary of the Missa Cantata the choir director is preparing the future congregation in the way it should go while the youngsters are subtly leading their elders on Sun- day morning. Small groups of children, placed at strategic points throughout the nave and assigned the task of distributing Mass cards and hymn books constitutes the first step. For the first few Sundays the children and their director will -123- be singing alone in a hostile environment. Then, here and there, a hardy indiv— idual will decide to join them; eventually, more and more members enter the par— ticipation and lo: the director will know the happiness of hearing a glorious surge of voices rise to heaven as one. This, I have known, together with the months of heartbreak that went before.

Do not underestimate the ability of the children's choirs: they are capable of singing the BEST hymns and any of the Chant Masses that you may select, partic— ularly the easy Mass XVI, with Gloria XV and Credo I, or III, This is the se— lection made by the 1958 Decree commission to be learned by Catholics throughout the world so that they might participate in singing the Mass in any country.

Teach the choirs the Holy Week Chants. If you need simplified arrangements the cards for Palm Sunday through the Easter Vigil, published by the Gregorian In— stitute, Toledo, Ohio are Nos. HW—I, 3, 4 and 5, priced from about 25 cts. to 50 cts. each. Teach them "Farce Domine"; they love this plaintive chant; have them sing it before and after Vs. I, Ps. 50 (Miserere) instead of "Laudate Domi— num" after Benediction during Lent. Another Lenten jewel is "Attende Domine", a lovely, meaningful chant that fills many places: as an Offertory supplement, a Processional or Recessional Hymn, to mention a few possibilities. Both of these chants may be found in Pius X Hymnal (McLaughlin) and in the Parish Hymn Book (World Library of Sacred Music). A beautiful, appealing English Lenten Hymn is a 17th century Hungarian melody, with text by Shane Leslie; Pius X Hymnal, No. 209.., I have seen the eyes of choir boys glisten with unshed tears as they sang the last two lines: "Jesus of Galilee, stricken and torn, Give us a share in Thy crown of thorn."

Remember that this is your page. Enroll your choirs in the Choristers Guild and invite other directors to do likewise. Tell us what you would like to read about in your own page: "Cantate Domino."

`-\ 1-0z) 17P_)/f( )76

CHAPTER ACTIVITIES

The SIXTH ANNUAL JUNIOR CHOIR WORKSHOP and FESTIVAL, sponsored by the Milwaukee Chapter of the Chorister's Guild, will be held at the First Methodist Church, 1010 West Wisconsin Avenue, Milwaukee, during the weekend of April 14-15-16. All church music leaders are especially urged to register for the WORKSHOP LEDTURE AND DISCUSSION, on Friday evening, April 14 — 7:45 p.m., and for the CHOIR DEMONSTRATIONS on Saturday afternoon, April 15, at 1:30 p.m. The regis— tration fee of $3.00 entitles the registrant to attend all sessions.

MRS. MABEL BOYTER, of Atlanta, Georgia will conduct the WORKSHOP SESSIONS and direct the mass choir on Sunday Afternoon, April 16, at 4:00 o'clock. Mrs. Boyter is a specialist in Music Education and Children's Choirs. As a church Music Consultant, Author, Lecturer and Director of Festivals and Seminars, she is recognized as OUTSTANDING!

From past experiences it has been found that this workshop and Festival are priceless, educational experiences to all interested persons. It is hoped that it will attract not only Milwaukee area folk, but also those from southern Wisconsin and Norther Illinois!

(For additional information and registration in the festival, write: Mrs. Lester Scherbarth, 8275 South 13th Street, South Milwaukee, Wisconsin.) —124— P E S A C H THE PASSOVER

In the November issue of the Choristers Guild Letters, a short sketch about Sukkos (the Jewish Autumn Festival) elicted favorable comment. Adrienne Reisner, Fort Worth,, Texas who contributes the hymn studies for the Letters, expressed the wish that more such sketches on the Jewish setting of much of Christianity, appear. Mrs. Reisner, in addition to her work in an Episcopal church, is also organist- director of a Jewish synagogue. She showed the article on Sukkos to her rabbi who was pleased to note a growth in a greater understanding between Christians and Jews, He had just a short time previously preached to his people on the Jewish- ness of Jesus. Our boys and girls ought to learn more of the Hebrew background of their Christianity. With such knowledge of this Jewish heritage, a warmer regard, respect, and understanding can grow towards their Jewish compatriots. Such qualities are a prime necessity in our shrinking world. We must always remember that our boys and girls develop their discriminations from us, and they get their prejudices from us. We must ever remember that Jesus was a Jew, proud of his lineage, completely a Jew. He obeyed and followed Jewish law, The awful blots on Christianity caused by the persecutions through the centuries of Jews by Christians, must not happen again. That the dreadful persecutions were carried on in the name of Jesus, a Jew of Jews, is their supreme tragedy. Let us try to make certain that our younger generations grow up with more tolerance, less hatred, less prejudice, more Christian love than very recent generations have shown. To further an understanding, let us examine, even if ever so sketchily, the Jewish background, directly out of which comes our celebrations of Holy Communion. Pesach is the greatest, and at the same time, the oldest of Jewish Festivals. It was observed in the most ancient times when the Hebrews were still wandering shepherds. Pesach was not always the festival which we now know. Originally, it was a spring festival only and observed long before the deliverance from Egypt. This early festival was observed at full moon in the month that the kids and lambs were born. Every member of the family took part. The important feature of the festival was the sacrifice of a sheep or goat from the flock. The sacrifice occurred just before nightfall after which, the animal was roasted whole; all members of the family made a hasty meal in the middle of the night. It was forbidden to break any of the bones of the sacrificial animal, or to leave any part of it by the time daybreak came. One of the chief ceremonies of the festival was the daubing of the tent posts with the blood of the sacrifice. It was a strictly family affair held anywhere. The Jewish peasants of Palestine who lived by farming, celebrated another form of spring festival, one related to the cutting of the grain. It was called the Festival of Matsos (Unleavened Bread). The grain harvest began in the spring with the cutting of barley, and ended about seven weeks later with the reaping of the wheat. Before the barley harvest, every Jewish household was obliged to get rid of all fermented dough and old bread, and ate during the festival a hard, flat unleavened bread, called Matsos. The real importance of the festival however, centered in the first sheaf of newly cut barley which was offered to the priest as a sacrifice, a gift to God. In those days, all peoples believed that everything which man used and had, belonged to God, or their gods, and that they must therefore offer the best of everything as a gift. Jerusalem was not- the holy city then to the Jews which it later became; thus as with other festivals, this one, the Festival of Matsos, was celebrated everywhere,, particularly on the "high places" mentioned in the Bible. These were actually on higher ground, and had been used by the Canaanites and considered by them holy places. The Hebrews took them over as holy places for Jehovah. Holidays and religious festivals are closely bound up with the life of a people and with their spiritual cultures. When the life of a people changes, then the- festivals of that people also change and assume a new character. The ceremonies, the rites remain to a great extent, but take on new meaning. They are interpreted differently, given symbolic values rather than direct ones of their earlier -127- life as a people. As the Hebrews became a settled people, the idea of observing primitive nature and harvest festivals ceased to appeal. Gradually, some holidays at least, were given an historic background to represent symbolically, the social and spiritual strivings of the day. Thus it came about that the earlier Pesach and the Festival of Matsos merged and became one festival, called Pesach with observances and ceremonies much as Jesus knew and are practised today. The re-living of the deliverance from Egypt became the chief motive for the celebration of the spring festival. Spring, the time of liberation for nature and the idea of human freedom seemed to fit together. Thus in this way, Pesach became the festival of deliverance from slavery, and the dawn of a new life. All previous customs and ceremonies were re-interpreted and Pesach thus was declared to mean "passing by or over", and the holiday was called by that name because God passed over the Hebrew homes when he slew the first born of the Egyptians. Matsos was eaten, according to the new interpretation, because the Jews were in such a hurry to get out of Egypt that they had no time to leaven their bread and bake it properly. The bitter herbs eaten on Pesach eve became then reminders of Jewish slavery in Egypt. Even the dried fruit mixture called charosos became symbolic of the bricks and mortar made while they were slaves in Egypt. This joining of the two festivals happened in the last few decades before the destruction of the first Temple. In the reign of Josiah, Jerusalem was declared a holy city and the sanctuary for all Jews everywhere. The Passover- is celebrated today, much as it has been now for centuries. Be- fore the fesitval, each Jewish home is vigorously given a spring housecleaning and made spotless. The Passover meal is eaten at night for the Jewish day begins at sunset. On the table which is set-up as beautifully as possible,are.placed three mounds of matsos, each being covered with an embroidered cloth, roast lamb, charosos, a bowl of bitter herbs, usually today, horseradish ,and a glass of wine at each place. The matsos represents the unleavened bredd; the roast lamb the pas- chal lamb which was sacrificed; the charosos, the bricks and mortar which the He- brews were forced to make as slaves in Egypt; the bitter herbs, the tears of sorrow as slaves; the meaning of the wine seems not to be clear, though it must be a particular kind of wine. The eating in a prescribed order of these elements is a ritual which is outlined in a booklet called the Haggadah, and is followed during the ritual meal. The Haggadah not only outlines the order, but gives the Old Testament lessons and prayers for the meal which is msually conducted by the oldest male member of the family at hand, oftimes, the grandfather. A very important part of the service is the asking by one of the youngest children, certain prescribed questions, such as "Why is this night different from all other nights?"--"Why on this night, do we eat matsos?"--"Why do we eat bitter herbs?", and other questions, all of which are answered by the leader of the service. The answers reiterate the present meanings of the Passover feast. The service closes with a hymn and benediction. Afterwards the people are in a gay mood, give and go to parties and generally celebrate. In modern Christianity, we have gotten away in thinking and practise in our celebration of Holy Communion from being a meal, even a ritual meal. Some Chris- tian groups today, notably the Moravianz celebrate a ritual meal of coffee and buns served in the church service. Whether we have taken Holy Communion too far from our every day living is a question which is seriously debated by many people. Too often, it is something we conform to in practise, primarily as a gesture of our Christianity. The information given in this brief sketch, should urge the children's choir director to seek more complete knowledge of the Passover, It would be inadvisable to use the wording of the sketch with the children. Read it carefully, absorb,and then use the material in your own words. It may even be possible for your group to be guests in the children's Seder (another name for Passover) service in your local synagogue. Undoubtedly, the rabbi would more than welcome such a visit. Such a visit would develop a new kinship with your Jewish neighbors, and bring alive familiar Old Testament stories for your boys and girls. Most of all, as Christians the boys and girls can feel a neqrness to Jesus who had partaken of the Passover feast many times, and who in the last week of His life, had added new meaning to this ancient ritual. -128- WE WOULD SEE JESUS AN EASTERHYMN FESTIVAL presented by the five choirs of Dallas, Texas, April 6, 1958

This is a service of hymns and readings from the Scriptures. It is a simple service, and may be easily a pattern for use by any church, small or large. Done with finish, style and a sense of the dramatic, it would be most effective. Possibly a hymn or two by choirs and congregation should be added. In the following outline of the service, the explanatory notes were taken from--Lyric Relig- ion by H. Augustine Smith, Fleming H. Revell Co., from Canyon Hymnal For Boys & Girls, Canyon Press, Inc., from Our Hymnody by Robert G. McCutcheon, Abingdon Press. The Scripture passages and tl-e poem were presented as choral speaking by various choirs, or by individuals. Different choirs, or groups of choirs sang the various hymns. The service included an organ prelude, invocation, prayers, offering and benediction. The Procession Hymn was All Hail The Powers Of Jesus Name. Here then is the outline--- Hymn-We Would See Jesus Based on the life of Christ, each verse tells of a different period, His infancy, His childhood, His teaching ministry, His healing ministry, His resurrection and presence in our lives.

HIS INFANCY

Scripture - Luke 2:8-16

Hymn - There's A Song in the Air

Chorale - Ah, Dearest Jesus, Holy Child J.S. Bach Chorales, or "simple songs" were written during the Reformation to offset the difficult church music of that day. Martin Luther, the author of this chorale, was known as the "Apostle of the Reformation" and the "father of congregational singing". The tune, an old German melody, was sat to a chorale arrangement by Bach, who, like Luther, wanted all the people to have some part in the singing.

HIS CHILDHOOD

Scripture - Luke 2:40-51 - Luke 2:52

Hymn - 0 Sing a Song of Bethlehem . . . • • • . The verses of this hymn take us through the life of Christ, from Bethlehem to Calvary. The old English melody was arranged in 1906.

Hymn - 0 Master, Workman of the Race This hymn carries one back to Jerusalem and its Temple, to Nazareth and a carpentry shop, but it does not leave us there. With equal reverence and startling vividness, it brings one back from his journey to these far places to his own home and his own tasks in the challenging life of the present. And there it makes him see that, like the Boy and the Carpenter of old, it is the noblest work, our Father's will to do. -129- HIS TEACHING MINISTRY Scripture - Matthew 5:1-12

Hymn - Saviour, Teach Me Day By Day . . . . • . The author of these words was Jane Leeson. It was said of her, "Love's sweet lesson has perhaps never been more beautifully presented to the young than in this little love-lyric of one who was pre-eminently gifted in writing hymns for the young."

Hymn - Fairest Lord Jesus . . . • • • . • . For almost 2000 years Christians have traveled to the Holy Land, where Jesus' life on earth is very real to them. This hymn is at least 300 years old, and it is believed that it was sung by German pilgrims on their way to Jerusalem, where they could walk in the very streets where Jesus walked; visit Bethlehem where He was born; and sit beside the Sea_of Galilee where He taught His friends.

HIS HEALING MINISTRY Scripture - John 9:1-38

Hymn - Immortal Love, Forever Full The long poem; "Our Master", from which this hymn is taken was wz±tten in 1866 by John Greenleaf Whittier. Peace had come again to the land which had been deluged with five years of Civil War, The words reflect the poet's deep, abiding faith in the intimate nearness of God, in His "present help" in all the problems and perplexities of life, and the necessity of sincere and genuine obedience to Him as the highest expression of devotion. Hymn - My Jesus, As Thou Wilt By the terms of the Peace of Westphalia, the Lutherans of Schweidnitz, Germany, in the early part of the 18th century had been hampered by many restrictions; they were allowed only one church, which was built of tim- ber and clay without tower of bells and erected outside the walls of the city. Benjamin Schmolck served the greater part of his life in such a situation. The hymn was founded on Mark 14:36, "Abba, Father, all things are possible unto Thee; take away this cup from me: nevertheless, not what I will, but what Thou wilt". It is a simple hymn teaching us to bend our wills in submission to Jesus, as Jesus bent His to that of His Father.

HIS TRIUMPHANT ENTRY Scripture - Psalm 24:7-10

Hymn - All Glory, Laud and Honor . . . • • • . . Teschner Eleven centuries old, this hymn was written by Theodulph or Orleans who was imprisoned in the cloisters of the Cathedral at Angers in 821. It was probably here that he wrote this hymn. Legend has it that a group of Choir boys sang this hymn from the prison yard during a Palm Sunday processional, and that the King was so pleased that he ordered the Bishop restored. HIS CRUCIFIXION

Scripture - Matthew 27:32-54 Hymn - There Is A Green Hill Far Away . . . . • • Sitting by the bedside of a sick child, Mrs. Cecil Frances Alexander -130- wrote these words. She had found difficulty in explaining tc her Sunday School class the meaning of the Atonement. Here) it is simply and beau— tifully explained. Hymn — 0 Sacred Head, Now. Wounded The tune was composed by Hans Leo Hassler in 1601 and harmonized by Bach in 1729. The poem is ascribed to St. Bernard of Clarivaux, a monk of the twelfth century, one of the most brilliant of the Latin hymn writers. It is the last of a series of seven poems on the crucified Saviour, each poem addressed to a separate member of Christ's body--feet, knees, hands, side, breast, heart, and head.

HIS RESURRECTION

Scripture — John 20:1-18

Poem — An Easter Reveille . • • • . Slater

Hymn — Jesus Christ Is Risen Today. • • • • • . .Traditional Melody Stanzas 1, 2, and 3 of this hymn were based on the Latin, 14th century. The 4th stanza was written by Charles Wesley, who wrote over six thousand hymns! The use of "Alleluia" after each line is in keeping with an early Christian custom. "Hallelujah!" was the usual salutation on Easter morn-- ing. The tune "Easter Hymn" appeared in Lyra Davidica, or a Collection of Divine Songs and Hymns, partly Newly Composed, partly translated from the High German, and Latin Hymns: and set to easy and pleasant tunes, for more General Use, London, 1708. Recessional Hymn — Thine Is The Glory . • • • • • . Handel This stirring victorious melody was written by George Fredrich Handel, also the composer of the oratorio, Messiah, which is so widely sung and loved at the Christmas and Easter seasons. The thrilling words of Edmond Budry set to this melody are a real tribute of praise to the risen Saviour!

FESTIVAL OF THE LIVING LORD By Norma Lowder Let all things seen and unseen their notes of gladness blend, For Christ, the Lord, is risen, our joy that hath no end. He is risen, He is risen, Christ,the Lord,is risenjour joy that hath nc eLld.

Unce again Easter approaches, and throughout the world Christian churches are preparing to celebrate the most joyous and deeply significant festival of the Christian year. Christian art, music and drama have focused upon this as perhaps on no other historical moment. One of our concerns as Christian educators direct— ing children's choirs is that of making this a significant holy season for our choristers, as well as a time of spiritual growth and development. To primary age children (6, 7 and 8), Easter is a time for remembering Jesus and a time for special gladness for those who love Him. Stories and songs about Jesus' life will be especially useful during this period. Primary children will know many stories of Jesus' life, and most of them will know the story of Jesus' death. For them, Easter will be centered in the Resurrection. Lowell Brestel Hazzard has suggested that emphasis be not on the "wonders, angels, empty tomb, —131— the appearing and disappearing Christ", but rather on the "wonderful fact that, after Christ died, His friends felt His presence."

Junior age children (9, 10, and 11 - the age with which many of us begin training of active choir stewards) will want to know the historical facts. While comparison of the story in the different Gospels will show a difference in details, they will be impressed with the fact that "something clearly happened that changed discouraged and fearful disciples to men of faith and courage" so that we may be sure that Jesus really did make His presence felt,

While the mystery of the Resurrection is one that we may never adequately explain, its glory is one that we must always celebrate. It is our responsibility to express through sacred music the festive faith necessary for boys and girls, men and women, to live in hope and joy. Perhaps now the reminder that life becomes eternal when lived in the service of an ever-living and Almighty God is more vital than ever before.

Surely Easter is a time of singing and of rejoicing. Children should have the privilege of studying and singing the hymns, which often express in words far better than we can say, of this most glorious season in all Christendom:

All Glory, Laud and Honor (St. Theodulph) Hosanna, Loud HosannTalacombe) Ride on, Ride on in Majesty (St. Drostane) Come, Ye Faithful, Raise the Strain (St. Kevin) Jesus Christ is Risen Today 737-Ter Hymn) Spring Has Now Unwrapped the Flowers (Tempus Adest Floridum) The az of Resurrection TLancashire) We Welcome Glad Easter (St. Denio) Jesus Christ Is Risen Today (Llanfair) Joy Dawned Again, on Easter LE (Puer Nobis Nascitur) as well as the many Easter carols to be found in "The Oxford Book of Carols" (Oxford University Press).

During the course of the several years that our children serve in a choir, each child should have the added privilege of singing anthems such as:

A Carol for Palm Sunday. arr. Curry. ("Anthems for Junior Choir, book 4", Westminster Press, 1959)

NowLet the Heavens Be Joyful. arr. Willan. ("Carols for the Seasons", Concordia, 1959)

The Whole Bright World Rejoices Now. Lovelace. ("Anthems for Junior Choristers", Lovelace. Summy-Birchard. 1960)

Easter Flowers Are Blooming Bright. Lovelace. H. W. Gray. 1959

Yes, Easter is a time of singing and rejoicing, a time of the assurance of an ever-present Help. Let us with joyous alleluias announce to all the world: "He is risen : Christ is risen indee !It

)

-132- E A•STER THE DAY OF RESURRECTION

by Leslie

Your boys and girls will ask questions concerning Easter, or you may wish to tell them bits of information from time to time about Easter. The following may be of help to you.

Easter is the oldest Christian festival; its observance began during the very earliest years of Christianity. There is nothing to be found in the New Testa- ment concerning Easter as such. It has been called the "queen of days", "festival of festivals", "the Sunday of joy". St. Paul in 1 Corinthians 5: 7-8 wrote, "Christ nur Passover is sacrificed for us; therefore, let us keep'- the feast" suggested certainly that Easter is not only the most important, but also the first of all Christian festivals. Surely, without the Resurrection, Chris- tianity would have no meaning, and be little different from other religions. Christ's Resurrection changed the custom of reckoning the days of the week. Whereas with the Hebrews, the Sabbath was the last day of the week because God rested that day from his labors of creation, Christ's Resurrection on the first day of the week, made Sunday a holy day, and gave special meaning to every Sun- day as a "little Easter", the occasion for remembering that Christ arose from the dead.

Because no one knew just when Christ did arise, serious disputes arose as early as the second century as to the proper date for the celebration of Easter. Fin- ally, the Council of Nicaea in 325 A.D. decided along with the doctrine of the Trinity, that Easter should come on the first Sunday after the date of the first full moon which comes on or after the vernal equinox which occurs on March 21. Easter therefore can come between March 22 and April 25 or on either. Three quarters of the Christian Church year calendar is thus determined by the date of Easter. Why this complex system was decided upon, no one seems to know.

Easter and Ostern, the English and German terms for the festival of the Resur- rection, come undoubtedly from the Teutonic Eostur which celebrated the spring sun from its winter sleep. Many of our Easter customs and observances derive from this festival of spring gladness, particularly our Easter egg customs.

Pacques, Pasqua, Pascua, the respective names for Easter in France, Italy and Spain undoubtedly derive through the Latin from the Hebrew name for the Pass- over, Pesah (he passed over). Pesah commemorates the act of the angel of destruction who passed over the houses of the children of Israel in Egypt when the first born of the Egyptians were slain in the last of the great plagues of ancient Egypt. Thus when the feast of the Resurrection came to be celebrated, it was natural to call it by the name of the earlier one to which it was so close in thought, Christ as the sacrificial lamb° When later Christianity reached the deep woods of the Teutonic peoples, it was natural for these to con- nect their own festival of the resurrection of the-sun in the springtime with the Resurrection of the Sun of Righteousness, Jesus Christ, and to carry over into Christianity, many ancient practises.

In order to assist worshippers in the early centuries of Christianity, distinc- tive Easter symbols were developed for most people could not read or write, and some had difficulty even-of understanding except through the pictorial symbols. The best known of the Easter symbols are:

LAMB OF GOD -- The lamb carries a resurrection banner or a white pennant with a red cross on a cruciform-.staff. When the lamb is standing up, it suggests the triumphant risen Lord. -133- BUTTERFLY is a symbol of the Resurrection and eternal life because it emerges from a tight cocoon with a glorified body able to soar into the sky.

PHOENIX is an imaginary bird resembling an eagle, said to live for 500 years in the Arabian desert, It makes a nest of twigs and spices which the sun and the fanning of its wings set on fire, He is consumed in the flames, but rises again from the ashes to live again.

PEACOCK represents immortality and eternity because it yearly changes it brilliant plumage. The peacock is a carry-over from pagan art; it was Juno's bird. St. Augustine had the belief that its flesh was incorruptible,

LION -- Young lions are fabled to be born without life. After three days, the lion howls over the little ones, and vivifies them by his breath. Thus God re- called to life, His Son who was raised from the dead on the third day.

LILY -- the Easter lily is a very recent common symbol of Easter used in worship services, particularly in colder areas because it comes into bloom about Easter time.

As previously stated, most of our present-day Easter customs derive from pagan practises. It is considered unlucky by many to omit the wearing of at least one article of new clothing on Easter day. The superstition comes probably from England --the putting on of new life through new clothing.

Another idea which persisted until recent years holds that the sun dances on Easter morning. The idea probably stems from Scotland where people watched the sun rise in the morning; saw the reflection in their numerous bodies of water. Any movement of the water would seem to reflect the dancing of the sun.

The custom however Which has not only persisted with the greatest tenacity, but has grown, is that of colored eggs. The egg is a symbol of fertility. In the philosophy and theology of the Egyptians, Persians, Gauls, Greeks and even Ro- mans, the egg was an emblem of the universe, the work of a supreme deity. The Jews used the egg in the feast of the Passover as a part of the decorations on the table. Christians adopted the egg as an emblem of the Resurrection because it contained the element of future life. The egg was colored to signify the fes- tivity of Easter following the Lenten days of abstinence. Mediaeval peoples made much of Easter festivities, and often carried these too far.

I remember well as a boy3 an Easter egg custom which my father brought from Ger- many. It was a game, played generally in deadly earnest with my younger brother, and the other youngsters of German background in the neighborhood. I recently learned that the game was played in early England, and comes originally from the early Christians of the Middle East. The sport consists of striking the end of an egg against the corresponding end of another egg belonging to the opponent. The ggg which breaks is won by the owner of the egg which struck it. Immediate- ly another egg is pitted against the first winning egg, and so on until all available eggs are won by someone. The winning eggs are of course those which have a harder shell, Nowadays, the game could probably not be played forhens grown by present day poultry methods, lay eggs with soft shells.

The idea that a rabbit lays colored eggs seems to come from Germany. The story runs something like this: Many hundreds of years ago, a very good woman of the nobility was obliged to flee her castle into the country to seek refuge- She was well treated; however the people were very ppor, and had so very little to share, not even eggs for there were no hens anywhere around. Accordingly, when she sent her old man servant to gather news of his master, she instructed him to bring back some chickens. When Easter approached, she was anxious to give the village children something, but had nothing but eggs. She decided to color them with the mosses and roots to give them a variety of brilliant colors. She hid the eggs in little nests in the woods, and invited the children each to find, after church, a nest of colored eggs. The youngsters exclaimed that it was wonderful for the hens to lay such unusual and pretty eggs. "0 no," exclaimed a little girl, "hens could not lay such eggs. I think it must have been a little rabbit which sprang out of the juniper bush where I found a nest." The children kept repeating this idea until they believed it.

How much truth, how much fiction, there is in this story, I cannot know. However most folk customs are a combination of truth, fiction and imagination. In some places, the various colors of the eggs have meaning such as red to signify the blood of Christ. Ever so much interesting tellable material about Easter may be found. This little resume should start you off on a most rewarding sesrch of your own. What better way to close than with a little poem which you may easily adapt to the Easter message:

THE LITTTF PLANT

In the heart of a seed The little plant heard, Buried deep, so deep, And it rose to see A dear little plant What the wonderful Lay fast asleep. Outside world might be. --Kate L. Brown "Wake:" said the sunshine "And creep to the light," from "The Plant Baby and its Friends" 'Make!" said the voice Silver, Burdett & Co., Boston & New York Of the raindrops bright. NO/ [nr- PCP nOr-D-Th D Pri 6S3 LL1 EASTER EGG TREE By Nancy Poore Tufts

WHY NOT AN EASTER EGG TREE?? Will you join me in reviving, encouraging, and promulgating this charming and traditional Easter custom?

The ancient practice, going 'way back to pagan times, of decorating and coloring eggs as symbols of the blossoming season, became, for the Early Christians, a symbol of the resurrection. Christians saw in the empty or apparently dead egg a happy symbolism of the empty tomb from which Christ had risen to new life in glory.

Little wonder then that it became a family tradition, especially in Western Europ- ean countries, to decorate lavishly, blown eggs as well as wooden and china eggs which were carefully preserved and even venerated. Artists and craftsmen were inspired to design wonirous and fanciful egg-shaped objets d'art. Fabulous exam-- ples of this art are the Faberge Easter Eggs, created for the Russian Czar Alexr- ander III, of which 53 are in the possession of the Kremlin, Metropolitan, and British Museums, and of private connoisseurs.

The Pennsylvania Dutch are keeping alive today the old-world custom of the Egg Tree. In many homes the eggs are kept from year to year and added to and improved each Easter season just as you and I might add to our Christmas Tree ornament collection. The traditional German Egg Tree was also decked with wild-bird eggs as well as hen, goose and turkey eggs - all carefully colored and decorated and hung by ribbons or wires, or impaled on ends of twigs. Decorations might also include cooky figures (usually birds, rabbits, lambs) and tinsel. Under the Tree is inevitably a magnificent Easter Nest presided over by a huge rabbit or lamb. Large -135- trees, both family and community, are often outdoors. The Berks County Histor- ical Society has revived the custom of Reading of annually decorating a 10-foot Egg Tree with 1400 eggs.

The Metropolitan Museum of New York City and department stores in New York and Washington displayed large Egg Trees last season. In fact; the Metropolitan Museum now has a pamphlet on "Easter Eggs - 25 Designs" available for 250. Cur- rent magazines invariably carry attractive egg-decorating articles and pictures in the Spring. But Who needs to tell children how to decorate Easter Eggs? Turn them loose with dye and glue, ribbons, pipe cleaners, glitter, sequins, artific-. ial flowers, and odds and ends of tulle, mesh, braid, rickrack from the sewing basket!

Last Spring, "egged" on by my enthusiastic Junior Choristers, I made my first Egg Tree. Although it would not have been difficult to have cut a good-sized bare tree or a large branch and brace it in a bucket of rocks or sand or a Christmas tree holder, I decided to start out with a table model. I found a big wicker florist's basket with handle, though a vase would do, filled it with rocks and stuck in several large bare branches having lots of twigs. I painted basket and branches a dreamy pink, tied huge pink bows around basket and perched on the handle, and covered the rocks with green paper grass...I had•previously asked the Choristers to save eggs for several weeks. A number of them did so, and regularly "blew out " breakfast eggs through pinholes,replacing the shells in egg boxes. The Choir held several decorating sessions following rehearsals, and the results were "fabulific". We preferred hanging the eggs with narrow pastel ribbons of varying lengths...An attractive nest with huge paper folding eggs was arranged around the base of the basket. Vases containing long branches of forsythia and flowering peach blossoms filled in the background.

The whole effect was exquisite; the children were enthralled. Many pictures were taken, and the Egg Tree was borrowed by other organizations intthe Church for meetings and parties. It was of course the center of attention at our annual Junior Choir Easter Egg Hunt and Mad Hatters Party. When the Tree was dismantled those wishing to save their eggs carried them home in egg containers. (Eggs should have marks of identification.) Several families announced the intention of starting the custom of.a family Egg Tree.

Although my initial effort was somethat of a party decoration venture, there were no Disney-like or cheap effects, and we tried to keep it tastefully festive. The Egg Tree is a delightful part of the observance and celebration of Easter, and deserves a place in our culture. WHY NOT AN EASTER EGG TREE??

