CHORISTERS1 GUILD LETTERS Volume 9 1957-1958 Number 1 - DocsLib

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CHORISTERS1 GUILD LETTERS

Volume 9 1957-1958 Number 1

Choristers! Guild Box 211 Santa Barbara, California -

WE DEDICATE OURSELVES ANEW

Minister: It is a good thing to give thanks unto the Lord, and to sing praises unto Thy name, 0 Most High; to show forth Thy lovingkindness in the morning and Thy faithfulness every night. Chorister: I will praise Thee, 0 Lord, with all my heart. I will show forth Thy marvelous works, I will be glad and rejoice in Thee. I will sing praises to Thy name, 0 Most High. A Braver: We thank Thee, Lord, for the privilege of worshipping and praising Thee; for the privilege and blessing of a song in our hearts; for careful work and preparation that develops that song in beauty and content to be worthy of Thee in Thy house. We thank Thee, too, for Thy divine apportionment that gives to all men everywhere and at all times the opportunity to serve Thee and. Thy Church with the gifts Thou hast bestowed upon us. May Thy Holy Spirit dwelling within us make our lives a living song of praise unto Thee. --- Amen. Minister: The ministry of music is not to be entered into lightly. To lead the people in sincere expressions of praise and prayer requires dedication of self. But the rewards of such service are self-respect and a deeper sense of the nearness of God. Do you dedicate yourselves to the principles for which your choir and your church stand: faithfulness to duty, thoughtfulness of cAhers, and loyalty to Christ? Chorister: I do so dedicat-) Minister: Ministering in the namL of our Lord Jesus Christ, and of this church in which you serve Him, I place upon you the responsibility of the office of a chorister. 0 Lord, Author of all things true and beautiful, bless these Thy servants, and lead them in their worshipping that their lips may praise Thee, their thoughts glorify Thee, and their lives honor Thee, through Jesus Christ our Lord. Amen. Chorister: God of all lovely sound, grant us a share in Thy great harmonies of earth and air. Make us Thy choristers that we maybe worthy to offer music unto Thee. Amen. Minister: May the Lord Jesus Christ keep you steadfast in your purpose, and faithful in your endeavor, now and always. May the consciousness of His presence be and abide with you forever. Amen. - 1 - RELIGIOUS TRAINING IN THE CHOIR The ultimate consideration in the choir program is not music, but character. No matter how excellent the music and its performance may be, that is not enough for the church choir. Through the preparation and presentation of fine music, the children must grow not only in character, but in Christian character. It is true that there is no better way than choir participation to learn self-control and cooperation. It is also undeniable that the regular responsibility of active worship participation enriches and matures the worship experience of the child. But our responsibility does not end there. Not only must we seize every opportunity to guide the character development of the child, but a definite program of Christian education should be an integral part of the regular rehearsal procedure. "The Christian Church, true to the insight of its Leader, believes that life, to be meaningful and significant, must be centered in God. The Church School therefore believes that it has the distinctive and indispensible task in modern life - -to give an understanding of the Christian religion as it comes to us in history, especially in the Bible; to present a clear grasp of the beliefs and ideals which make up the Christian faith; to enable young people to see what is the Christian way of life; and to help them enter intelligently, consciously, and purposefully into that way of life." This clearly defined goal of the First Methodist Church School of Evanston, Illinois, sums up as well what should be the objective of every Children's Choir. To the conscientious choirmaster, the whole church school is his charge. The choir is not a group apart from the school, but an integral part, that because of its additional opportunities has correspondingly equal obligations. If the church school has an intelligent and carefully integrated program of Christian education, the director can build his musical program around that schedule. If the church school is disorganized and ineffectual, the director should throw active support into the inauguration of a comprehensive plan. By far the best systematic program of progressive Christian education I have ever seen is the one outlined several years ago for the First Methodist Church of Evanston in its Curriculum Guide, which was made available in printed form to all church members, especially parents. Not only was there a detailed course of study, with suitable textbooks for all ages from the nursery through the High School Fellowship, but for each department and subject there was a splendid reading list for the students, and another for the parents. The church also maintains a library of slides, recordings and films for class use. The subject study for the seventh grade, for instance, was the life of Christ. Besides the weekly outline and the basic text (Jesus, the Carpenter's Son - -So - phia Fahs) the following books were recommended for correlated reading: For Junior High Young People The Story of Jesus for Young People -- W.R. Bowie By An Unknown Disciple The Junior Bible -- Edgar J. Goddspeed Jesus -- Mary E. Lyman The Hidden Years -- John Oxenham The Children's Bible -- Sherman and Kent For Parents and Teachers The Teachings of Jesus -- Harvie Branscomb Our Discovery of Jesus -- W.E. Bundy Jesus, A New Biography -- S.J. Case A Life of Jesus -- Basil Mathews The Ethical Teachings of Jesus -- Ernest F. Scott The Literature of the New Testament -- Ernest F. Scott Audio-visual aids available for class use were: A Certain Nobleman (Cathedral Films) A Voice in the Wilderness (Cathedral Films) Men of Faith (Cathedral Films) The Blind Beggar of Jerusalem (Cathedral Films) Who is My Neighbor (Cathedral Films) The Great Commandment - 2 - A GOOD START IS HALF THE BATTLE September Plans for University Park Methodist Church -- Bob Scoggins At our recent "all-staff retreat", we designated September as Church Music Month during which time the total ministry through music will receive emphasis. In brief outline form, these are some of the detailed plans. 1.Prepare a brochure on "The Ministry of Music", describing the opportunities offered by the church. 2.Place posters (made by young people) telling about choir for each age, in Church School classrooms. 3.Place through the church, in the narthex, Educational Building, Recrea- tional Areas, etc., six large, professionally made posters. 4.Prepare displays for window cases in the Educational Building -- a large one showing the visual set-up of the Choir program; a small one displaying the materials used in teaching. 5.Write articles for the weekly Church Newspaper (with main headlines) prior to Choir Registration and Choir Dedication dates. 6.General letter mailed with brochure, to all church families, emphasizing "A Choir for Every Family -- Every Family in a Choir." 7.Personal letters, with information about the appropriate choir, mailed to entire Church School enrollment with an invitation to join. 8.Choir mothers' meetings; also regular monthly meetings of Music Committee. Visitation program begins. 9.September 7 -- Choir Registration and Orientation Day for all Children's Choirs -- plans and policies to be explained to the parents, and questions answered. Light refreshments. During this time children to be entertained in recreational area with an hour of film fun. 10.Plan two "Kick-off" dinners -- one for Adult Choir, and one for High School Choir; installation of officers at the dinner:. 11.Family Night Series on Sunday, offering a course for adults on "Getting to Know, the Hymnal". Congregational Hymn-practice on midweek Family Night. 12.Last Sunday in September ALL CHOIRS DEDICATION SERVICE at both morning services. All Children and Youth Choir members attend the last half of the second session of the church school. 13.Detailed information Sunday by Sunday during September. First Sunday -- Circulars to be passed throughout the Church School classes. Circulars to show pictures of appropriate choir robe with informa - tion about the particular choir, and a reminder that Choir Registration is the following Saturday. Second Sunday -- Yellow card "Are You Interested?" to be distributed in the pew racks and mentioned to the congregation. Third Sunday -- Music Committee members, members of Choir Guild to make complete Music Survey throughout the Church School at both sessions. Fourth Sunday -- Teachers to make mention to classes about the Choir program and refer to announcement written on blackboard in each classroom. Fifth Sunday -- Circulars to be distributed throughout each Church School class as a last reminder about joining choir. This circular to show a chorister diagrammed on a cross and saying, "Join a Choir," "Sing and Serve." This last Sunday mention to be made from the pulpit at all three worship services about the choir program. - 3 - (Continued from Page 3) Choir Schedule Monday Chorister Girls (4th, 5th, 6th grades) 4:00-5:00 p,m. Wednesday Cherub Choir (5 year olds and 1st grade) 2:45-3:30 p.m. Caroler Choir, I and II (2nd and 3rd grades) Girls' Ensemble (selected) 3:30-4:30 p.m. Altar Choir (9th through 12th grades) 4:30-6:00 p.m. Thursday Wesley Boys' Choir 4:15-5:15 p.m. I (4th, 5th, 6th grades) II (7th and 8th grades) Chapel Girls' Choir (7th and 8th grades) 4:15-5:15 p.m. Chancel Choir (college and adults) 7:15-9:15 p.m. Since I serve as organist-director, the need arose for a full-time assistant to the Minister of Music. After much searching, we found a talented young person by the name of Lora Krehbiel (R.K.J.'s niece). She will work directly with the children's choirs, assist in directing all choirs, assist at the organ, and serve as music secretary. The bulletins and the U.P. Beat (choir paper) are mailed monthly. The Choir paper serves as a great help in the over-all promotion of the program. Choir facilities include the entire second floor of the Sanctuary Building, with adequate robing rooms and a rehearsal room for each age choir. Four all-choir Sunday services are planned during the year: two at an evening Vesper Hour (at Christmas, and in the Spring), and two at both of the morning services. Each program is preceded on Saturday morning by a combined rehearsal for all choirs; attendance at the final rehearsal is obligatory for all those who sing at the All-Choir Services. Regular singing responsibilities are given to the Altar Choir at the first Morning Worship Service, with the Junior High Choirs assisting occasionally. All choirs share alternately in providing the music at the evening services. In addition to singing, the children's choirs use choir notebooks, including music theory, play musical games, have "contests", work on projects (for instance, section I of the Carolers wrote a Call to Worship and section II a Benediction, both words and music, which they use regularly. The choirs have at least four parties a season with occasional refreshments for the younger choirs at the close of rehearsal. The Youth Choirs also have study projects, sing at other churches, make field trips, and have parties. All these activities keep us so busy that we do not have time for a "let-down slump% Of course we have some drop-outs, but the over-all percentage of attendance at rehearsals and services for the more than 300 participants in our choirs this past choir year (September-May) has been 82%. We have tried all sorts of "rewards" in the past with some degree of success, but this year we gave only membership certificates to all choir members who were not graduating, and graduation certificates to those graduating, each choir having a different colored certificate, The Junior Girlsland Junior High Boys' Choirs had a hymn learning contest with copies of the Methodist Hymnal, with their names engraved in gold on the cover, being presented to the four persons in each group who learned the most hymns (first stanza) by memory, and sang them before the choirs. All graduating seniors from the Altar Choir also received The Methodist Hymnal in appreciation of their service through the years in the Ministry of Music. YOUTH CHOIRS

Foster Hotchkiss First Baptist Church -- Milledgeville, Georgia

The ideas set forth in these discussions on youth choirs have evolved from working with our Intermediate Choir, composed of fifty-six people between the ages of 13 and 16, inclusive. Your community is different from ours, but it is our hope that some of the ideas which work with this choir will suggest useful tactics to you.

Our discussion, our problems, and largely our rewards revolve about the young people themselves: how to get them; how to keep them; and what to do with them once we have them.

These three areas overlap, but let us assume you have an ideal situation such as the one out of which our choir was created. The church had no youth choir but wanted one. The first step in organizing a teen-age choir is to get to know some of the teen-agers, not just their names but the children themselves. Know what school they attend, something of their interests and hobbies, whom they date (if you can find out without being nosey), their place of influence (or lack of it) with the gang. Organize a choir on either side of their age bracket -- adult and junior. Let it be known that you will have a choir for them in the near future.

After the get-acquainted period, move swiftly. Talk with the ringleaders of the gangs about what a wonderful choir it will be, Let them catch fire from you. Consult them about the time for rehearsal. The worst hour in the week for you may be the most convenient for them. We settled on 6:30 P.M. Mondays. When you are sure that enough fellows and girls are interested to make a fairly balanced choir, announce the first rehearsal. Then call them individually, inviting them to come to the rehearsal. Plan the first rehearsal (and every one after it) so that it moves. Include something that the group can sing, regardless of the number that shows up. A good unison number that serves well is "0 God of Youth", Darst. This is still one of the favor- ites of our choir. At this first rehearsal announce what they are going to sing in their initial appearance -- not more than three weeks off.

Once the ball is rolling, how will you enlist new members? If the choristers feel that they are DOING something and are proud of their organization they will enlist their friends, with occasional help from the director. Don't be too eager for new choristers. Set your standards high. Let the choristers know from the beginning what those standards are and what you expect of them in order to achieve them. Limit the number of singers in the choir, both for balance and the capacity of the choir-loft. Our choristers are not selected for musicianship or vocal ability -- that is my job after they join -- but for dependability. As choristers are promoted from the junior choirs, build up in their minds the enlarged opportunities and responsibilities of their new choir. Let them look forward to it, and prepare them for the change from one or two part music to mixed choir literature; from occasional singing to regular weekly responsibility.

In all choirs, but particularly in the teen-age choir, build up the thought of service to the church, and praise to their Lord. This is one of the very few avenues in the church through which youth can serve as well as receive -- let's make the most of itl Get your congregation to realize that the youth are serving in a magnificent way, and encourage them to express their appreciation. YOUTH CHOIRS (Continued)

Beyond the first rehearsal, "How to Get Them," and "How to Keep Them," are the same problem, and the answer is "What You Do with Them." I have already touched on several important considerations; worthwhile rehearsals, and a sense of accomplishment; high standards; a spirit of service in the worship of the church which is best developed by regular and frequent leadership in the worship. Blessed is the choir director whose pastor and congregation are willing to entrust the service music to the young people -- not just occasionally but regularly. Our Intermediate Choir is never an "auxiliary" choir. When they participate in multiple-choir anthems they know that it is to create music that can be most effective when sung by more than one choir. We hear these days much about the difficult teen-age. It is often said that these people are neither children nor adults. Always treat them as adults, and if they react as children, persist in treating them as adults. Never refer to the males as "boys". Call them "men"; if they are not, they will be complimented; if they are, you have not insulted them. If at all possible; have at least one fellow for every two girls, and as quickly as possible, get them to stand up and sing like men. This doesn't necessarily imply loud singing, but with confidence and virility, even if some of the notes are wrong. If the tenors and basses are singing right, the girls will have to do so to survive. Build for tone quality first; accuracy of note-reading and interpretation second; and quantity of repertoire last. It is generally recognized that when one is using his voice properly, note-reading comes easier, and then repertoire follows. We are not neglecting anything when we work in this order; and the choristers, particularly the fellows with their new or changing voices, acquire confidence right from the start. Be most careful in the selection of music for this choir. It is not a less proficient version of the adult choir. We have found most sab music hard to sing, because the baritone is seldom the root of the chord, yet has no chord root with which to harmonize. Also, much sab music is a reduction of satb harmony and teen-agers are quick to sense the implied condescension. If you do not have enough fellows for two parts, then look for music that was written (not arranged) for sab, or anthems in which the melody is given to the men, with the soprano and alto carrying a descant-like harmony. Use music that is suited to young minds as well as young voices. We major in rather exuberant and bright anthems, a large proportion of them by contemporary composers. This is the mood the young choristers know best, and can project best, As the choir year progresses and the choristers become more experienced in controlling their voices and projecting thought, we sprinkle in a few quiet contemplative anthems, and some of the music of the great masters. When your choir has reached a satisfactory performance level, find opportunities for them to sing outside their own church. Your congregation by this time knows them and loves them, but when a friend from another church says, "I wish we had a choir like yours," your choristers will work with renewed ardor. Accept an invitation from some smaller church to present a choral service. Your choir will benefit, and so will the host church if you sing well. As your choir's reputation grows (and it will because the people in the country churches have cousins living in the city) the invitations will come from larger churches, too. Perhaps you wonder how this quantity of singing can be done with a one hour rehearsal per week. That leads to another cardinal rule: never waste their time. Plan the rehearsal so that they are singing ninety percent of the time. They don't want to spend their time listening to the director talk; nor do they want to spend their time in general conversation and confusion. I let my choir know what must be accomplished in the hour by putting an outline on the blackboard: time, occasion for which we are preparing, title. As we complete our work on one number, I check it off, The choir can see whether we are on schedule or not, and also what is coming next, including- 6 -page number. CHURCH SYMBOLIS

1. THE HISTORY AND ORIGIN OF SYMBOLS Ruth Knannlein

A symbol is a story told by a familiar sign. Symbols and signs are a part of everyday axistence, as seen in the traffic signs and trademarks of our civilization. Aeligion, too, has its symbolism, and -hat a fascinating story it is!

In our never-ending search for God, all of us have certain vital experiences that we wish to share with each other. There is a language for this sharing of these important events. It is the language of the symbol, and it has been in use since the beginning of time. For example, are there any words to express human love? Yet the touch of a hand, the light of the eyes, the radiance of a face -- these are symbols of love far more expressive than words.

A few of the very oldest church symbols are: the Ark. From most ancient times the Ark of Noah has been used as a symbol of the Church. Noah was a direct descend- ant of Adam and Eve through their third son, Seth. In the days of Noah, "God saw that the wickedness of man was great in the earth," and He determined to destroy man, whom He had created (Genesis 6:5). Noah alone found grace in the eyes of the Lord. His faith is symbolical of the steadfastness of the Church.

The Dove, in ancient and Christian art, has been the symbol of purity and peace. In the story of the flood, the dove, sent out from the ark by Noah, brought back an olive branch to show that the waters had receded, and that God had made peace with man (Genesis 3). In the law of Moses, the dove was declared to b pure and for this reason was used as an offering for purifi- cation after the birth of a child. The most important use of the dove in Christian art, however, is as the symbol of the Holy Ghost. This symbolism first appears in the story of the baptism of Christ. "And John bare record, saying, II saw the Spirit descending from heaven like a dove, and it abode upon him.' (John 1:32

The Law in general is represented by a Scroll, or by the ancient Hebrew form of book, which is shown somewhat convention- alized here.

V The Pentateuch

- 7 Emphases for the 1957-58 Season

September -- DEDICATION If with all your hearts -- Mendelssohn G. Schirmer My song shall be always -- Sampson Novello MT 1133 Jesus, blest Redeemer -- Grieg-Black Gray 1687 October -- GODtS GIFTS TO US O love of God -- Thiman Novell() MT 1195 November -- OUR THANKS TO GOD Now let heaven and earth adore Thee -- Nicolai-Titcomb B.F. Wood 635 Praise to the Lord -- Slater Concordia Tr 118 O Lord of heaven and earth and sea -- Larsen Schmitt 209 December -- GOD'S GREATEST GIFT A Carroll -- Jacobson Birchard 965 Rise up early -- Kountz Galaxy 1701 Jesus was born in Bethlehem -- Marshall C. Fischer 6946 January -- OUR GIFTS TO JESUS To the Christ Child -- Fryxell Gray 2356 The gifts a child can bring -- Rawls J. Fischer 8899 February -- PRAYER Prayer of St. Richard of Chichester -- White Oxford Univ. Press E.43 We thank Thee Lord for this fair earth -- Harvey Novello HC 3 Dear Child divine -- Roche Ed, Arnold 823 Lead me, Lord -- Wesley B.F. Wood 228 March -- THE MEANING OF HOLY WEEK O perfect life of love -- Wolff Concordia 98-1150 A song of praise -- Thiman A.P. Schmidt 40 Spring Prayer -- Caldwell Birchard 2113 April -- THE MEANING OF COMMUNION

May -- MOTHER'S DAY -- FAMILY DAY Bless this house -- Brahe Boosey and Hawkes June -- WHAT IT MEANS TO JOIN THE CHURCH I vow to thee, my country -- Dyson Ed. Arnold 96 Savior, teach me day by day -- Mueller C, Fischer CM 6338 O little lamb Roff R.D. Row 6004