EASTER EGGS! Easter eggs! give to him that begs! FOR CHRIST THE LORD IS ARISEN. To the poor, open door, something give from your store! Those who hoard can't afford - moth and rust their reward! Thesee,who love freely gisee, ong and well may th vel4 =Eastere tid , like a bride, come ,and won't be e ie0 \(from Russi National 1877) 0

/64T}

-136- '27 D 11-

CHORIST.ERS GUILD

BOOKSHELF

RECENT ISSUES

"THE ART OF HANDBELL RINGING" by Nancy Poore Tufts, to be released March 13, 1961 by the Abingdon Press, price $3. Historical novels are written by authors who have done ag-eat deal of reading and research, out of which comes a story. Scientific books are often based on theories which may or may not prove to be valid. Here, however, is a book which is neither theory, nor based on reading. It has grown out of many years of a rich experience with Handbells) and Handbell playing groups. Mrs. Tufts labels her book a manual. It is just that for it is a small, 112 pages which will help its readers to understand and use Handbells. She writes in an easy manner, clear and understandable. No padding will be found any— where. In this manual Nancy Tufts is completely herself, energetic, forceful and friendly. Since Handbell groups are springiag up seemingly everywhere, this little volume will prove a boon to the growing number of Handbell directors who have no one to help them get started, and to keep on going. The Art of Handbell Ringing is especially for them,

"THE HYMN AND CONGREGATIONAL SINGING" by James R. Sydnor, published last year by the John Knox Press. Richmond, Virginia, price $4.50, Congregational singing seems ever to be in a parlous state. It is like New England weather--nearly everyone talks about it, but no one ever seems to do anything about it. Here at last, however, is a book which does something about congregational singing. It out— lines carefully and best of all, sensibly, how congregational singing may not only be improved, but restored to its very much earlier state of dignity, instead of being used often as a stop—gap while the minister asks that the windows be raised to air out the room. The book is equally at home in the hands of a lay— man, minister, professional or amateur musician. Each may be equally inspired and helped. Dr. Sydnor brings to the book many years of experience as a practis— ing Church musician, and teacher of Church music. His background is evident everywhere in his book which is straightforward and to the point. Two quotations may serve as a theme of Dr. Sydnorts book. "Public school music education is based on the use of music of superior quality. The Church should do no less", and "The choirs are committees of the congregation charged with the responisibil— ity for the music of the service of worship, Although the singing of anthems and 'special' music is important, the prime responsibility of the choirs is the leadership of congregational singing." Best of all for Choristers Guild members, the book offers children's choir directors ways and means of developing hymn studies with children.

"MUSIC AND WORSHIP IN THE CHURCH" by Austin C. Lovelace and William C. Rice, publish— ed about a year ago by the Abingdon Press, price $4. We have had numerous books about Church music for church musicians) and books about Music In Worship, Here —137— though is a volume which combines the twc --Music And Worship. Written primarily for the lay people who generally comprise music committees, the book offers much, indeed very much, to the minister and musician. The authors are dedicated, experienced, practising Church musicians who have distilled the results of their thinking and work into this eminently helpful and practical volume. They touch at least every phase of Church music even to the inclusion of a Glossary of ecclesiastical and musica, terms for the understanding of the layman, and maybe, even for the musician. Every church musician must own a minimum shelf of books about his craft. Music And Worship by Lovelace and Rice ought to be on it.

"WORSHIP PROGRAMS FOR JUNIORS!' ry Alice A. Bays with Elizabeth Jones Oakberg, published last year by the Abingdon Press, price $3. Very often children's choir directors need worship materials, and experience difficulty in finding something suitable. This book is one answer. Perhaps the best recommendation the volume can be accorded is by implication only, and is found as the first paragraph of the preface to the book. Here it is quoted--"Leading boys and girls in worship is one of the greatest privileges that comes to a teacher. The way juniors think about God and their relation to Him affects all life. The brief moments when God speaks and reveals new insights are significant. The task of the leader is to enhance and make vital these experiences with God."

!TOYS!! by Roscoe Gilmore Stott, published by The Standard Publishing Foundation, Cincinnati, price $2. This manual published several years ago is a MUST for study by every director of any boys' group. Particularly should women directors of boys in choirs use it as a constant working guide. The sub-titles: Know Them, Teach Them, Lead Them--give a fine clue to the nature of the little manual. Mr. Stott has been a successful Scoutmaster for many years; his mel- low wisdom in the handling of boys, and his love for them are apparent in every page. Probably one real reason the manual will be so helpful is that the author approaches his subject as a dedicated Christian. The author includes his belief in the efficacy of music in the life of a growing boy. No book can pack more helpful advice in it to the teacher of boys than this one entitled simply "BOYS". Buy it, study it, and be humble and proud of your role as a leader of boys.

"ARMED WITH COURAGE" by May McNeer and Lynd Ward, published by the Abingdon Press in 1957, price $2.50. Here is a helpful bock for your work with young people. The stories may easily be adapted for use with children. The seven persons, Florence Nightingale, Father Damien, George Washington Carver, Jane Addams, Wilfred Grenfell, Mahatma Ghandi: Albert Schweitzer come to life to challenge both youth and adults. It is the story of how these broke down barriers of poverty, ignorance, disease and prejudice. ;-**==.----)(**==.---)Ht-g----=•-=-3:--3;*===)(--)8(-=--=g-M1-==--.)80C==i8HE-===3,SHE-===***

A MISCELLANY OF TEACHING AIDS AND MUSIC

Quite some years ago, Dr. F.L. Whittlesey of Dallas dreamed up a series of ideas which were carried out in poster form drawn by Mary Elizabeth Montgomery, also of Dallas. The posters were for us: of the choirs of Highland Park Methodist Church. When Ruth saw them, she immediately sensed their uniqueness, and requested permission to use them in the Choristers Guild Letters of 1953-54 and 54-55. Dr. Whittlesey provided the posters as a gift to the Guild. Now many of the ideas of the posters, )plus a great number of new ones have been expanded into a series of sixteen posters available from any Cokesbury Store for $1.75. They are excellent visual aid teaching material. Most of the material on the posters is understandable to children. You should own a set at least for your Choir Room bulletin board. A new recording by the Obernkerchen Children of Germany entitled, Wandering will -13g-

(A Miscellany of Teaching Aids and Music continued) help you to determine just what is beautiful, lovely childrents tone. It is an Angel recording #35839.

Another excellent record for both the director and children to listen to is a recent one entitled Singing Children by a group of boys and girls under the direction of Mabel Stewart Boyter. The record is put out by Word Records, Inc. eg -3130-LP. Twenty-eight hymns and songs known and sung by children across this vast land are on the record. Mrs. Boyter is well known to Guild members from the many seminars she has participated in under Guild auspices especially in Primary Choir methods. If there is one little quarrel I have with the recording it is that the piano should have been much more in the background. It is however a small dispute considering the excellency of the singing.

Some time ago, Mabel Nelson Rutenbeck compiled and arranged The Cherub Choir Booktl which was published by Flammer for the price of $1. This little folio will bear your close examination when looking for material for your Primary Choir. A most helpful set of Preparatory Notes is printed at the beginning.

A most interesting, instructive and all together delightful filmstrip with a record, fifteen minutes in length, entitled "You Can Make Music" is available FREE from the American Music Conference, 332 So. Michigan Avenue, Chicago 4, Illinois. There are no strings attached to the offer. All you do is to write to the Con- ference stating at least three choices of dates for showing, and wait for a con- firmation.. Then you pay the return postage only. While the film stresses instrumental music, singing is given a boost as well. The film helps to give music making prestige. The film will interest primaries, juniors and junior-hits. The American Music Conference will not attempt to sell you anything. It is an indus- try organization to promote music making, particularly among children. The Con- ference is supported by the various music instrument makers. By all.means, show this filmstrip to your youngsters; they will love it, and so will you. I almost forgot--a little booklet of instructions and suggestions comes with the confirma- tion of your request.

In recent years, Concordia. Publishing House, St. Louis, Missouri, has made available several extended choral numbers which the firm entitles) A Chorale Concer - tato. Two in particlOar have been successfully used by Guild members, one, Praise To The Lord by Harold Rohlig based on the well known hymn and associated tune of the same name, Praise To The Lord. Flute and trumpet parts are available. The piece is Concordia #97-4423. Another is based on the hymn-tune Duke Street, is entitled, I Know That My Redeemer Lives, is arranged by Paul Bunjes, and has a trumpet part. This is Concordia. #97-4434. Now another concertato is just issued entitled All Glory Laud And Honor, based on the stately chorale melody, St. Theodolph. The arrangement is again by Paul Bunjes„ and is indicated for Choir, Congregation or Junior Choir, Trumpet and Organ. This would make a thrilling number for a great Palm Sunday service. While it is already late to begin preparations for Palm Sunday music, yet this arrangement is fairly easy, and has the advantage of course of a well known melody. By all means, examine the piece. 7-1 I-1 n J._ - r) CCK) LJ Li L1 1~ _)\ „?Li ALL IN THE FAMILY

DR. & MRS. JAMES CARLEY and three children of Indianapolis, Indiana where Dr. Carley is a faculty member of Christian Theological Seminary, spent the summer of 1960 on the island of Puerto Rico. The Carleys have been members of the Guild for several years. Isabel Carley wrote recently of their experiences. Following is the major portion of her letter which will undoubtedly quicken your understanding of the power of music. (cont td next page) -139- (All in the family continued) "....We went under the sponsorship of the United Christian Missionary Society to work in the Disciples Churches. Provision was made for hcusing and transportation by the Junta or Board of the Disciples Churches in Puerto Rico. 'Workshops in five different areas on five consecutive nights of each of five weeks had been set up before we arrived. We spent two weeks at children's and young people's camps in between weeks of workshops. The summer's work finished with a week of five local festivals, and one all-island festival. "The children went too--Elizabeth 16, John 15 (these both celebrated their birthday anniversaries while there) and Anne 7. They were a great help in all the workshops, since all teaching had to be done by rote, one phrase at a time, one part at a time. Fortunately, we have a family quartet; the children could sing their parts until the islanders had learned their parts. We did a lot of performing as a family too--in church services, in the festivals, in camps and on TV. Anne was a great hit singing along on Bach, Mozart, Schuetz, whatever was happened to choose. "We found the people very friendly, very responsiVe„ very musical, and we made lots of friends. We enjoyed working with them, and gave many private lessons too. I did some teaching in a private school belonging to one of the churches, and I played the organ for the first time in my life simply bedause there was none who could play better. Even the churches which have organs, use them chiefly as pitch pipes. We met four directors only who could read music at all adequately, and one reasonably competent organist. And the Disciples have 52 churches in the central metropolitan area--the largest membership of any of the Protestant churches on the island. 'The main problem is musical illiteracy. I did what I could in the workshop sessions, but they are accustomed to the Spanish system of a stationary Doh. There is no material available in Spanish so I had to invent my awn approach. I'm working on some theory papers for them to use. The Do Re Mis of the Choristers Guild proved most useful to several directors whose English was adequate, so useful indeed that we never got our own copies back. "The other big problem is a lack of good music in Spanish editions. A few enterprising souls in Mexico and Puerto Rico have made their own translations of a few favorites, but there is nothing or little except a dozen or so good hymns in each of the Spanish language hymnals. Jim and I have undertaken to make available an inexpensive collection of hymns, service music, and simple anthems. Our Spanish however is rudimentary and we need some skilled translators to help with the texts. Can you think of any in the Guild? "Before she died, your wife said there would be $25 available for use in Puerto Rico on our recommendation. Is it still free--Guild memberships for outstanding directors, and sets of the ABCs of the Do Re Mis plus a copy of your wife's books for the Seminar Library, and for the Music Committee of the Junta?"

My, what a fruitful and exhilarating summer, but also, what work. But then: we are best off when we are doing something for others. Of course the Guild is interested and will supply whatever Mrs. Carley thinks will help, How about you for translating? - - MRS. LEWIS H. FIGH,JR., minister of music, First Presbyterian Church, Montgomery, Alabama-- "Thank you again and again for the fresh ideas and new material we are al» ways finding in the Guild Letters. We tried something simple and effective last rehearsal with the juniors--I'm sure others have used it to advantage before. I typed a list of questions about all the areas of notation, rhythm, choir procedures and the like which we have discussed since last September. I cut, folded and then put them in a shoe box. The choir was numbered in ones and twos to make two teams. Our January Service Cross winners were the captains, (Inciden- tally, in each choir: a boy and a girl are chosen by the choristers themselves by secret ballot to wear the Service Cross each for the church services for which that parMeillar Choi r .sings iarh month. Only without .1nexcused absences (All in the family continued) whr have complete assigned work, are eligible). Our two choir sponsors kept score; the captains drew the questions and read thorn in turn to whichever boy nr gir? was next on his side, I do believe that the children learned more music in those twenty minutes than they would have with sixteen lectures by me--and it was so much fun:" — — — MRS. STELLA PARSLEY, Saugus, California. "Last September, I started a children's choir, and joined the Choristers Guild. I am a member of the Santa Clarita Meth— odist Church. At the time, we were meeting in the Mint Canyon Community building. I took the work with much hesitation. The firxt meeting, we had twenty—five boys and girls, and the number stayed that way through Christmas. I had no music nor money to start with. Ten new members have come in since Christmas. I know that you will be glad to hear of a new children's choir which, started under difficul— ties and was small, but has achieved some measure of success, We are the only children's choir in this district."

Mr. and Mrs. Parsley were members quite a few years ago of the large choir I con— ducted during my tenure as minister of music of the First Congregational Church, Los Angeles. Stella Parsley, now a widow, urgently felt a need for creative work so she moved out into the country, built a small home, and found herself this op— portunity to lead children in singing in her church. She is no longer a young woman, but she has gumption and perseverance; these together with her background in music have enabled her to feel that life again is not in vain. Others can do the same.

HELP! HELP: MRS. J. STANLEY COBB, JR., Martinsville, Virginia wrote-- "Your Letters are marvelous --and such a help to our struggling choirs. Have you something to say about hymn—playing in the Church School. I think it is disgraceful that only a few adults can play hymns that can be sung to — —and almost no young people can play. I've considered having a group session including all teen—agers who could if they would practise in how to play hymns for singing. What are your suggestions?"

Does this sound like your complaint? How do you meet the problem? Please write so that a composite answer may be soon printed in the Letters, — — From a MEMBER who wishes for obvious reasons to be anonymous-- "You will get a chuckle out of this one--the two graded choirs were appalled at how much the members of the adult choir talked during joint rehearsals--and some even chewed GUM. Mrs. what's the matter with them???? I daresay that with another ten years, our Sanctuary Choir will be better mannered, What would we do without the hope for the future we are building through our children's choirs. Sometimes the only way to deal with an old heritage is to raise a new generation. It is a very real spiritual challenge."

MRS. WILLIAM E. COX, wife of the pastor, Evangelical Lutheran Church, New Am— sterdam, British Guiana, South America, a Brotherhood of Song member-- "I have been here only two and one half years. I started a youth choir (9-14) soon after arrival. It has been a truly rewarding experience, and your helps have been a bright spot since lack of materials and new ideas is sadly lacking in such an out of the way place as ours. "These children have no music in their school life; so the church has a great opportunity. Their system of teaching in the schools is merely memorizing and repeating aloud in all subjects. This is a blessing for the choir director who must of financial necessity teach all by rote with a few words via a large cardboard clipped to a masonite board. They have learned a few three part things with amazing swiftness considering their lack of training and opportunity. There is also a good opportunity for using a speech choir and drama. Every harvest (their Thanksgiving), Easter and Christmas means a special service, whether —141—

(All in- the family continued) pagennt, play or musical worship service. "It is interesting to note that of my thirty—five children, I have Negro, White, Chinese, East Indian, one aboriginal Indian, and some who are various mixtures. With all their differences, their problems are much the same as ev— erywhere else--mischievous boys, monotones, etc. The commonest excuse for ab— sence is rain and no shoes. "In November, the children walked three miles and stood for an hour and a half to sing for an open air service accompanied by a field organ. At Christmas, they gave a special service at the public hospital. They were also asked to sing for the celebration of Guiana culture week. of these extras add interest, but the primary task is to make dependable Christian men and women of them, and the choir brings them into the church. Most of them come upon their own initiative since' Christian family life here is on a very low level." •.--

CHORAL SPEAKING

I MEDITATION FOR LENT • • . • • • UNISON: God is love; and he that abideth in love abideth in God, and God abid— eth in him .

We love him, because he first loved us . . . And this commandment have we from him, that he who loveth God love his brother also . .

LET US EXAMINE OURSELVES AND SKI4, IF WE ARE PERFECT IN LOVE --

SOLO VOICES OR ALTERNATING GROUPS:

Love is patient and kind (Silence after each sentence.) Love is not jealous or boastful. Love is not arrogant or rude. Love does not insist on its own way. Love is not irritable or resentful. Love does not rejoice at wrong, but rejoices in the right. Love bears all things. Love hopes and endures all things.

UNIS) N: LOVE IS OF GOD. EVERYONE THAT LOVETH IS BEGOTTEN OF GOD AND KNOWETH GOD, FOR GOD IS LOVE.

II KEEPING LENT

UNISON

Let me keep Lent. Let me keep Lent. Let me not kneel and pray, Let my heart grow in grace, Forego some trifle every day, Let my light shine, till my illumined face Fast, and take sacrament — Shall be a testament And then lend tongue to slander, Read by all men. Hold ancient grudge, deny Let hate be buried, and self crucified — The very Lord whom I would glorify! newborn The spirit that shall rise on Easter morn. --Unknown Contributed by Nancy (Poore Tufts) —142— OKLAHOMA CITY

and its friendly fellow members of the Choristers Guild Family

BECKON and INVITE YOU

to attend the annual SUMMER SEMINAR of the

CHORISahRS GUILD

June 19-24, 1961

The faculty headliners:

HELEN KEMP will conduct the work at the Junior age level; lectures on methods and materials and the demonstration groups.

CECIL LAPO -- Choir notebooks and visual aid materials

JOHN KEG -- High School Age Choir Methods

NORMA LOWDER -- Bell Trends and Class in Handbells

AND

someone for work with the Primaries whose name cannot yet be announced, who hopes to re—arrange her schedule--someone you all know -- someone who will inspire you.

Special Interest Lectures on Dramatics In The Church Christian Art For Children Special Events Display of Great Christian Art by the Colonial Art Company, the largest art dealer in the world.

Performance of "Noyes Fludden, the Chester Miracle Play set to music by Benjamin Britten.

All sessions will be held in the First Presbyterian Church.

Housing will be available 5 blocks away in the dormitories of Oklahoma City University at the reasonable rate of $2.50 per day, two to a room.

Tuition (yet to be determined) will be reasonable.

AN EXCITING WEEK A PRACTICAL WEEK A PROFITABLE WEEK AN INSPIRATIONAL WEEK

Plan now to be in Oklahoma City June 19-24, 1961.

Better yet, send in your reservation to Leslie Jacobs Choristers Guild Box 211, Santa Barbara, California —143— THIS 'N THAT

Those in the Los Angeles area will want to hear the Junior Choir Festival to be held in the First Presbyterian Church, Glendale on Sunday Afternoon, March 5, 1961 at three-thirty. Muriel Alford, guest conductor. It is always a very fine event.

An increasing number of churches celebrate Holy Communion rn Maundy Thursday. Your boys and girls will want you to tell them what the term Maundy means. Maun- dy Thursday marks the night in which Jesus Christ instituted His Holy Supper, and commanded His disciples--"This do in remembrance of me," Our Communion cele bra- tion is then an outgrowth of the Jewish Passover Feast. Maundy is a corruption of the Latin verb, mando, which means to command, to commission. Children are also confused by the term Good in Good Friday. In olden English, good meant hcly, rather than the meaning of beneficial, right, proper, etc. Thus our designation really should be Holy Friday.

Certificates of Membership in parchment paper with the signature of our new president, Nita Akin, are now available at 64 each in quantities of less than one hundred; 50 each for more than that number. These are used by many directors at the time of choir graduation exercises, or to give those youngsters who have not earned a Choristers Guild pin for some reason or another. They are 5 x 7 inches in size, and have been very widely used.

OUCH--, a wrong note. Probably most have discovered a wrong note in A Spring Carol which was the music supplement of the January issue of the Letters. Look at page 2, second line, third measure, vocal line, last note--the c should be a b flat. Printing music is a tricky business. If you have discovered other mistakes which as yet have been overlooked, please write in immediately.

Upon invitation of the Morse M. Freeman Co., music sellers of Los Angeles, I conducted a Materials For Children's Choirs Workshop in Los Angeles on January 31, and in San Francisco on February 11. Both were attended by sizeable enthusiastic groups of directors, Yes, the children's choir movement is growing. Better materials is one answer.

Two composers with whom your youngsters are undoubtedly familiar to some degree have birthday anniversaries this month. Johann Sebastian Bach was born in Eisen- bach, Germany, on March 21, 1685; Franz Josef Haydn was born in Austria on March 31, 1732, the same year in which George Washington was born. These occasions can be used by you to help your boys and girls in their upward path to musical literacy. Only a few words about each are necessary--perhaps something about the young Bach and his experience with his older brother, and perhaps the Haydn Surprise Symphony story.

It is reported that a movement is afoot to organize on a national basis the musicians of the Christian Church which is I believe, the Disciples of Christ denomination. A preliminary meeting was held recently in Lexington, Kentucky. Appar- ently the Methodists started something with their NaFOMM, This new venture is another hopeful sign for the coming of age of Church music in this country.

The JOHN KNOX PRESBYTERIAN CHURCH, Tulsa, Oklahoma, of which James Stewart Boles is minister of music, prints the following in the Sunday bulletin each week: "THE JOHN KNOX PRESBYTERIAN CHURCH lives to do three things:--to introduce Jesus Christ to those who do not know and love Him; to deepen the faith and commitment of those who already know Him; to demonstrate Christ's way of love and service in the world." That just about covers the mission of the church, doesn't it? —144— lT (S erRE To/FuL EASerEgerifftE oLID eot2Alt St-4 eARcIL we.K.DS 8I A MA NiczEZ 61/4I A . m. t LK1ER - BARRY act-U.1 BuRKE, FROM CKIAE gmilftc4Rt. Ea& &NS am]) 618112. —21.Afft.gre•a-cF.Astabi

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1. 0 ' OIT 4 TALKING IN THEIR SLREP "You think I am dead," The apple-tree said, "Because I have never a leaf to show-- Because I stoop, And my branches droop, And the dull gray mosses over me grow! But I'm alive in trunk and shoot; The buds of next May I fold away-- But I pity the withered grass at my foot." "You think I am dead," The quick grass said, "Because I have parted with stem and blade! But under the ground I am safe and sound, With the snow's thick blanket over me laid. I'm all alive, and ready to shoot Should the spring of the year Come dancing here-- But I pity the flower without branch or root." "You think I am dead," A soft voice said, "Because not a branch or root I own! I never have died, But close I hide In a plumy seed that the wind has sown. Patient I wait through the long winter hours; You will see me again-- I shall laugh at you then, Out of the eyes of a hundred flowers!" Edith M. Thomas (Used by permission, Houghton, Mifflin Co.)

CHORISTERS GUILD LETTERS Volume XII 1960-61 April Number 8 Arthur Leslie Jacobs, Editor Norma Lowder, ABsociate Editor Helen Kemp and Nancy Poore Tufts, Contributing Editors Published for its members by the CHORISTERS GUILD Box 211, Santa Barbara, California Copyright (C) 1961 Choristers Guild —145— IVORY TOWERS Ivory towers are easy and simple to build, They are most comfortable to live in. From them, the cufroanclilig- scene of hustle and bustle; problems and heartaches, mistakes, failures of others, may be viewed with lofty detachment. To pontifi- cate from them gives the dweller a sense of well being and of service to others, Pronouncements from these towers seem to take on an air of profundity and solemn truth. Everyone builds at least one Ivory Tower for himself. Living therein may be a simple escape. Within everyone of us, there dwells some of each of the Pharisee and of the Publican. The Pharisee from his Ivory Tower observes his fellow beings as doing everything the wrong way, and proceeds to put matters aright by his, "If you had done it this way". When the Pharisee comes to himself, he realizes the sinner he is, and possibly actually may be of great service to his fellow man for the Pharisee may be basically a great soul and a brilliant individual. The editor of such a publication as the Choristers Guild Letters runs the con- etant risk of building and living in a high and well nigh impregnable Ivory Tow- er. The Pharisee complex becomes strong. Ruth, while being a natural leader, attempted always to think and live as an active, practising diredtor of children's choirs.Her almost constant travels kept her in touch with conditions and situations. She was thus enabled to live at a ground level for lengthy periods. It is not possible, at least yet, for me to travel as she did. Some years ago, I gave up my own active church music work in order to assist Ruth in the leadership of the Guild, Now that she is no longer with us at least in physical person, the responsibility for me is a gigantic one, Ruth and I conferred constantly across our adjoining desks. Now I must largely confer with myself. A better way must be found, and I look to the taking on by a group of younger leaders, more and more responsibility. In order that my Ivory Tower residence experience would be tempered by the real, the actual; I accepted the pleasant responsibilities of the superintendency of the Junior Department of my own Sunday School in Santa Barbara. Therefore for a small part of the week in the preparation for and the carrying out on Sunday of my dutes, I am in the realm of younger boys and girls. I like them; the atmosphere around them is wholesome and refreshing. They lift my spirit. Further, my neighborhood abounds in youngsters who come often to visit me. Their visits whet my thinking Further, I keep in contact with as many nearby childrens groups as possible, and of course, my reading is constant. Thus am I able to step down and out of my Ivory Tower at times. Yet an Ivory Tower existence is a necessity at times, particularly when it results in the positive and not in the condemnation or contempt of what goes on underneath. Meditation and dreaming are necessities at times in order to gain perppective and vision. Without these qualities, the Choristers Guild Letters would be without spark. I earnestly hope that the Guild Letters have much of the practical, earthy qualities in them as well as some Ivory Tower inspiration. This bit of writing probably will be of little use to anyone; it has given the editor an opportunity to think aloud. The writing specifically grows out of my contemplations as I look up from my desk and see through the windows and through the clear atmosphere of a cloudless blue-henvened sunny day, the four thousand foot peak, La Cumbre, and the lesser heights of the Santa Ynez mountains. I can say with the Psalmist, "I will lift up mine eyes unto the hills from whence cometh my help, My help cometh from the Lord" etc. So, I am thankful for God's Ivory Towers to help me in my responsibility of Guild leadership in the Letters. Earnestly, I request your prayers and helpful thoughts. „n WHAT WOULD YOU DO TO MAKE YOUR TEACHING OF CHRISTIAN EDUCATION THROUGH CHILDRENS! CHOIRS MORE EFFECTIVE? By Robert E. Scoggin

One good means which is available to us as directors and teachers is a more co- prehensive use of audio-visual aids. Nearly 400 new A-Vs (church related) are now produced annually, many which can be bought as well as rented.

What kind of audio-visual library now exists in your church?

It is recommended that each church compile its own A -V catalogue for church workers as your own A -V library grows.

Surely we would all agree that A-V aids should not be ends in themselves, but means or helps for carrying out the purposes or goals which we hope to accomplish in our teaching and singing while working with children, youth and adults.

To be able to see and/or hear songs, characters, seasons of the year, etc., illustrated can mean so much more to children in their learning process, perception, understanding, appreciation and accomplishment.

Sometimes we simply cannot find the kind of A or V aid that we need. In fact, this is still such a new area which opens doors for children, that we should en- thusiastically encourage our denominational bodies to process more teaching aids, particularly those which can be so helpful in the ministry of music. (Why not the Choristers Guild pioneering in this field?)

When you cannot find what you want, have you ever considered making your own aids? We can still find many useful visual aids by cutting out pictures and mounting them on posters. In addition, have a talented artist available draw or paint what you need, or perhaps use the magic of photography and make your own colored slides for more dramatic or colorful effects.

Choir rehearsals can be greatly enhanced with practise speeded and results improved by the use of a tape recorder, a most desirable aid for every church music department. Here each choir member can listen to and criticise his own efforts. The immediate play back of a tape after recording provides, we find, an excellent teaching method, not to mention a permanent means of recording programs.

Many "live" experiences can be shared with others through A-V aids as a service to others - beyond the local church group. For instance, a group of our third grade boys and girls learned one of Grace Nowell Crowell's poems, "Thank You, God, For Your Beautiful World", which had been set to music and printed in a church school periodical. The children loved it. In studying the text someone mentioned that Mrs. Crowell lived here in Dallas and wished that she might hear the group sing the song, so they recorded it and selected a few members of the group to take it to Mrs. Crowell to play it for her. She had never heard this poem sung before and was delighted, not only with the recording, but with the thoughtfulness of the children in doing this for her and coming to see her. The -g-47- children in turn were very thrilled to share in this experience with Mrs. Crowell. This is an example of using an audio—visual aid as a means to an and rather than as an end in itself, The children benefited in this experience of helping someone else by showing their love and interest in her.

Most denominations plan their courses of study in the church school by units and will list far in advance (quarterly) in such a pamphlet as the Methodist one ("Forecast") aids and resource guides for using A—V by age groups as supplemen— tary materials, A word of caution, however, be sure to preview in advance what you want to use.

Listed below are a few films and records selected at random from the 1960-1961 Audio-Visual Resources Guide* which might be used as supplimentary aids for dif— ferent projects to be studied by Children's choirs.

Let's Sing About Christmas One God (film strip) How We Got Our Christmas Carols The Reformation Born In A Manger Albert Schweitzer Legendary Story of the Animals at John Wesley Nativity Martin Luther Stories About Our Christmas Carols Christmas Around the World Sing Unto The Lord (film strip) Christmas Customs Home and Church Songs (record) Christmas Rhapsody Gladly Sing The Christmas Story in Art Let's Sing About Seasons The Heart That Sings (film strip) At Easter Time (for the very young) Enjoying A Song Easter Around the World Holidays (kindergarten) The Easter Season He Is Risen The Children's Bible Series The Meaning of Lent (youth) The Children's Church Series The Life of Christ Series Christ and the Fine Arts The Story of Jesus Series Religious Masterpieces The Stories of the Prophets Series Church Symbolism Christian Symbols The Lord's Prayer (youth) Christian Worship Let's Try Choral Reading (film strip) How and Why We Worship (film strip) Prayer for Children (slides)

*Audio Visual Resource Guide,5th Edition, Edited by Donald J. Kliphardt, pub. by Department of Audio Aids and Broadcast Education of the Division of Christian Education, The National Council of the Churches of Christ, U.S.A., 475 River— side Drive, New York 27, N.Y.

The Reverend Robert E. Scoggin, Minister of Music University Park Methodist Church, Dallas, Texas.

\(-)/ .4)\ \ "GOD OF ALL LOVELY SOUNDS", the music supplement in this issue, is an attempt to fill a long—felt need. The words are a "natural" for children. The only setting available at least to my knowledge is an SATB not particularly suited to children's voices. Some time ago, John Burke promised to write a new setting; here is the result. Before sending it to the Guild, Mr. Burke tried it out on his youngsters who liked it and readily learned it. It may not be a final answer for a good children's choir setting of this fine text, but it is good, and worthy of your consideration. Additional copies are available from the Guild office for 100 each postpaid. —148— "TINTINNABULATIONS" Dear Bell Directors: Are you encouraging the formation of sister Bell Choirs in your communities? Here is an opportunity to prove your neighborliness (Bell Ringing is ecumenical!), and to cast your bread on the tintinnabulary waters. Why not make friendly overtures and offer to help other Churches and organizations in the throes of ordering handbells and launching this new activity? Suggest that your Handbell Choir serve as a Ringing Sponsor or Godparent Organization* The results would be beneficial to all concerned - a free exchange of information and material, music, programs, fellowship, and helping hands in an emergency. With some of the thoughts above in mind, an effective and appropriate Service was given in January of last year at the Indianola Presbyterian Church, Columbus, Ohio, Eldo Neufeld, Choir Director. The Sponsoring Bell Choir was the Pilgrim Bell Choir, 1st Congregational Church, Columbus, Ohio, Edward Johe, Choir Director. . . The Service was a combined Epiphany Service, a Dedication of Handbells, and a Rec- ognition of the sponsorship of and by a sister Bell Choir, Bell Directors, do keep this Dedication Service in your files. It is food for thought. EPIPHANY SERVICE and Dedication of Handbells I. OUT OF DOORS Carol Singing Burning of the Green II.INDOORS - Fellowship Hall WELCOME The Minister CAROL "Ring out, Wild Bells" Choral and Handbell Ensemble MUSIC BY THE BELL RINGERS OF FIRST CONGREGATIONAL CHURCH CAROL "Coventry Carol". . . Ensemble HISTORY OF INDIANOLA'S BELLS Mr. Neufeld WHAT BELLS CAN MEAN TO A CHURCH Mr. Johe CAROL "Ring, Christmas Bells" Ensemble CEREMONY OF DEDICATION Sentences Gloria Patri Apostle's Creed Choral Response Prayers and Lord's Prayer The Questions and the Responses MINISTER: These bells, as they find their place in the life of this church, could be symbolic of many things in the Christian faith: • their clean, simple lines remind us of the simple virtues of faith, hope and love. • their clear bright, ringing sound is characteristic of the pure sound of praise. .0 and their requirement of being used in cooperation with others symbolizes the corporate nature of the worship of Almighty God, (Signalling everybody at'the table tostand:) Mr. Pollock, you were inspired by the ringing of the Pilgrim Bell Choir in January, 1958, and you then determined to provide such a set of bells for Indianola as a memorial to Mrs. Pollock, Do you now bequeath these bells to this church, with the hope that they may serve to give youth an added opportunity to serve God and His church, and to inspire us to an appreciation of beauty in the worship of God? MR. P: I was so inspired, and I now bequeath these bells to this church. -149-

MINISTER: Mr. Ervin: as chairman of the Music Committee of this church, do you accept this gift in the name of the church from Mr. P., and do you prom— ise to encourage the formation of a bell choir and to instigate such pro— jects and ideas as may be necessary for its most successful functioning? MR. ERVIN: I do accept this gift most gratefully in the name of the church, and promise that we shall treasure it with reverence and gratitude, encour— aging its highest and proper use at all times, MINISTER: Do you, young people of our Chapel Choir, accept the responsibility of becoming the first Bell Choir of Indianola, and do you promise to provide from time to time, such inspiring and entertaining music as you shall be capable of? YOUNG PEOPLE: We do accept this responsibility and we do so promise. MINISTER: Do you, bell ringers of First Congregational Church, welcome the formation of a sister bell choir in this church, and do you promise to encourage its efforts in the making of music, in that sense acting as its sponsors? PILGRIM BELL RINGERS: We welcome this choir and we promise such encouragement. MINISTER: Do you, Mr. Neufeld, as perhaps the most constant custodian of these bells, accept the responsibility of their care and use, for the formation and training of Bell Choirs, and for the over—all character and quality of their contribution to our worship and other services? MR, NEUFELD: I do accept this responsibility. MINISTER: And now, do you, the members of this congregation and others gath— ered here with us, concur in the acceptance of this gift of bells and their dedication to the service of God and His church? If so, will you answer, "We do." CONGREGATION: We do. MINISTER: Praise ye the Lord. Praise God in His sanctuary. PEOPLE: (Read 150th Psalm) MINISTER: To the glory of God: Author of all goodness and beauty, Giver of all skill of mind and hand: PEOPLE: We dedicate these bells. MINISTER: In faith in our Lord Jesus Christ, who has inspired men to offer in His praise their best in music and song: PEOPLE: We dedicate these bells. MINISTER: Moved by the Holy Spirit, our Guide in the worship of God and our Helper in the understanding of truth and beauty: PEOPLE: We dedicate these bells, MINISTER: To kindle the flame of devotion, that the people of God who here assemble may worship the Father in spirit and in truth: PEOPLE: We dedicate these bells, MINISTER: To bear up the melody of psalm and hymn and spiritual song in such wise that men may go forth from this house of God with high resolve to do His holy will: PEOPLE: We dedicate these bells.

Prayer of Dedication . . . Choral Amen Hymn: "Praise Ye the Lord" Lobe den Herren

CAROLS "As with Gladness Men of Old" ...... . . . Dix 'We Three Kings of Orient are" Kings of Orient

PROCESSION OF WISE MEN CUTTING OF EPIPHANY CAKE FESTIVAL OF FELLOWSHIP * = * = * = * = * = * BRAILLE MUSIC TRANSCRIBING by Virginia Lovelock Mitchell

Have you ever looked at a page of Braille?

At first glance, it looks difficult to decipher and you wander how anyone can master it. Then you are told that literary Braille is taught to six year olds;. so you say, "oh", or something equally noncommital. As a sighted person, you don►t learn to read it with your fingers by touch, but to read it by looking at it. As we mentioned in the January issue, each cell has 6 dots with 3 on left and 3 on right. With these 6 dots are a possible 63 combinations called the Braillebet. These 63 combinations or multiples of them are used for music, math, and literary code. Clues to tell which is which are by title, the layout) and prefix signs.

In music, pitch is indicated by the "octave marks" taken from the piano keyboard. Each octave mark designates a C up through B. Between notes, a skip of 2nd or 3rd interval is not marked. A skip of 4th or 5th is marked only when it leaves octave. A skip of 6th or more is always marked.

Chords in right hand are designated with top note first)then revert to intervals. For instance, in the chord BGD, braille the note B, 3rd and 6th. An interval greater than an 8th requires an octave mark, Chords in left hand start with bot— tom note and count intervals up.

The general principal being that all notes, words of expression, etc. that in ink print appear in the staff, and above and below it, are written in a single line in a predetermined order. All symbols pivot around the note,

ORDER OF SIGNS APPEARING BEFORE NOTE: 1. Clef signs (usually omitted except for clarity). 2. Pedal down. String or position. 3. Expression, pp, crest. and the like. 4. Right hand, left hard. Bow sign. 5. Beginning of long slur. 6. Triplet and group signs. 7. Arpeggio sign. 8. Accent signs as staccato, tenuato, etc. 9. Ornaments such as turn signs. 10. Accidentals as sharp, flat, etc. 11. Octave mark (always directly precedes note)

ORDER OF SIGNS APPEARING AFTER NOTE: 1. Dots increasing time value. 2. Fingering, Open string. 3. Note repetition (peculiar to braille). Tremulo. 4. Slurs and ties. Ending of long slur. 5. Pedal up.

Should you be called upon to dictate music either on tape or to a person who knows music notation and will be doing the actual braining, you can see that you could be a real help by having the order of signs before you. However, before beginning) go through entire composition and analyze) picking out measures or groups of measures that are alike. In braille, there is copious use of repeat signs for part measure, full measure, or group measures. This same principal ap— plies to any other music symbol that is repeating such as staccato marks. Number each measure with the first complete measure being number 1. At the beginning of each braille line of music is the number of the first full measure on that par— ticular line. —151— (Braile Music Transcribing (continued) The 7 notes of C through B each have a basic sign which is in the time value of 8'th notes, No matter where the note is in relation to ink print, in braille it is the basic sign. You will recall, pitch is indicated by octave mark, To indicate any note in a quarter time value, dot 6 is added to the basic symbol, To make it a half note, add dot 3 to basic symbol. For a whole note, add dots 3 ad 6. Then, you say, what about 16th notes? That is same sign as whole note. 32nd note is same sign as half note, 64th note is same as quarter, and 128th is same as 8th note, By the sense of the music does the reader know which tine value applies. In 4/4 time, if there were 16 notes in a measure, it would be obvious that the smaller time values apply. Measure bar is indicated by leaving one space.

To learn more details about this intriguing and much needed phase of music the following manuals are outlined: English Braille, American Edition 1959 Ink print edition 72 pages - $1,00 American Printing House for Blind 1839 Frankfort Avenue, Louisville 6, Kentucky

To be available in near future from American Printing House are "Primer and Chart of Braille Music Notation" by Jenkins, and "Lessons for Braille Music Trnnsoribers" by Spanner. At the present time available from American Printing House are "Prim- er of Braille Music 1930" and "Braille Music Notation 1929", Each costs about $1.90.

The "Revised International Manual of Braille Music Notation 1956" costs $2.50 and order from World Council for Welfare of Blind, 22 W. 17th St.,: New York 11, New York, This book contains the latest rules and is quite complete, but assumes you already have a working knowledge of music notation,

Ink print catalogues of published braille music that you may purchase are available at no cost from American Printing House; Illinois School for Blind, Jackson- ville, Illinois; Perkins Institution, Watertown,Mass.; .Royal National Institute for Blind, 224 Great Portland St., London, England. In.looking through these catalogues, one quickly determines that compared with music in ink print, the lists are extremely limited.

The least expensive method of brailling is to use a 37 cell slate with stylus for punching the dots, a wood eraser for correcting errors by pushing dot flush with paper. With these and a pound or two of paper, the cost is about $6.00. There are many weights and sizes of paper for braille. Regulation music size is 11" x 11", and a medium weight is easier to punch, Braille Writers are manufactured that cost the greater part of a $100 bill. Of course, they are faster, and with a developed touch, produce more uniform raised dots. This is desirable for the braille reader.

The Library of Congress, Division for the Blind, Washington 25, D.C. awards a Cer- tificate of Proficiency to the person who successfully passes the final examination in Standard English Braille. These people are then "Certified Braillists". Under its auspices are the distributing libraries for the blind. A list of the libraries is included so that you may obtain information and materials from the one in your area. Music transcribing is a volunteer service. There are not enough people active to keep up with the demand for brailled music and music texts for those doing colIge work. Requests either are refused flatly or perhaps placed on a waiting list that extends to a year. Recently we have been writing attempting to locate either an Episcopal or Presbyterian Hymnal in braille. None are published and we have not been successful in locating any done by hand. Vividly do I recall the words of a teacher who is blind who said, "Blindness is in itself extremely frutrating to the individual, and applied music could do so much to help develop the 'whole' person". -152-

INK PRINT ADAPTATION OF "SILENT NIGHT" IN BRAILLE

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by David V. Williams The downtown church which is confined to only one regularly scheduled meeting of its total congregation (i.e., Sunday morning worship) presents an educational problem for the Minister of Music. Church membership in this4ype of 'parish tends to be dominated by older people, a generation which grew up on the gespel hymn and the pseudo-grand opera anthem. This is not to say that these members do not understand that the church needs to bring about the practice of higher standard of service music. However, opportunities to introduce and familiarize the congregation with such music are difficult to arrange. The morning worship service certainly cannot become a music school. The children and youth are contacted through the graded choir program and the Christian education department, but this in our church involves only 325 families out of 1600 homes included on the church roll. I have attempted from time to time to work some sacred music education in the morning service without disrupting the worship elements.

Our latest attempt waslast'fall when for five Sundays we presented music representing various developments of the Protestant Reformation. This series began Reformation Sunday in October and 'continued through November. In this period the following anthems were presented: Adult choir; "The Lamb That Was Slain" (Can- tata 21), J. S. Bach, "Praise To The Lord" arranged"by Shaw, "Turn Back 0 Man" (Old 124th) by Hoist, and two selections from the Moravian Series as edited by Dickinson; "Thou Hast Given Us Bread From Heaven" by Geisler and "Praise, Thanks- giving, Glory, Honor" by Bechler. These latter two selections were accompanied by a ten piece ensemble. The High School Choir presented "Jesu Joy Of Man's De- siring" by J.S. Bach and "Lord, We Cry To Thee", SOingli-Dickinson. The Junior High Girls presented an arrangementlpy Krone of "Novi Thank We All Our/God". The Junior Girls sang "0 Saviour Sweet", Bach-Dickinson; the Boys "A Mighty Fortress" by Luther; and the Bell Choir played "0 Sacred Head" arranged by Tufts. Congre- gational hymns included "Praise To The Lord", "Fairest Lord Jesus", and "Away In A Manger."

Each Sunday an article was included in the bulletin dealing with the phase of protestant music being illustrated in the service, and the same article was printed in the church paper. Since the November services were televised, this made the information available to those who watched and listened at,home. I received calls from several,shut-ins eXpressing their appreciation of this. . In- cluded in these articles were topics such as: J.. S.Bach and his influence, Mar- tin Luther and his views an music, the Metric Psalters, the German Chorale and Pre-Reformation sources, i.e., Swingli, the Moravian Brethren; also specific information on each particular selection. Organ.Ausic during this series included four selections by J.S. Bach and two by'Buxtehude:tp illustrate the German organ school and arrangements of a number of chorales by various composers. There were those in the congregation who complained of this "force feeding" but most comments were very favorable indicating that understanding increased appreciation and acceptance of good music. Certainly this series was good for the minister of music who had to choose the music -and d0 the research for the articles.

*Mr. Williams who wrote the above is the minister of music, First Christian Church, Tulsa where he has worked for the past eleven years. He does outstanding work in a general area .of outstanding musical programs. In a forth- coming issue of the Letters, he will write of his children's choir program in his downtown "church siqation. David has been a long time and loyal member of the Guild. FOR YOUR PRIMARIES MRS. DONA M. HOFFMAN sent in recently the following idea for helping primary youngsters to open their mouths for singingo It is very clever. She wrote-- "Another idea: -- I'm enclosing a little bird, "Henry". Henry has not learned to sing with his mouth more open; our Primary Choir must encourage him to open w-i-d-e. Closed mouths make mumbling sounds. Poor Henry( Can you, John illustrate how to sing with your head up and mouth open? This psychology (if you will) worked vonders for two shy little angels in a recent rehearsal." INSTRUCTIONS for making a paper bird: -- 1. Use construction paper for best results 2. Cut and fold an 8" square four ways, as illustrated in Figure 1, red or other color 3. Cut and fold (white paper) a 4" square once, diagonally: draw bird face. 4. Place bird head on 8" square with beak pointing toward center as in Fig.2 5. Refold 8" square on the diagonal, bringing point under head 6. Tape wings as in Figure 3 To make bird open and close mouth, push wings toward center and back.

e ectce4,5

Thank you, Dona. -155- "PLAN YOUR WORK AND WORK YOUR PLAN"

Not only is it important that each rehearsal be planned well; it is also impor,- tant that at the beginning of the choir year we have our overall plans made fnr the entire season. We mimeograph a brochure for each choir which lists:

1.the calendar for the year; 4, social activities; 2.the hymns which will receive special 5. membership, addresses and tele- emphasis; phones; 3, the anthems to be sung in service; 6, standards,

Almost never does it become necessary for us to change our schedule once it has been planned in conjunction with the total church program as drawn up by the staff in an annual retreat. Again we say, plan your work, then work your plan. The best drawn plans are useless if the house is never built. Social activities are becoming increasingly important to the child of junior age. While this is not the primary function of a church choir, occasional activities are desirable, We try to have four during each year, including the Christmas caroling to shut-ins and older adults of the church, and the annul School of Choirs Banquet. We are strong believers in warm-up rehearsals. We have never sung a service before which we did not have time and opportunity for a vocal, emotional, and spiritual war -up for the service Whichwas to follow. This is important for children as well as adults. Our children, as well as our adults, process; on occasion, however, the children process silently. We do not march. Ordinarily the congregation stands with the first note of the organ and joins in the singing of all stanzas. Never do we have stanzas for choir alone; it is our feeling that hymns belong to the total congregation, and should be shared by all, The choir immediately moves when the hymn is given out so that a goodly number of choir members will be inside the sanctuary for the opening phrases of the hymn. I am perhaps one of the few directors of children's choirs in the whole United States who does not have a Mothers' Guild, or Parents' Guild, as such. The children- respond much better when their parents, or other adults, are not around. In fact, I believe I am more effective when other adults are not around. This does not mean that I do not call on parents for help when needed; they are always ready to do more than their part. The children bring their robes from home, and keep them at home during the choir year; therefore I have no need of special help in the area of robing. Ours is a community church, so transportation committees are not necessary, We do not serve refreshments at rehearsal, so no help is needed here. I prefer to call personally those who are unable to attend a service or rehearsal; the list is never long enough to become a problem, even when schedules get tight. On the other hand, we seem always to have youth who are considering entering the ministry of music - a most fortunate circumstance - and it is these youth to whom I turn for help. They do not have any of the personal prejudices that adults naturally feel toward their own children; they are most willing to do whatever I ask of them, and not question it; additionally: I feel that it may in some small way help them along the road as they prepare to handle programs of their own. The youth check attendance, keep rolls, send cards to absentees, organize procession- als, etc. For us, this seems the best solution; we must, however, be in the min- ority, for an active Mothers' Club seems to be the accepted thing in the organization and administration of children's choirs. Maybe with this, as with other points discussed in these talks, it is like the Pentagon: there are five sides - to every question. The primary consideration is that each of us use what best works for us. None of us wishes to be just like someone else; the carbon copy is never as clear as the original. —156— CHILDREN'S CHOIR FESTIVALS

A REPORT by Leslie The growth in number and in quality of program in recent years of Children's Choir Festivals is well nigh unbelievable. Nearly each week brings me news of another of which I was unaware. One of these days, I shall find time to compile a listing. It would warm the heart of the Guild's founder to observe the fulfillment of one of her dreams.

The Elventh Annual Junior Choir Festival of the Columbus (Ohio) Presbytery provides one noteworthy example of such growth. Eighteen Presbyterian churches participated. The following is taken from the general program. "This annual Festival has grown to such proportions that it has been necessary to divide the choirs of the Presbytery into four groups, and to hold four regional festivals instead of one large central Festival. Each regional group will have from 100 to 200 participants, and will present identical programs. Mt. Vernon will host one group on February 12, while the other three groups will present simultaneous Festivals on February 19 at Lancaster, London and Marion." Viola Hilton, Walter S. Horsley, Eldo Neufeld and Mrs. William F. Peebles were the four directors. The program may be of interest to others who wish to stir up their communities by a Children's Choir Festival. The usual items came at the beginning such as Procession, Invocation, Hymn etc. The music program was -- A SERVICE OF PRAISE FOR THE CHURCH YEAR ADVENT - Let All Mortal Flesh Keep Silence Gustav Holst K. K. Davis As It Fell Upon A Night CHRISTMAS - On This Day, Earth Shall Ring Gustav Holst EPIPHANY - Saw You Never In The Twilight Austin C. Lovelace LENT - Ah, Dearest Jesus, How Hast Thou Offended? Johann Cruger EASTER - Christ The Lord Is Risen Today K. K. Davis The World Itself Keeps Easter Day Austin C. Lovelace TRINITY - A Prayer of St. Richard of Chichester R. J. White Forever Blessed Be Thy Holy Name Handel-Perris All of the youngsters were given early in the season, a book of words to learn, and become thoroughly familiar with. It is my recollection that Mrs. Peebles was an earlier enthusiast for and organizer of this Festival.

The sight and tone of a well disciplined and trained massed chorus of boys and girls is for me, a spine-tingling experience. Little in this world can equal the delight in the listener, of such a group. It was my privilege to attend the fourth annual Junior Choir Festival of Glendale, California held on March 5, 1961 in the Glendale Presbyterian Church. The conductor was Muriel Alford, herself the director of the children's choirs of the First Methodist Church, Glendale. Eight churches with fourteen choirs, and one handbell choir participated. Somewhat over five hundred boy and girl singers were enrolled. The music developed the theme, "The Life of Christ." This festival added a rich experience to an overflow congregation. Louise B. Whitman, director of youth choirs of the host church was the original instigator of this festival, and is still a guiding spirit. As in the past, after expenses have been met, the net proceeds are given to the Choristers Guild for the furtherance of its work. The Guild expresses its appreciation for this continued help.

Seen on the blackboard of one of the Glendale churches participating in the above mentioned festival. WHAT MAKES A GOOD FESTIVAL? 1.Know your music 4.While singing, stand still-watch the director 2. Invite your family and friends 5.While sitting, be quiet-keep hands to yourself 3.Walk quietly and stand erect 6.Always be listening -157-

CHILDREN'S CHOIR FESTIVALS -- A Report by Leslie (continued) The Seventh Annual CHILDREN'S CHOIR FESTIVAL, Santa Barbara, California, Sunday afternoon, March 12 t 1961. You've all no doubt heard the old "saw" that a doctor's youngsters are the last to get medical attention or that a preacher's kids are neglected. To some extent, and for an unknown reason, this Santa Barbara Festival has been slighted in the pages of the Letters. No excuse exists other than that it is on home grounds, and a family is always asked to hold back. This festival was participated in by ten churches with twelve choirs and one Hand- bell Choir, from the Tri-Counties area. Nearly 300 boys and girls sang to a capac- ity congregation in the First Methodist Church, Santa Barbara* Brookes M. Davis, minister of music of this church excellently led the festival as conductor of the choirs who sang everything as a massed horus. The festival was largely a tribute to the memory of Ruth Krehbiel Jacobs/started the festivals when she first came to the city. This one was undoubtedly the best in the series. No comparison should be made with other festivals; all have their excellent qualities. This one displayed an ample supply of these. Suffice it to say that such festivals all over the country are singing better music with better tone generally than ever before. Children's Choirs are coming of age in the thinking of churches. Their potential for the good to the boys and girls are now eagerly admitted* May their number grow and grow.

NANCY writes that with all the interest in the Broadway hit musical show, "Cam- clot", boys and girls may be interested in seeing a drawing of King Arthur's Cross. On her trip last summer to England, she bought a door-knocker in the bookstall of Glastonbury Abbey, made in the image of the cross.

THE KING ARTHUR CROSS

The leaden plate in the form of a Cross found in King Arthur's grave at Glaston- bury Abbey in the reign of King Henry II.

The inscription reads: Hic jacet sepul- tus inclytus Rex Arthurus in Insula Ava- lonia ("Here lies interred in the Isle of Avalon the renowned King Arthur.") ALL IN THE FAMILY

Congratulations to MRS. ROBERT B. (Marian) LEWIS, Pen Argyle, Pennsylvania, and other children's choir directors of the area for a most successful Blue Mountain Area Festival of Junior Choirs on January 29, 1961. The theme of the festival was "The Seasons In Christian Song". Mrs. Lewis wrote in part,l'We were blessed from the very outset; we had 14 choirs from an area of 20 miles The directors were the most enthusiastic and cooperative group I believe, I've ever worked with. It never seemed work at all for our children to memorize 8 anthems and one hymn. We had about 200 boys and girls in varied gowns which made the effect all the more appealing. The huge church was so full, people were turned away. The rehearsal and festival days were gorgeous weatherwise, snuggled as they were, between weeks of terrific snowstorms. Now we all want this to become an annual affair, which is a good sign, don't you think?" This is one more link in the strengthening chain which binds our Guild members together in Christian service.

All Ye Fearful, Take Heart--Read the Following EMORY WALLIS, a new member, First Baptist Church, Cumberland, Maryland--"The material you sent made downright THRILLING reading. I doubt that I can properly express my gratitude for the new vistas of accomplishment that the Guild and the dedication of Mrs. Jacobs unveils. I hope that I have at least caught a gleam of the wonderful ideal she held up for us all to see. There must be many in my own boat, foundering along, thirsting after help and enlightenment in this field of Children's Choir work. When I first undertook to try my hand just two years ago, I was scared stiff! And that after long years of successful choir solo, oratorio solo, recital and ensemble work, and a few years of moderate success in directing adult choirs. The prospect of working with kids nearly brought on panic. Of course, I did the best I could, came to love the youngsters and the work, tried to give the best of myself to them. I really believe that they enjoyed their singing, and they certainly returned my love. But all of this was a groping in the dark; any good results were the fruits of ardent prayer and dedication. Now with the prospects of such wonderful help as provided by the Guild, is it any wonder that I am thrilled? 'This is all very timely, because I may have the opportunity to re-organize a Junior choir in another church, along with the one now where I have three choirs. I had no idea there was any organization like the Choristers Guild solely for the benefit of children's choirs I feel something of the Crusader zeal a- stirring in my blood! Churches seem to appreciate the value of younger choirs, but ADEQUATE and DEDICATED leadership seems to be almost entirely wanting...how much more there is to leading ANY choir, and so much more, a Junior choir than beating time and just keeping the singers together " Amen, and AMEN, says Ye Editor. ALICE LYON, First Congregational Church, Billings, Montana--"Last summer when the time came to renew my contract, for this fall with the church, I was feeling pretty discouraged. We had a new minister, a new Director of Christian Education coming, and a new suburban church organizing which would probably take some of our old faithful choir members. I had just about decided that life was too short for all the anguish of a multiple choir program, and for the first time was feel-, ing a little peeved at working almost full-time on a "part-time" basis. In an attempt to get out of the mood, I grabbed a book I hadn't gotten around to in several months, and discovered I had been using a postcard from Ruth as a place mark. It was one of those cards which did not have to be written--out of her hundreds of concerns, she had taken time to write to learn how things were in Bil- lings. Above her signature, was the final sentence, 'Keep up your enthusiasm and good work'. Welly I'm back at the church; the choirs are larger than ever, and a large portion of the credit must go to Ruth and the Guild. I think her angel was -159- really behind me pushing that day. The Letters are the first thing I read when I see them in the mail; lunches have gone unfixed, and washing and cleaning have been forgotten while I absorb everything they have to offer. I hope that whatever discouragements2 diseciatments and weariness may plague you in the months ahead; still may the help come to carry on."

The North Texas Chapter, AGO presented A Choral Festival in memory of Ruth Kreh- biel Jacobs in the First Christian Church, Brent Stratten, minister of music, on February 12, 1961. The Guild is deeply appreciative of this thoughtful act on the part of the Wichita Falls people. Newspaper reports indicated a very fine success.

Mrs. HENRY B. SCHMIDT, Farmington, N. M., writes--"The boys and girls just love Irving. I forgot to take him to practice yesterday; you would be surprised how many asked, 'Where's Irving?' I suggested that they draw him, and there were several good likenesses."

Mrs. GEORGE T. WILLIAMS, Ellerson, Virginia--from a recent Mechanicsville Presby- terian Church bulletin--"The flowers have been placed in the sanctuary today by the Children's Choirs in memory of the late Ruth Krehbiel Jacobs who founded the Choristers Guild through her devoted efforts it

ALICE HEWLETT, director of Children's Choirs, First Lutheran Church, Glendale, California--"The Cherub and Carol Choirs sing twice a month in the services, one Sunday at 8:30 A.M., the other at 11 A.M. These choirs are kept busy. The Carol Choir sings additionally in festivals and special Sundays. To MY knowledge, I know of no other Junior Choirs which sing as often. These children singing so often in the church services has given them an attitude of worship and reverence. The Carol Choir will sing for one of the special Lenten services as well." Key-- Cherub Choir, grades through three; Carol Choir, grades 4 through 6. Some churches and directors dispute the wisdom of younger choirs singing so often. There is no doubt that this is a heavy schedule, but Alice manages it well. Who will write to one or the other viewpoint?

Mrs. HENRY D. (Ruth) HARTMANN, wife of the pastor and music director, Presbyterian Church, Haines, Alaska---"...our five choir enrollment reached 94 this week. Over fifty are in the Seven Last Words chorus° All choirs are robed; we have new choir folders for the upper three choirs. The Cherub, age four through kindergarten, and the Carol Choir, first and second graders memorize all their music. I teach notation starting with the first grade." Who says that Alaska is a remote wilderness? A request to be put on the mailing list of this active church will probably result in some interesting information from time to time.

HOW'S THIS? Copied from Pitchpipe, First Methodist Church, Albuquerque, New Mexico, Harry R. Hook, minister of music.

.., --y•A/ Fellow choir members,- we are in trouble!!! It has been evident for some time that our esteemed Choir Director, "Brother Se- bastian" Hook, has been acquiring capital gains in the form of an increasing bulge around his waistline. Close examination of the causes of this embarassing dilemma revealed that he was not getting enough exercise. Clinical reports show that the amount of energy used in conducting a choir of 30 members is 4 times less than the energy consumed with a choir of 60. I think it is our civic duty to take "Brother Sebastian's" cure in hand and reduce him to a condition where his clothes will fit him. For those of you who have a sadistic side, think what you could do to him with an 85 voice choir....So as true practicers of charity let us not only give to the underprivileged, but the OVER-privileged as well! Your President, Truman Williams -160- MISCELLANEOUS MUSIC SUGGESTIONS

Good music for Mothers' Day with worthy, strong texts is difficult to find. The following merit your consideration- A MOTHER'S DAY HYMN Edward Shippen Barnes, published by J. Fischer. This is undoubtedly, at least in my estimation, the finest number available for this appealing Sunday. It is musically good, interesting, and worthy of its theme; the text is strong, and turns thoughts Godward in thinking about mother and mothers. The piece is available in many forms--for mixed voices, men's voices, women's voices, for mixed voices with children's choir and for high and low voice solos. While the music is not especially difficult, it will take some intelligent rehearsing for effective presentation. This number should become the standard "classic" for Mother's Day. MOTHER'S DAY ANTHEM Phyllis Ohanian, published by Flammer #2978 This is a delightful song for children who will easily learn and like it. GIFTS Mary E. Caldwell, published by Summy-Birchard #5033 For my taste, the music of Gifts is somewhat on the "awed!' side, but certainly this observation should not deter you from examining the piece. Be very careful however, that the accompaniment which is on the "heavy" side, does not overpower the youngsters. CAROL OF THE MOTHER Austin C. Lovelace, published by Gray, CMR #2241 MOTHER'S DAY Chester Kingsbury, published by Gray, CMR #2579 Here are two settings of the same text, one with an unusual flavor. The music for both is good; your choice will depend entirely on your own inclination as to how the music brings out the text. Thile the next suggestions are not strictly within our province of Children's Choirs, yet many of you are in charge of your church music program. In recent years, an emphasis on the religious nature of the wedding ceremony has fortunately gained ground. Going is the use of such songs as, "0 Promise Me", "Ah Sweet Mystery of Life", etc. In their stead songs suitable to the religious character of a wedding are coming along. Abingdon Press has recently published five Wedding Solos by Austin C. Lovelace, all in either high or low voice, the titles being-- 0 Savior Guest Most Bounteous; Our Father By Whose Name; 0 Ye Who Taste That Love Is Sweet; Jesus Stand Beside Them; 0 God of Love, To Thee We Bow. These are all interesting musically, simple, and easy to learn, and are short. cja„) 9 3 933,9 THIS 'N THAT Here may be some help for you who live in the general mid-eastern area when you wish to locate music, particularly that which is suggested in the Letters. One of our members, Norris L. Stephens wrote recently, "I work in a music store that specializes in GOOD Church music. We handle every major music publisher in the USA, Europe, along with some minor publishers. Orders are filled within 48 hours, and backorders within two weeks. 'On Approval' copies may be had for 30 days." Write directly to Mr. Stephens, c/o Wagner-Bund Music Co., 642 Liberty Ave., Pittsburgh 22, Penna.

Lifted from the "The Voice of The Choirs", First Methodist Church, Oklahoma City, Okla., Edwin Karhu, minister of music. "Have you ever considered all the different rhythm patterns in the world around us? The Primary Choir had fun clapping the rhythm in each other's names. They clapped from the two beat name of Anne Winn through the four-beat name of Ronnie Hoffman to the complicated beat of -161- D6lores Cornelison. Try this brain teaser on your group. They also considered the rhythm in the car engine, electric heater, refrigerator motor, etc. There are count- less ones when you get the first, second and third graders thinking about the matter." PARAKEETS—Would you believe that a parakeet is one suggested therapy for children with a speech defect? "The careful, slow enunciation needed to teach a parakeet to speak, is as beneficial to the child as to the bird." This last sentence is quoted from an article on parakeets which appeared recently in a Sunday paper supplement. The article closed with--"If you would like a free copy of 'Parakeets Are Fun', a 32 page illustrated booklet on the care, feeding, training of parakeets, write Family Weekly, P.O. Box 4616, Chicago, Illinois."

"BLESS THIS FOOD", Volumes I, III, each a booklet of table graces generally for children, and many written by children which appeared individually in the Chi- cago Tribune, beginning February 22, 1957. Available for 200 each postpaid (specify the volume desired) by writing Public Service Office, 33 W. Madison St., Chi- cago 11, Illinois. It will be worth your while to examine one of these booklets.

Some have requested the personal address of Sally, the creator. of Irving, who a- gain makes his appearance to boys and girls in this issue. You may write Mrs. Nor- man Clark Lane, 1331 E. 14th St., 0, Denver 18, Colo.

An "ANGEL" please--The Guild needs a new typewriter and a new addressing machine. The former will cost about $100 plus the old turn-in; the latter will cost about $150 plus the old turn-in. Is there any individual or organization interested and willing to provide the Guild with either of these pieces of equipment?