ANTHEM STUDIES My song shall be always of the loving-kindness of the Lord -- Sampson This number requires a good choir. If your children are accustomed to shout, dontt try this. It takes easy, pure, flexible tone, and good musicianship. The phrases ride along as comfortably as a seagull on an ocean wave, or like a wheat field in a light breeze. The interludes, which are really a continuation of the melodic theme, are written for solo flute. In the middle section (satb) let the children sing the soprano line, and the flute play the tenor line. No other accompaniment! The organ or piano enters again at *. My song shall be always of the loving-kindness of the Lord, With my mouth will I ever be shewing Thy truth From one generation to another. I -e My song shall be always of the lovingkindness of the Lord. (Interlude) My song shall be always of the loving-kindness of the Lord, With my mouth will I ever be shewing Thy truth With my mouth will I ever be shewing Thy truth new From one generation to another * III. From one generation to another. I -e My song shall be always, my song shall be always of the loving kindness of the Lord. Suggested approach: a.See how quickly the choir can learn the first phrase (I) and sing it from memory. b. Now play I -e, and let them discover that this phrase is the same as I, except that it has two beginnings (extended). c.Choir sings I, and I -e without the piano. d.Play the melody throughout, choir following the music. Every time they hear I or I -e, they are to sing. e.This song really has only two other short tunes. Play II for them. Let them find it in the music. Play it again, and let them sing it. Same procedure with III. f.Play the melody throughout; children are to sing I whenever it appears, and raise two fingers for the second theme, and three fingers for the third theme. g. Play the whole melody again; children sing I or I -e whenever it appears. One child may go to the board to check the number of times this theme is played. Second Week: a. Play I: ask children to sing the words that belong to that tune. b: Play I -e: Who can sing it? c.See how quickly they can learn II, and then III. Keep track of the number of times they must hear it before they sing it correctly. More than 4 times gives the game to you; less than 4 times- -the children win. d.Now write on the board: I II III I -e. Let children sing this whole first section with the music, and then dare them to sing that much from memory. Compliments if they do; a good laugh for everybody if they fail. e.Play the whole anthem; children sing all the sections that are familiar. Let them discover the only section that is neither I, II, nor III. -9- ANTHEM STUDY

Jesus, Blest Redeemer -- Grieg-Black a.Pass out mimeographed copies of this prayer. Establish a thoughtful, quiet mood, and read the prayer together. b. Get the children's understanding of: The narrow way Is a narrow path hard to travel? Why is the Christian's life a narrow way? Keep the illustrations within their own experience. Thy presence let us feel. Thy face reveal We humbly pray What is prayer? Repeating some words? Do much more listening than talking yourself. c.Say the prayer together again. d.Play the anthem, and let the children sing along quietly. e.Suggest that they read the prayer every evening just before going to sleep. Second Week: a.Sing the number several times, children concentrating to write the words and melody on their minds. b. Try singing part of it from memory. c.Suggest that when we sing this prayer, we are speaking for the whole congregation and if they are to share in the prayer, they will have to understand the words. Intensive work on diction.

If With All Your Hearts -- Mendelssohn a.Tell the children something of the story of Elijah, and the place this solo has in the oratorio. Tell them that sometimes when adult choirs sing The Elijah the director has the children's choir sing this solo. b. If possible, play a good recording of the solo. Let children follow the score. Repeat; children following the score with their finger. Repeat again, and let children sing along.

RELIGIOUS TRAINING IN THE CHOIR (Continued) The child that comes under the influence of such a carefully planned program during his school years should not only have a knowledge of the Bible and of Christian history, but the foundation for a code of Christian living that will fit him to serve his age conscientiously and courageously. If ever the church needed a sound educational program it is now. The choir affords the rare privilege of active experience in worship, but that emotional experience must be rooted in sound knowledge and worthy social principles or it will not weather the skeptical analysis of budding maturity. Important as are superior musical training and impressive worship experience, they are in themselves only a means to the ultimate end -- convincing, intelligent, Christian maturity. The choir director has an overwhelming responsibility to the children of his church, but as they grow into maturity he also has an equally rich reward. HYMN OF DEDICATION 7.7.7.7. Gott sei Dank durch all Welt Freylinghausen's Gesangbuch 1704

+kV ( I Eg 10-

1. Take my life, and let it be consecrated, Lord, to Thee. Take my moments and my days; let them flow in ceaseless praise,

2.Take my hands, and let them move at the impulse of Thy love. Take my feet, and let them be saift and beautiful for Thee.

3. Take my voice, and let me sing always, only for my King. Take my lips, and let them be filled with messages from Thee.

4. Take my silver and my gold; not a mite would I withhold. Take my intellect) and use every power as Thou shalt choose.

5.Take my will, and make it Thine; it shall be no longer mine. Take my heart, it is Thine own; it shall be Thy royal throne. Frances Ridley Havergal (1836-1879)

THE WORDS of this hymn were written by a young woman who lived the words. Although she spent half of her life as an invalid in a wheel-chair, she was so cheerful and happy that people liked to be around her. Underline the line of the hymn that is about joyfulness.

She was a brilliant woman, could write well, and speak six languages. She used her intellect to write hymns (more than 50 of them) and religious poetry. Underline the line that is about dedicating the mind to the Lord.

She gave all her jewelry, "including a jewel cabinet which is really fit for a countess," to the missionary society, and wrote to a friend, "I had no Idea I had such a jeweller's shop; nearly fifty articles are being packed off. I don't think I need to tell you I never packed a box with such pleasure." Underline the corresponding line of the hymn. THE TUNE is so simple that you could probably sing it without the help of the piano. If you can sing the scale, you can sing the first two measures. If you can sing a 5th up from the first note, you will have the first note of the second line; and the rest of the first two measures in the second line are the scale downward. If you can keep in mind the pitch of middle C and G, you can probably sight-read this tune. TRY IT.

—11— ADVENTURING WITH THE HYMNAL Dr. Alfred B. Haas -- Drew Seminary Maps for treasure, secret codes, strange numbers -- you'll find them all in a book. Oh, not just ANY book, but a very special one much used by choristers everywhere. Most books have a front and back cover, a title page, are divided into chapters, and have page numbers. But the book we are talking about has all these things and many more things of interest to the adventure hunter. This mystery book is your hymnal. It has no real chapters in it, but many pages of wonderful poetry set to music. You know all about that part of its, for you have sung some of those pages in processionals, and festivals, and in the church service. But did you ever peek into the back of the hymnal? There in that unexplored section, you may find adventure. For example, there's a section called "Metri- cal Tune Indexli. Are all those numbers license plates for hymns like on the family car? And those C.M., S.M., L.M., C.M.D., are they someone's initials? Well, let's see. First, every hymn has measure or meter. The accents add up to a certain number, like this: 0 lit - tle town of Beth - le - hem How still we see thee lie Now count up all the separate syllables and you have 8 in the first line and 6 in the second. If you look up this hymn in the hymnal you will find it marked: 8.6.8.6,7.6.8.6. Count the syllables in the first stanza, and see if they agree with the numbers above, 0 lit-tle town of Beth-le-hem How still we see thee lie Above thy deep and dream-less sleep The silent stars go by Yet in thy dark streets shin-eth The ev-er-last-ing light The hopes and fears of all the years Are met in thee to-night. Most Metrical Tune Indexes begin with those strange abbreviations: S.M. -- S.M.D. C,M. C.M.D. What about them? Well --- S.M. means Short Meter C.M. means Common Meter L.M. means Long Meter and D stands for Doubled, or the same over again. If we translate S.M. into numbers it means: 6.6.8.6. This is my Fath-er's world And to my list-ening ears All na-ture sings and round me rings The mu-sic of the spheres But that is only half of the first stanza. The other half is: This is my Fath-er's world I rest me in the thought Of rocks and trees, of skies and seas His hand the won-ders wrought. Since the second half is exactly like the first half, we say it is Short Meter Doubled, or just S.M.D. - 12 - The A B C's of the DO RE MIls Lesson 41 "We have been getting acquainted with 3rds, 5ths, 8ths, and 2nds. Now it is time we learned to recognize all of the intervals quickly." Starting with the lowest line on the staff (we call it the first line), write above it: a 2nd; a 3rd; a 4th; a 5th; a 6th; a 7th; an 8th.

"The distance from one note to another is called an interval. "In which intervals are both notes on lines? If the lower note is on a line, which intervals come on lines?_ Now starting with the first space (the lowest one), write all the intervals.

"In which intervals are both notes in spaces? What makes the intervals of a 3rd, a 5th, and a 7th easy to recognize?"

Lesson 42 "You have learned to recognize a 3rd and a 5th by ear. But the 7th is new to you, It is easy to recognize because it sounds so unfinished." Play a series of 7ths, Again play a series in the singing range, and have children sing along. Play only the lower note, and let children sing the upper without the piano. Same procedure with 7th downward.

Lesson 43 Play a series of 7th and 8ths for children to recognize. Play the two notes of the interval together; not in succession. Next play them in succession upward; then in succession downward.

Short review of all other intervals.

These lessons are a continuation of those published in Vol. 8 of the Choristers' Guild LETTERS The first 40 lessons are now available in pamphlet form. - 13 - THE CARE OF HANDBELLS -- Nancy Poore Tufts METAL: New handbells come from the foundry highly burnished; it is possible and important to keep them so. A Bell Choir should take pride in the shining beauty of its bells, Mr. Hughes, of the Whitechapel Foundry, pleads with American ringers not to "finger the metal," and not to "handle bells so roughly." Perspiration from fingers almost immediately dulls and stains metal. May I urge Bell-Masters warn Ringers not to touch the Bell itself. Bells may be muted against the sleeve or chest. I suggest that several metal-polishing cloths be kept permanently in your Bell Box, that each Ringer be required to rub his Bell after rehearsals and before and after performances. Several times a year, I give each Bell a thorough polish with a good cream polish. Never use a liquid polish containining ammonia; which has a tendency to widen minute cracks. Once a year we use an electric buffer and jewelers rouge, and our Bells emerge as brilliant as when they first arrived. A set of Bells over 100 years old acquired a beautiful pewter finish with this treatment. LEATHER: I do not recommend "softening" new, stiff leather handles with a leather dressing, since they become pliable with use, and too supple with constant use. It is better to wear gloves or wrap the handle with tape or cloth. Blisters are the occupational disease of Ringers. We also carry first-aid equipment in our Box Handles are not difficult to replace. A heavy strip of leather can be purchased; then mark the pattern, cut with a sharp knife, soak briefly in hot water, then bend. The rivet holding the old handle can be removed with a drill and replaced with a nut and bolt, although it would be better to have a machinist replace the rivet., After constant use, handles may become unmanageably flexible, Rather than replace a handle, it may be stiffened and strengthened by sewing a leather strip of the same width inside the handle, through both strips so as to have three plies together. Your shoe repair man can do this for you, The leather Wings on the clapper are hammered in. If one loosens, hammer it back in, If a Wing is lost, cut another. CLAPPER: Did you know that the Clapper unscrews? If the felt on the two springs becomes loose, remove the Clapper and reglue the felt. Hard-packed felt may be picked as a piano-tuner picks the hammer-felt. Besides polishing the metal the only care you will normally need to take of a Handbell is the occasional oiling of the Clapper hinge or pivot. When a Bell becomes noisy, or rattles, or the Clapper binds, the Clapper needs oiling. A very thin oil, such as neat's foot, is necessary; 3-in-1 oil is too heavy. With a small watercolor brush or goose quill, carefully avoiding the felts, dab a small drop of oil on the Clapper hinge and work the Clapper gently back and forth. CARRIERS: Several fortunate Bands have had special boxes made, either with a section for each Bell, or a clamp to hold each Bell. Small sets can be wrapped and carzied in a suitcase. My Band owns a felt-lined wooden box. Each bell has its individually marked Pacific-cloth bag; and foam rubber is used between the layers of bells. Bells may be carried short distances "strung-up" (the handle of one Bell slipped through that of a larger one). One person can easily handle a dozen Bells in this manner. With care, these valuable instruments will give good service and pleasure for many years. Remember how hard it is to procure a set, how long for a re- placement to arrive, and treat Handbells with the respect and concern you would give fragile heirloom glass. YOUTH CHOIRS (Continued) When it is necessary to work on individual parts, have the whole choir sing that part. It is good practice in sight reading and it develops a better understanding of the harmony. And NO ONE has a chance to talk. However, with really intense rehearsing, it is necessary to allow two or three breaks of about two minutes to relax and "yak". PAGES AVAILABLE FOR CHOIR NOTE-BOOKS HYMNS H-1 All creatures of our God and King (Lasst uns erfreuen) H-2 All things bright and beautiful H-3 Come, ye thankful people, come (St. George, Windsor) H-4 Doxology H-5 Faith of our fathers (St. Catherine) H-6 For the beauty of the earth (Pierpont-Kocher) H-? Hosanna, loud hosanna (Ellacombe) 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 Immanuel (Veni Immanuel) H-13 0 Lord of heaven and earth and sea (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) DO RE MIs DO-1 Chart I D0-2 Chart II DO-3 Chart III D0-4 Review Page 1 D0-5 Review Page 2 DO-6 Review Page 3 DO-7 neview Page 4 DO-8 Review Page 5 DO-9 Review Page 6 D0-10 Review Page 7 CARTOONS C-1 Which is the way to start the year? C-2 Which is the way to learn our songs? C-3 Which is the way to act in church? C-4 Which is the way to be on time? C-5 Which is the way to help the choir? C-6 Which is finding a good excuse? C-7 Which is my attendance chart? C-8 Which one is making the director mad? MISCELLANEOUS M-1 Certificate of Membership M-2 Choristerts Pledge (parchment paper) M-3 Prayers

> PRICE M-1 and M-2: 50 each postpaid in quantities of 100 or more. In lesser quantities, add 250 for postage and handling. For combined orders of M-1 and M-2, only one 250 fee is required on lesser quantities than 100. All others: 2-10 each postpaid for orders of 200 or more pages. 30 each postpaid on orders of less than 200 pages. All sales to California residents for use in state carry a State 3% Sales Tax.

Please order by number. - 15 - FAMILY AFFAIRS The Washington Summer School was a great success, with more than eighty attending. Even the weather was considerate, giving us comfortably cool days. Plans are already under way for the 1958 session, which will probably be in the Middle West about the middle of July. The remaining copies of the COMPILATION are available to any Guild member at 52.50 postpaid (half the regular price 7 It is an unexcelled reference book. (In California, add 3% Sales Tax.) BE SURE to inform us in advance of any change of address. The Letters are sent second class mail, which is not forwardable. PLEASE NOTE: The correct address of the Guild is: P.O. Box 211, or 47 El Arco Drive, Santa Barbara, California. Telephone: WOodland 2-9365. Something that is very much needed is a collection of original games and devices for teaching the essentials of music to children from pre-school to second-grade age. For instance: Mrs. Imbach of Carpinteria, California, teaches tone-matching by means of a ball game. If a child matches one tone she sings to him, he makes first base; two tones is second base; three, third base; and four tones is a home run and puts him on the all-star team. What game have you devised for rhythmic or melodic or tonal training? There should be more than enough originality among us to fill a substantial pamphlet on teaching devices. If ma provide the material, the Guild will assume the publication and distri- bution. Frank Hunter, St. Paul Methodist Church, Muskogee, Oklahoma, is making his congregation hymn-conscious this season. He has outlined a progressive program for the whole season, and has written instrumental parts for a number of familiar hymns for festival occasions. I am sure he would share them with directors who have the necessary instruments available. Holy, holy, holy (Nicea) 3 trumpets, 2 trombones, 2 tympani. Christ the Lord is risen today (Easter Hymn) 3 trumpets, 1 trombone. 0 for a thousand tongues (Azmon) 3 trumpets, 1 trombone. Rise up, 0 men of God (Festal Song) 3 trumpets, 2 trombones, tympani. Awake,- my soul (Christmas) clarinet octette. My God, I love Thee (Solomon) clarinet octette. God of our fathers (National Hymn) 3 trumpets and organ. Praise God from whom all blessings flow (Doxology) 3 trumpets and organ. "A COMPREHENSIVE PROGRAM OF CHURCH MUSIC" is the title of Federal Lee Nhittlesey's new book, which is published by Westminster Press and sells for 83.95. The best of all that Dr. Whittlesey has learned in many years of outstanding leadership in church music is compressed between the covers of this book. Since he is as critical of his work as he is creative, one can be sure that the recommendations for procedures and materials have been tested and re- tested. Of particular value are the detailed outlines of special services such as: A Musical Interpretation of the Apostles' Creed; Herein is God Revealed to Man; A Service of Psalms; Godts Seven Freedoms. Westminster Press is also the publisher of "Familiar Hymns with Descants", by Donald Kettring. Price, 51.10. Thirty-three hymns are included, and although a number of the descants are too high for children's voices, they could be played by solo instruments. Concordia Publishing House, 3558 S. Jefferson, St, Louis 18, Mo., must have anticipated our intended stress on HYMNS for this season. They advertise 6 11x20 charts on "Hymn Tunes, 500 A.D. to the Present". The set sells for $3.50. I suggest you write them asking for the brochure and for their Music Bulletin No. 15. If you are looking for a really fine, churchly collection of two-part an - thans, Concordia has it: "The Morning Star Choir Book", price 51.3,5. - 16 - RULES FOR CONGMATIONAL SINGING JO.PN VESEI.Y

titarn these tunes before you learn any others; afterwards learn as many as you please. 2.5ing them exactly as they areprintecl here , without altering or mending them at all • and if yo) have learned to sing them otherwise unlearn it as soon as you can. 3Sinci all. t esa that, you loin with the. congregation as freguently as you can. Lc+ not a sliglit dggree of weakness or weariness binder youflif it is a Caoss to you, 'lake i't up and you will find it a blessing. 4#ing lustily, and with good courage. I:: war% of singing as if you are ha f-dead or half-asleep, but lift i,19your voice with strength. Eta no more afraid of you yoicg now nor more ashamed_of ifs Lein9 h rd, than when you sing the songs of batan. ea s.Sing modestly. Do riot bawl, so as +o b¢ hard above or distinct from the rest of the congregation-that you may not destroy the harmony- but strive. to u'ilite your voices together so as to Make one clea '. melodious soihrid. 6.,Sing in +im Whatever time is sung,be sure to keep with it. ](lo not run eforg nor stay behind it ; but attend close to the leading voices, and move t grewith as exactly as you cans and take care noi to s ng' oo ST low. his drawling way steals on all who are lazy and it is hi h time to drive it out frohi arnong us, and sing all our tunes lust as 9uick as We did at iirst. b9ve all, singsing piritually.41kvsz an gyg toCod in every worcl u sing../Sm at Rim ore thatfi yourself or any other mature. n order to a6 this , attend strictly to the sense of what you sins, and see th t your heart is not carried away with the sound, but offered to od continually; so shall your smcit q be such as the 114,rd would a prove. of her k, and rewbrci lou whin g comet in clouds of heaven. CHORISTERS' GUILD LETTERS Volume 9 1957-1958 Number 2 Choristers' Guild Box 211 Santa Barbara, California

AN OPEN LETTER TO YOUR MINISTER ON SELECTING HYMNS R.K.J.

With two Sunday services, and three hymns in each service, our congregations sing at least 324 hymns every year, or go through the motions of singing them. The lack-lustre, bored, all-tired-out quality of most congregational singing makes a serious observer wonder if hymns are essential to worship, or merely included because they always have been, or because they afford a good opportunity to get the congregation to its feet occasionally. In the early Protestant gatherings, hymn-singing was undoubtedly meaningful; people gave both their voice and their spirit to their singing. But it is the rare (very rare) congregation of whom that could be said today. What has happened? Is it the hymns that have changed, or we, or perhaps our use of them? Unless hymn singing can unite and lift a people, we had better substitute something that can, or give that time over to the discovery of meaningful silence. But hymn-singing can come alive; it has values we might wisely rediscover. It is not abstract theory but actual experience that holds the brief for the value of hymn-singing. It can unify a crowd; it affords a common expression for a common experience; each is strengthened by the singing of the others; it can lift both the singer and the service; the individual's feeble expression becomes magnified and glorified by the composite voice surrounding him. And by the same token, the feeble, earth-bound thoughts of the individual are enlarged - 17 - and illuminated by the great thoughts of great hymns. Hymn singing can create an experience of worship, and can at the same time be an expression of that experience. There has been much discussion of the art of worship, with analyses of the laws and progressive stages of the experience, but worship cannot be produced in a test-tube. No more can the art of worship in hymn-singing. If we are ever to know the joy of singing, we must sing. And if we are to recapture the unifying force of congregational singing, we must select hymns that are inclusive; hymns whose theme is Thou, Thee, and Us, rather than the egocentric I. If hymn singing is to lift the singer or listener, it must have a text that reflects some of the greatness and beauty and majesty of the Deity to Whom it is addressed. And if it is to activate the soul, rather than the heel, it must have a melody that reflects that same dignity. Practically all denominational hymnals have sufficient fine hymns for the lifetime of any congregation. How are we to make them familiar and useful articles of faith? Certainly we will start by knowing and loving them ourselves. Then we will determine the purpose of each hymn selected, and of each stanza of that hymn. There are two elements in a good hymn; equally as important as the text is the tune. It is the better part of wisdom to familiarize oneself with the tune as well as the text. The morning service is not a classroom; it is not the place to teach the congregation new hymns. But that does not mean that new hymns cannot be introduced. A completely unfamiliar hymn, played with authority and rhythmic vitality, and sung by the minister with evident spirit and devotion, can carry a reluctant congregation into participation. The wise selection of hymns can determine the quality of the whole service. They can arouse and they can calm; they are expressions of corporate worship, and they are stimulants to corporate worship. The wise selection of hymns is the beginning of a singing church, but it is only Chapter One in the diary of a singing church. It must be followed by Chapter Two and Chapter Three and Four of training, and experience, and promotion, and church school education before it becomes a complete story. "Blest is the Church whose people join in song, Harmonious hearts make congregations strong. Music, God's gift, to God's own uses bring; Let every soul rejoice, rejoicing sing." - 18 -