Another OUCH, and a big one---John Mullen, minister of music, Broad Street Metho- dist Church, Kingsport, Tennessee, called our attention to a glaring mistake in the text of a SPRING CAROL by Ronald Combs as published in the January issue of the Guild Letters. On Page 8, top line, second measure, the word should be "come" instead of "gone". How do mistakes like that get by a proof reader? The sad story is that in this case, he was the editor. Please forgive, and then correct your copies. The Guild is doing everything possible to hold the line on prices to members of pins, books, materials and even membership dues. Operating on a cash basis has been one invaluable method. Rising costs however, make the task increasingly difficult. Increased volume is an answer. Each member can help by persuading a col- league of the value of membership. Another way is to keep requests for delayed payments to a minimum. The Guild has no bookkeeping facilities for charge accounts, but will accept delayed payment accounts when necessary for some churches will not pay bills except on presentation of statements. Charge accounts are costly in every way, particularly when statement after statement needs to be sent to remind members of accounts past due. Please, please in any case, do not request a delayed payment account for an amount of a dollar or less. If you are unsure of prices, please refer to Pages 23 and 24 of the last September issue of the Guild Letters. The order blank included in the issue of last month will give you the prices of pins and crosses. This is your Guild; we are all one family, and wish to help each other. To help keep costs down is one real way YOU can help. \n/ C YOUR RESPONSE, PLEASE, and Quick Quite some years ago, The Community Workshop of the Oklahoma City Libraries made up a rather long list of rhythm band instruments which could easily be made at home. Drawings and materials required, were a part of the project. The Guild has been given permission to publish the lists and the drawings in the Letters. This will be done if enough members want them. They will require considerable space, and will push out other items which you may consider more helpful and important. However, please write Ye Editor. -162- Your Response, Please, and Quick (Continued) And Another The month of May seems a long way off from fall with its beginnings of another season with your children's choir. However, many members do begin to look early for materials. Recently, I conducted two lecture-demonstrations on the Pacific coast on materials for children and youth choirs. A long list of music, together with brief notations on each piece was given each attendant. I shall publish these lists in the May issue of the Letters if even a comparatively few members write in to request such inclusion. BUT WRITE IMMEDIATELY. Some other items, however, originally planned for this issue will then be printed later if the lists are published. nr] .Th_rn_ Th,..C-1'1 ,--mot CO3 Cr D i Ci /0\ Copied from a Sunday bulletin, First Congregational Church, Columbus, Ohio, Ed- ward Johe, minister of music, Louise Johnson, assistant. The quotation is by Mr. Johe. "Giving musical advice is one thing I prefer not to give; however, because some parents say, 'Can't Johnnie begin to sing later on when he is 10 or 11?' I think it would be helpful for parents interested in the subject of 'Children and Music' to know that correct singing habits and use of the voice are more naturally achieved when begun in childhood and continued. The discouragement that comes with the necessity of unlearning incorrect vocal habits has prevented many people from enjoying, later in life, the fine expressions which singing brings. When wondering about which musical instrument a child should study first, I would recommend the voice. My reasons are: --it is the finest and most beautiful musical instrument there is. . .and the most natural. . --it is the most personal, therefore the most expressive. --it has no age limitations and is adaptable to any social, cultural, or religious medium such as singing at home, in a community group or church choir. --one can have personal acquaintance with the world's treasury of music and literature. . .thus finding joy and inspiration in living. --technically, singing is the least complicated."

A last minute Western Union news flash--"Milwaukee Chapter Choristers Guild to present Felas Sowande of Nigeria, Africa, Fellow of Royal College of Organists in recital-lecture, April 23, 1961, 4 P.M., Whitefish Bay Methodist Church, Milwaukee, Wisconsin. This is Mr. Sowande's first American recital in current Visit."

"The third day He rose again from the dead."

"Ye seek Jesus which was crucified: He is risen; He is not here; behold the place where they laid Him."

-163- MADELINE INGRAM (you all know her)*

will be one of the faculty headliners

CHORISTERS GUILD SEMINAR Oklahoma City, Oklahoma June 19-24, 1961

No-L.(7- A- czotu Others already announced HELEN KEMP JOHN KEMP NORMA LOWDER CECIL LAPO REMINDERS Special Interest Lectures Dramatics in the Church Christian Art For Children

Special Events Display of Great Christian Art by the Colonial Art Company Performance of "Noye's Fludde", the Chester Miracle Play set to music by Benjamin Britten

All sessions will be held in the FIRST PRESBYTERIAN CHURCH

Housing will be available 5 blocks away in a dormitory of Oklahoma City Univer- sity at the reasonable rate of $2.50 per day, two in a room.

TUITICU4i.modest. maxtaum$25 which will include a sizeable packet of music which will be studied during the seminar. This is the lowest fee ever for a Choristers Guild Summer Seminar so that the largest number of directors may attend. The Guild may incur ,a deficit, but you get the bargain,: (A possibility exists that the budget may permit a fee of $20.)

AN EXCITING WEEK IS AWAITING YOU

Plan now to be in Oklahoma City June 19-24, 1961

A Ten Dollar deposit will hold a valuable reservation for you Send to Leslie Jacobs, Box 211, Choristers Guild Santa Barbara, Calif.

*In the remote case you do not know, Madeline Ingram is chairman of the Divis- sion of Fine Arts, Lynchburg College, Lynchburg, Virginia--one of the few col- leges to offer specific courses in children's choir methods. Mrs. Ingram is widely known and traveled as a lecturer, conductor of childrents choir festivals, writer of articles on children's choir methods, and author of, "Organizing and Directing Children's Choirs".

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GOD OF ALL LOVELY SOUNDS

FloW Int& Words by ANNE LLOYD Music by JOHN BURKE • P r * GOD of — ALL Lo0C-L4 SookIts GIZAniT 08 A • G • • ;et r r r r • 9- MEW J r r r r

r ci• • • • SHARE 14 114 GREAT I-4 AR - A40 - TES OF EARTI4 AnIlt AtR

• a. 4,b r r F r t • • i 4r r

MAKE Og_ft-1,/ CI4oR- IS-TERS THAT WE t4A/ Look-1 h1 To or - FGR. r 9 •

MOS I C OM -To 1.-I4EE ______A MEAL

&Arclet one is 130u.

e OUR MOTTTER Hundreds of stars in the pretty sky, Hundreds of shells on the shore together, Hundreds of birds that go singing by, Hundreds of birds in the sunny weather. Hundreds of dewdrops to greet the dawn, Hundreds of bees in the purple clover, Hundreds of butterflies on the lawn, But only one mother the wide world over. Anonymous

WHICH LOVED HER BEST? "I love you, Mother," said little John; Then, forgetting his work) his cap went on, And he was off to the garden-swing, And left her the water and wood to bring. "I love you, Mother," said rosy Nell-- "I love you better than tongue can tell;" Then she teased and pouted full half the day Till her mother rejoiced when she went to play. "I love you, Mother," said little Fan; "Today I'll help you all I can; How glad I am school doesn't keep!" So she rocked the babe till it fell asleep. Then, stepping softly, she fetched the broom And swept the floor and tidied the room; Busy and happy all the day was she, Helpful and happy as child could be. "I love you, Mother," Pzain they said, Three little children going to bed. How do you think that mother guessed Which of them really loved her best? Anonymous

CHORISTERS GUILD LETTERS Volume XII 1960-61 May Number 9 Ruth Krehbiel Jacobs, Founder Arthur Leslie Jacobs, Editor , Norma Lowder, Associate Editor Helen Kemp and Nancy Poore Tufts, Contributing Editors Published for its members by the CHORISTERS GUILD Box 211 Santa Barbara, California Copyright (C) 1961 Choristers Guild FROM DTP1 IVORY TOWER That Church music generally is on a much lower level in quality of material used, and of performance standard than obtains in secular musics is a statement which cannot really be successfully challenged. Boys and girls in their school music come for the most part, into contact with the best. Even though teen-agers "Swoon" over an Elvis Presley, yet they know the differences in music. Sadly at the highest level of their existence, their church life, they encounter music which is a let-down with texts and music which often offend their intelligence. Children's Choir directors often "sell their children short" by the use of inferior material. Children can respond to a great deal more than many of us give them credit for. Very often, we impose upon them our own tastes and limitations, and thus restrict their growth. As leaders and educators, we Children's Choir directors possess unparalleled and even frightening opportunity to shape not only the future of Church music, but of the Church itself. Music is a powerful tool. Let us use it through the finest material at our disposal. It is available, but we must want it, and actively seek it. Recently in his monthly choir paper, the Reverend Walter Wa Davis, minister of music, First Methodist Church) Middletown, Ohio wrote on this very subject. The article is so pertinent that it is herewith reproduced in its entirety. And now Walter, one of our long-time loyal members, speaks--- "In a recent article in the CINCINNATI ENQUIRER) the music critic Arthur Dar- ack asks the question: 'Is music opposed to religion?' His answer gives us some food for thought. "He goes on to say that there has been decline in the relationship between music and religion in America for the past 150 years -- that is, music as an art form and not a mere accompaniment to the acts of worship. He points out that even in Europe, where great artistic music is sometimes performed in the great cathedrals, very few attend. "The heart of Mr. Darack's article, however, comes in his statement: '...the modern church often is hostile to artistic music. Except for the musical programs in a few local institutions like the Christ Church or the Wise Temple...the ordinary church fare is wholly inartistic.' As for the hope of improvement, he con- cludes, 'It seems unlikely that such an event will come to pass, given the present temper of both art and religion' "Those of us who are wrapped up wholly in the profession of sacred music feel a deep concern that what we advocate should be both artistic and at the same time a true expression of our Faith. Religious sentiment cheaply expressed is just as bad as so-called 'high-brow' music that cannot be appreciated or understood by those who come to worship. "In this generation, when the Protestant Church is developing its usage of the arts so greatly, it is a challenge to be part of the experience. Someone has said that our church music should try less to 'comfort the afflicted' and should try more to 'afflict the comfortable.' Church music should be both an inspiration and en intellectual challenge. This is not a pipe dream. We have a good start in our church. Through our children's and youth choirs, our new generations can, over a period of time, grow up knowing the best. After all, liking the best is a matter of knowing the best; and knowing the best is a matter of being exposed to it. WE LIKE WHAT WE KNOW. Remember -- none of us came into this world with musical tastes? "God gave us His best Gift in Jesus Christ. We can do no less, therefore, than to try to lay before Him a worthy musical offering -- one which represents -- both textually and musically -- the cream of man's best efforts -- the highest sentiments expressed in the most artistic musical ways."

-166- CANTATE DOMINO by Eleanor DuBussion Fossick In this, the last "Cantate Domino" of the school year it seems logical to look ahead to the fall term. The summer vacation will be an excellent time to plan a school music program for the next school year. It is only through integration of music and religion in the parochial schools that a standard in our church music may be established. All authorities agree that the music in Catholic churches has suffered because the musical education of the parochial schoolchild has been neglected. The Motu Proprio of Pope Pius X was promulgated in 1903 but little was done, until recently, to carry out the regulations set forth on music in the liturgy. Actually, at least nine encyclicals have gone out at various periods in the history of the church, all of them stressing the importance of appropriate music for the liturgy. In the past, neglect has been due, in part, to the dearth of Liturgical Music Schools in the United States. This, however, is no longer the case. There are many fine schools where Catholic school music teachers may learn the music of the liturgy. Instruction in music, classroom style, secular as well as sacred, has been haphazard. The result has been that music of little artistic value and even worse-- unliturgical music--has been learned by our youngsters. These, in turn, have become our present congregation of non-conformists; they are the people who rebel , against the attempts made by our liturgists to restore the glorious Chants and sacred polyphony that adorned the liturgy in centuries past. This is not to say that modern music is to be excluded; on the contrary$ the church encourages and even exhorts composers to write music for the church. Butt these composers must fully understand what they are about. It is for this reason that the use of unpublished manuscripts is frowned upon. No music in manuscript should be included in the repertoire unless it has been examined and approved by a reliable commission on liturgical music. A notable improvement has taken place in recent years and music has become an integral part of the school curriculum in many areas. It is, nevertheless, being woefully neglected in other places in the United States. As a teacher of music in parochial schools for many years I am ware of the problems that beset supervisors of education and school principals; I am even more keenly aware of the absolute necessity for teaching music in the schools. Many factors militate against a musical movement in parochial schools, for example: lack of time to incorporate another subject into the daily schedule; absence of qualified instructors in music on the school faculty; the necessity (?) for con- verting the music teacher to classroom teacher. (To me this seems a tragedy, both for teacher and pupils!) And, finally, the need for a school music course that is geared to the ability of the average child; a course stripped down to essentials; a text book containing only the best music presented in an interesting manner. Such a course is "Music for Life" by Sister Mary John Bosco, RSM, published by McLaughlin and Reilly. After trying many courses, from which much fol-de-rol had to be eliminated if the children were to accomplish anything before the age of eighty, I hit upon this excellent series and used it with complete success. I was convinced of its excellence because of the results obtained. "The proof of the pudding..." you know. In a school where I was assigned a fifteen-minute period for school music ONCE A WEEK in each classroom, Grade 3 through Grade 8 (two divisions to each grade) the fund of musical knowledge acquired by the children was amazing. They were eager and responsive; they loved each new lesson, and singing-time was for theme and for their teachers as well, the highlight of the week. What other subject could they have learned in fifteen minutes a week? Proof -167-

lioLtgh of the child's craving for music! In a total of nearly )00 children only AX children remained indifferent throughout the year. One child, a superior student in school showed absolutely no response. A little probing on my part confirmed my suspicions: his father had made the remark that music was not an important subject. THAT did it! Neither his mother nor myself could change the boy's opinion. Perhaps parental ignorance or indifference was at the root of the attitude of the other five children who failed to respond. Through the Music for Life text book the children built up a repertoire of secular as well as sacred music. Attractive two-part songs, rounds, and unison songs were available on program days. Chants and good English hymns replaced the inferior little tunes the children had been singing and when 450 children raised their voices in a processional or recessional hymn at Mass they were perfectly synchron- ized and beautifully blended, although they did not once have the advantage of a combined rehearsal. I would not say'that a classroom teacher with only a smattering of musical knowledge could get results with even so streamlined a text as Music for Life but a qualified music teacher can work wonders if she is able to sing softly and on pitch. A classroom teacher with meager musical knowledge can no more awaken the spark in children than a music teacher with a meager knowledge of geometry can arouse interest in high school students. Good-bye now, until September. Perhaps then you will write me about your plans for a school music program; I hope that your plans will include the enrollment of your choirs in the CHORISTERS GUILD. If you wish, I shall be happy to tell you how I integrated the course into the grades by beginning with Book III and Book IV of the series. ) Q) This issue contains the concluding remarks and information by Virginia Mitchell on how to help blind children in their musical pursuits. Some may wonder why space has been used in the Letters to bring Braille to the attention of Children's Choir Directors; it seems such a restricted area. A blind child is God's child, and entrusted to our care and nurture. If even one child only is helped to become a member of one of our members' choirs, the efforts have been worth while. Just recall Mrs. Mitchell's first article, "I Just Want To Be Normal". Thank you, Virginia, for making vivid our obligations to the blind child. And now Virginia Lovelock Mitchell writes:— Many are the books written about blindness. "Books About the Blind", by Helga Lende is a bibliographic guide to literature pertaining to the blind. Obtain from American Foundation for Blind, Inc., 15 West 16th Street, New York 11, New York. Cost $2.500 In "World Braille Usage", by Sir Clutha MacKenzie, you will find a concise history in addition to Braille signs for many languages. Should you want to Braille a song with words in German, for instance, this would be the reference. Order from Unesco Publications Center, 801 Third Avenue, New York 22, New York. Cost $2.50. Remember to specify ink print copy as opposed to embossed or Braille copy. The attached list of the Regional Libraries of Congress, Division for Blind, is included so that you may obtain information and materials from these helpful and gracious people in your area. DISTRIBUTING LIBRARIES Books for the Blind ALABAMA IOWA and ILLINOIS (So, includ. Springfld.) Library for the Blind Free Circulating Library for the Blind Georgia State Department of Education 0/0 Ill. Braille & Sight Saving School 232 Luckie Street, N.W0, Atlanta, Ga. Jacksonville, Ill. ALASKA KANSAS Seattle Public Library, Library for Wolfner Library for the Blind, 3844 the Blind, 425 Harvard Ave,' North, Olive St., St. Louis 8, Mo. Seattle 2, Wash. KENTUCKY ARIZONA Cincinnati Public Library, Library for Braille Institute Free Circulating the Blind, 617 College St.Cincinnati 2, Library, 741 N. Vermont, L.A. 29,Cal. Ohio ARKANSAS LOUISIANA Special Services Section, Okla. State Louisiana State Library, Dept. for the Library, 109 & 331 State Capitol, Blind, Baton Rouge, La. Oklahoma City 5, Oklahoma MAINE CALIFORNIA (northern) Perkins School for the Blind Library, Calif. State Library, Books for the Watertown 72, Masse Blind, Sacramento 9, Calif. MARYLAND CALIFORNIA (southern) Virginia State Library for the Blind Braille Institute Free Circulating 2933 W. Cary St, Richmond 21, Va. Library, 741 N. Vermont, L.A. 29,Cal. MASSACHUSETTS COLORADO Perkins School for the Blind Library Denver Public Library, Books for the Watertown 72, Masse Blind, 90 Lowell Blvd.Denver, Colo. MICHIGAN (outside of Wayne County) CONNECTICUT Michigan State Library for the Blind N.Y. Public Library, Library for the 924 Houghton Ste, Saginaw, Mich. Blind, 166 Ave. of the Americas, MICHIGAN (Wayne County) New York 13, N.Y. ' Wayne County Library, Dept. forthe Blind DELAWARE 3661 Trumbull Ave*Detroit 8, Michigan Free Library of Philadelphia, Library MINNESOTA for the Blind, 17th & Spring Garden, Minn. Braille & Sight-Saving School Philadelphia 30, Pa. Library - Faribault, Minn. DISTRICT OF COLUMBIA MISSISSIPPI Library of Congress, Div. for the Louisiana State Library, Dept. for the Blind, Washington 25, D.C. Blind, Baton Rouge, La. FLORIDA (Braille from Georgia Library) MISSOURI Fla. Talking Book Library Wolfner Library for the Blind, 3844 P.O.'Box 2298, Daytona Beach, Fla. Olive St., St. Louis 8, MD. GEORGIA MONTANA Library for the Blind, Ga. State Seattle Public Library, Library for the Dept. of Education, 232 Luckie St., Blind* 425 Harvard Ave, No. Seattle 2 Wh N.W., Atlanta, Ga. NEBRASKA HAWAII Nebraska Public Library Commission, Library of Hawaii, Dept. for the State Capitol, Lincoln 9, Nebr. Blind, Honolulu 13, T.H. NEVADA (northern) IDAHO Calif. State Library, Books for the Multnomah County Library, Books for Blind, Sacramento 9, Calif. the Blind, 216 N.E. Knott Street, NEVADA (southern) Portland 12, Oregon Braille Institute Free Circulating Li- ILLINOIS (north of Springfield) brary, 741 N. Vermont Ave, L.A. 29, Calif. Chicago Public Library, Dept. of NEW HAMPSHIRE Books for the Blind, 4544 Lincein Ave. Perkins School for the Blind Library Chicago 25, Ill. Watertown 72, Masse INDIANA NEW JERSEY Indiana State Library, Service for Free Library of Philndolphial Library the Blind, 140 N. Senate Ave. for the Blind, 17th & Spring Garden, Indianapolis 4, Ind. Philadelphia 30, Pa. -169- NEW MEXICO RHODE ISLAND Denver Public Library, Books for the Perkins School for the Blind Library Blind, 90 Lowell Blvd, Denver 19,Colo. Watertown 72, Mass. NEW YORK (other than Greater N.Y. City & SOUTH CAROLINA Long Island) N.Y. State Library,Library N.C. State Library, Services for the for the Blind, 226 Elm St, Albany 2 N.Y. Blind, Mansion Pk.Bldg9Raleigh, N.C. NEW YORK (Greater N.Y. City & Long Island) SOUTH DAKOTA N.Y. Public Library, Library for the Minn. Braille & Sight-Saving School Li- Blind, 166 Ave. of the Americas,NY 13,NY brary, Faribault, Minn. NORTH CAROLINA TENNESSEE N.C. State Library, Services for the Cincinnati Public Library, Library Blind, Mansion Park Bldg,Raleigh, N.C. for the Blind, 617 College St., NORTH DAKOTA Cincinnati 2, Ohio Minnesota Braille & Sight-Saving School TEXAS Library, Faribault, Minn. Texas State Library OHIO (south of Columbus) State Capitol, Austin, Texas Cincinnati Public Library, Library for UTAH the Blind, 617 College St., Free Public Library, Books for the Cincinnati, 2, Ohio Blind, 167 Social Hall Ave., Salt OHIO (north, including Columbus) Lake City 1, Utah Cleveland Public Library, Library for VERMONT the Blind, 325 Superior Ave,N.E., New York State Library, Library for Cleveland 14, Ohio the Blind, 226 Elm St0 Albany 2, NY OKLAHOMA VIRGINIA Special Services Section, Okla. State Virginia State Library for the Blind Library, 109 & 331 State Capitol, 2933 W. Cary St, Richmond 21, Va. Oklahoma City 5, Okla, VIRGIN ISLANDS OREGON New York Public Library, Library for Multnomah County Library, Books for the the Blind, 166 Ave.of the Americas, Blind, 216 N.E. Knott St,Portland 12 Ore. N.Y. 13, N.Y. PENNSYLVANIA (east of Harrisburg) WASHINGTON Free Library of Philadelphia, Library Seattle Public Library, Library for for the Blind, 17th & Spring Garden, the Blind, 425 Harvard Ave,N,Seattle 2 Philadelphia 30, Pa. Washington PENNSYLVANIA (west, including Harrisburg) WEST VIRGINIA Carnegie Library of Pittsburgh, Library Carnegie Library of Pittsburgh, .Li- for the Blind, 4400 Forbes St., brary for the Blind, 4400 Forbes St, Pittsburgh 132,Pa. Pittsburgh 13, Pa. PUERTO RICO WISCONSIN New York Public Library, Library for the. Chicago Public Library, Dept. of Books Blind, 166 Ave. of the Americas,NY 13,NY for the Blind, 4544 Lincoln Ave., Chicago, 25, Ill. VOLUNTEER BRAILLE MUSIC WYOMING TRANSCRIBING ORGANIZATIONS Free Public Library, Books for the Blind, 167 Social Hall Ave., Salt Lake City 1, Utah BRAILTg INSTITUTE OF AMERICA, INC, 741 No. Vermont Ave, Los Angeles 29, Calif. JEWISH BRAILLE INSTITUTE OF AMERICA, INC: 101 W. 55th St, New York 19, N. Y. NATIONAL BRAILLE PRESS, INC, 88 St. Stephen St, Boston 15, Massachusetts NEW ENGLAND COMMITTEE FOR MUSIC BRAILTg TRANSCRIBING, 629 Commonwealth Avenue, Boston 15, Massachusetts SWEDENBORG FOUNDATION, INC, 51 E. 42nd St, Room 1603, New York 17, N. Y. THEOSOPHICAL BOOK ASSOCIATION FOR THE BLIND, INC, Rt. 2, Box 5-A, Ojai, Calif. VOLUNTEERS SERVICE FOR THE BLIND, INC: 332 So. 13th St, Philadelphia 7, Pa. XAVIER SOClETY FOR THE BLIND, 154 E. 23rd St, New York 10, New York.

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Y 0

by Norma It is my f")sincere hope that in these talks I may have given you a few ideas of things to do - or maybe not to do - to help make of your choir program a better ministry of music. Yet you know, as do that in the long run, it is each of us as individual directors who will have to meet and solve the problems which are unique to each situation. I am sure that each of us must develop the type program, that is best for us, for our children, and for our church, Creative ideas do not spring from groups; they spring from individuals. Being creative doesn't mean being different; it means the ability to see situations clearly and to meet them constructively* The secret of your success lies chiefly with you. Those who achieve great things not only have high intellectual traits, but also have a persistence of motive and spirit, confidence in their abilities, and great strength of character, At the beginning of every undertaking you are confronted withtwo ways of attack- ing it. One is with doubt and uncertainty; the other is with courage and confidence. To a certain extent you create or destroy the power by which to accomplish what you undertake. One mental approach strengthens and energizes, the other weakens and paralyzes. A leader is a person who has influence with other people which causes them to: 1. Listen and agree on common goals 2. Agree to follow leadership upon advice. 3. Go into action toward these goals, To qualify as a youth leader, one must be worthy of emulation by the children. He must be a good citizen and have a good philosophy. In the words of John Wesley: Do all the good you can By all the means you can In all the ways you can In all the places you can At all the times you can To all the people you can As long as ever you can A Christian has been defined as a mind through which Christ thinks; a heart throl#1 which Christ loves; a hand through which Christ helps; a voice through which Christ speaks. What a worthy goal toward which to strive! Additionally, a youth leader must be sympathetic to the problems of children; he must have a knowledge of basic values of activity, and a skill in the activity; he must be alive with enthusiasm, and animated; yet he must be natural, relaxed, and pleasant, Added principles of youth leadership: 1. Do more than your job. Leadership begins where the job ends. 2. Exercise power with people; don't try to force., 3. Don't be satisfied with the status quo, Meet people where they are, then raise them up. 4* Learn from failures and defeat. Don't rationalize - analyze. 5. A leader is his brother's keeper; he cares about the individual. -171- O. Advance your field of work; make a contribution. 74, Achieve. The best answer to all criticism is a going program. 8. Deserve and earn cooperation, 9. Develop leaders while leading. 10. Have ideals - fight for them. Don't be impatient, but don't abandon the ideals. 11. Radiate confidence and faith. Don't show discouragement. Enthusiasm is con- tagious; a choir will be a reflection of its director. 12. Never have hidden motives; that turns leaders into dictators. 13. Rise above your own interests. 14. Always have time to listen and consult. In order to achieve leadership qualities observe at least some of these techniques: 1. Dare to be a pioneer; experiment, 2. Make decisions. Let people know where you stand. 3. Have definite goals; keep working toward them. 4. Be a spark plug - start good things going. 5. Start with people where they are. 6. Use gang leaders; sell individuals on an idea and the rest will follow. 7. Close the culture gap. Talk about things the children know. 8. Use community leaders. 9. Use children's heroes. 10. Use children's rules; give them a chance to experience success. 11. Play is their world. Keep interest and fun in your rehearsals. 12. Use children's questions; they are open doors. 13. Give credit liberally; the more you divide it, the more it multiplies. 14. Remember that anticipation is often greater than realization. 15. Don't give them all the answers. Let them find some themselves. 16. Solve problems by thinking, not by losing control. 17. Remember that you are teaching children, not music. 18. Find a niche for everyone. 19. See that everyone experiences the thrill of success. 20. Use spare moments to get better acquainted. 21. Feel the pulse of the group. Ask leading questions. What do they like? 22. Strike while the iron is hot. 23. Speak constructively; say nice things or nothing. 24. Never show shock. 25. Keep a twinkle in your eye. 26. RememberYthat'monotony is never in the task; it is always in the person. It is a humbling thing to be an instrument in the hands of God. Let us strive to make of whatever knowledge may be ours a real dedication. */*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/* THIS 'N THAT Apology to Norma Lowder for the omission of her name as the writer in the April Letter of "Plan Your Work and Work Your Plan". This was the eighth in her series of articles dealing with Children's Choirs. From Mrs. Addison S. (Flora) Moore, Westminster Presbyterian Church, Bell Gardens, California--- "Did anyone ever suggest the following for Primary Choirs, 'Over The Forth Is A Mat of Green'? Over the earth is a mat of green, Over the green is dew, Over the dew are the arching trees, Over the trees, the blue. Across the blue are the scudding clouds, Over the clouds, the sun, Over it all is the love of God Blessing us ev'ry one. (Continued on Page 183) -172- TINTINNABULATIONS Pear Bell Friends:

Here is a nonsense song, "The Presbyterian Cat", to enliven your repertoire. A number of Bell Directors are begging for novelty pieces to use at Church Dinners and Shows. I chose "Auld Lang Syne" tune so you will have it on hand to ring in the New Year Those having G to G sets could transpose this from F to G; those using smaller sets could ring the up-stem notes. Will anyone send in suggestions for other humorous numbers? Is there a "Methodist Mole" or a "Baptist Bat" we can serenade? Perhaps "The Presbyterian Cat" should have an introduction?

F b(• 'g Li:r d----'fti, I MIAUW! MIAUW! r-77-R‹ .. There, etc. * * * * * * * * # * * iE * * * * In a serious vein, Cousin Leslie and I hear occasionally from Ministers, music Committees, and Choir Directors inquiring as to the desirability and the value of the Handbell Choir in the Church program. Will some of you write in and give us your views on the subject so that we may have a pro and Con Discussion in this Column? PLEASE DO! This will be useful to others.. 1. Has the investment in Handbells proven worthwhile? 2. Have the Youth in your Church responded to this kind of a Choir? 3. Have Handbells enhanced the Music program of the Church or is it mainly an "activity"? 4. Is the Congregation interested? 5. What is the likely future of Handbell Ringing in your Church? 6. What would you consider an ideal set? 7. Do you have trouble securing or arranging usable music? 8. What are your problems? 9. Other Comments. * * * * * * *

I am looking forward to meeting a huge number of you at the American Guild. of English Handbell Ringers National Convention and Festival to be held in St. Louis, June 14, 15, 16. Shall we Choristers Guilders all wear red carnations so we can recognize one another? A lively Com- mittee is planning a ringading Program--Educational, Enjoyable, and Inspiring. Besides the many Concerts, Lectures, Forums, Displays-- (EVERYBODY will be there)--bonuses will include the famous out-door Opera and a Boat Trip on "Ole Mississip l ". Write Chairman, Mrs. Chas. J. Raffels, 4338 Blair Avenue, St. Louis 7, Missouri. Another interesting Convention will be that of the Ameriean Bell Association to be held at Luray, Virginia, June 27, 28, 29. Some 800 Collectors of Bells make up this organization. The dues are reasonable; it is worth your while to receive their informative monthly bulletin. For information about the A. B. A., write Mrs. Louise Collins, RD #1, Natrona Heights, Pennsylvania. Meet you in St. Louis and Luray!

Nancy Poore Tufts

-173- 0 1rSENSE soNa arranzed for

Handbells and Voice or Unison Chorus

Words - Anon. Tune - "Auld Lanz Syne" Andante Relizioso Bells - F to F arr. Nancy Poore Tufts 1. 2 4. • • C • ,3* 1. There was a Pres - by - ter - cat Went search - inz for her prey, 3. The min - staire was hor - ri-fiet And un - to her did say

7A__. •

-9- -9- And foond a moose with - in the hoose Up - on the Saw - bath day.18- "Oh, nauzh-ty cat to catch a moose Up - on the Saw - bath day.

N 10. -...,, NI • -I -4 d • b" ,: , _ • -g • • .i; ;0

r 2. The peo - pie ei11 were hor-ri - fiet, And they were griev Ad sair, 4. "The Saw-bath's been, fra days of yore, And in - sti - to -tion." So (110RAL)*The high - er up the plum tree grows The sweet- er grow the plums,

1 6 o • e •

And straight -way led that wick - ed cat be - fore the min - i - st ire. they straight-way led that wick - ed cat To ex - e - c u - - tion. The more the cob -bler plies his trade The broader grows his thumbs.

*EORAL (which may be sung here, or as a chorus to the above verses, ad lib.) music - -M U S I C- -music suggestions by Leslie The month of May may be early to think of music for the fall season, but really, not too early to do so. This listing responds to numerous requests. This past winter, upon invitation of the Morse M. Freeman Company, music sellers of Los Angeles, and San Francisco, I was privileged to give two lecture -demonstra - tions2 one in each city, on materials for J children's choirs. This firm is well known on the west coast for its unusual service, way above that of merely selling music. The two engagements gave me opportunity not only to talk about and demonstrate fine music for children's choirs, but also to bring the Choristers Guild to the attention of many who had not known of the organization. My thanks go to Edith Kritner, and Esther Wiedower of this firm for their kindness and help in making this avenue open to the Guild. No originality is claimed for this listing; not everything suggested is,of course, of equal value, and certainly not everything can be used by every choir. Some of the numbers are old, some fairly new. The list, however, does represent the upper third level in quality of the material examined. You may use any of these pieces in the assurance that they will add much higher than average music to your repertoire. The listing is included to help the many members of the Guild who have little or no access to music stores. Directors in larger churches, and/or cities, generally have their own source for the examination and finding of material* The listing labeled "A", represents the music actually examined and discussed in these two lecture-demonstrations. The listing labeled "B", was handed out as a supplementary one. LIST "A" Christ The Lord Is Risen Today SA or TB arr. Davis 10-G1855 Remick The well known Charles Wesley text--this Davis arrangement of a 14th century melody is excellent, simple, easy to sing, easy to like--though planned for 2 parts,it can be very effectively sung as a unison by simply following the melodic line all the way - it must be sung with flowing rhythm. Easter Bell Carol unison with descant Davies 86101 Flammer This gay little piece will delight everyone including your youngsters - the descant is not necessary for effective presentation though it will add interest. Song For Easter unison Eichhorn GMR 2057 Gray An old, old favorite which you should know if you have not used it--3 stan-, zas of the same melody with change of accompaniment for each--follow a broad phrase pattern to prevent bumpiness--for not every first count of every measure has the same rhythmic value. Easter Flowers Are Blooming Bright unison Lovelace CMR 2513 Gray Here it seems as if Austin Lovelace is at his best with children's choir music--the text is interesting and intellibible to youngsters--the music similar enough stanza-wise, but also varied enough to be challenging,--first$ teach the various rhythmic patterns--then teach the varied melodic patterns - this is an Easter anthem which all boys and girls should sing. The Garden unison Caldwell 748 Wood Another piece from the prolific musical mindof Mary Caldwell--this is immediately popular wherever sung--a danger lies in that the children's voices may be too easily "pushed" in deVeloping the long climax phrases--take care also that the accompaniment does not overpower the voices.

-175- Music. Music Music continued Forth He Came At Easter unison or SA arr. Williams CMR 2523 Gray If you have a harp available, this piece is for you though the piano may always be substituted--this old French melody gives a rather solemn aspect to the text--the changing accompaniment steps up the mood as the text advances into each stanza--this may be best for an older group of youngsters, say the junior-hi choir with their fuller voices. Now The Green Blade Riseth unison arr. Fusner CMR 2232 Gray This uses the same text as the previous piece, but to another traditionaiFrench melody ---while still in the minor mode, this tune is gayer and lies better in the range of young voices--four stanzas, each with varied accompaniment. Spring Prayer unison Caldwell B-2113 Summy-Birchard This was a favorite of Ruth Jacobs—children love it and sing it well, particularly if a flowing rhythm is maintained--the tempo must never lag--the various measures of changed meter must not interfere with the flow of rhythm. Three Carols For Juniors unison Copes 6005 Canyon Mr. Copes in these carols has established himself solidly as a composer of merit for children's voices--these carols, one each for Thanksgiving, Christ- mas and Palm Sunday, are interesting both musically and textually, and are certainly not "run of the mill" or "potboilers"--your boys and girls should sing all three which are published as one octavo number. 0 Thou Eternal Christ, Ride On SATB Lovelace APM-105 Abingdon For Palm Sunday on the not-so-well-known but resolute hymn-tune, Llangloffan - though scored simply for SATB, it may be easily and effectively sung by children's voices in unison--the text will provide a change from the oft- used, All Glory Laud and Honor. Prepare The Way SATB Swedish-Luvaas 322-14449 Ditson Another Palm Sunday anthem, and again for mixed voices, but also again, easily and effectively sung in unison by boys and girls--interest may be added by using the adults in the last section, the children then singing the obligato part--the music, a singable early Swedish melody. To Calvary (a cantata) SATB Titcomb Gray Never overlook the possibilities in a good cantata for finding usable children's choir material—look far and wide and you will discover no finer piece for Palm Sunday for your children than the carol on pages 10 and 11 in this cantata--2 stanzas, easy, singable, excellent text—furtherithis little carol is part of a larger section entitled, The First Palm Sunday, brilliantly conceived and written for your youth and adult choirs--here then is a worthy anthem in which all your choirs may participate on Palm Sunday-- further on in the cantata on page 26, you will find a very beautiful Call To Prayer for either adults or children. Carol Of The Mother SA Lovelace CMR 2241 Gray Mother's Day SS or unison Kingsbury CMR 2579 Gray Gifts (Mother's Day) unison Caldwell 5033 Summy-Birchard The above three numbers were discussed in the April issue of the Letters-- please refer to Page 161. Anthems For Junior Choristers unison & 2 pt Lovelace Summy-Birchard Here is a real bargain--six numbers for 750—all good music written by a man who knows children's voices--all usable--all with inspiring texts--several have optional second parts--every children's choir should sing all of these pieces. Let Us Praise God SATB & speech choir Olds 1649 Schmidt, Hall &FicCreaay This canticle was used by Ruth as the opening number many times in children's choir festivals--it should be sung in many more--again do not permit its scoring for adult mixed voices to deter you--the number is effective with children's voices in unison--moreover, the piece is easy and may be used in many types of services.

• -176- Musics Music, Music, continued Come Together Let Us Sing unison Bach 1001 E.C. Schirmer All children should be acquainted with the music of Bach--here is an easy introduction; lovely and timeless. God My Shepherd Walks Beside Me unison & SATB Bach-Dickinson SC 216 Gray This well-known Bach melody should be in the hearts and minds of your children; it is a part of their musical heritage to be loved and sung--parts for flutes available from the publisher--numerous editions of this melody are published; this one offers the best text for children—the key of Bb though makes the melody lie too high--the key of G is suggested--if you cannot readily transpose, buy a copy published in the key of G as published by the Oxford Press. The King Of Love My Shepherd Is SATB & Junior Martin CM-583 Carl Fischer Directors are always seeking choice anthems for the adult and junior choir combination--your search for one at least, is ended right now, for this anthem was a "made to order" number--Mr. Martin wrote this more than 20 years ago for the particular set-up then obtaining in the First Congregational Church, Los Angeles--the adult choir and the children could rehearse together just before a service only--this anthem is easily "put together" under such conditions--the children have one melodic phrase only to learn, and what is more, sing it to the same words the adult choir has just previously sung--this anthem, I highly recommend--it had considerable popularity when first published--it is just as good now, and should be used by another generation of directors. We Tread Upon Thy Carpets SA & speech choir Whittlesey 86153 Flammer Children readily respond to imaginative texts-here is one which is as beautiful as a sunny spring day, and best of all, reminds the children that God is the source of all our wonders--this piece may be easily sung in unison by following the melodic line--the second stanza written for speech choir may also be sung, using the accompaniment for the first stanza, God Is Here With Us unison or SA Stanton 9208 J. Fischer This piece is probably best suited for an older group, junior-hi or hi-school - it is by an up and coming younger composer whose work merits your attention whenever you see or hear it. 0 Lord Our Governor unison Marcello 09-1045 Concordia Every children's choir should be given experiences with music of the classic period) some of which we label, florid--this fine example of exceedingly interesting, singable, usable early music is the type which boys and girls can easily learn, and besides, it is fine vocal experience and training-- this should be lightly and rapidly sung with verve and animation--it is children's music at its best--the piece may stop at the Fine without going into the second section. God Who Created Me 2 pt Lovelace CM 7149 Carl Fischer A boys' choir always wants something which is exclusively its own, something which the girls cannot sing--this is it--the text is for boys--men may be used with the boys--then again, the piece may be sung in unison, A Child's Prayer unison Taylor OCS 1006 Oxford Here is a very old-timer--should be sung by every children's group, and should never be allowed to stay out of the repertoire--a child needs little else in theological training in addition to the text of this easy and beautiful music. The next five anthems are for Christmas How Far Is It To Bethlehem? unison G. Shaw 1360 Novello Nearly everyone knows the SATB setting of this text--fewer know this unison arrangement by the composer--there exists in this text and music, a delightful freshness which makes it a perennial favorite--directors please note that much of the text is in the form of questions which children are quick to grasp and to convey if you point them out, and play upon their imaginations.

-177- Musict Music, Music, continued How Far Is It To Bethlehem? unison Gritton Galaxy This setting of the same text as the previous piece shows clearly how music can change the mood of words--this music gives buoyancy rather than piquancy to the text--it is for you to decide which you think your youngsters would rather sing--both are good. The Birds unison Czech-M. Shaw U-30 Oxford The primaries will like this naive text--3 stanzas, not all of which need be used--an easy flowing melody, A Babe So Tender SATB Flemish-Dickinson CM 7102 Carl Fischer Again one scored for adult mixed voices, and again usable by children's voices--follow the melodic line—omit singing the introduction--use it as an instrumental beginning--here is a melody just made for young voices. Little Jesus, Sweetly Sleep unison Sowerby 5018 FitzSimons The name of Leo Sowerby is anathema to many directors who say his music is too difficult, too dissonant, even ugly, lacking in melody, too ab- truse, dense, etc., etc.--some of these qualities may exist at times as would be true in all composers/ music—however, here in this piece is as beautiful and lovely a melody as you will ever find--it will take a little effort to learn--the melody of the two stanzas is exactly the same-- the accompaniment is typical Sowerby--teach the melody completely apart from the accompaniment--next play only the left hand while the children sing the melody--then quietly add the right hand in which most of the dissonances occur--at all times, keep the accompaniment subdued and the melodic line in the foreground--the text is utterly delightful--here is a Christmas anthem which will grow on you, the congregation and children-- your children can learn it, at least, many choirs can—remember that any choir, adult or junior responds to the director's knowledge and tastes-- by all means try this one. Recent issues of the Choristers Guild Letters have carried as music supplements, new, previously unpublished anthems which have found favor with our members. Par- ticularly, has the Spring Carol by Ronald Combs become popular; nearly a thousand copies of this carol have been sold since its appearance in the January Letter, Other new anthems which the Guild has made known, all of which and the Spring Carol are available through the Guild office axe: Ballad Of The Dogwood Tree Davis It Is The Joyful Eastertime Burke All Things Bright And Beautiful Burke God Of All Lovely Sounds Burke All these have been discussed in the Letters, The Guild is very proud of having brought these to your attention. LIST "B" ADDITIONAL LISTINGS FOR CHILDREN'S VOICES Lord of All Being unison Handel CMR 1965 Gray Fine text to not-so-well-known aria. Lovely legato melody - primarily for evening service use. Saw You Never in the Twilight unison Lovelace CMR 2553 Gray One of Austin Lovelace's fine contributions to children's choir Music. In- teresting text, labeled an Epiphany carol, but certainly suitable for other occasions. Moderate difficulty. What Is This Lovely Fragrance? SATB Frenoh-Willan Oxford Lovely old (both text and music) French carol with a fine accompaniment. Do not let the SATB deter you: it may be sung by children throughout* Bells of Spring SA Rawls 1986 J. Fischer Lively. May be unison throughout. Accompaniment arranged for bells, bells and organ, or organ or piano.

-178- Music, Music, Music, continued As Grain Once Scattered unison Lovelace 5357 Summy-Birchard The melody line of an SATB designation - as is the case here--may prove to be as lovely an anthem for your boys and girls as you may find. General use. God's World unison Caldwell 3316 Remick Some may decide text is too secular for church use* Merits your examination, however, Probably best for a large massed children's choir festival. Accom- paniment on the heavy side, and care must be taken not to overshadow the children's voices, Let The People Praise Thee Jr & SATB Dieterich 757 Wood Adult choir definitely a background for the children; good text (Psalm 67); Music is average run-of-the-mill quality, but can be an effective number. Christ The Lord Is Risen Today unison Eichhorn GMR 2124 Gray Well-known, well-loved Charles Wesley text. A fine number when care is taken that the rhythm does not become a series of monotonous bumps. Our Master Hath a Garden SA Dutch-Malin 766 Wood May be easily and effectively sung in unison. Lovely melody, well arranged. Psalm 23 unison or SA Fromm TOL 331 Transcontinental It seems that another setting of this Psalm is never justified because of the large number already available* This arrangement was suggested to the publisher by the late Ruth Krehbiel Jacobs. From the SATB. Optional flute. I Lift My Eyes SA Pfautsch B-2101 Summy-Birchard Short, text based on Psalm 21, Minimal difficulties for the altos in early attempts at two-part singing. A Child's Thanksgiving unison Baynon 1138 Oxford Out-of-the-ordinary text which children will like, Prayer for Christmas unison Baynon Text a refreshing variant from the 'Mary-the-Mother-mild" style. As Dew in April unison Smith B-1242 Sumny-Birchard Flowing melody. Probably best used for Christmas. Like as a Father 3 equal parts Cherubini 5297 Summy-Birchard This is as lovely an anthem as you will find, particularly if your choir has learned part singing by rounds training. Peace on Earth unison Lovelace 133 Choral Services A gay little Christmas piece with text youngsters like and learn easily. Bethlehem Lay A-Sleeping unison Polish-Willan 98-1410 Concordia Primary groups can quickly learn this lovely short number. Blessed Man Whom God Doth Aid unison arra Lovelace Jo Fischer Another fine Lovelace addition to the junior choir repertoire. Optional flute. Text will be appreciated by boys and girls. Let Our Gladness Know No End SA Polish-Barnard B-108 Sumny-Birchard Short, gay, and sprightly, optional bells and flute or oboe. Alto part is necessary for full realization* Give Ear Unto Me 2 equal (high) voices Marcello CMR 1522 Gray As beautiful music as you will find. For a group eager to advance and needing additional incentive. Can You Count the Stars? SA Gillette 86163 Flamer Lovely text, which will overshadow the so-so music, Six Responses SATB Early Moravian, arr. Dickinson Gray Good, simple, interesting, honest responses for children are needed when they sing an entire service by themselves. This set merits consideration. Collections Anthems for Junior Choir Westminster Press Book 4 is mostly unison Voices of Worship unison and SA Wood Compiled by Don Malin The Church Year all unison adapted by Gillette ':Flammer Thirty-five Sacred Rounds and Canons collected by Bristol Canyon Good for learning part singing in addition to learning some fine music. -179- Music, Music, continued Songs of Praise For primary groups Day Mills FINALLY - Be sure to examine the children's sacred music by the Rev. William Grime, published generally by Carl Fischer. He knows how to speak to boys and girls. Most of his things are best for primary groups. FOR HIGH SCHOOL OR YOUTH GROUPS Problems in these are more varied, and conditions different than in children's choirs. Some groups can sing unison only, others two parts either for boys or girls, and still others can handle SAB. Good, adequate material has been scant. Here are a few suggestions. The Whole Bright World Rejoices SAB Hill CMR 1861 Gray Quite easy, text from Oxford Book of Carols. A joyful expression of the Easter message. Sing Alleluia Forth SATB Dickey AMP 113 Abingdon Easy SATB, much in unison. Opportunity in the last section for your best high school soprano to sing an easy obbligato. How Firm a Foundation SAB Early American-Walter APM 125 Abingdon Really fine easy arrangement of the fine melody which seems to fit the text much better than the usually-used Adeste Fidelis. Clap Your Hands SATB Diercks APM 103 Abingdon Not really easy, but young people will enjoy its contemporary flavor and sing with the understanding and verve written into the piece. Treat your high schoolers to this one. God Rest You Merry, Gentlemen SATB English-Van Iderstine APM 124 Abingdon As bright and fine an arrangement of this sprightly tune as may be found. Fairly easy, much in unison, very good independent accompaniment. Plan on this one for next Christmas. Holy Ghost with Light Divine SA Gibbons-Warner 98-1363 Concordia Gibbons' lovely Song 13 arranged in a most interesting, easy manner. The accompaniment, not independent, is well done. The three following are by W. Glen Darst, whose arrangements and original numbers for youth choir always bear examination, He apparently has a youth choir himself. At any rate, he knows what will "go". Psalm of Praise two high parts GMR 2471 Gray We Praise Thee, 0 God SAB CIS 2660 Gray a bit more difficult All Praise to Thee, Eternal God SATB CM 7115 C. Fischer may be used for adult and youth choir combined. As with many composers who think and write instrumentally for voices, Mary E. Caldwell's accompaniments are either somewhat heavy, elaborate, or more important than the vocal line. Both of these are for unison, and may be just what you are looking for. The texts will undoubtedly appeal to your groups. God's Open Road 3315 Remick I Know a Lovely Garden CMR 2578 Gray for Easter

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Ye Editor is most pleased with the response to his request in the April issue concerning the inclusion of the lists of anthem suggestions. Therefore, you will find these suggestions in this issue. The editor hopes they will prove to be helpful. Please write your reactions to the listing so that future ones may be of the most value. I (Leslie, Ye Editor) am exceedingly happy that so many think highly enough of their Guild membership to write comments, both favorable and unfavorable. Some adverse opinions were sent about the inclusion of drawings of rhythm-band instruments. So as not to take too much space from other matters, a few will be included from time to time in future issues. Requests have been made for articles and helps on the use of great art in Children's Choirs. This will probably be done in the Fall. Do therefore, please CONTINUE TO MITE.

-180- IDEAS FOR PRIMARY CHOIR Trfx? By HELEN KEMP Now that Palm Sunday and Laster are over--WHAT? There are many directors who end the Primary Choir year with the festival of Easter, but for those of you who continues here are ideas for you to "mull over". How about a really creative project - now that the pressure of preparation for and participation in worship services is over for the season? Suggestions! 1. Have a unit of study on instruments of the Bible and actually make them. There are several good books available on the subject. ("Making Musical Instru- ments" by Mandell and Wood). a. Mimeograph a list of instruments to be made, noting materials children will need from home. Actually try making these yourself in preparation and have samples on display. b. Correlate the project with singillg, stories about worship services in the Temples, etc. "This participation in activities intekrated with study is one of the most important ways of learning." (You will have to provide space, ideally having a room available where there are work tables and chairs. Extra adults helps too.) 2. What about having a project on the use of simple instruments for primary children? Autoharp - (perhaps can be borrowed from public school or church school) Song Flutes - (Available at music stores for $1.00 each) Bells - (sets of Melody Bells) Drums - (home made) Tuned glasses - (home made) Excellent material found in "Music Through the Years" (see end of this article) 3. What about a Music-Mission project? Find folk songs of foreign countries where your church has missionaries. Write to your missionary for pictures of children there, how they dress, singing games they play, etc. Write a singing-play about the work there. 4. Choose four unfamiliar great hymns (suited to the age of the children) Plan four Hymn posters, having teacher print words on light colored poster board -- leaving space for the children to illustrate with pictures, cut-outs.

:IMake large open-outline letter at the beginning of each verse, so the dren can fill in with clear nail polish and colored glitter, etc. Coordinate this activity with learning and memorizing the hymns. Invite parents to the last rehearsal for display of posters and the hymn-singing, Serve hymn-book cookies (plain rectangle with a note or two iced on top.)! 5. Vacation Church School! C7 0 Here is a wonderful opportunity for choir directors to coordinate with the Christian Education department. Get hold of proposed vacation church school materials early to know the theme and purpose of the planned curriculum. Learn songs suggested, or get together with department leaders and suggest substitute songs which would be most suitable to the unit of study. This experience could be the "backbone" of your work with Primaries the following choir year. 6. Round-Singing This could be wonderful for second and third graders for a pre-summertime project I know of no musical experience they enjoy more after they know the rounds. Always teach rounds in unison and sing it until it is very familiar - then start "rounding!" -181- Suggested rounds for Primaries from "Choristers Little Hymnal" Alleluja Round Page 58 For .Health and Strength Page 59 Praise-and Thanksgiving Page 61 Make New Friends Page 61 Morning9 Evening Page 62 Let Us Sing Together Page 63 Another excellent source of round, cannon and song material for Primaries is a book written for Public School Music, worth your purchasing. "Music Through the Years" - Follett Publishing Co. - Chicago, I11. For further creative activities and ideas, purchase "You Can Do It!" a booklet (600) published by the Judson Press, Philadelphia, Pa. KT\ (6 0

HYMN STUDY "Christ We Do All Adore Thee", from "The Seven Last Words" by Theo. DuBois as published in the Choristers Little Hymnal, Page 53 Dear Boys and Girls:- I hope you had a blessed and happy Easter. The hymn I have chosen for this time is taken from a well-known Lenten cantata, "The Seven Last Words" by DuBois. However, this short hymn is appropriate to other seasons of the church year as well. It is especially effective and useful as an introit. It lends itself beautifully to two-part singing except at the very end, where I would suggest a third part be added by putting the tenor above the soprano. Perhaps the middle part then (note E) could be just a shade stronger than the other two parts so that the melody as intended by the composer may pre- dominate. As before, I again stress the importance of the words. Actually you have only four short lines to learn: Christ, we do all adore Thee,. And we do praise Thee forever, For on the holy cross, Hast Thou the world from sin redeemed. After all the long period of Lent, when we reviewed again the suffering and death of our Savior--then the joy and triumph of Easter Day, doesn't this little hymn fill you with deep love and gratitude for the great sacrifice He made for us? When you sing it, I hope you will think of it as a gift of love from your heart. Heretofore, I have not talked much about technical aspects in the hymn studies. This is one that must be sung with the finest technique you can develop. It needs the purest tones and vowels you are capable of producing. The phrases should be long and smooth which takes the right kind of breath control. Your choir-director, with your help, can polish this little hymn until it becomes a shining gem. Please work hard on it, because it is worthy of your very best efforts. More important than this,--whatever we do in God's House should be always the best we can do. Isn't that right?

Your friend,

-182- (THIS 'N THAT, Continued from Page 172) I found this in 'Children Singing', edited by Wiseman and Hamilton, Oxford Univer- sity Press. There are two tunes. We use the second, Scots Tune. To introduce it, I built up the picture in colored chalk on the blackboard as the youngsters repeated the lines after me. After the first time, the children could hardly wait for their turn to put in part of the picture. And it took almost no time to learn: HONOLULU - Reports indicate a smashing success for the second annual Children's Choir Festival which was held on February 21, 1961 in the First Methodist Church with Melvin Gallagher, conductor, Cicily Brown, organist. Over 500 children from eleven churches situated on the island of Oahu sang and developed the theme, A Child Thinks On Jesus. The festival was sponsored by The Church Musician's Guild of Hawaii and the Honolulu Council of Churches. Great strides have been taken by many churches in Honolulu in their musical programs in the past several years.This festival is but one manifestation. It took the courage of one or two persons to get things started. A typewritten copy of the interesting program will be sent by the Guild office to anyone desiring it. The gold-filled Choristers Guild pin may be easily identified by the letters GF stamped on the back of the pin. This quality has an amount of gold on it amounting to one-tenth of the thickness of its bronze base whereas the Glo-tone quality is a gold-wash. The gold-filled pin will wear well just like good jewelry. Many churches are now changing to the better quality pin which costs only 500 additional. You may recall a request in the last issue for an ANGEL to provide some new equipment. One came winging from Glendale, California. The net proceeds amounting to $165.96 from the Glendale Junior Choir Festival held early in March was given to the Guild for a new addressing machine. All Guild members will wish me to thank the Glendale folks for their help. The checks drawn on many banks in smaller communities carry an exchange charge. Last month, the Guild paid $1.30 in exchange charges. Thus far, the Guild has not called attention to this charge. The practice,however, of charging exchange is growing. If you send in a check on a small community bank, please determine if an additional ten or fifteen cents is needed in order to cash your check. The Guild will appreciate your cooperation. PLEASE, 0 Please, when sending in your order for pins and/or crosses, include either the amount of the Federal excise tax of 10% in your check, or send an exemption certificate. The Guild has no choice; either the tax must be paid or exempted; the burden of exemption is on the purchaser. Literally hours during the last month have been needed in the Guild office to write members concerning the tax. Please save your Guild this unnecessary expense. The tax situation has been explained numerous times, particularly in the March issue of the Letters. California residents, please include the 4% sales tax on all your orders. PINS, again--In order to insure speedy and accurate service, the Guild has suggested some tried procedures. Some pins are returned in such a way that it is well- nigh impossible for the Guild office to be accurate. Here are the suggestions again--place each pin in a small envelope plainly marked with your name or that of your church; the work to be done; the pin owner's name if you wish. Wrap and pack carefully; send first class, air-mail if an early return deadline is indicated. Please do not use large size or even regular size envelopes; these are too difficult to handle. Most churches have on hand left over weekly offering envelopes; these are ideal. Your name must appear on each envelope. With hundreds of pins pouring into the Guild office each week at this time of the year, the Guild must request this procedure; otherwise, the Guild cannot insure the return of the same pin to you. Do help us to serve you well.

-183- A MESSAGE FROM OUR PRESIDENT Dear Guilders:- When I finished reading the last Guild Letter, I was moved a little more than usual to say, "Thank God" for the Choristers Guild, and all the contributors of the wonderful articles in each month's Letter. I am especially grateful for the opportunity to serve even in my small way, such an organization. Even though I am primarily an organist, my close associations with leaders such as Ruth and Leslie Jacobs, Cecil Lapo, Helen and John Kemp, Federal L. Whit- tlesey, Robert Scoggin, Austin Lovelace, Ray Davidson, who is my own Minister of Music, and many others have inspired me to want to help in this great work in every way possible. My very first introduction to the graded choir system was through Cecil Lapo who was my Minister of Music for several years. Through Cecil, I saw our choir program grow from one adult choir of about forty voices, to several choirs with about three hundred and fifty voices. Most of those young people who grew up through the graduated choirs, have developed into wonderful Christian men and women. I sincerely feel that the experiences and opportunities received through these choirs and their director, have played a most important part in their lives. We are all very excited about the annual workshop which is to be held in Okla- homa City, June 19-24. Thank you, Helen and John Kemp for arranging such a fine program for us. Under your leadership, together with Madeline Ingram, Cecil Lapo, Norma Lowder and others, we cannot fail to have a very successful workshop. Wouldn't it be wonderful to have a large attendance in Oklahoma City? Wouldn't it be wonderful to bring a new member with you to share in the inspirational program? Wouldn't it be wonderful if each Guild member did everything possible to help make this workshop a big success? With sincere appreciation for all of you,

ALL IN THE FAMILY This is the editor of the CHORISTERS GUILD LETTERS speaking, or rather writing. I need never really to leave my desk in order to travel far and widely. The whole country, yes even the world, comes there via the postman. Nearly every mail brings something interesting. Just to hear from you that your children sang something exceedingly well, brings us closer together. It is a continual joy to sit, therefore, at this editorial desk. Particularly have the Brotherhood of Song memberships brought very much personal human interest to me. I am most grateful. Following are excerpts from recently received letters. From CAROLYN RYBERG KINGSHILL, McGilvray Seminary, Chiangmai, Thailand-- "I have now taken over as Chairman of the Music Department of McGilvray. We feel that we have continued and also instituted many revolutionary ideas in church music in Thailand. The Seminary with a student body of only thirty has one of the best choirs in the country since the whole student body makes up the choir We have daily rehearsals mid-morning We are singing a group of five Negro Spirituals (in Thai) at the Graduation Tea; singing several anthems for the Com- mencement Service, and singing two wedding numbers for the wedding of one of our senior students. "Our music office mimeographs and distributes a small music magazine for the Music Committee of the Church of Christ in Thailand. I have gotten many helpful ideas from your Letters for this magazine. We mimeograph it both in Thai and English. We have also worked'on several projects such as a beginning theory book in Thai, a piano accompaniment version of our Sunday School songbook and a choral response leaflet. This coming year, our Hymnology class will'work on two different projects, -184- one of which I hope will turn out to be a handbook to the Thai Hymnal, the second, a booklet of Music Worship Services for use by different organizations in the local churches. "The music level of the Thai Church is very low....we feel that slowly, but surely, we are getting someplace, and do have the satisfaction of realizing that thin& have im.proved over the past ten years." This membership has been provided by Mrs. J. A. Lewis, Webster Groves, Missouri. And now Tatsusahura Nishimura whose address is 3 Chome Honmachi, Higashiyama, Kyoto, Japan. This membership currently is provided by the Newark, Ohio Chapter of the Choristers Guild. "Dear Arthur Leslie Jacobs san (san means Mr. in Japanese) - "I am very grateful for your kindness sending me every number of the very useful Choristers Guild Letters which has been paid for me from some supporter. I am very much interested in choir singing, both adult and children, and working hard for thirty years since I became conductor of the Kyoto Chorus or Doshisha Orpheus Club. Also I have been teaching a choir which belongs to my church--Heiam Church here in Kyoto, the old capital of Japan. "While I was in America, I studied at the Union Theological Seminary, Dayton, Ohio and Westminster Choir College, Princeton, New Jersey. At the Westminster, I had been directed by Dr. J. F. Williamson who loves Japan so much that he and his wife visited Japan four times since I came back to Japan. "Now I teach Bible and sacred music in my Doshisha High School, and it is very thankful to have such a nice Letters every month. I certainly appreciate your thoughtfulness, and I feel the Choristers Guild is just like my mother school. "Please send my best regards to those who support the expenses of the Letters for me. Hence, I will do my best for my choir work, and I'd always remember you for it "May God bless you in all your wonderful work." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Our one and only member in England, WALTER SPINNEY plans to use this coming Christ- mas Season in a children's service, Timothy's Christmas Song which appeared in the October 1960 issue of the Letters. You will recall Mr. Spinney's setting in the same issue of I Hear The Bells On Christmas Day.

MORE THIS 'N THAT LATE FLASH BULLETIN - The Choristers Guild has just received from the Internal Rev- enue Department, a denial of its request for exemption from Federal taxes, and the privilege in addition of receiving gifts from individuals on an income tax-free basis to the donors. This is a serious blow to the plans of the Guild. What the next step should be, must be determined by the officers and directors. A full report will be made to you in the June issue of the Letters. AN INTERESTING REACTION -- "Your 'Ivory Tower' essay is simply splendid, and offers food for thought. Such lofty thoughts should spur some of these sad characters sitting in coal scuttles in the cellar, doing-nothing-much-but-going-through-the- motions-because-what's-the-use?, to get up and at 'em." Be seeing you in Oklahoma City, June 19-24. Lots of Work and lots of Fun, and at the close, that wonderful feeling of having accomplished something worth while.

-185-

N ew Horizons In.Teachin.g

OKLAHOMA CITY, OKLAHOMA June 19-24, 1961 Distinguished Faculty MADELINE INGRAM HELEN KEMP JOHN KEMP CECIL LAPO NORMA LOWDER and Mary Lamb Lewis Ann Smallwood Daily Lectures and Demonstrations - Primary Choir; Junior Choirs; Handbell Choirs Special Lectures and Features Note Book Materials and Visual Aids The High School Choir The Junior Hi Choir Creative Art With Children Creative Drama in the Church with Children Performance of "Noyets Fludde", music by Benjamin Britten Concert by a HandBell Choir from Houston, Texas Tuition a modest $25 which includes a sizeable packet of music to be studied during the Seminar. Housing - very desirable housing is available in a dormitory of Oklahoma City University, 5 blocks away from the First Presbyterian Church for $2.50 a night, two in a room, all linens furnished, single beds. Single occupancy may be requested for an additional fee, and must be requested as soon as possible. Meals - an excellent cafeteria, a part of the university facilities, is available to registrants for all meals. Numerous restaurants are located in the vicinity of the church. Luncheons will be available at the church as a part of that extra hospitality which the First Presbyterian Church will extend the Seminar. Displays - the Sharp & Nichols Company of Oklahoma City will display a large stock of music and books of interest to registrants. Classes - all classes and rehearsals will be held in the First Presbyterian Church, 1001 No W. 25th Street, Oklnhoma City.