THIS IS MY FATHER'S WORLD

4

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• 4. * IIIIIVIIIIE1.11 ,11.. 111111 1111 ..11.11111..1.1111Willeii..11.1 ..s..!..711111111111111111111.111111. ' 11111111 .9C111111111111P 111111111111115111MILIMIIII MINI Will

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CD This is my -Father's world 0 And to my listening ears ( All nature sings, and round me rings C4) the music of the spheres. T This is my Father's world 0 I rest me in the thought 0 Of rocks and trees, or skies and seas His hand the wonders wrought. ri This is my Father's world The birds their carols raise The morning light, the lily white QT) declare their Maker's praise. This is my Father's world © He shines in all thatts fair Li In the rustling grass I hear Him pass He speaks to me everywhere. 1 This is my Father's world 0 0 letme ne'er forget 3 That though the wrong seems oft so strong 0 God is the Ruler yet. This is my Father's world (0 Why should my heart be sad? t5 The Lord is King, let the heavens ring ® God reigns: let the earth be glad. The words of this hymn were written by a young minister who loved God's out-of- doors. Often in the early morning he would hike about two miles to the brow of a hill from where he could see Lake Ontario. And sometimes he would go several miles farther to a deep ravine where there were as many as 40 varieties of birds. If people asked him where he was going, he would say, HI am going out to see my Father's world." The name of this man was The name of this tune is which means • The rhythm of phrase is: ri 1.1 .1 .1 ei j Which other phrases ave the same rhythm? The rhythm of phrase lJ is: =,11..1 .1 Which others have the same rhythm? The rhythm of phrase is: ." I •F—J 1 ,4 Which others have the same rhythm? Can you write the rhythm of phrase (5)? Star for learning all three stanzas) Star for clapping the rhythm right. - 19 - ADVENTURING WITH THE HYMNAL (Continued) Dr. Alfred P. Haas -- Drew Seminary COMMON METER (C.M.) translated into numbers is 8.6.8.6. Try it on "The Lord's My Shepherd.

The Lord's my shep-herd, not want, He makes me down to lie In pas-tures green, He lead-eth me The quiet wa-ters by. Look through your hymnal and see if you can find two other familiar hymns that are 8.6.8.6.

LONG METER (L.M.) is 8.8.8.8. A good example of Long Meter is a hymn you are sure to know. Praise God from whom all bless - ings flow Praise Him all crea-tures here be-low Praise Him a-hove, ye heavIn-ly hosts Praise Fa-ther, Son, and Ho-ly Ghost Find another familiar Long Meter hymn in your hymnal, and divide it into lines of eight syllables.

Like persons, hymn tunes have names too. The name of the tune of "0 Little Town of Bethlehem" is St, Louis. It was given that name in honor of Lewis Redner, the organist who wrote the tune. The name of the tune for This is My Father's World is

The name of the Doxology tune is Can you find the tune name, and the meter of these hymns?

0 Beautiful for Spacious Skies

Faith of Our Fathers For the Beauty of the Earth Come Ye Thankful People, Come The A B C's of the DO RE MIs Lesson 44 Give each child a copy of Review Page 8.

Play the following intervals as rapidly as the ability of the class permits, and have children write in the corresponding note.

1. 5th up 11. 3rd up 21. 5th up 2. 3rd up 12. 7th down 22. 7th down 3. 7th up 13. 7th up 23. 3rd up 4. 7th down 14. 5th up 24. 3rd down 5. 3rd up 15. 5th down 25. 5th up 6. 3rd down 16. 5th up 26. 5th up 7. 7th down 17. 3rd up 27. 3rd down 8. 5th up 18. 3rd down 28. 5th down 9. 5th down 19. 3rd down 29. 7th down 10. 3rd down 20. 5th down 30. 3rd up Make a large copy of the page (with the correct intervals), and let the children correct their own work.

Lesson 45 Write on the board: L-7

"Can you name these intervals? Can you sing them?" Under the previous line of music, write:

0 c

Let the children complete the intervals corresponding to those above, and then sing them. Same procedure with downward intervals from e (4th space). Same procedure with downward intervals from d (4th line).

Lesson 46 Write on the board:

CI 0 C:) CS 0 cis Let the children take turns filling in the interval of a 4th above. Play these intervals. Play the lower note only and let children sing the 4th. Write on the board: co za <-7 Let children fill in the 4th below. Follow same procedure as above. - 21 - REVIEW PAGE NO. VIII (Lesson 44)

11.

12. 22.

rI 3. 13. I 23.

14.

15. 25.

16. 26.

17. 27.

13. 2E.

eTh —CD 9. 19. 29.

10. 20. 30.

— 22 — ANTHEM STUDY 0 Love of God -- Thiman Novello MT 1195 0 love of God, how strong, how true....; eternal....and yet ever new.... Uncomprehended and unbought....; beyond all knowledge and all thought.... 0 wide embracing, wondrous love....we read Thee,...in the skies above.... Tare read Thee in the earth below....; in seas that swell and streams that flow....

We read Thee best in Him who came. 000and bore for us the cross of shame.... Sent by the Father from on high. 400 our life to live, our death to die.... (Substitute a broad repetition of the first stanza for the last one. Children sing melody throughout; in 3rd stanza it is in the bass clef.) First Week Give the choir copies of the words. They can learn this number by rote. Read the words together. Discussion: meaning of: uncomprehended; beyond all knowledge; wide embracing. What proof do we have of God► s love? How does the sky show it? The earth? What was the greatest proof of God's love? (3rd stanza.) Read 1st stanza together. One minute to learn it from memory, then give them the first half of each phrase, and let them complete it from memory. Sing the 1st stanza for them. They listen, to see if they can tell what the dotted lines indicate. (Sustained tones.) Sing it again; children watch the words and listen, and hold up their hands every time they hear two notes for one syllable. Sing it again; children underline those syllables with a pencil. Now with a light accompaniment, all sing first stanza together. Repeat from memory. Now a little contest: From memory, you sing 1st phrase, they sing 2nd, you sing 3rd, and they sing 4th. Second Week Play 1st stanza. Who recognizes this song? Can you sing it?" All sing 1st stanza. Read 2nd stanza together. "The tune is the same, but there are two places where you will have to be careful. Watch those dots after THEE." -Bing 2nd stanza. Read, and then sing 3rd stanza. The pronunciation of and will probably be shallow and unpleasant. Try making it sound more like uh-nd. Sing whole anthem, counting the number of times and appears. "The interludes in this anthem are like a relay race; we start singing just as the organ finishes the phrase, not just after. "Let's try it; be ready to sing when I nod." Practice all interludes in same way. "Some are shorter, and some are longer; you will just have to be on your toes and ready to go when you get the signal." Third Week Work for smooth, full flow of tone. Children sing it on 00 while you draw a cord slowly through your hand to suggest unbroken line. "Now can you make the words sound just as smooth?" Try it a time or two. Sing the 1st stanza for them, making and thin and unpleasant. "Raise your hand every time you think my singing is not as round as 00." They will probably be very frank, so you had better practice smooth singing and pronunciation.) - 23 - SHE KEEPS HER CHURCH INFORMED The Annual Report of Youth Choir Activities—Glendale Presbyterian Church Mrs. Louise Whitman, 1510 Allen Ave., Glendale, Calif. SELF-IMPROVEMENT (Item 14 in a 16 Item Report on the 1956-57 Season) A. Study: Choristers' Guild Seminar, Santa Barbara, July, 1956. B. Attendance: Choral Conductors' Guild of Calif. Convention, June, 1956. Vienna Choir Boys' Concert Obernkirchen Children's Choir Concert, Feb., 1957. Westminster Choir Concert PAST Los Angeles Chapter Choral Conductors' Guild Bi-monthly Meetings. Presbyterian Choir Camp Faculty Retreat Choir Recognition Services: Pasadena Presbyterian Church First Congregational Church of Glendale Hollywood Presbyterian Church C. Observation: Highland Park Methodist Church, Dallas, Texas. D. Speaker: "Children's Choir Repertory" Choral Conductors' Guild Seminar. E. Musical Director: Presbyterian Conference Junior Choir Camp. OUTLINE OF 1957-58 OBJECTIVES A. EDUCATION 1.Notebooks (to be taken home, and brought to each rehearsal). Contents: Theme of the Year Hymnology: How to use a hymnal, its indices, evaluation of hymns. Meaning of the parts of our worship service. PRESENT Words and music of anthems. Chorister's Pledge Cartoons and verses on 'Choir Attitudes". 2.Training Song Leaders and Pianists Group instruction in conducting. How to choose a hymn. Mimeographed Sheet, "How To Improve Hymn Playing", available in director's office. (Lois Oliver, in Choristers' Guild Letters, 1956-57, p. 28.) 3.Hymn of the Month Emphasis in Church School, through booklets and word charts; stories of the 8 hymns included in the booklet. Hymn stories continued in the Church paper. B. VESTMENTS (Outline of specific needs for vestments, and equipment for their care.) C. LINE-UP SPACE for MULTIPLE CHOIRS (Request for reservation of the dining-room for that purpose.) D. REMODELING PLANS for DIRECTOR'S OFFICE (Church to purchase materials; Mr. Whitman will do the work.) OUTLINE OF FIVE YEAR PLAN 1. Increased attendance at Presbyterian Choir Camp. 2. Education a. Carry into church school the benefits of choir's instruction FUTURE in hymnology and worship. b. Develop a taste for music on the worship level to use during the 9:30-10:00 period. Train leaders and pianists. 3. Each chorister to own a copy of the hymnal. 4. New chairs for the choir room (straight-backed, folding).