REGISTER NOW - A $10 deposit, refundable up to June 10 will hold a reservation for you. Write, Leslie Jacobs, Box 211, Santa Barbara, California.

-186- I RUING asks, "Rre you carefully Pronouncing all your word sownd.s.....

• • • • or we you a."-mumble-r' usiik illotkiit full ci -musk analvtatbles P " HOW THE LITTLE KITE LEARNED TO FLY

"I never can do it," the little kite said, As he looked at the others high over his head; "I know I should fall if I tried to fly." "Try," said the big kite; "only try! Or I fear you never will learn at all." But the little kite said. "I'm afraid I'll fall."

The big kite nodded: "Ah well, goodby; I'm off;" and he rose toward the tranquil sky. Then the little kite's paper stirred at the sight, And trembling he shook himself free for flight. First whirling and frightened, then braver grown, Up, up he rose through the air alone, Till the big kite looking down could see The little one rising steadily.

Then how the little kite thrilled with pride, As he sailed with the big kite side by side! While far below he could see the ground, And the boys like small spots moving round. They rested high in the quiet air, And only the birds and the clouds were there. "Oh, how happy I am! the little kite cried, "And all because I was brave, and tried."

Author Unknown

A PRAYER Hay the thoughts which I think The voice which I give, The songs which I sing, And the life which I live, Be acceptable in Thy sight, 0 Lord, my strength and my Redeemer. Amen

Source Unknown

CHORISTERS GUILD LETTERS Volume XII 1960-61 June Number 10 Ruth Krehbiel Jacobs, Founder Arthur Leslie Jacobs, Editor Norma Lowder, Associate Editor Helen Kemp and Nancy Poore Tufts, Contributing Editors Published for its members by the CHORISTERS GUILD Box 211 Santa Barbara, California Copyright (C) 1961, Choristers Guild

-187- GREETINGS - Space is very limited; these words are few; the depth and breadth of the sentiments expressed are boundless. This is commencement time. This Guild year, my first full one as editor of the Guild Letters and creative leader of the Guild, has brought me to a commencement which always is at once, an end and a beginning. As with the young graduate who generally has the help of a family, so it was with me. Without the help and encouragement of our large Guild family, my tasks would have been hopeless and impossible of any accomplishments. A very few only can be named--President Nita, the Letters Staff, those who wrote articles, Gloria Sing, Sacramento, California who made the music stencils, Helen Rulifson who compiled the index--to these and many others, and all the Guild family, my heartfelt thanks for all your prayers, help, support, and loyalty. May your summer be one of real re-creation, and the growth in feeling that you are working in a challenging cause--the development of Christian Character through Children's Choirs. Remember the words of Jesus, "Suffer the little children to come unto me for of such is the kingdom of heaven".

IN THIS ISSUE YOU WILL FIND A Membership Renewal Blank. Most members plan to renew. Please therefore, send in your renewal NOW--it takes no more time now than later. You will help your Guild do a better job for you; you will save the Guild time, effort and money, and in addition, you will give your Guild some idea of how to plan printing needs. Your finest act of loyalty at this time, will spur you to send in your membership renewal now. The Guild is dependent financially upon the Contributing Members of whom there were 256 this Guild year. These are earnestly asked to continue as such; others are urged to join their ranks. Surely there are 300 among our members who will give the Guild this additional undergirding. An outline of the Merit System which the Guild suggests to members. You may wish to start such this coming fall. The Choristers Guild Pin and Cross will help you and your boys and girls to achieve more co-ordinated work. Our newer members may wish further information. A request to the Guild office is all that is needed. A Listing of Materials available for the note books of your boys and girls. Anti- cipate your needs this summer, and if possible send in your order before September. A Bit About the CHORISTERS LITTLE HYMNAL - In the little more than two years since this little volume was first printed, it has sold about 20,000 copies. It is ideal for use with children. In a format convenient for children, the great hymns of the church universal become a very bulwark of Christian faith, character and experience. If you do not know the Choristers Little Hymnal, send for a copy. You will find a listing of our BROTHERHOOD OF SONG members. Each represents an extension of the Choristers Guild beyond our own country. Each one is a Brother in Christian Service. Children over the world bear differing facial features and color; will speak languages unknown to us, but they are underneath these superficial differences, God's children, the same as the boys and girls in your choirs. Your children should learn to know these choir groups. Letters can be wonderfully rewarding episodes in our lives. Write to these Choristers Guild colleagues. They will respond warmly to your friendly approach. There should be many more sponsored groups overseas next Guild year. To be a Brother can be a rich experience for your choir.

As this is being prepared, it appears that because of envelope and postage limitations, this issue will need to be stretched into a supplement which you will receive a week or so after this first part.

-188- .fi1 l I r) e NI JC J C frq-1J VA1_, S

Quite some time ago, the June issue of the Letters was planned to be one of looking ahead. Children's Choir Festivals to be successful, need the look ahead. Probably the most numerous requests for help and information coming to the Guild office pertain to Children's Choir Festivals, particularly those involving community participation. "How do I start"? "Who selects the program?" "How do I follow up?" These and other related questions are answered in this article, or at least, guidance is given for each situation offers varying problems. A successful Children's Choir Festival just does not happen. It is first a "dream", then a plan, and then organization, all welded together with hard work. In no area of children's choir work does the axiom apply more aptly--plan your work and work your plan.

This issue brings you the help of two people, one an old pro in organizing a community-wide festival, Louise B. Whitman; the other, an amateur (self-styled, however), Carla Bunting. One plan outlined is very detailed, the other, general. Both, however, possess one basic quality in common--careful planning and vigorous organization. No apology is made for the amount of space needed to present these outlines to the exclusion of other regular features. Many more communities need the thrill and inspiration of a Children's Choir Festival. A spark plug is generally all that is needed. Suppose YOU be that vital bit of mech- anism.

Mrs. L. Campbell (Carla) Bunting is assistant to her husband who is currently minister of music, First Methodist Church, Tulsa, Oklahoma. The experience of which Mrs. Bunting writes took place in Amarillo, Texas where the Buntings recently worked in the First Presbyterian Church.

Now, here is Carla:

"First, let me tell you -- I am no authority on the techniques of holding a Junior Choir Festival! It was my first attempt at such a thing, but I was surprised that it was so easy -- after careful planning and organizing, however.

"A festival for juniors is a glorious experience, for those listening as well as for those singing. When I brou,'ht up the suggestion of a spring festival for our juniors at the January meeting of the Choir Directors Guild of Amarillo, it fell, I thought, upon deaf ears, and no one shared my enthusiasm. -189- 'We haven't had time to relax since our Chrictmas programs', they said. 'Easter is facing us and we'll have special programs then, too.' 'We Baptists have choral contests to practice for', and on it went.

"The next few days, however, revealed that there was enough enthusiasm to make further plans. I contacted all churches in the city with junior choirs, and ended up with nine for the festival. We directors had a luncheon meeting to make plans. In order to save time at the meeting, I prepared an agenda of things we would need to discuss: date, time, place, Theme of Festival, program outline, anthems and arrangements to be used, hymns and responses to be used, guest ministers to serve, conductors to lead anthems, organist, publicity, programs, greet- ers and ushers for festival. I knew our meeting time would be short, so I tried to do as much ahead of the meeting as possible. For instance, I mimeographed a suggested festival program which I found in a past Choristers Guild Letter, had lists of possible hymns, anthems, and responses, the names of ministers and organists who might be approached. The program was chosen unanimously. In our anthems and arrangements to be used, we included as many as we could that were on the Baptist contests lists, and four of our chosen anthem arrangements were hymn tunes. Each of the areas of responsibility was assigned at this time, too.

"After our meeting, within the same week in fact, I mailed out to the nine directors minutes of the meeting, a copy of our planned festival program, a list of all anthems to be used, including arrangers, publishers, and publishers numbers. In the case of the hymns and responses, I listed the arrangement to be used, or typed out the words we would use, as often they differ in the hymnals of the various denominations.

"About a month before the festival, I called each director to inquire about how they were handling their own responsibility, and how their juniors were getting along. All reports were favorable. One thing of great importance to the success of a festival I must mention here, is 'Cooperation'. I had it from everyone, and our festival went off with very few problems or mistakes because of this.

"As to problems, one that I could foresee with over 200 children involved was the handling with ease, of so much music to distract as little as possible from the worship service. This problem we solved by giving each child a sheet of paper folded like a book with the order of service and the words to all the hymns, anthems, and responses to be used. This way they had no music or hymnals to con- tend with. Of course, the ideal thing would be to memorize all words as well as music, but our time was too limited for that. Which brings to mind another suggestion -- don't wait until January to decide to have a festival in the spring! Plan it in September and work all year, utilizing festival anthems in individual church services.

"One week before our festival we had a rehearsal, in fact we had it at the same time and in the same place as the actual festival. Apparently, directions for this rehearsal were not given clearly enough, for we had about 75 more choristers at the actual festival than at the rehearsal, which led to our only real problem, that of getting all those children in place to begin the service. The director in whose church the festival was held did a fine job assigning each choir to a ;separate room for robing and lining up, but the children who were not at the rehearsal confused the processing.

"The festival service went along fine without further problems. The singing was glorious, which again showed cooperation on the part of the directors.

"I feel that there is a real need for junior choir festivals in most communities, especially where the smaller churches are involved. It makes a real worthwhile project for the children to look forward and work forward to." -190- Now here is Louise Whitman--- The Junior Choir Festival Mrs. O.L. (Louise) Whitman, Director of Youth Choirs Glendale Presbyterian Church, Glendale, California

There are several kinds of junior choir festivals -- those whose choirs combine to sing all the anthems; those that present each choir separately; and a combination in which each choir, or each director's several choirs, sing a number or two, with one or more numbers sung by the entire group of choirs. The festival may be planned and carried out by a community group with committee chairmen, with all local churches invited to participate; or it may start with one church host- ing the festival, inviting others to take part, and handling all the mechanics through its director and choir guild.

We followed this latter plan in 1958 when choir guild encouraged director to issue invitations to a March festival, the first in Glendale in eight years. The burden of responsibility in establishing this annual festival actually strengthened our already efficient Guild, and assured our choristers the experience of contributing something fine to the community life each season.

Like a wedding, any festival must be set up months in advance and the details worked out in a logical sequence, so that, ideally, those in charge may face the big day calmly. You may easily "transpose" this procedure to fit your dreamed-of festival. It works! Try it!

Junior Choir Festival Procedure Glendale Presbyterian Church Glendale, California PLANNING March Set date (Sun. March 5, 1961 3:30-4:30 p.m.) Clear with Minister of (1960) Christian Education and put on church activity calendar, also church Administrator's book.

Clear with Session for use of facilities: Sanctuary Pipe organ Designate use of offering above festival expenses Arrange for host church's organist to play

Summer *Select guest conductor (who may be a partcipating director) and After consulting with you, he will select early 1. Theme fall 2. Congregational hymn - (Our Hymn of the Month for March, if 1960 suitable; add interesting feature, as descant by several choirs; Tallis" Canon, etc.) 3. Two anthems to be sung by combined choirs (theme)

September Mail dittoed form letter #1 to directors of 15 junior choirs (grades 3 through 6, or to voice change), churches in area, inviting to participate: Sing one anthem separately; 2 numbers by combined choirs, as listed, giving octavo numbers. Include copy last year's festival program for directors who have not participated before. Include return postal covering name of director and choir, and enrollment; name of anthem and composer. *If a Guild Chapter or other community group put on the festival, the group chooses the conductor and consults with him on theme and repertory. If entire festival consists of anthems sung by massed choirs, the choice of anthems should be announced by early summer. -191- September Announce festival date to Choir Guild. Include in year's Choir Calen- 1960 dar, choristers' notebooks.

November Plone directors who have not replj.ed. Then mail more iilvitations to 1560 other directors, farther away, if necessary, to be sure of 12 to 15 choirs. (Sanctuary seats 1300 plus 60 in loft.) Arrange for partici!- pating ministers.

December Drop festival planning temporarily. 1960 January Chairman cover festival responsibilities; group make decisions. Choir Guild Recruit men from Guild and Christian Education Committee of Session to Meeting assist Processional Marshal in patrolling line of travel, halls, patio. 1961 Arrange for church nursery 3:15 to 4:45 p.m.

Assign hostesses: one for each church. Escort guest choirs at week day rehearsal from Sanctuary to lineup room via assigned route. Stay with them during Sunday massed rehearsal, recessional, robing, lineup and processional. Watch for chewing gum just before festival.

Arrange for Guild photographer to take pictures: color slides for Choir Families Dinner; one candid shot of 2 or 3 choristers about festival for newspaper afterwards.

Guild Chaplain offer prayer, our own group, 15 min. before festival.

Processional Marshal and one Narthex Assistant only wear black robes, Other processional assistants, General Chairman and hostesses wear Choir Guild badges. (Made of paper by Guild Crafts Chairman; used each season. Distributed that PM by Chairman; returned afterwards to Youth Choirs' office).

Arrange for Jr. Hi. girl choir to usher. Their Choir Guild chairman and Church Head Usher to rehearse them in Narthex before festival-2:45pm

Plan making of posters; hall signs to direct guests to lineup rooms, rest rooms; large card signs to label pew sections for choir seating (use each season). Lineup Room Directory (blackboard chart) for entry hall.

Late Mail each participating director dittoed form letter #2. Include: Re- January minder to advertise festival to congregation. Nursery open; parking or for cars adjacent; location of rest rooms. Instructions for week day Early rehearsal in Sanctuary; date (to confirm earlier telephone arrangement February with director.) Sunday massed rehearsal instructions; assigned robing and lineup room. Performance instructions; seating in Sanctuary; processional and recessional rules. Letter #2 enclosure: dittoed chart of Sanctuary with exact block of pews labelled for choirs of director receiving letter. Letter #2 enclosure: (optional) Return postal requesting information regarding director's background; choirs (for newspaper publicity).

Schedule all week day rehearsals in Sanctuary on church calendar for custodians; our choirs' and guest choirs'. Mail festival organist written schedule (postal o.k.). Get organists's prelude, offertory, postlude and composers. Keep guest director informed of enrollment in festival. Request glossy prints of guest director for newspapers. -192- WORKING OUT DETAILS Early **"Mail-outs": Simple Si x 11 colored mimeo sheet, including: illustra- February tion, festival name, place, date, list of churches and choirs participating, guest conductor. Deliver or mail several to each church for bulletin boards and mail to each chorister, our church, 2 weeks before festival; also church school teachers' boxes; interested musical friends etc., about 10 days before festival. Send to newly organized Jr. choirs inviting to attend festival and consider participating next season. (Better than inviting them uninitiated to participate.)

Mid- Program: Arrange complete order of prelude, anthems, offertory, etc., February having choirs that sit on left and right side of center aisle alternate in performance. Offertory 2/3 way through program, ideally. 11 anthems, prelude, invocation, offertory, congregational hymn, benediction and postlude, recessional, fill one hour. Alternate the boy and girl choirs the lively and quiet anthems. Consult with another church musician if it gets involved.

Give printer double-spaced copy at least 10 days before festival. Proof read. Order 1000, purple ink for Lent (1959 cost $16.64). If done earlier, may include one copy with each packet of mimeo "mail-outs" to choir directors, etc. (Smaller festivals may mimeograph programs).

PUBLICITY: Write one comprehensive story about festival, covering in first paragraph who, what, where, when, why. Name every choir, church, director, organist, host minister, other ministers, guest conductor; history of festival; Choir Guild General Chairman, hostesses, processional marshal and assistants; any pertinent facts about conductors, guest conductor, choirs. Type, double-spaced.

Rewrite this story with community emphasis for local newspapers; rewrite streamlined version for church paper.

Have mat made from glossy print for church paper; then send glossy print to local newspaper for issue within week of festival, with story and suggested heading. (Newspapers do their own engraving.)

Last Host Church Paper: Announce festival date early in February. In last 2 issue before festival, run full festival story with picture of conduc- weeks tor (guest or local), first page. Headline the festival with a banner across top or at bottom, first page.

(Note: If no combined anthems to be sung, no "headliner" director, then pose 3 (only) choirsters from 3 choirs in a candid shot (no vestments) and submit to newspapers.)

Church Bulletins: Adult church and church school depts.; type copy an- nouncing bare facts of festival--what, when, where; nursery open--for Sunday morning of festival and the preceding Sunday.

Bulletin Board Notices: Post "mail-outs", etc., in Choir Room (for adult choirs), Christian Education office, other bulletin boards about church.

.**A Guild Chapter or other organization might distribute quantities to participating directors for choristers' notebooks.

-193- Posters: At least one: carefully planned, to be used from year to year, with date on separate card, attached at bottom.

LAST MINUTE DETAILS: Last Give head custodian list of days and hours when risers and platform 2 weeks extension are needed in Sanctuary, week days and festival Sunday.

10 days Mail dittoed "Festival Instructions for Choir Guild" to about 20 host- ahead esses, processional marshal and assistants.

Arrange lineup rooms for guest choirs' week $1.2y. rehearsal, same number rows of chairs as pews reserved in Sanctuary; no center aisles.

Week before festival - meeting of directors, guild chairman, processional marshal and 2 assistants.

Rehearse our church's Jr. choirs in Santuary with organ at regular rehearsal hour within 2 weeks of festival, after schedule accommodates guest choirs.

Sunday Church Technician: Typed request: Remove ear phones from pews before before massed rehearsal, replace after festival; place 'Imlike" for massed re- festival hearsal and festival for use only of guest director, ministers; -io- lin, etc., obligato instruments; record entire festival on tape from mike, or recorder in balcony.

Last week: Mail postal reminder of festival schedule to our own Jr. choirs; also Monday Jr. Hi. choir ushers.

Give Choir Guild men typed instructions and chart for setting up chairs in lineup rooms, plus our choirs' seating chart and chair labels; hall labels, pew labels; masking tape. (3 men)

Custodian: Written request to lock business office (central storage spot for guest choristers' valuables, coats, etc.)

THE BIG DAY 11 A.M. Attach signs with masking-tape to doorways and along halls to lineup rooms and rest rooms; each church's name on door of its room. Place Master Directory of all churches' room numbers in entry hall. Place several festival programs for adults on music stand or lectern in lineup rooms.

(Church School has entirely vacated rooms by this time) During second Church Worship Service arrange chairs in lineup rooms according to charts; no center aisles; same number of rows as pews assigned in Sanctuary; pianos angled correctly; lectern or music stands in position.

Attach name cards to our choirs' chairs, referring to special seating chart.

After church dismissed: strap post-type labels to pews, identifying block section reserved for each church. Place music stand center aisle, first pew; another at balcony rail at side, for directing combined anthems; package of programs to Narthex table.

In letter a week earlier Director give written information on guest director (3x5 card) to minister who will introduce him at time of offering. -194- 2:00 P.M. MASSED REHEARSAL: Director welcome guest director; introduce to com- Not vested bined choirs. Introduce organist, marshal. (or 2:15 P.M. Choristers come directly to Sanctuary, no vestments, if 2 P.M. re- in hearsal; (or to lineup rooms, put on vestments, and to Sanctuary at vestments) 2:15) Sit according to church; precise seat not necessary now. Re- hearse with director and organist.

(If massed rehearsal at 2:15, one choir from distance may rehearse separately, vested, from 2 to 2:15 while choristers assemble. 45 min. rehearsal for 2 anthems and the hymn)

2:45 P.M. Leave Sanctuary in orderly Recessional, center aisle, marshal in not vested charge; hostesses lead each church group to lineup and robing room (or where each choir has run-through of its separate anthem. If spare 3:00 P.M. time, choirs may relax to fun songs; most choristers go to rest rooms. in vestments) Refreshments unnecessary and a liability under this schedule.

PROCESSIONAL: Marshal starts first choir into hall route at 3:20; hostess first, director and perhaps accompanist follow, then choir, all sincJe file, to entrance to Narthex; wait. Marshal goes to next room & next, starts them. Half of choirs follow one route, other half another, for traffic control. When all are in halls, Marshal goes to Narthex, and with man assistant (both black-robed) starts the long unbroken queue down center aisle of Sanctuary, spacing them. Order: Ministers, Guest Director, director of first choir, her choristers; next director and choristers, etc. Continue single file into pews at right, 1,2,3, etc.; then left side, per seating chart.

Processional assistants have definite posts in halls and patio. Choristers are never out of sight of them.

Labelled assigned seating for choirs, ministers, choir guilds.

FESTIVAL: No choristers hold programs unless director assumes responsibility: she may get them in Narthex ahead of time and pass them to choristers after they have sung their separate anthem.

Choirs sing combined numbers standing at pews facing director in balcony at rear.

Each choir singing separately goes to platform (front) via outer aisle; sings; returns same route while choir from other side of center aisle goes up via its outer aisle, etc. Choir in loft will sing from that spot.

RECESSIONAL: As rehearsed following massed rehearsal.

FOLLOW-UP Late Choir Guild men remove all posters, bulletin board notices, hall and Sunday PM room signs, pew labels; store in Youth Choirs' office.

Monday (Optional) Glossy print (or press-type camera's undeveloped film in or film-holder) to newspaper with caption only; group of 2 or 3 choris- Tuesday ters about festival area; no news story. (State facts only.) -195- Within a Choir Guild Chairman write courtesy note to ushers and technician. week after festival Director send dittoed letter #3 to directors thanking them and their (or 2 weeks) choirs for participating; share anything noteworthy that has come to you pertaining to festival's success; tell amount of offering, amount realized above expenses (nursery, custodial help, programs, guest conductor's honorarium.)

Mail check to designated organization.

Director write courtesy note to guest conductor, organist, ministers.

KEEP A CARBON COPY OF EVERYTHING

CHECK AGAINST THIS PROCEDURE BOOK, MONTH BY MONTH

To determine number of choirs needed for a satisfactory festival: Glendale Presbyterian Church seats 1360 including choir loft. Choristers are seated in loft and entire main floor except under balcony. 15 singing, 1 handbell choir — total enrollment 550 (from 9 churches of Pasadena, Eagle Rock & Glendale; 10 directors) Choristers actually attending 460 Estimated attendance, choristers, congregation 1330 - (1960 festival)

1959 Theme - Bicentennial of death of HANDEL observed in combined anthems, congregations) hymns. It 1960 Theme - Reformation Hymns ft I I 1961 Theme - The Life of Jesus Christ Theme to be observed by individual choirs, and massed group, in all anthems, etc. Scripture Reading before each category (Praise, Advent, Christmas, His Life and Ministry, Lent, Palm Sunday, etc.) by ministers from participating churches. Timewise, necessary for two choirs under same director to sing together to conserve time. REPERTORY: More easily chosen if there is a theme.

FORM LETTER #1 Glendale Presbyterian Church 219 E. Harvard, Glendale 5, Calif. September 28, 1960 Dear

The fourth annual JUNIOR CHOIR FESTIVAL will be held on Sunday, March 5, 1961, at 3:30 PM in the Glendale Presbyterian Church. We would like you to bring two of your junior choirs to sing (grades 3 to 6, or to voice change).

Muriel Alford will be guest conductor. She needs no introduction to those directors who have attended our festivals, but for you new people--Muriel is Director of Children's Work, including five choirs, at the First Methodist Church of Glen- dale. A graduate of Westminster Choir School, she writes the "Music for Juniors" in the Methodist Music Ministry magazine; she also directs the choir of the "Faith of our Children" T.V. program. Her boy and girl choirs and Wesley Bell Ringers have made a real contribution to our past festivals. -196- The theme of this year's festival is "THE LIFE OF CHRIST". Mrs. Alford will lead the massed choirs in singing two numbers: Introit - VESPER TEEN - Bortniansky-Stevenson, page 26, Book of Handbell Music, Set 1, Watson; H.W. Gray; handbell and pipe organ acc. (We will use the words on enclosed sheet. Tune: Vesper Hymn, (sing unison) found in The Methodist Hymnal, No. 45; Presbyterian The Hymnbook No. 67; Rejoice and Sing songbook No. 6; The Chor- isters Hymnal No. 62 (Chorister's Guild); Tempo: slowly and smoothly Concluding anthem: LET ALL THE WORLD IN EVERY CORNER SING - Claude Means page 7 in Anthems for the Junior Choir, Book 4, Westminster Press. (Omit voice II which will be sung by the choirs in choir loft)

The festival will be a service of worship complete with scripture read. by ministers from participatLig churches; congregation and choirs singing THE DOXOLOGY, tune OLD HUNDREDTH, original rhythm.

Each director will present his choirs, singing one anthem. Time-wise it is advisable that two choirs under the same director sing as a combined group. Arrange- ments should be made with me to rehearse your church's choirs with the festival organist, Dr. R. Donald Curry, on a week day afternoon. Rehearsal of massed choirs will be held at 2:00 o'clock the afternoon of the festival.

The offering above expenses will go to the Choristers Guild.

Mimeographed instructions complete with sketches will be mailed in February.

Please return enclosed card promptly; don't let choice of anthem hold it up; but let us know as soon as possible, because we want to cover the theme, which, of course, parallels the Christian Year. Sincerely, /s/ Louise B. Whitman DIRECTOR OF YOUTH CHOIRS Res. C13-6449 Church C12-8874

FORM LETTER #2 (Mailed early in February 1961)

JUNIOR CHOIR FESTIVAL Sunday, March 5, 1961 3:30 - 4:30 p.m. GLENDALE PRESBYTERIAN CHURCH, 219 E. Harvard Street, Glendale 5 14 singing choirs; 1 bell choir...... MURIEL ALFORD, guest conductor Church nursery will be open. PLEASE INVITE YOUR CHURCH FAMILIES TO ATTEND, through church bulletin. WEEK DAY REHEARSAL IN SANCTUARY:

Your choirs: PM sharp, to

Dr. Donald Curry, organist. Enter Sanctuary; be seated as directed by Choir Guild hostess. After rehearsal on risers and/or platform, choirs will be guided to robing room assigned your church for Sunday. SUNDAY, March 5

MASSED REHEARSAL: 2:00 P.M. all choirs assemble (not vested) in labelled pews. Choristers sing combined numbers standirE at the pews, conductor in rear balcony. 2:45 P.M. dismissal to rest rooms and robing rooms. Your choirs go to room -197- on floor.

PERFORMANCE: PROCESSIONAL: Starts 3:20 P.M. Marshal leads director & choir single file into hall, Narthex, Sanctuary aisle to assigned pews; remain standing until seated by conductor.

Your choirs will sit in section to the of aisle as you enter. SINGING: Individual choirs and directors. A choir seated in RIGHT section will go to front via RIGHT aisle; stand on platform and/or risers; sing; return same route to same pews. While they_are returning, a choir seated in LEFT section will go to front via LEFT aisle, wait for minister to read scripture; sing; return same LEFT aisle, while another choir at RIGHT goes front, etc. Massed choirs: Choristers stand at pews, face director in balcony. RECESSIONAL: As directed by Marshal, moving several choirs at once through all exists from Sanctuary. PARKING: City parking lot on Harvard St. west of church. REST ROOMS: Follow the signs or ask Choir Guild wearing green badges. REFRESHMENTS: Please do not serve after combined rehearsal. Reason: time. PROGRAMS: For adults only during performance. Available in Narthex after festival for Choristers.

REMINDER: To be memorized- Introit: VESPER HYMN Bortniansky-Stevenson (word sheet available) Congregational Offertory Hymn: THE DOXOLOGY, original rhythm tune OLD HUNDREDTH Concluding anthem: LET ALL THE WORLD IN EVERY CORNER SING - Means page 7, Anthems for the Junior Choir, Book 4, Westminster Press, "Voice I" only. Pasa. Pres. Choirs in loft sing II

Sincerely, /s/ Louise B. Whitman DIRECTOR OF YOUTH CHOIRS Res. CI 3-6449 Church CI 2-8874

Since space is running short, a copy of the third form letter which Mrs. Whit- man sends out is not included. It is a very gracious Thank You letter which includes some comments she has heard about the festival.

The following are two examples of community children's choir festival programs. Many, many programs have come into the Guild office; these are selected as being two different types. All details of the services connected with them are omitted; only the music selections are noted. The first one was sung in Memorial Methodist Church, White Plains, New York, and was the 6th annual festival of the Junior Choir Directors of Central Westchester. 0 Blessed Jesus Come Don McAfee Ding Dong Merrily On High Ancient Carol, arr. Wood Jesus, Jesus Rest Your Head Appalachian Carol,arr.Niles Welcome Yule Eric Gritton How Bright Appears The Morning Star Nicolai, J.S. Bach Praise God In All Lands J. S. Bach Cantata for solo voice sung by a Boy Soprano Jesu, Whom Thy Children Love H. Elliot Button Ride On, Ride On In Majesty Graham George

-198- Easter Flowers Are Blooming Bright Austin C. Lo#elace R. Vaughn Williams Come Down, 0 Love Divine Matthew, Mark, Luke and John Eric Smith Built on A Rock Lindeman, arr. Don McAfee

The following program was sung in the Ager Road Methodist Church, West Hyatts- ville, Maryland, B. Eunice Gross, director. 1-God Is Near To Little Children Barbour 9-Away In A Manger Mueller 2-Now Thank We All Our God Bach 10-The Friendly Beasts English Carol 3-We Thank Thee For Music Handel 11-What Can I Give Conant 4-Thanksgiving Day Drury 12-Hosanna to The Son of David Willan 5-All Things Bright And Beautiful Grime 13-The Robin & The Thorn Niles 6-Let All Things Now Living Davis 14-The Palms Faure 7-Rise Up Early Kountz 15-Easter Day Curry 8-0 Leave Your Sheep Hazelhurst16-Alleluia Mozart Publishers' Sources--1. from Childland In Song & Rhythm, A.P. Schmidt Co.; 3, 9, 10, 11 from Hymns For Primary Worship, Westminster Press; 4, 15 from When The Little Child Wants To Sing, Westminster Press; 2. H. W. Gray Co.; 5. from Find- ing God In Nature, Carl Fischer; 6. E. C. Schirmer; 7. Galaxy Music Corp. 8. Boosey & Hawkes; 12. Concordia Pub. House; 13, G. Schirmer; 14, 16 Lorenz Pub. Co. Possibly 01 is out of print; if so, and the copyright has expired, the Guild will make this fine little piece for primaries available to Guild members next fall. Preparing Children's Choirs for Public Appearance by Rosemary Hadler Children's choirs can get stage fright just as devastating as that of the individ. ual. Their voices disappear into nothing but a breathy murmur; they invariably flat or sing sharp in shrill unlovely voices; they look blank when a new verse comes along and stumble over the first words; they fail to start singing at the proper time, or, worse still, they fail to stop singing at the proper time! It can be a ghastly experience for performers and congregation, too, not to mention the poor director! But there are certain steps their director can take well in advance of public appearance, which will greatly reduce the chance of catastrophe. One step is to be sure to rehearse several times in the place where the public appearance is to take place--usually the choir loft. Try to make the circumstances of the rehearsal conform as nearly as possible to the circumstances of the performance; use organ accompaniment, have some choir mothers sitting in the pews, have the minister present, and even have the children wear their vestments. Try to keep the reverent attitude which will make for quiet worship. Another step is to have every detail of the performance well planned in advance and explained to the children. Elementary school ages will easily panic in the face of the unknown or unexpected. Don't try any new interpretations or procedures at the last minute. Acquaint them in advance and thoroughly with every con- tingency. Oh, of course the unexpected is bound to occur, but try to make it a minor event, through your thorough advance planning! A well desciplined choir (using "disciplined" in a broader sense than mere behavior) has far less chance for stage fright than the one governed by happenstance. A third step is to accustom your choir to public performance by degrees. This may sound impossible, but it can be done easily by means of singing before their own Sunday school department several times before attempting to sing for a formal church service. This singing may be their anthems soon to be sung for church, or it may be merely a special hymn or even just a verse of the regular Sunday school hymn. But have them stand before the group in proper formation and follow the standard choir discipline. Singing before their friends may make them feel silly, but it will not give them stage fright! Copyright 1960 by Lorenz Publish- ing Co. in "The Younger Choirs". Used by permission. -199- ALL IN THE FAMILY

MRS. R.Y. (MARY) ELLISON, Plymouth Congregational Church, Miami, Florida wrote, "The Junior Choir sang Combs' 'A Spring Carol' this past Sunday; it went very well. They had learned it by rote over a period of about two months, and by this time found it no trouble at all. We should like to go on record as considering this anthem an exceptionally fine one for children's groups that are musically a little above average (I say this because we now have our best choir in nine years; I believe that none of the other choirs could have sung this number). It was most interesting to note the reaction of pleasure and perhaps some amazement, from the adult choir at the end of the anthem. It was far beyond their expectations." PHILIP G. KAHLER, Forrest Heights Methodist, Lubbock, Texas wrote that Combs', "A Spring Carol" was sung by the massed choirs in a recent junior choir festival which he conducted. He reported a fine hegring for the carol.