24 SEASONAL CUT-OUTS FOR THE LITTLE ONES

O

-25- A YEAR-ROUND INTEREST CENTER FOR THE LITTLE ONES On a large bulletin board on the wall:

SEPTEMBER Cut a tree trunk and branches from heavy brown construction paper. Make, or let the children make, green leaves by twisting bits of crepe paper. Pin to branches. Put cut paper grass under the tree. OCTOBER Add autumn colored leaves to the tree. Take down green leaves. (Save them for spring-time.) Remove grass from under tree. Make a fall scene with pumpkins and cornstalks. Maybe a fence for use with Hallowe'en decorations. Hallowe'en -- add a moon, cats, bats, etc.

NOVEMBER According to locality -- use fall theme or add snow. Make a Thanksgiving scene. DECEMBER If leaves have not all been removed from the tree, remove them now. Add snow -- make Christmas scene -- maybe carollers standing in the snow around the tree.

JANUARY Cut large snowflakes; use in sky and background. FEBRUARY Use patriotic scene; or umbrellas for a rainy season. MARCH According to locality, gradually add green leaves to tree, and APRIL white or pink blossoms. Start with blossoms when the children MAY tell you they have seen the first buds on the trees in their neighborhood. Under the tree begin adding grass. Make an Easter scene with rabbits, chicks, eggs. Springtime -- lambs, flowers, butterflies, birds. JUNE If the children want to add fruit to the tree, let them. Or just make a summer scene under the tree. SEASONAL FLASH CARDS Make learning musical terms fun. Make different flash cards for different occasions. Put notes, rests, sharps, flats, etc., on the back. Let the children decorate the front. For: Hallowe'en: Cut out pumpkins from heavy orange paper. Let children make Jack-o-lantern faces on one side. Thanksgiving: Cut out fat turkeys; let the children color the feathers. Christmas: Cut out ball shapes from white or colored paper. Let the children decorate them as Christmas ornaments. minter Theme: Cut out snow-men. Children make the faces. Valentine: Cut out hearts. Children decorate one side. Easter: Cut out egg shapes. Children color one side. Springtime: Cut out butterfly or bird shapes. Lorraine Hillebrand CHRISTIAN SY/530LISM

Ruth Knannlein

There is a distinction between a symbol and a sign which will be of assistance in our study. A sign (or emblem) represents. It points to something and takes its character from what is done with it. For example: the cross represents the Christian faith and points to Christ's crucifixion. When applied to persons, it usually recalls an outstanding event in their lives.

A symbol resembles. It sets forth being and character and is given by God, with usually a Scripture basis for it. It has a deeper meaning than the sign, because it is more completely identified with what it resembles. For example: the Hand of God.

A Figure is an invention or legend -- an imaginary creation such as the unicorn and the phoenix.

A Type is a representation of an historical character.

The revived interest in the traditional liturgy of the Christian Church has brought with it a renewed interest in Christian symbolism and its possibilities for effective presentation of great Christian truths. After all, pictures, symbols and signs can open doors that words do not penetrate.

Here are some signs and symbols of animal, birds and insects: The bear, as a wild animal has symbolized cruelty and evil influence. In the Old Testament it is used to represent the kingdom of Persia, which brought death and corruption into the world, and was finally destroyed by God (Daniel 7:5). Two bears are said to have appeared from the woods and eaten the children who mocked the prophet Elisha because of his baldness (II Kings 2:24). The butterfly is sometimes seen in paintings of the Virgin and Child, and is usually in the Child's hand. It is a symbol of the Resurrection of Christ. In a more general sense, the butterfly may symbolize the resurrection of all men. This meaning is derived from the three stages in its life, as represented by the caterpillar, the chrysalis, and the butterfly, which are clearly symbols of life, death and resurrection. CHAPLAIN'S CHAT It is October. What a glorious month it is in Iowa'. What a wonderful season it is to be alive'. The trees and hills are all dressed up in new garbs of yellow and red and purple. God seems not so far away when "There's a whisper down the field, Where the year has shot her yield, And the ricks stand grey to the sun." God must love beautiful things, else He would not have created so many of them for His world. And He must have wanted us to enjoy them, too, for He gave us eyes and hearts that we might see them and appreciate them. -27- WORSHIP WITH CHARIFS WESLEY A Hymn Festival Commemorating His 250th Birthday Anniversary (Numbers refer to the Methodist Hymnal.) Prelude Hymn tunes 338, 339, 171. Call to Worship 25 Jesus, We Look To Thee Hymn of Praise 162 0 For A Thousand Tongues The Congregation Call to Confession 186 Come, Sinners The Minister Prayer of Repentance Depth of Mercy Minister and Congregation

iHHHHHHH8C-**** Anthem of Praise 32 Christ Whose Glory Willan The Choir Scripture Reading (Hymns based on Scriptural Passages). 344 0 Thou Who Camest (Lev, 6:13. 311 Come, 0 Thou Traveller (Gen. 32:24-26). 171 Rejoice, the Lord is King (Phil. 4:4). 229 And Can It Be (Acts 12:7) (Ministers alternating the readings) Prayer Anthem Talk With Us Lord --- Lovelace 309 The Choir

iHHHHHHHH8SS8 Hymn of Preparation 175 Come, Holy Ghost The Congregation Sermon "Let us Unite in Singing". iHE--X-)HHHHHHH:-** A Period of Hymn Exposition 1.A Hymn about the Holy Ghost 175 2.Hymns about Jesus 84 Come, Thou Long Expected Jesus 169 Ye Servants of God 339 Thou Hidden Source of Calm Repose 154 Christ the Lord is Risen Today 3.A Hymn of Christian Fellowship 417 All Praise to our Redeeming Lord 4.A Hymn based on Scripture 282 Soldiers of Christ Arise (Based on Eph. 6:11-18.)

Offertory Anthem The Altar of My Heart --- Lovelace The Choirs Prayer of Dedication Congregational Response 217 Lord in the Strength of Grace Hymn 372 Love Divine, All Love Excelling Benediction Postlude Hymn Tunes from the Worship Service

Given on three successive Sunday evenings in February by three Methodist Churches in the Chicago area Austin -- Mrs. Amy Leslie Toskey, Director Elgin -- Mrs. Mary Silliman, Director Dixon -- Mrs. R.L. LTHeureux, Director Guest Director -- Austin Lovelace Speaker -- Bishop W. Earl Ledden - 28 - REPORT ON Maintaining a 97%-99% Attendance Average in a Junior Choir Henry Whipple -- First Presbyterian Church, High Point, N.C. Let me mention first just what these figures include in the way of excused absences, etc. We excuse all absences because of sickness or major family emergencies. This latter could include a multitude of loop-holes, but we restrict it to matters of serious importance. I will admit that this has caused a few arguments with recalcitrant mothers who did not see eye to eye with me on the interpretation of "emergency", and as a result last season, for the first time in 10 years, we did add a real loop-hole, which was mainly for my own peace of mind. We now permit one, and only one, Sunday absence not covered under the above stipulation. However, of last season's choir of 43 members, 39 had a perfect record of which only 9 took advantage of this exemption. It means less ulcers for me. we have two 40-minute rehearsals per week with required attendance at either rehearsal. A rehearsal missed can be made up by attending two the following week. The Juniors sing at least once each month at a Sunday morning worship service, and from these there are no excused absences except as outlined above. Parents are sent a complete schedule of the choir's activities at the beginning of each season, September and January. The choir also sings at two Holy Week services, but since these are on school nights and the PTA always contrives to have something also at the same time we do not feel that we can call these services compulsory. For seven years the full choir met for both rehearsals (Wed. and Fri. after school), but after repeated requests from mothers we now insist on attendance at only one rehearsal. This means that we no longer devote part of the time to elementary theory, but must work toward the Sunday services. The change did not alter the attendance average which has remained the same. Awards do help. Our system differs a little from yours, but is substan- tially the same. We use crosses -- Celtic for the first three years, Latin for the next three, and books thereafter. Two of our Youth Choir members last season achieved an eight year perfect record with "Christ in the Fine Arts", as their reward, which they were presented by the minister on Choir Recogni- tion Sunday. We try to make each child feel (1) that the choir is important to the worship of the church by having the choir sing as often as possible, and (2) that he is important in his own right by recognizing him as an individual. We attempt to know all that we can about each child, and to know his parents. Many of the members come early to rehearsal and this is a good opportunity to become acquainted, not in a "buddy-buddy" type of relationship, but that we may understand his interests, likes, and dislikes. There are a few social functions, but these are only incidental -- usually after the Christmas Carol Service and at the end of the choir season. Occasionally there may be some treat, but these are not often. But two things are of major importance for a good junior choir. The children must want to come, and the parents must feel that they should come. These two items are fundamental. No child that rebels at coming should be made to attend, for he always detracts more than he contributes.

The "we" of this report, as you may have guessed, includes Mrs. Whipple (a 100% volunteer helper), who comes in for the lion's share of the work. CHOIR QUARTERS St. John's Cathedral -- Denver, Colorado David Pew -- Organist and Choirmaster

The choir has most of the entire north wing of the new educational building. The first floor has a large robing room for the older girls choir. On the south wall are built-in cupboards for vestments. On the west and east walls are large plate-glass mirrors. There is a chest of drawers for storage of small supplies. A large window makes the room very light. The floor is colorful light tile.

On this floor there are also two other robing rooms, both furnished as beautifully as the older girls' room. The one for the men accommodates about 35 men. The other is for the girls in the smaller girls' choir, and for the women who sing in the summer choir.

Also on this floor is a well equipped room for the Choir Mothers. It has a large cabinet with many drawers for mending materials and supplies, and a small cupboard. There are built-in ironing boards as well as single ones. We have steam irons and a new sewing machine. NS have tried to think of everything to make the work of the Choir Mothers easier. There are coffee makers and dishes for their use.