ALVIN A. WOOSTER, First Baptist Church, Haverhill, Mass., a long-time friend of the Jacobs, and a member of the Guild since 1950-4e hear fairly frequently of 15, 20 and 25 year and plus anniversaries in a particular church of musicians, but a five year one seems to pass without fanfare. However not so with Alvin's congregation which thinks so much of him that he was given recently a totally unexpected and rousing reception to honor his five years with the church. Dozens of letters from friends throughout the country sent at the invitation of the pastor,enlivened the proceedings. New England congregations are considered cold, but when one takes an individual unto itself, warmth in super-abundance is there. Congratulations, Alvin.

MRS. E.A. KAMIVIERLING, Presbyterian Church, Bellwood, Illinois--When Virginia Mitchell first proposed some stories on her music work with blind children, I was a bit hesitant, I must confess. The pages of the Letters are limited in number, and must be filled with matters useful to the greatest number of members. How wrong I was in this instance as evidenced by the numbers of letters received, among which is the following from Rose Kammerling. " A family in our church has two daughters, both born without sight I must confess that I had many misgivings when the first girl became old enough to join the junior choir, but now I feel that the experience of having both girls in the choir has been of great value to the other youngsters. They have learned to help during the processional and recessional, and consider it an honor to help the girls The girls' mother writes Braille, and makes copies of the words for them; they memorize everything, though as a general rule our junior choir uses music copies for each service, since we are responsible for services each week in a dual worship service program. It never really occurred.. to me that there were others experiencing the opportunity to help blind children enjoy the church choir program, and I want to thank you for the many interesting things brought to light."

WARD ARTHUR WEAVER, Freeport, Grand Bahama Island--Ward and his wife, Robbie and son, Mark, left a comfortable situation a year ago in Coral Gables, Florida to carry on missionary work in a new, fast-growing town in the Bahamas. A letter received some time ago from the Weavers reads like fascinating fiction. I wish space permitted you to read via the Letters, their whole, long letter. Here however, are a few sentences: " Since the church is sponsored by the English Methodists (who, by the way, are doctrinally closer to the Baptists than American Methodists), the Reverend David Coombs is sent by the English Mission Board...... A large farm near the church has recently brought close to 500 workers from Haiti who speak French only we have never realized the hardships and barriers set up by differences in languages and customs 'he only way we can be of any help is to learn their language, French Besides working in the church which is purely volunteer on our part, we have paying work Freeport is managed predomin- antly by English people; the Bahamas are under British Dominion. It is a new experience for us to be considered foreigners." The Weavers may be reached by mail at: Ward Arthur Weaver, Box 1829, West Palm Beach, Florid /They may just put you on their mimeo mailing list. -200- "TINTINNABULATIONS"

By Nancy

Dear Bell Directors:

April 16 I attended the 8th Annual Church Handbell Festival Service to be directed by Dr. Doris Watson in the New York City area. This year's Festival was held in Bronxville at the Village Lutheran Church where the gifted Doris Voester, Festival Chairman, is Organist-Director. Thirteen Bell Choirs participated. Alinda Couper, our favorite Handbell Composer, was Festival Organist.

Having heard the third of these annual Watsonian Festivals, it was revelatory to contrast the general level of ringing technique with that of five years ago. Today's ringing is far superior, and there is remarkable improvement along every line: the music arrangements, the variety of the selections, the memorization, and the appearance, deportment, and concentration of the Ringing Choirs.

Minor discrepancies, to my mind, were the distracting gyrations of several directors (but I sit in a glass house here), the questionable quality of several selections (why arrange second-rate material?), and the dearth of original compositions (2 or 3 out of 2 dozen performed?).

An outstanding Bell Choir was "The Blue Belles" of the lst Presbyterian Church of Albany, Helen Henshaw, Director. This group ri::gs with a delightfully free swing - is precision trained. Pretty, too.

Summer Sixty-One offers a number of opportunities for Directors and Ringers to attend Seminars and Workshops in various parts of the country. Handbell popularity is leaping and bounding. I am gratified that several professional re- viewers of my manual referred to "This growing art form". Michigan State U. is offering Handbell Ringing as a Chamber Music Course with credit next year. This is the first major educational institution in the world to so treat Handbell Ringing. . . .We Choir Directors must strive to keep our Bell Ringing on the highest possible musical plane, and not yield to considering this art an activity. Why not train one outstanding Choir in your Church rather than several half-baked groups? Your time and enthusiasm can be spread too thin. . . . Our music arrangements are all-important. Do avoid arranging trite piano and organ pieces for bells - in order to make a "big splash" on Mother's Day. When in doubt - don't. Why not a chorale, instead? Invite composers who have had music published to visit a bell rehearsal and show them what can be done with bells; interest them in writing for you. The Potomac Ringers are ringing a program of original Hand- bell compositions written by 6 Washington composers at the Arts Club in Washing- ton on June 9. You iay write me for an invitation.

SCHEDULE OF HANDBELL SEMINARS, WORKSHOPS, AND PROGRAMS

June 9 Program of Original Handbell Compositions - Potomac English Handbell Ringers, Washington, D.C. June 14, 15, 16 . AMERICAN GUILD OF ENGLISH HANDBELL RINGERS CONVENTION, Washing- ton U., St. Louis, Mo. Write Mrs. C.J. Raffels, Secretary, 4338 Blair Ave., St. Louis 7, Mo. June 19-24. . . . CHORISTERS GUILD SEMINAR, Oklahoma City, Oklahoma - Classes in Bell Ringing by Norma Lowder June 27, 28, 29 . American Bell Association (Bell Collectors) Convention, Luray, Va. Concert by Potomac Ringers in costume, 28th. July 9-14 . . . . Church Music Institute, Canacadea Chapter AGO, Alfred U., Alfred, N.Y. Edward Johe - Junior Choirs and Handbells (Continued on next page) -201- TINTINNABULATIONS, Continued

July 13-19 Presbyterian Conference on Church Music, Montreat, N.C. Betty Peek, Handbells August 25, 26, 27 .New England Guild of Handbell Ringers Festival - Castle Hill, Ipswich, Mass. September Resumption of 500 Handbell Choir Rehearsals by 500 Blissful, Exuberant, Lovable, Luminescent, Super Directors.

A Happy Ringing Vacation to You All!

Nancy Poore Tufts

TIME To REGISTER For The

OUILD b)15:11.1.111lili

June 19.- 24, 1961 OKLAHOMA CITY, OKLAHOMA

Eminent Leaders - - - Madeline Ingram, John and Helen Kemp, Cecil Lapo, Norma Lowder and others

Comfortable Housing in a dormitory of Oklahoma City University at reasonable rates

Stimulating Study Congenial Associations Uplifting Atmosphere Religious Emphasis Tuition, a modest $25 For the Amateur, Volunteer and Professional Director of Children's Choirs

READ this - " It is because I feel that I shall be received with open arms that I am sending my $10 deposit....My husband who is a city Fireman is taking some time off; we and our three children will drive. He and the children will stay on his parents' farm in Texas while I am attending the Seminar This will be an exhilarating and thrilling experience for me, a volunteer and amateur choir director working in a Mission church of 84 members only. I am convinced that music and choral work in a small church is just as important as in a large church with huge budgets. I'm very sincere about learning all I can to help this small church ...Thank you for so much you've done for me, for my morale and for my choir. I'm looking forward to a wonderful week".

AND SHE WILL HAVE SUCH.

For a descriptive circular about the Seminar, write A.L. Jacobs, Box 211, Santa Barbara, California. -202- NOW NORMA, for the last time this Guild year. . . . Several summers ago, Bishop Northcott made a most inspiring talk to the National Fellowship of Methodist Musicians meeting at Williams Bay, Wisconsin.* He challenged: "If I Were a Choir Director . . . "I'd buy a book. I would feel, no matter how good I might think myself to be, that I still had. a lot to learn. No amount of natural talent or loving praise from my friends should blind me to the fact that a broad appreciation of the history and significance of music in the life of the church is essential to my greatest success. I'd buy a book, and I'd find some fresh appreciation of the place of music in human life.** "I'd take a trip. Even a choir director needs to get away from his task once in a while. Being at the job a long time without a break is not always a sign of efficiency and greatest service. "When a choir director takes a trip, I mean that he should see what others are doing. As he hears other choirs and soloists sing in Bachville, he may come home more grateful than ever for what he has to work with in Wesleyana. "While visitation may teach the choir director some things that he should strive to avoid, it is more often true that he can learn something that will be helpful and worth striving for back home. Some of the finest improvements in certain churches I have known have come because someone has taken a trip and brought some good new ideas back home with him. "Yes, if I were a choir director, every once in a while I would like to see what others are doing. Maybe I'd learn that often the most effective directors are the least conspicuous ones. "If I were a choir director, I'd make a friend. A person does his best work when there are harmoniuous relationships and an understanding of problems and opportunities involved. This suggests to me that if I were a choir director, I would surely want to be on good terms with the minister. It helps, too, if the minister understands something of the real significance of music. "The director of music has an opportunity for friendly cooperation with the music committee of the church, where frequent and frank conferences may be held in order to maintain and improve the musical phase of the church's work. "Personally, I cannot see how a helpful service of worship can be carried on consistently without a sense of respect and friendship existing between the minister of the church and the choir director. "If I were a choir director I'd belong to the team. I would ever keep in mind that I am working with others. The purpose is not to feature myself or any other star performers, but rather to utilize available talent to best serve the cause. When you are on the team, you will do some things that you would not otherwise do. There are some things likewise that you will find you cannot do. "Selfish star players cannot be used effectively in the service of the church. Pastors who talk through a solo or the anthem are not exhibiting team play, to say the least. Soloists or others who sneak out after the anthem has been sung are not doing teamwork. I doubt whether their presence in the choir offsets the psychological harm they do to the worshipping congregation as attentive eyes watch their cautious exit. "If I were a choir director, I'd glorify my faith. I would realize that basic to all I do as a leader in sacred music is sound Christian character. People everywhere are so constituted that they do not appreciate efforts of a spiritual leader, as a minister of music ought to be, if they do not have confidence in him as a person. If I were a choir director, I would like to demonstrate what the Christian faith can do through me as I strive to follow the example of Christ. -203- "Yes, if I were a choir director, I'd buy a book, I'd take a trip, I'd make a friend, I'd belong to the team, I'd glorify my faith." It is then, up to each of us to turn to our local chui"ches, renewed in strength and spirit, as we work toward building Christian character through children's choirs. The children with whom we work are as fragile as a bubble and as powerful as atomic energy. Let us strive unceasingly to make of this energy so powerful a force that when we meet our Master, our books may truly balance. This is the immortality which Ruth Jacobs has achieved and toward which each of us must yet work. *Used by permission of Abingdon Press **A short bibliography follows: BIBLIOGRAPHY Carabo-Cone and Royt. How to Help Children Learn Music. Harper. 1953 Davison. Church Music. Harvard University Press. 1952 Davison. Protestant Church Music in America. E.C. Schirmer. 1933 Halter. The Practice of Sacred Music. Concordia. 1955 Ingram. Organizing and Directing Children's Choirs. Abingdon Press. 1959 Jacobs. The Children's Choir. Augustant Press. 1958 Jacobs. The Successful Children's Choir. FitzSimons. 1948 Kettring. Steps Toward a Singing Church. Westminster Press. 1948 Lovelace and Rice. Music and Worship in the Church. Abingdon Press. 1960 Marshall. The Singer's Manual of English Diction. G. Schirmer. 1946 Morsch. The Use of Music in Christian Education. Westminster Press. 1956 Perkins. How to Teach Music to Children. Schmitt, Hall and McCreary. 1936 Sateren. The New Song. Augsburg. 1958 Sheehy. There's Music in Children. Henry Holt and Co. 1946 Shields. Music in the Religious Growth of Children. Abingdon Press. 1943 Thomas. Music in Christian Education. Abingdon Press. 1953 Whittlesey. A Comprehensive Program of Church Music. Westminster Press. 1957 Wilson and Lyall. Building a Church Choir. Schmitt, Hall and McCreary. 1957 Wolfe and Dickinson. The Choir Loft and the Pulpit. H. W. Gray. 1943 * * * * * * * * * * * * * * * * * * * * * *

* * * * * * * * * * * * * * * * * EVERYONE WANTS TO SING EVERYONE NEEDS A'HYMNBOOK

CHORISTERS LITTLE HYMNAL - Compiled and edited by Ruth K. Jacobs A pocket-size hymnbook prepared especially for boys and girls. 43 hymns 17 rounds 14 short anthems and service numbers Inexpensive to own, convenient to handle by children, inspiring to use. Single copy - 500; 1-25 copies - 400 ea. 26-200 copies - 350 ea.; 200 or more copies - 300 ea. All prices postpaid

Order from Choristers Guild Box 211 Santa Barbara, California * * * * * * * * * * * * * * * * * * -204- "TEN IN A BED"

This is a children's "Accumulative" song in reverse. It can be especially amusing by having ten children act it out. The littlest one, of course, should be a cute rascal. "GOOD NIGHT!" is spoken.

*VERSES 2 thru 9.

1. Ten in a bed and the Lit - tle One said: "Roll 2. Nine in a bed and the Lit - tle One said: "Roll

-k7f-

0 - ver, Roll 0 - ver!" They all rolled o ver and 0 ver, Roll 0 - ver!" They all rolled o ver and

one fell out - - "Roll 0 - ver, Roll 0 - ver!" one fell out - "Roll 0 ver, Roll 0 - ver!"

VERSE 10.

One in a bed and the Lit - tle One said: "GOOD NIGHT!"

3. Eight in a bed and the Little One said: "Roll over, Roll over!" 4. Seven in a bed . . . . 5. Six in a bed 6. Five in a bed 7. Four in a bed 8. Three in a bed. . . 9. Two in a bed . . . 10. One in a bed and the Little One said: "GOOD NIGHT!"

Nancy suggests this for a choir fun program. One youngster leaves the group at the end of each verse; one only therefore is left for the last one. -205- THE GUILD FEDERAL TAX SITUATION

Some five or six years ago, the Guild made application to the Federal Bureau of Internal Revenue for exemption from taxes on the basis of its religious and educational program, and because its organization is a non-profit corporation. During this time, various delays, moves, and counter moves have held up a decision. Fin- ally, a ruling, unfavorable to the Guild was made on April 18, 1961. It holds the Guild responsible for the payment of about $12,000 on accumulated taxes plus interest and penalties. This decision, however, may be appealed to a Tax Court in Los Angeles within a ninety-day period from the date of decision. The tax attorn- ey for the Guild here in Santa Barbara, believes that a decision favorable to the Guild can be secured in open court. He therefore advised an appeal. Thus, on May 15, 1961, your Board of Directors authorized the filing of an appeal which may take up to a year to come to a hearing.

During this period, the Guild must hold in ready cash, the amount of liable tax. These funds are therefore "frozen" insofar as their usefulness to the Guild is concernced. The Guild thus cannot carry on some of its aims and purposes.

During the first years of the Guild, the Jacobs supported the organization. Grad- ually, it became self-supporting, and then, small surpluses came along and grew somewhat larger as the years went by. The current Guild surplus is the result of really almost parsimonious practices - wrapping paper was saved; string and pack- ing boxes were collected; all operations were carried on from our home. During all the years Ruth headed the Guild, she received no compensation whatever. My help was on a volunteer basis until the volume of work became so great by the fall of 1956, that I became the only full time employee though we had had some part-time secretarial help. Since Ruth's death, more secretarial help has been employed, but unhappily still not on a full-time basis. It was Ruth's dream to buy or build a permanent headquarters for the Guild, a center with a Children's Chapel which would serve as an inspirational focus for all children's choir directors, a place to which children's choir directors could turn to visit for assistance. Her dream further, was to plan and organize area workshops with small or no fee at all for directors, in all parts of the country, and further, to make the Guild work a real missionary effort to help small churches everywhere. There are still thousands and thousands of children in our Protestant churches who are untouched by any children's choir effort or work, who will miss the powerful influence of music unless someone takes it to them. There are still hundreds upon hundreds of directors who have never heard of the Choristers Guild. The potential for good of the Choristers Guild is enormous. Its efforts should be directed towards accomplishing such aims and purposes. At present the Guild of necessity, can do little more than just exist and carry on. But big dreams take large efforts, and take money, besides. The Guild officers believe that the Guild can in all honesty and sincerity make the appeal for tax exemption. You will be kept informed of developments. In the meantime, your greatest effort in behalf of your Guild is to interest in membership those of your colleagues who need the help which the Guild can give them. You will be helping the Guild, but much more, will you be helping them, and at the same time, you will help yourself; you are doing a good turn for others.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Expect within a week or so, the supplement to this issue of the Letters. It will contain an article by David V. Williams, the list of Contributing Members, the Index and some other matters of interest to you. So long for now. . • -206- MATERIALS AVAILABLE FOR CHILDREN'S NOTE BOOKS This listing (June, 1961) supersedes all others; please disregard all previous listings STUDIES (tunes indicated at right) H-1 ALL CREATURES OF OUR GOD AND KING Lasst uns erfreuen H-2 ALL THINGS BRIGHT AND BEAUTIFUL Greystone H-3 COME YE THANKFUL PEOPLE, COME St. George's Windsor H-4 DOXOLOGY Old Hundredth H-5 FAITH OF OUR FATHERS St. Catherine H-6 FOR THE BEAUTY OF THE EARTH Pierpont-Kocher H-7 HOSANNA, LOUD HOSANNA Ellacomb H-8 IN CHRIST THERE IS NO EAST NOR WEST St. Peter H-9 JOYFUL, JOYFUL WE ADORE THEE Hymn to Joy H-10 PSALM 150 (to be used with H-9) H-11 NOW THE DAY IS OVER Merrial H-12 0 COME, 0 COME, EMMANUEL Veni Emmanuel H-13 0 LORD OF HEAVEN AND EARTH Oldbridge H-14 RISE UP, 0 MEN OF GOD Festal Song H-15 THE GOD OF ABRAHAM PRAISE Leoni H-16 YE SERVANTS OF GOD Hanover H-17 TAKE MY LIFE (hymn of dedication) Gott Sei Dank H-18 0 GOD OUR HELP IN AGES PAST St. Anne H-19 LET US WITH GLADSOME MIND Gott Sei Dank H-20 GRACIOUS SPIRIT, DWELL IN ME Redhead H-21 MAY THE GRACE OF CHRISTHOUR SAVIOR Sardis H-22 AS WITH GLADNESS MEN OF OLD Dix H-23 WHEN THY HEART WITH JOY O'ERFLOWING Bullinger H-24 GOD BE IN MY HEAD Sarum H-25 0 SACRED HEAD NOW WOUNDED Passion Chorale H-26 PRAISE THE LORD, YE HEAVENS ADORE HIM Hyfrydol H-27 GOD WHO TOUCHEST EARTH WITH BEAUTY Bullinger H-28 PRAISE TO THE LORD Lobe den Herren H-29 INFANT HOLY, INFANT LOWLY Polish Carol DO RE MIs (To be used in connection with the ABCs of the DO RE MIs, Books 1 and 2) DO-1 Chart I DO-4 Review Page 1 DO-7 Review Page 4 DO-2 Chart II DO-5 Review Page 2 DO-8 Review Page 5 DO-3 Chart III DO-6 Review Page 3 DO-9 Review Page 6 DO-10 Review Page 7

CARTOONS "Which Is The Way?" 8 in the series "Choir Crow" 4 in the series "Irving" 4 in the series (Additions to the Choir Crow and Irving series will appear in the Letters)

MISCELLANEOUS M-1 Children's Prayers M-5 Head of Christ M-2 My Vestment M-6 Choir Boys On Stairs M-3 Psalm 100 M-7 Kitty-Doggie M-4 Christmas Alphabet M-8 Choristers Prayer, Daily Prayer M-9 The Ten Commandments (Children's Version) THE S (special) SERIES S-1 Certificate of Membership S-4 I Am Music S-2 Choristers Pledge & Prayer S-5 The Old Woman Who Lived In A Shoe S-3 One Solitary Life (publicity folder especially for (the above is on parchment paper) Primaries --Tio each) S-6 The Spotted Puppy (a "missed you" postcard reminder) 50 for $1.

.11m0OIS, THE A SERIES A-1 Chorale, The Duteous Day Now Closes H. Isaac - J.S. Bach A-2 Anthem, I Believe In God Above Broyles Hall A-3 Anthem, Children Of The Heavenly Father Swedish Melody, arr. Robert Legler A-4 Two Anthems, Bell Carol and Timothy's Christ- Walter Spinney, Annabeth Gay mas Song A-5 Anthem, All Things Bright and Beautiful John Burke (150) A-6 Anthem, A Spring Carol Ronald Combs (250) A-7 Anthem, Ballad Of The Dogwood Tree Brookes M. Davis (150) A-8 Anthem, It Is The Joyful Eastertime John Burke (15/ A-9 Anthem, God of All Lovely Sounds John Burke (100 PRICES All prices include postage. Prices except for those individually indicated are as follows: The H, DO, C and M series-40 each up to 200 pages in one order; 30 each for more than 200 pages in one order. The S and A series--60 each in lots of less than one hundred; 50 each in lots of more than one hundred. CALIFORNIA RESIDENTS, please note:--all sales to California residents for use in the State carry a 4% Sales Tax. Please add the amount of the tax to your remittance.

FOR THE DIRECTOR THE CHILDREN'S CHOIR by Ruth K. Jacobs $4.95 postpaid (a book of complete organizational plans, tried and tested) THE SUCCESSFUL CHILDREN'S CHOIR by Ruth K. Jacobs $1.50 postpaid (a book of technics for handling children's voices) THE ABCs of the DO RE MIs (first 40 lessons) by Ruth K. Jacobs)-each separately THE ABCs of the DO RE MIs (second 40 lessons)by Ruth K. Jacobs)-$.50 postpaid; (a series of lessons for teaching note reading )-both together, to primaries and juniors) )_$.75 postpaid CHORISTERS LITTLE HYMNAL, edited and compiled by Ruth K Jacobs (a complete music, accompaniments and words) 1 copy-500; 2-25 copies, 400 each; 26-200 copies, 350 each. 201 and more copies, 300 each - all prices postpaid Use this space to list additional materials which will be published in future issues of the CHORISTERS GUILD LETTERS.

CHORISTERS' GUILD MEMBERSHIP RENEWAL 1961-1962

I enclose payment for my 1961-62 Choristers' Guild Membership renewal:

Contributing Membership ($10.00) ; Subscribing Membership (84.00)

Signed:

Street and number:

City and State:

Church served:

Street and number:

HELP AND INFORMATION PLEASETIIII What would you like to have included in the LETTERS next season?

How can the Guild be more helpful to you?

What materials, study pages, Hymn studies, etc., would you suggest be developed and included in the Letters during 1961-62?

General Remarks

(Please fill in the other side of this page I RECOMMEND THE FOLLOWING FOR MEMBERSHIP IN THE CHORISTERS GUILD

Name:

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Signed: CHORISTERS GUILD LETTERS Volume XII 1960-61 June Supplement to Number 10 aaaaaaata.88 WWW00088a8M8888 838WW8$ WW Z'aZ maa.aameaaV('. 88zzza888.8.88 Dear Family: This supplement completes your file of Guild Letters for 1960-61. It has been a good year, replete with challenges, anxieties, problems, hopes, re- solved and unresolved dreams, old and new friendships, and the rewards of having a job to do even though falling far short in accomplishment of goals. The Guild is primarily a "family" organization for mutual help and understanding. The Guild seeks to draw into a closer bond, all those who work with children's choirs. The Guild seeks to lift the level of children's choirs from the casual, and/or haphazard to one of intrinsic worth and respect, worthy of our very best. The Guild reiterates strongly its credo that Christian attitudes can be most easily caught and taught in children's choirs excepting only the Christian home. The Guild Let- ters serve as a rallying ground for all forces which will help us achieve better results with our children. On the membership renewal blank sent out in part one of this June Letter, is your opportunity to state how the Letters meet your needs. Please write fully, frankly and freely. A recently received letter stated that the Letters were too full of self-praise and testimonials. Is this true? Now sit down; fill out your membership renewal blank, and send it in with your dues. By doing so now, you will permit your Guild to plan more intelligently for next year. Have a pleasant summer. I'll be seeing you in the fall, some of you happily in person very soon at the Oklahoma City Seminar.

From Nancy, two incidents she wrote about in a recent letter are here retold. She probably will be surprised, maybe even unhappy, to see these published. She will forgive, however, I'm sure. These are examples of the rich fabric of experiences which the Children's Choir Director constantly weaves. It certainly is a glowing life we children's leaders and educators lead. And now here is Nancy--

"Over the Easter week-end two incidents occurred that stirred my heart - not with joy but with an indescribable feeling of humility or wonder. The second in- cident was almost O'Henry-esque. 'Little Miss Know-It-All' "The Clergyman with whom I served the past four years has moved to another local Parish. On Good Friday I was incredibly shocked to hear that his sturdy, 12-year old daughter had died suddenly the day before. "Nicky had been a member of both Junior and Youth Choirs directed by me for four years. A brilliant child (although I admired and loved her, I had secretly dubbed her 'Miss Know-It-All'), she had won a prize last spring for being the first to memorize the April 'Hymn of the Month' - 'Hail Thee, Festival Day!' It became her favorite, and her enthusiasm challenged the group to master this great but lengthy hymn. She didn't know it all, but intelligence, perception, and under. standing simply exuded from her - she was truly a 'Child of God', a Chosen One. The world will miss her and her exceptional voice. "During the Funeral Service held in Bethlehem Chapel of the Washington Cathedral on Easter Monday, Bishop Dun announced that we would sing the little girl's 'favorite hymn' - 'Hail Thee, Festival Day!' And so the large congregation duti- fully sang all nine stanzas, beginning with tearful voices but building up in power to a tremendous climax: "Hail thee, festival day! Blest day that art hallowed for ever; Day whereon Christ arose, Breaking the kingdom of death." -207- "Becky! Becky?" "This truly happened Easter Afternoon. My husband and I had collapsed at home following 3 Easter Services. When the phone rang, we moaned. Finally I answered and heard coins being deposited. 'Miz Tufts?' said a girl's voice, 'this is Becky Brown.' I said, 'Becky WHO?' Said she, 'Don't you remember me? I was in your Junior Choir 6 years ago at Church.' (The image of a fat little girl, a door-key child, who had shadowed me for several years, floated across my mind.) 'Of course, Becky! WHERE are you? HOW are you?' She replied, 'I'm fine. I just thought I'd call you up and tell you about my baby. I always loved you.' 'Why, Becky, how wonderful! Is it a boy or a girl? Whom did you marry? Anyone I know?' . . . 'No ma'am, - - I don't see him very often - - he's a - a - sailor. My baby's a little boy - his name's Mike. Say, Miz Tufts, I went to Church this morning - the first time in along time - and there was a Children's Choir there. And you know, Miz Tufts, they didn't sing good ilk*, we use to. You were always so particular about our robes and behavior and the words - you couldn't hardly hear them at all. And it made me think of you, and I decided to call you up.' . I said, 'Well, Becky, I'm certainly glad to hear from you. Where are you? I'd like to come and see you.' . . . '0, that's all right. You wouldn't want to come here. I just thought I'd call you up and tell you about my baby and tell you I'll always remember you. Good-bye.' The telephone clicked. I called 'Becky! Becky! Becky??', and slowly hung up." 88 8 88 8 6. 8- & 8. & 8 8 4 8 8 Ef & 84. & a a 8 8 8' 8 8 8- 8 .8 & 8 BROTHERHOOD OF SONG MEMBERSHIPS Brewer, Rev and Mrs U. L. Japanese Congregational Church Box 24, Edisto Island, S.C. Attn: the Rev. Teruo Kawata gift of Channel Chapter of Choristers Wailuku, Maui, Hawaii Guild, Santa Barbara, Calif. gift of Jr. Choir Trinity Meth.Church, Milwaukee, Wisc., Mrs. Lauretta Cotton Canadian Academy Nada-En, Kobe, Japan Kadota, Mioka gift of James R. Camp, Kobe, Japan 44 Nozakidori 3 Chume, Fukiai-Ku, Kobe, Japan Conference Music Library gift of Jars R. Camp, Kobe, Japan c/o Miss Barbara Leonard San Mateo, Isabele, Philippines Kelly, Mr. Merle I. gift of Foster Hotchkiss, Tupelo, Miss. 17 Chokyuji Machi, Higashi Ku Magoya, Japan Cox, Mrs. William E. gift of Mrs. J.A. Lewis,Wipbster Grove,Mo. New Amsterdam, Berbice, Brit. Guiana gift of Channel Chapter, Santa Barbara Kobe Union Church 34, 4-Chume Espina, Mr. Beaumont Ikuta-cho, Fukiai-ku, Kobe, Japan Maasin School of Music gift of James R. Capp, Kobe, Japan Maasin, Leyte, Philippines gift of Mrs. J.A. Lewis, Webster Grove,Mo. Tapaya, Mrs. Divinia Silliman University Church Ingraham Institute Dumaguete City, Philippines Sri Robin Patterson gift of The Christian Choristers, Ghaziabad, U.P., India Congregational Christ Ch,Pleasant Hill, gift of Channel Chapter of Choristers Ohio Guild, Santa Barbara, Calif. Meyer, Mrs. Alexander 370-2 Chome Shinnachi James Island School Setagoya Ku, Tokyo, Japan James Island, S.C. gift of Channel Chapter of Choristers gift of Jr. Choir Trinity Pres.Ch.,Milwau- Guild, Santa Barbara, Calif. kee, Wisconsin, Mrs. C.D. Rickert (Continued on page 212) -208- WHEN YOU ARE ON YOUR CHAISE LONGUE

For the Church musician, summer is a time k.N.---«.-.... ,.„, •• - ".•.',1 for re-creation, planning and meditation.Our .. M-.. \ civilization places such a premium on busyness that the "secret chamber" becomes an unused room in our lives and minds. From our medi- tations in our secret chambers, we draw the strength necessary to carry on our God-given work of guiding children. We store up energy in many ways beyond the mere physical--through our prayers, our observations, our reading.

The following article by David V. Williams, minister of music, First Christian Church, Tulsa, Oklahoma, will nurture your summer meditation. Whether you serve a large or small church, basic problems are the same. Most large, downtown churches have greater and more problems than the small neighborhood church. Do not bemoan your lot in a small church; you have much to be thankful for.

I am always amazed by the devotion, skill and ingenuity of a dedicated church musician like David Williams. Ruth had long admired his work. This article was a request that he share his ideas with others. The Guild is pleased to bring these to you. CHILDREN'S CHOIRS URBIA by David V. Williams

For eleven years I have been administrator and musical director of the graded choir program in the First Christian Church of Tulsa, Oklahoma. We are considered a "downtown church". This situation has developed rapidly in my employment here as Tulsa has had a rapid expansion over the last decade. Our congregation has been instrumental in establishing seven new Disciple congregations in this period, almost doubling our parishes. Membership in our denomination in metropolitan Tulsa. has increased from 7,337 to 11,131 since 1950, but our congregation has gone from 3,300 to 3,000. Average Sunday School attendance has dropped from 1,250 per Sunday to about 1,050. Of this average figure only about 325 are children and youth. Our congregation has many older people whose activity other than attendance has been rapidly decreasing. Many of our .younger families have been lost to us by transfer of employment to other communities as oil companies de- centralized their operations. In spite of these developments a program of ten choirs has been established in the church with a total membership of over 400. This level of participation has remained stabilized over the last three years with some losses on the adult level being off-set by increases in children's choirs. The development of our program among the children's groups may have some interest for those who subscribe to the "Chorister's Guild" whether they face a similar situation or are active in "neighborhood" churches.

First of all, let us delineate the type of appeal used to inspire the interest of children and parents. Our children's choirs - i.e. Cherubs, boys and girls kindergarten and first grade; Primary, boys and girls second and third grade; Junior Girls, fourth, fifth and sixth grade; Boys, fourth, fifth and sixth grade - are considered the major areas for service and stewardship for children in our total church program. We propose this theory. Christian development demands a three-fold program: (1) Worship, (2) Education, (3) Service. The first two are provided by the pastoral ministry and the Christian Education Department. The third by the ministry of music. We remind the children that the most vital service they can render their church is to give their time. Money of their own they -209- not have. However, the sacrifice of an afternoon of play each week to participate in a cooperative Christian project which strengthens the program of their church and their own talents is a more than adequate substitute for offerings. We have no auditions. We do not stress the necessity of obvious musical talent for choir members. We try to get children involved in the choirs as early as possible so that we can develop their abilities. (Our program also includes a pre- school choir for three and four year olds.) We promise that if they will devote one afternoon of the week as their stewardship of time we will make it worthwhile and effective. Sometimes this is not easy, but among our present 80 juniors there are only four who are vocal problems. These are all boys and all improving. The fact that our juniors are equal groups this year, 40 boys and 40 girls, is a testimony of the effectiveness of our appeal for a high standard of consecrated service with music as the means.

Once convinced of the importance of choir membership a natural consequence among the children is a high standard of discipline and attendance. The children are happy to work hard without any undue stress on rewards, recreation, parties and the like. Their standards and determination are higher than those of their parents. How many times a mother has called me in the morning to excuse her child from rehearsal on the basis of illness, bad weather, a birthday party, etc., only to have the child appear at the appointed hour with the apologetic parent in tow saying in a mystified tone, "He said he just couldn't miss choir!" Our junior choirs sit in a side balcony location when they sing in morning worship. For the past five years after conducting their anthem I have left them unattended by any adult person and returned to the choir loft. The children continue with good discipline to the end of the service. They appreciate their minister and wish to help him by their attitude as he leads the service whether they understand his sermon or not. Some of the children travel as much as eight miles one way to attend rehearsals. The standard of attendance among the juniors and primaries over the past years has been generally 95% or better; the Cherubs somewhat less but usually about 90%. The parents who must make the necessary sacrifice to get their children to rehearsals are willing to do so consistently when they know that the time at the church will be spent in worthwhile and constructive activities.

Our four children's choirs are divided into a slightly different arrangement than the Sunday School. We have found it effective to have kindergarten and first grade together because of the adjustments these children face in the public school. These children are adjusting to school on a half and whole day basis. They cannot read at the outset, and there is a great variation in their receptiveness to instruction. This is basically a music training group with only a small amount of performance. The Cherubs have robes. They sing at Christmas Vespers and give a special program for their parents as their final activity. This is the graduation program, and each first grader has a special solo part in the program. We teach songs from material used in Sunday School in addition to activity songs, basic music training in rhythm and tone matching. When the children graduate into the Primary Choir the basic music study is continued but other activity changes. The Primaries sing in morning worship three times a year, participate in the Christmas Vespers, present an operetta or program of original songs and take part in the Children and Youth Graduation Service in May.

We try to have a different emphasis and activity range for each choir grouping so that graduation from one to another really denotes a significant change and renewal of interest for the members. Singing in the adult worship and staging the operetta are high points for the Primaries. In the junior age we separate the girls and boys and vary the appeal and technique with each group. The girls go faster, do more in performance. The boys have equal enthusiasm, but there are more vocal and discipline problems to overcome. The boys have an annual fall camp- out which does much to build enthusiasm and a spirit of fellowship. The junior

-210- A SALUTE TO A SPECIAL GROUP OF MEMBERS - - -

With the publicatior herewith of the names of those who have made Special Gifts to the Guild, and the names also of the 256 Contributing Member, the Guild attempts to honor and thank in this small way, those, who have carried along the Guild financially. The income from the Regular membership does not cover the costs of publishing the Guild Letters. These costs this past Guild year have risen considerably, due in some measure to generally rising costs, and due also to the costs of the music supplements and other features. During the years, Ruth served the Guild without compensation, other than the satisfaction of doing a work she loved dearly. Now regular secretarial help is required in the Guild office in order for me to carry on my dual role of executive secretary, and editor of the Guild Letters. The Contributing Members have made possible the very life of the Guild through the years, and will continue to be the "Blood Bank". Some have been Contributing Members since the founding of the Guild in 1949. I earnestly hope that at least three hundred of you will become Contributing Members for the 1961-62 Guild year which begins next September first. Remember that the voting members of the Guild come from the ranks of the Contributing Members. A voting member, according to the By-Laws is one who has for a period of five consecutive years been a Contributing Member. He remains a Voting Member as long as he then remains a Contributing Member in consecutive years.

Again, as a year ago, I repeat the words which Ruth wrote for the June 1959 Let- ter concerning the Contributing Members and those who make Special Gifts. Nothing which I can write, states the matter so clearly, forcefully and graciously. These lines represent so well, and through them, Ruth still speaks to us.

"It is with a mixture of feelings that we recognize the many members who by their Special Gifts and Contributing Memberships have made it possible, literally, for the Guild to continue. "A mixture of feelings, yes--- "Sincere thanks for the self-sacrifice that in many cases, the gift represents-- "Excitement at the thought of the potential influence of these far- sighted leaders from Canada to Mexico, from the Atlantic to the Pacific, and areas beyond both oceans, all pouring the waters of their own efforts into the growing stream of Christian Character through music that is the common purpose of all of us-- "Concern that the faith and confidence these gifts represent be war- ranted by the use of them. "Anxiety for the many churches still unaware of the sustaining power of a common fellowship. "Regret that those who share are still a small percentage of those who receive. "Confidence that each year many more members and churches will discover the satisfaction of having shared sacrificially in .a cause in which they believe profoundly "My deep and abiding thanks." SPECIAL GTITPg2:19_6_1 Dr. Nita Akin Mrs. Haskell Boyter Glendale Presbyterian Church Wichita Falls, Texas Atlanta, Ga. Glendale, Calif, Philip Blackwood Channel Chapter Rev. William Grime Narabeth, Pa. Choristers Guild St. Johnsburg, Vt. Santa Barbara, Calif Blue Grass Chapter, Margaret Kendrick Choristers Guild First Methodist Church Atlanta, Ga. Lexington, Ky. Pittsfield, Mass. (Continued next page) -213- SPECIAL GIFTS 3,960-61, Continued

L.72okout Mountain Presby. Church Mrs. Ruth MacLay Presbyterian Choir Lookout Mountain, Tenn. Dubuque, Iowa Directors Guild Portland, Oregon Lynchburg Chapter Milwaukee Chapter Choristers Guild Choristers Guild Brent Stratten Lynchburg, Va. Milwaukee, Wisc. Wichita Falls, Texas Newark Chapter, Choristers Guild Newark, Ohio CONTRIBUTING MEMBERS 1960-1.961 Accent, Inc. *Berry, James A. Byrens, Danford Minneapolis, Minn. Charlotte, N. C. Saginaw, Mich. Albritton, Mrs. William Bertalan, Joseph Byrd, William F. Andalusia, Ala. Denver, Colo. Raleigh, N. C. Alderfer, H. Walton Betebenner, Mrs . Lyle Calvary Presbyterian Ch. Bellmore, N. Y. Whittier, Calif. Portland, Ore. Rev. Byron W. Travis Alford, Mr & Mrs Richard Glendale, Calif. Bethesda Baptist Church Camp, James Durham, N. C. Allen, Norman K. Kobe, Japan Roanoke, Va. Bitgood, Dr. Roberta Campbell, Mrs. Harriette Detroit, Mich. Indianapolis, Ind. Ansohicks, Mrs. R.D. Denver, Colo. Blackwood, Philip Campbell, Mrs. L. C. Narabeth, Pa. Ventura, Calif. Atkin, Thomas Pampa, Texas Boles, James Stewart Carlson, Robert Tulsa, Okla. Worcester, Pa. Augden, Mrs. C.R. Cuyahoga Falls, Ohio Bowers, Mrs. 0. H. Central Ave. Baptist Ch. Downers Grove, Ill. Memphis, Tenn. Bader, Mrs. William Shelby Collier Portland, Oregon Boyter, Mrs. Haskell Atlanta, Ga. Central Christian Ch. Baker, J. Philip Lexington, Ky. Los Angeles, Calif. Brown, Frances Paul E. Knox New Orleans, La. Bartlett, Mrs. G. Colby Central Presby. Ch. Brown, Mrs. Howard Ithaca, N. Y. Kansas City, Mo. Morningdale, Mass. Barto, Mrs. Homer Jerry F. Byrd Reed City, Mich. Buckhalter, Fred Clark, Mrs. Walter A. Flint, Mich. Baugher, Robt. W. Denver, Colo. Enterprise, Ala. *Burggraf, Lural Clement, Mrs. George Albany, Ore. Bayer, Arthur C. Lolita, Texas Hyattsville, Md. Burkhalter, Mrs. Freeman Clopton, Maurice Berne, Ind. Beaman, Mary Lou Dallas, Texas Marion, N. C. Burns, Rev. W.K. Collins, Mrs. J.Frank Maplewood, N. J. Beard, Agnes Sarasota, Fla. Dallas, Texas Burton, Clement R. Conner, Mrs. Leonard Allentown, Pa. Beechwood Baptist Church Battle Creek, Mich. Louisville, Ky. Buuck, Mrs. Marcus Cook, Elza William L. Horton Allen Park, Mich. Ft. Worth, Texas Belknap, Lee Byler, Mrs. Leland Cooksey, Mrs. Evelyn Richmond, Va. Jackson, Miss. Baton Rouge, La. -214- CONTRIBUTING MEMBERS 1960-1961, Continued

Corbin, Mrs. Millard Early, Valrey First Presbyterian Church Cleveland, Ohio Mobile, Ala. Indianapolis, Ind. Mrs. Elmer Testerman Coulter, J. Richard Edwards, Mrs. A.G. Newport News, Va. Kennewick, Wash. First Presbyterian Church Lynchburg, Va. Covey, Donald Elder, Frederick John E. Pfeil Warren, Ohio Port Huron, Mich. First Presbyterian Church Crane, Mrs. J.M. Erler, Mrs. John Oxnard, Calif. Williamstown, N. J. Toledo, Ohio Mrs. Paul Thompson Cranmer, Mrs. Ellen Evans, Ray First United Presbyterian Baltimore, Md. Dallas, Texas Church *Crawford, Mrs. Sherman Falls Church United Presby.Ch. Adrian, Mich. Lawton, Okla. Falls Church, Va. Roger D. Sweet Richard W. Barkley Cronquist, Mrs. Ralph Mrs. Fischer, Mrs. Victoria Houston, Texas Feigel, Mrs. Arthur Riverton, N. J. Libertyville, Ill. Davidson, Ray *Flannigan, Andrew L. Wichita Falls, Texas Fetherlin, Mrs. G.H. Erie, Pa. Davis, Brookes M. Washington, Pa. Floyd, Mrs. Eugene H. Santa Barbara, Calif. Fink, Newton Springfield, Mass. Davis, Mrs. Lavonne Binghampton, N. Y. Gallagher, Robert C. Cuyahoga Falls, Ohio First Christian Church Grand Rapids, Mich. Dearborn, Keith Wichita Falls, Texas Gould, Alex Royal Oak, Mich. Brent Stratten Sacramento, Calif. DeHart, George L. First Mennonite Church Griffith, Mrs. R.B. Midland, Texas Reedly, Calif. Baton Rouge, La. Mrs. Aaron J. Epp Demming, Lanson Grime, Rev. Wm. Houston, Texas First Methodist Church St. Johnsburg, Vt. Bay City, Texas Dilworth Methodist Church Gross, Mrs. John E. Charlotte, N. C. First Methodist Church Hyattsville, Md. Robert S. Gregg Midland, Texas George L. DeHart Grow, R. Rexford Disrud, Sheldon Kansas City, Mo. Anaheim, Calif. First Methodist Church Pittsfield, Mass. Gustafson, Mrs. Russel Dow, Margaret Mrs. Howard A. Fohrhaltz Clatskanie, Ore. Honolulu, Hawaii First Methodist Church Gutekunst, Mrs. Kathryn Downer, G. Robert Santa Barbara, Calif. Houston, Texas Austin, Texas Brooks M. Davis *Guy, Dorothy Dreyman, Lydia First Methodist Church Atlanta, Ga. Deep River, Conn. Shreveport, La. Hahn, Christian Durham, Louise James Lamberson St. Louis, Mo. Memphis, Tenn. First Methodist Church Hall, Peter Tupelo, Miss. Eaddy, Conrad Ottawa, Ont., Canada Charleston, S. C. Foster Hotchkiss Halvorsen, John. A. Eaddy, Floyd First Presbyterian Church Norfolk, Va. Orlando, Fla. Hayward, Calif. Mrs. Kathleen Hevenor Hampe, Mrs. Philip Earhart, Naomi First Presbyterian Church Salina, Kan. Norwood, Ohio Huntington, W. Va. Harding, Emerson Dr. Walter D. Eddowes Allentown, Pa. -215- CONTRIBUTING MEMBERS 1960-1961, Continued

Fardy, Lawrence *Jobe, Edward Lee, Dr, T. (111,210S rilambus, Ohio hLw orL, 1 . I. Harman, Mrs. A.A. Johnson, Louise H. Lilyers, Leonard Dallas, Texas Columbus, Ohio Rock Island, Ill. Harper, David Johnson Memorial Meth. Ch. Lindstrom, Mr and Mias.A. Wccet haven, Conn. Hungtington, W. Va. Louisville, Ohio Mr & Mrs Lee Fiser Havekost, Mrs. A.D. Littlejohn, Mrs. D.N.. Denver, Colo. Karhu, Edwin Arcadia, Calif. Oklahoma City, Okla Henderson, Charles D. Lowder, Mrs Earle (Normal New York, N. Y. Kaye, G. Donald Bellaire, Texas Nashville, Tenn. Herbert, Mrs. Tom Lyon, Mrs. Robt. Seattle, Wash. *Keck, Mrs. L.R. Billings, Mont. Des Moines, Iowa Herbst, Omar MacLay, Mrs. Ruth La Grange, Ga. Keith, Mrs. Alex Dubuque, Iowa Eau Clair, Wisc. Hermonat, Donald *Maxwell, Jean Dallas, Texas Keith, Mrs. Isaac Summit, N. J. Alexandria, Va. *Hewlett, Mrs. Alice May, Edwin Glendale, Calif. Keller, Margaret Knoxville, Tenn. Herkimer, N. Y. Hoffman, Herbert Meier, Mrs. Henry Cuyahoga Falls, Ohio *Kemp, John De Kalb, Ill. Oklahoma City, Okla Hoffman, John D. Metts, James Towson, Md. Kendrick, Margaret Jackson, Tenn. Hogan, Rex Atlanta, Ga. Miller, Evelyn C. Azusa, Calif. Kidd, Mrs. Malcolm Tonawanda, N. Y. Belmont, Calif. Mogle, Eugene Holloway, Henry San Antonio, Texas Kintner, Robert Royal Oak, Mich. Speedway, Ind. Hope Lutheran Church Moore, Mrs. Addison Montebello, Calif. *Kirk, Mrs. Harlan Bell Gardens, Calif. Jack Oliver Okemos, Mich. Morrison, Robert Hamer, John B. Kryder, Mrs. William Madison, Wisc. Chester, Pa. Northridge, Calif. Morrison, Mrs. Robt. Hotchkiss, Foster Lancaster, Rev. Jack Montgomery, Ala. Tupelo, Hiss. Lincoln Park, Mich. Moss, Mrs. Margaret Hoyt, John Lapo, Cecil Easton, Pa. Roanoke, Va. Oklahoma City, Okla. Mount, Wilson Huggins, Peter Lapo, Richard Memphis, Tenn. Oak Ridge, Tenn. Tucson, Ariz. Moyer, Ann *Imbach, Mrs. John Larrabee, Nelson Succasunna, N. J. Carpinteria, Calif. Canton, Ohio Moyer, J. Edward *Ingram, Mrs. Madeline Lauderdal,J, Mrs. W.C. Washington, D. C. Lynchburg, Va. Troutman, N. C. McCormick, David Irey, Mr. and Mrs. Edwin Laverty, Mrs. P. H. Koninginnelaan, Amsterdam, Orlando, Fla. Midland, Texas Netherlands Lee, Mrs. L.T. *McGill, Robert Jerme, Mrs. Reider Brecksville, Ohio Tuscaloosa, Ala. Ft. Worth, Texas CONTRIBUTING MEMBERS 1960-1961, Continued

Narramore, Mrs. M. Pearl kissmiller, Mrs. Paul Spencer, Mrs. Earl Stratford, Conn. Lauredale, Pa. State College, Pa. Near, H. Wells Roberts, Mrs. R.N. Steffensen, Mrs. Mary Ridgewood, N. J. Corvallis, Ore. Corona Del Mar, Calif. Newbell, Mrs. R.V. Robertson, Mrs. Helen Stetter, Mrs. Albert Lake Forest, Ill. Roanoke, Va. Burbank, Calif. Newport, Sarah Robinson, Helen Stone, Mrs. Philip Wheeling, W. Va. Lancaster, S. C. San Francisco, Calif. Olsen, Mrs. Leif Stratten, Brent Glen Ellyn, Ill. Rubner, Florence Erie, Pa. Wichita Falls, Texas Olson, Mrs. Kermit Manchester, Iowa St. Paul's Methodist Ch. Sutter, Bill Cedar Rapids, Iowa Charlotte, N. C. Olson, Mrs. Stanton Donald L. Sanford Belvidere, Ill. Taylor, Mrs. Charles Schatzman, Mrs. Hattie Carbondale, Ill. Ortlip, Stephen Covington, Ky. Lookout Mtn., Tenn. *Taylor, Rev. Herbert Schlegel, Floyd E. Decatur, Ga. Patterson, Mrs. Ralph Bath, Pa. Teipel, Mrs. Carl State College, Pa. Schumaker, Mrs. Winton Perrysburg, Ohio Paul, Raymond Appleton, Wisc. Thomas, Edith Lovell Orlando, Fla. Scoggin, Rev. Robt. E. Claremont, Calif. Peiffer, R. Dale Dallas, Texas Wethersfield, Conn. Thomas, George Scott, Malcolm Detroit, Mich. *Peters, Frances Houston, Texas Alexandria, Va. Thomasson, Richard Second Baptist Church Nashville, Tenn. Peterson, R. M. Houston, Texas Birmingham, Mich. Wesley S. Coffman Travis Ave. Baptist Ch. Ft. Worth, Texas Pew, David *Shelton, Elizabeth Saxe Adams Denver, Colo. Bluefield, W. Va. Trayser, Mrs. Fred D. Plymouth Congregational Ch.Siegfried, Mrs. Jack Wankesha, Wisc. Des Moines, Iowa Lorain, Ohio John Dexter Triebel, Mrs. Louise Sigafoose, Margaret Flint, Mich. Porter, Ellen Jane Wheeling, W. Va. Dayton, Ohio Tufts, Nancy Poore Simmons, Mrs. E.C. Washington, D. C. Porter, Putnam Centralia, Wash. Kansas City, Mo. Turner, Mrs. Luther Sing, Gloria Richmond, Va. Pryor, Mrs. Virginia Sacramento, Calif. Calhoun City, Miss. Tuttle, Barbara Smith, Claud Elizabeth, N. J. Rawls, Kathryn Birmingham, Ala. Washington, D. C. Vander Heide, Mrs. Jan Smithley, Mrs. O. W. Grand Rapids, Mich. *Beecher, Marvin Silsbee, Texas Tulsa, Okla. Wagner, Oliver Snyder, Paul W. Tiverton, R.I. Rennecker, W.T. Winston-Salem, N. C. Flint, Mich. Wake, Mrs. Arthur Speidel, Mrs. Philip Lexington, Ky. Reynolds, Ruth Lake Forest, Ill. Trucksville, Pa. Westby, Mrs. George Arlington Heights, -217- CONTRIBUTING MEMBERS 1960-1961, Continued Wheeland, Vivian Whitman, Mrs. 0.L. Williams, David Attica, Mich. Glendale, Calif. Tulsa, Okla. Wheeler, Lyle J. *Whittlesey, Dr. F.L. Wimpfheimer, L. Adele Burbank, Calif. Dallas, Texas Glendale, Calif. White, Rev. Dan 0. Wildman, Mrs. Lynn Wortley, Bob Charlotte, N. C. Irvington, N. Y. El Paso, Texas * ORIGINAL MEMBERS OF TEE CHORISTERS GUILD 1949-1950 Young, Mrs. John D. Sturgis, Mich. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * CHILDREN'S CHOIRS URBIA by David V. Williams (Continued from Page 211) the smallest one. On Monday 92 children from 23 schools arrive. The largest district concentration is 18. The total number of schools represented on both days is 31. The nearest to the church is one-half mile distant. Two schools are over 8 miles from the church, and more than half are over 4 miles distant. Trans- portation home draws upon one advantage of the downtown church. Enough fathers and n...others work in the area around us to get the youngsters home. Very few of those who bring their children in from school need to stay on hand until rehearsal is completed. Because all collection of singers is done at school our church music program for children operates when school is in session, and is forced to observe ell school holidays. Since school is out at 3:00 p.m. daily, the choir members cannot all be present until about 3:40 p.m. This is when the 3 simultaneous rehearsals begin. Rehearsals end at 4:40 p.m. Most downtown offices close at 4:45 or 5:00 p.m. In addition to getting the maximum effort transportation-wise, there are other advantages to this rehearsal schedule. We have been able to keep the Cherub and Primary rehearsal groups from going beyond 25 in enrollment each day. This allows for a large amount of individual work but when the choirs appear in a service the combined group is highly effective. A problem, among the Primaries particularly, is other after school activities such as, Cub Scouts, PeeWee baseball, Blue Birds and Brownies. With the double rehearsal schedule there is some possibility of avoiding conflicts which force the child and parents to choose between the church program and another. The car pools bring parents into contact on a neighborhood basis which is helpful to the general membership development of the church. We have found that weekday after school rehearsals are more efficient than Saturday or Sunday meetings. The children must attend public school during the week but weekends are not so restricted. With four lakes in the area and good weather late in the fall and early in the spring in Tulsa, weekend attendance would be poor. In addition, collecting the children at their homes would be difficult, and if all the children came separately the traffic jam in our parking lot would be colossal. Lastly, our choirs have increased in enrollment each year as we have consoli- dated our schedule. Junior Girls have gone from 35 to 40, Boys from 25 to 40, Primaries from 35 to 45 and Cherubs from 25 to 50. In spite of a 10% drop in enrollment in Sunday School over the past three years the corresponding choirs have gained 7%. For the downtown church choir director, how to make them want to come and how to get them there is of major importance. What to do with them if successful? Read the Chorister's Guild Letter! It is invaluable for town or country.

-218- THE CHORISTERS' GUILD PIN

THE GUILD hERIT SYSTEM

75 credits for 100'J0 attendance at rehearsals and performances 50 credits for 85% attendance at rehearsals and performances 25 credits for a complete and neat note-book The Choristers' Guild Award 25 credits for 10 °attendance at church pin is available in two school finishes: (1) Glo-tone, a 15 credits for 85% attendance at church gold wash, and (2) gold- school filled, a heavy plating of 25 credits for good behavior gold. The face under the (It is suggested that a child be given Old English letter C is a demerit if he needs to be reprimanded. finished in baked black Ten demerits would disqualify him for enamel. The C stands for these credits.) Christ and His Church, for 15 credits for bringing a new member Christian Character, and (Granted only if a new member remains for Children's Choirs. The through the season. No more than 15 sketch is to exact size. credits granted in any one year.)

This system is based on a nine months season of regular rehearsals and services. To earn a pin or the additions to it of note guard and/or pearl, a chotister must earn 100 credits during the choir season. The virtue of the system is that it is impossible to earn a pin without being regular, and it is equally impossible to earn one by attendance alone.

The pin is the first year award in the junior age choir. Each successive year, the pin is returned to the Guild office for the setting of a pearl. Upon graduation into the Junior-Hi or Hi-School Choir, the pin is returned for the addition of the eighth note guard and chain.

This system is flexible; members are at liberty to adapt it to their own needs and situations. Some prefer to add the guard the second year instead of the first pearl. The Guild does not recommend the use of the pin for choirs under the third or fourth grades. It may be used as far beyond the junior age as seems advisable.

With the increased use of the Choristers' Guild Award Pin, members must be increasingly willing to maintain the standards it represents. It is neither wise nor fair for children in one choir to receive the pin without having made a consistent effort towards regularity and cooperation, while other children discipline themselves throughout the whole season to earn it. The children should know that the pin is awarded in recognition of the attainment of certain positive standards. The pin otherwise has little value to the child, is detrimental to the morale of the choir, and undermines the influence of the Guild. Standards suggested by the Guild are not obligatory at present; they may be changed, but never lowered. Don't start any merit plan until after careful consideration. Don't start one until you have the stamina to carry it through. Don't keep parents in ignorance of the requirements. Don't think reminders are unnecessary. Don't think that favoritism is safe--or wise. And, finally, don't think it isn't worth all the trouble. -219-

THE CHORISTERS GUILD SERVICE CROSS

The cross sketched at the left to exact size was especially designed by the Guild for the exclusive use of Guild members and choirs. Its wearing can be a signal honor, and should be awarded or given on some clearly defined basis. It should not take the place of the regular pin.

This cross has a bronze base, and is finished in antique shaded silvertone, a silver wash. The Choristers Guild emblem is engraved on the back.

The Cross is priced at $2 each, postpaid, plus the Federal excise tax of 10% which may be exempted by the filing of the proper certificate of exemption. A discount of 10% is made for five or more crosses. California residents will remember the 4% sales tax.

The cross is handsome; it can be purchased with confidence, and worn with pride. While the sketch is to exact size, the cross seems larger in actuality. No sketch can do justice to the beautiful finish.

The cross is to be worn suspended by a collarette, in any appropriate color, and made according to the following simple directions.

COLLARETTE

One yard of grosgrain ribbon, li inch wide.

At A, B, C take a one inch dart, and hand-stitch it flat to the inner surface.

D -- stitch back both ends of the ribbon l inch to form a diagonal edge.

Hand-stitch the diagonal edges together down the center front, leaving a small opening at the base to insert the loop on the cross.

Measurements of outer edge:

A-B and B-C 4 inches A-D and C-D 12 inches

Choristers Guild pins and crosses are :available to members only. -220- 4$ INDEX 1 CHORISTERS GUILD LETTERS, Volump XII, 1960-61 *•• Anthem Studies: 24+ - 80 - 107 - 122 Brotherhood of Song: 47 - 48

Cartoons: 8 - 33 - 45+ - 94 - 104 Feb. - 186+ Catholic Page: 103 - 123 - 167

Challenge: 117 Children's Choir Festivals: 189 - 190 - 191 - 192 - 193 - 194 - 195 - 196 197 198 - 199 Christmas: 17 - 18 - 19 - 21 - 22 - 35 - 36 - 37 - 20 - 38 - 39 - 4o - 61 63 66 - 67 - 69 - 72 - 73 - 74 - 75 - 76 - 77 - 78 - 79 - 81 - 82 83 84 - 85 - 86 Easter: 122 - 129 - 131 - 132 - 133 - 135 Feature Articles: 27 Your Promise 133 Easter 101 Tone Quality (Bitgood) 147 Visual Aids 107 Why Do We Worship? 151 On Braille Music 115 Music Contributes ... 53 Sukkos 127 Pesach 171 "You" 131 Festival of the Living Lord Feature Pages: 7 Diary of a Bible 168, 169, 170 Books for Blind 29 Litany 105, 106 How to Work With Blind 158 King Arthur's Cross Children Guild Family: 13, 15, 16, 34 Annual Meeting 105 Mrs. Mitchell 52, 87, 88, 100 Stockholders Meeting 108 Bouquets 116 - 117 - 139 - 140 - 141 - 159 - 160 - 184 - 200 Guild Information: 3 Little Hymnals, absentee cards, 124 Workshop notebook pages 126 Tax Certificate 4, 6, 9, 10 Reports of 1960 143 Seminar Seminar 164 Seminar Faculty 23, 24 Available notebook material 186 Seminar 31 Little Hymnal Handbells: Nancy Poore Tufts 45 - 73 - 76 - 104 - 110 - 149 - 173 - 174 music 201 Hymn Studies: Adrienne 111 - 112 - 182 Inspirational: 1 My Code A Teacher's Prayer 121 Nature's Creed 25 Prayers of Peter Marshall 145 Talking in Their Sleep 49 Childhood 135 The Little Plant 71 Nativity 165 Mother 91 Bell Greeting 187 How The Little Kite Learned to Fly 103 To Keep Lent -221- INDEX, Continued Materials: 6 Theory Books 137 Bookshelf 89 Gifts for Directors 138 Posters 93 Drama and Choral Speaking 139 Records 120+ Order Blank Music Supplement: 6 - 41 - 42 - 54 - 60 - 73 bells - 79 - 108.1- 120+ 144+ 148+ - 164 - 166 - 205 Norma: 51 - 125 - 156 - 203 Officer's Page: 2 - 3-26 - 50 - 56 - 70 - 72 - 92 - 104 - 146 - 184 Primary Choir: Helen Kemp: 43 - 57 - 58 - 59 - 95 - 96 - 155 - 181 Resources: 97 - 98 - 99 - 109 - 113 The Church Year Repertoire: 5, 12 Primary Choir 38 Cantata "Childe Jesus" 20, 22 Christmas 55, 119 by Esther Wiedower 28 Combined Choirs 66, 99, 118, 161 Christmas 32 Thanksgiving 132, 175, 176, 177, 178, 179, 180 Easter

Special Projects: 10, 11 Noah's Ark 114 New Words to Old Tunes 135 Easter Egg Tree Special Services: 129 Easter Hymn Festival 149 Handbell Dedication 142 Lenten 157, 158 Festivals Thanksgiving: 29 - 30 - 31 - 32 - 53 Sukkos This 'n'That: 14 - 34 - 90 - 102 - 106 - 108 - 114 - 161 - 162 - 163 172 183 185

"MOST OF US SPEND OUR LIVES MAKING SMALL TOKEN PAYMENTS, AND NEVER COME INTO POSSESSION OF THE TREASURE. AND HOW WE ENVY THE COURAGEOUS FEW WHO VENTURED EVERYTHING

AND GAINED EVERYTHING.'

from the writings of Ruth Krehbiel Jacobs

-222-