The second floor has a large rehearsal room, office and two storage rooms. The rehearsal room has a normal seating capacity of about 80, and with chairs added about 110 persons can be accommodated. There is a center aisle with the benches on either side, facing each other. In this center aisle, is a new grand piano. This room is two stories high, giving a vibrant tone to the music. The west wall windows have venetian blinds. On the wall opposite the windows are cupboards for boys' vestments. The office is on the east side of the rehearsal room. It has a large bay window, giving plenty of light. It has a large cupboard with adjustable shelving for organ and piano music. From the office there are doors to the two music storage rooms. The one wall of the small storage room has small cubicles for anthems. The other wall has shelves. The two storage rooms can house about SOO titles. All anthems are catalogued by title and by number for each cubicle.

The choir rehearsal room is dedicated to David and Estella Pew. (The fact that Mr. Pew is the incu t inlet Ls an indication of the respect in which he and his wife are helc. ) II The choir personnel numbers about 200. There is a choir of 50 soprano boys, ten alto boys, and about armen. This choir sings t all the main se vices of the church as well as most of the special servic s. The boys meet twice a week plus one vening for a full rehearsal ith t e mena On Sunday morning there is a siv5rt rehearsal before the servi e. I the summer month the all-male choir is augmented by women.O.The boys ave tendenc to en vacation from choir as well as frcm sdhool. 6 The two girl choirs sing for the family service at 9:15. T e older girls' choir rehearsekon Tuesday afterno n; th reare abo 5 'ris from Junior and Senior High'Sphool his ch T e ounger grs, ab Dut 40, from 4th through 6th grades, meet on Thur day.

A Rehearsal Room B Office C Storage D Rest Rooms REFERENCES AND MATERIALS USED -- 1956-57 Wesley Methodist Church, Dallas, Texas Mrs. Christine Kallstrom

BIBLICAL REFERENCES: 1. HURIBURTIS STORY OF THE BIBLE -- Winston Co. -- Philadelphia 2. DICTIONARY OF THE BIBLE -- Davis -- Westminster Press -- Philadelphia 3.And, of course, the BIBLE itself. MUSIC HISTORY REFERENCES 1. GENERAL MUSIC -- 4 Volumes -- each -- Swift & Musser Belwin Co. -- New York 2.MUSIC SPEAKS FOR ITSELF -- 2 Volumes -- 4131.50 each Swift & Musser -- Belwin, N.Y.

MUSIC APPRECIATION & RHYTHM REFERENCES 1.OH SAY CAN YOU HEAR -- 2 Volumes -- House -- Mills Music, Inc. New York .75 each 2.RHYTHM WITH RHYME & REASON -- Cobb -- Mills Music -- New York

MUSIC PICTURES, AND CHOIR HELPS 1. LITTLE GOLDEN BOOKS -- Heroes of the Bible; Stamps of the Bible; Stamps of Musical Instruments, etc. .25 - X1.00 each 2. Rand McNally -- .250 each a.#484 -- Stories of the Christ Child b.#491 -- The Old Testament c.#543 -- The Ten Commandments 3. The Choirmasters Workbook -- Nordin -- Augustana Book Co., Rock Island, Ill. 1.2.50 each volume

MUSIC MATERIALS FOR CHERUB AND PRIMARY FUN 1.CAPT. KANGAROO Dance Along Songs -- Fox Pub. Co., N.Y. 2.Dance and Sing -- Oler -- Pro Arts -- N.Y. 3.Mouseketunes -- Disney Enterprises -- Hansen Pub., Inc. 4. My Little World -- Fox Publishing Co., N.Y. 5.We Bow Our Heads -- Fuller -- Pro Arts OTHER NEW MATERIALS (To me) 1.Of Such is the Kingdom -- Paul & Fuller -- Pro Arts 2.Choristers' Daily Dozen -- Scarmolin -- Pro Arts (for SATE but can be used to teach Juniors how to read regular anthems). RECORDS: 1.RCA Victor -- Bluebird Series -- I wish I had; ABC Fun; Mother Goose Play Songs, etc. 2.Records to go with stories in OH SAY LET US HEAR -- Music Appreciation Book by Mills Music. 3.Work in the records already in your personal library to illustrate rhythm, special instrumental solo passages, other languages, music from different countries, etc. 4.Cricket Records -- Pickwick Sales - - Brooklyn, N.Y.

AND THE MOST USEFUL TEACHING AND INSPIRATIONAL AID OF ALL FCR CHOIR WORK THE COMPILATION OF LETTERS FROM THE CHORISTER GUILD. ROBERT EMORY, Grace Methodist Church, Tarentum, Pa. "We have about 38 in the Junior Choir and have a poor rehearsal room. It's dingy and unattractive. One chair moved sounds like thunder, so it is hard to keep order. I use this room in preference to the sanctuary which seems the next logical place in our church. We will be building next year, but I would like to have a nicer rehearsal room in the meantime. Do you think we should go to the sanctuary, or do our best to make our room more attractive and usable? **I vote for making the room more attractive. Perhaps some parent would loan a not-in-use rug to deaden the noise. Get suggestions from the choir about improving the room. Does somebody's daddy own a paint store? There may be someone in the church who is clever at decorating. Transforming miracles can be achieved. Why not have fun making a silk purse out of a sow's ear? PHILIP BLACKWOOD, 190 E. Franklin Ave., Gastonia, N.C. "I was at the School of Sacred Music, Union Theological Seminary for the six weeks summer session. Bill Giles was there also. We had never met before, but we recognized each other's names from the Guild Letters." ROSE KAMMERLING, 915 Division St., Melrose Park, Ill. ALICE LYON, 1305 Rimrock Road, Billings, Montana Both suggest that the address of contributors be given, so that directors in a similar situation can continue further the exchange of ideas. ANDREW KORMANY, 26 Madison St., South Bound Brook, N.J. "I would appreciate more information and helps for the boy choir." **Choirs in Little Churches", by Stuart Morgan, and available through More- house-Gorham Co., New York, is written for the small parish church in England, but it is full of good suggestions for the American choirmaster who is exper- imenting with a boy choir. MRS. EARL DAHLSTROM, P.O. Box 1)14, Jacksonville Beach, Florida. Mrs. Dahlstrom reminds us that 1957 is the 250th anniversary of Charles Wesley, and the 150th of John Greenleaf Whittier, and that in the Episcopal Hymnal, 1940, there are 18 hymns by Wesley, and 7 by Whittier. **How many are there in your Methodist, or Presbyterian, or Christian, or Unitarian, or Reformed, or Lutheran hymnal? LOUISE JOHNSON, 149 Granville Road, Granville, Ohio, has planned a series of four workshops for the Newark Chapter of the Chor- isters' Guild under the leadership of Mrs. William Peebles of Delaware, Ohio. The four are: Sept. 6 -- Purposes and Promotion of Children's Choirs; Oct. 11 -- Materials; Nov. 1 -- Demonstration of Rehearsal Techniques; Dec. 5 -- General Discussion. HOWARD WAGNER, RA 11307971, 4th MI Co. (API), APO 343, San Francisco, Calif. "My wife and I are eager to write you of how your Letters are being put to work half way around the world in Japan. However, until we do, here is a check to renew our subscription. Since I cheated and married one of your regular subscribers -- Wilma Taylor, Fall River, Mass. -- we have decided to send t10.00 for a single Contributing membership this time. **Hurry that report along, Howard. We are all MORE than interested. WARD WEAVER, University Baptist Church, Coral Gables, Florida, sends a copy of his church bulletin. One page is an engagement calendar in which all the church activities of the month are listed. **Such a calendar, listing all the musical activities for the month, would be good for the music room bulletin board, especially where there is a large program. -32- BASIC MATERIAL for the PRE-SCHOOL and PRIMARY CHOIR DIRECTOR

Song Collections All Through the Year Hall and McCreary Father, Hear Thy Children Sing Hall and McCreary God's Wonderful World Random House Let's Sing Augsburg Little Golden Book of Hymns Simon and Schuster Song and Play for Children Pilgrim Press Song Wings: Books I and II Birchard Tiny Tot Songs Warner Press When the Little Child Wants to Sing Westminster Press

Hymnals Children's Praise Lillenas Publishing Co. Hymns for Boys and Girls Appleton Century Hymns for Primary Worship Westminster Press

For Music Education Musical Story Book Proart Publications Play a Tune (World of Music) Ginn and Co. (Simple classic melodies to play for rhythmic activities) Singing Games for Children Willis Music Co. Tone-Matching Tunes Flammer Zepp- Montague Musical Kindergarten Course • Proart Publications For the Teacher A Guide to Children's Records International Council of Religious Education Children and Music -- Landeck Sloane Learning Music Through Rhythm -- Hood . . . Ginn and Co. Teaching Children Music in the Elementary Schools (very practical) Myers Prentice Hall There's Music in Children -- Sheehy Henry Holt and Co.

tt.Te\ rol 'e • \

Stephen Ortlip has written an excellent Thanksgiving number for Adult or High School Choir. It has considerable duplication of parts, and is rhythmically virile without being noisy. 0 Be Joyful in the Lord Ortlip Birchard If you need a Thanksgiving number for your Junior Choir, you might try We Thank Thee, Lord, for This Fair Earth -- Harvey Novello -33- CHRISTMAS MUSIC For Pre-School and Primary Children

Christmas for the Very Young -- Upshur Flammer A charming, and very simple cantata The Christmas Story -- Nordholm Mills Music Co. Also very simple and attractive Jolly Christmas Melodies -- Rodgers • Willis Music Co. Simplified for the young child to sing and play. Attractively illustrated. For the Junior Choir (4th to 6th Grades) The Story of Silent Night -- Westervelt Elkin-Vogel How "Silent Night" came to be written. Easy and singable carols A Christmas Carol Pageant -- Page G. Schirmer Simple but rewarding For the Outstanding Treble Choir ( Junior or High School) To Bethlehem -- Flor Peeters World LAririr of Sacred Music, 1846 Westwood Ave. s.a. not hackneyed Cincinnati, Ohio Christmas Cantata Luebeck Chantry Press, Freemont, Ohio 2 equal voices, 2 violins, cello

For the Teen-Age Choir Yule-Time for Teen-Times -- Cooper C. Fischer Easy and Singable

FOR EVERYBODY Descants for Christmas -- Krones Kjos Christmas, Its Carols, Customs and Legends -- Heller Hall McCreary Ditson Christmas Carol Book Ditson I still consider this the most useful of any collection.

ODDS and ENDS Ruth Jacobs will be holding seminars and conducting festivals from the middle of January to the middle of March. There are still a few gaps in the schedule. Who Wants A Seminar? One Day? Two Days? Weekend? Jan. 27-30 Oklahoma, Texas Feb. 17-27 Middle West or Mid-South March 3-6 Northern Mid-West The first 40 Lessons of the A B Cs have been collected in convenient form. The price is fifty cents postpaid. On Page 15, add to the list of pages available, M-4, My Vestment. This has been one of the pages in most demand. Don't know how we happened to omit it. All Hymn Study and Adventures with the Hymnal pages appearing in the 1957-58 Letters will also be available at the rates quoted on Page 15. I hope you keep your Letters in a binder for quick reference.

-34- RULE FOR CONGREGATIONAL SINGING JOIN WESLEY

4Inctsand +.tutmas'13 ' * „ ,k"` Th6 metocliesara clear ana strong_ ne iincior picks ti‘cm out-

-just find tile notes and sing along And hum when you're iri'doulor ! ii

i. team thqse tunes Wforix you learn any others; afterwards learn as many as you pleasp.

it-Youlvt Darned 4tree or four of them Der:r 'Irmo' at Steel, new sortci *gni with the rest of us... WI II bg a cow¢ u1 *roily

"only 67 ? "

c4s.toras of ou r God

ry learn'in91,4mos throughout iilft weak T It's gas - amtwiwrq. BOSICIO a si,aciltbutlobtivii crgcrk Or in your easy chair CHORISTERS' GUILD LETTERS Volume 9 1957 - 1958 Number 3 Choristers' Guild Box 211 Santa Barbara, California

THANKSGIVING 475 B.C.

When Xerxes was king of Persia, some five hundred years before Christ, he had as his queen a beautiful Jewish girl. So carefully was the life of the king guarded that anyone entering his presence unbidden was immediately put to death unless the king held out his golden scepter to him. Even the queen was no exception. When the young queen heard of a plan to kill all the Jews in the land, she summoned all her courage and went unbidden to the king to thwart the plot. The date set for the massacre was the thirteenth day of the twelfth month, but due to the queen's courage, the only casualties that fatal day were the perpetrator of the plot and all his sons. On the fourteenth day of that twelfth month, all the Jews in Persia celebrated a festival of thanksgiving to God for having saved them. The queen's name was Esther, and still today on the feast of Purim, the Thanksgiving Day of the Jews, the story of Esther is read in synagogues in whatever countries Jews dwell. THANKSGIVING 313 A.D.

The Roman Emperor Diocletian had tried everything to blot out that stubborn sect, Christianity. Now he would give them one last chance to recant and pay homage to the goddess Diana. Refusing that, the alternative was the destruction of all the churches, slavery and death. Bishop Nicholas of Myra stood in chains in the broiling sun, and watched his beautiful cathedral torn down stone by stone. "Churches may fall, but Christians must gtand," he said. Nicholas was sent to the salt mines of Africa, where men died like wild animals under the inhuman conditions.

But Diocletian could not live forever, and eventually Constantine ascend- ed the imperial throne. One of his first royal acts was to put an end to the persecutions and free the Christian slaves. It was summer of 313 when Nicholas, or rather the shadow of Nicholas, returned to Myra. The remainder of his congregation rallied around their beloved bishop in the seemingly impossible task of rebuilding their cathedral. The poor but devoted peasants set aside a corner of their tiny farms as a "cathedral piece", and worked long hours that it might produce their finest harvest. Nicholas set aside the first Sunday of September for the first Harvest Festival. On that Sunday the altars of all the tiny country churches in Lycia were piled high with pumpkins, cucumbers, apples, figs, skips of barley, melons, duck eggs, and baskets of grapes. And each year thereafter the Harvest Festival brought the choicest fruit of the land in thanksgiving for the end of persecution and the gradual rebirth of their beloved cathedral. THANKSGIVING 1737 A.D.

They had left their homes in England, and Crossed the ocean to a harsh and unfriendly land in order to retain their "freedom to worship Cod." That first winter was desperately hard. Bitter cold, disease, and famine conditions took one life after another. By spring only half of the company was left. But with the warm weather, hope was revived. Seeds given them by friendly Indians were planted and by fall brought forth a bountiful harvest. And in November that handful of Pilgrims brought their harvest offering to the rude church in the center of their settlement, and thanked God for His protec- tion and guidance.

THANKSGIVING 1957 A.D.

Too indifferent to attend the Union Thanksgiving Service? Too impatient to set the knife to the brown turkey to offer a prayer of thanks? Too insensitive to know gratitude for home, health, friends, a land that escaped the ravages of war, work to do and the strength to do it? "The flesh is willing, but the Spirit indeed is weak."

What can you do for your children to transfer Thanksgiving from the stomach to the heart?

THANKSGIVING SANTA BARBARA, CALIFORNIA

Many of you have become Contributing Members of the Guild, knowing that in that way you can let the influence of your ideals extend far beyond your own choir. It is a profound privilege for the two of us here in Santa Bar- bara to spend our time and energy trying to keep up with the growth of your organization. Evey day brings a letter from some of you -- one that confirms our faith in your ideals and your sense of dedication.

A Guild Center is no longer an ambitious dream. It has become an urgent necessity. You have no idea how space consuming the stacks of note-book pages, the bulky Compilations, the packing materials, the back issues of the Letters, the boxes of mailing envelopes are. We need housing for the membership files, the addressing machine, the adding machine. And we need some place other than the kitchen where the part-time stenographer can work. The reference library of books and music should be readily accessible for quick information and for lending -- not stored in a series of boxes in the garage. The need is here, but not the space nor the funds, for full-time office help. But, somehow, I am confident that the space and the funds and the help will be provided.

This fall, Donald Sanford, of Des Moines, Iowa, began giving a part of his tithe to the Guild, and every month his check comes, to be banked as a nest egg for that Center. His would be a good example to follow. There are plenty of people to carry on other worthy projects, but the right use of the power of the children's choir is our particular responsibility. If you and I refuse that leadership, there is no one else to take it on. God honored us by giving us something very special to do; He must have been confident that we would not fail Him.

"Of one thing I can be sure; I cannot light a fire in another's heart until it is blazing in my own." -- Our Chaplain THE CHOIR BOY PROBLEM Leroy V. Brant

After all, the fact that the choir boy receives more than he gives is a generally recognized fact. The influence of the church on the boy, the influence of the beautiful music of the church upon his aesthetic or spiritual nature is an influence the extent of which is beyond calculation. On the other hand, the contribution of the boy to the church is a real one, but is one that could be much more readily made by adults. This being the case, the point of the whole matter is that we wish to maintain a high level of interest in order that we may influence his young and plastic mind, influence it toward good citizenship, toward higher living. The arousing and maintaining of that interest is our present theme. The experiment to be described has proven successful, so that it would seem to be a fundamentally correct one. In a word, we organized a lodge for our boys. Not an original idea, you may say, but the application may be so, We were confronted with a two-fold problem. We had a mixed adult choir with a few choir boys thrown in for good measure, or good looks. We were able to have the boys only once a week and for less than an hour for rehearsal. The boys were not musicians; for the most part, having only the meager music training afforded in our public schools. There is no endowed school in con- nection with our church. Therefore the best we could hope for was to have the boys sing some simple anthem mostly in unison or two parts. Not a very bright outlook, you will agree. We concluded that the only hope for really getting much over to the boys would be to get them to study at home. But how? Promises would be made, let us assume in the best of faith, and forgotten when a band went by the window or a baseball game started in the neighborhood. And as these same boys would say, TJe got nowhere very fast.0 Thus it was that we organized a lodge, with full secret ritual, secret pass, words, signs, and all those mysteries which so delight the heart of all boys. It was a lodge with some 15 degrees. And, mark you well this point, the degrees were to be obtained only by a boy who could pass a written test showing his knowledge of how to follow the service, and with the added requirement that for each degree conferred, he must sing from memory the first verses of a certain six hymns. The fact that the boys are compelled to sing these certain hymns in order to secure the degrees has meant success to the entire venture. The boys were eager to secure the degrees; therefore they practiced the hymns at home. The choristers were given breathing and tone exercises at the regular rehearsals of course. They were taught marching, the following of the prayer book, the procedure for the different ecclesiastical seasons. But after all, the lodge and its degrees were the things that possessed for them the greatest glamour. The CONSTITUTION: Article 1. Name. Article 2. Purpose: to serve the church. Article 3. Officers: Commander, Vice-Commander, Secretary, Treasurer, Sergeant-at-Arms, with terms of three months. Article 4. Membership conditions, including power to veto by choirmaster, and providing for a probationary period, also for election by ballot. Article 5. Degrees, as follows: Knights of Advent, Knights of the Nativity, Knights of Epiphany, Knight of Lent, Knight of Holy Week, Knight of Easter, Knight of Ascension and Whitsuntide, Knight of Trinity, Knight of the Morning (hymns of the morning), Knight of the Evening (hymns of the evening), Knight of the (Continued next page) - 37 - The Choir Boy Problem (Continued) Holy Days, Knight of Sacraments and Rites (hymns of the Eucharist), Knight of Battle Array (processional hymns), Knight of Patriotism (National hymns), Knight of Missions and. Brotherhood, Knight of the Church. In adeition to these, Article 5 provides for ore honorary degree which can be obtained only by a boy who possesses all the other degrees, and who by his faithfulness and skill, and by three years! membership, shall be deemed by the choirmaster to merit unusual preferment. Article 6. Provides that the boy who has attained the degree of Knight of Holy Week shall be permitted to wear certain insignia; attaining the degree of Knight of Trinity, certain other insignia, and Knight of Batt] e Array, still additional emblems. Article 7. Sets forth the ritual and certain other secret work of the lodge, including the oath of obedience. We worked out a rather beautiful and impressive ritual for the degree work, and for their regular lodge sessions, when the commander calls the meeting to order) the chaplain immediately offers a certain prayer for choir boys in general and his lodge in particular, the boys stand and renew their pledge of fealty, and sing their choir hymn. Then comes the regular order of business according to Roberts! Rules of Order, The choirmaster endeavors to let the boys run the meeting in their own way, but also holds them with an iron hand so far as time is concerned; the boys would spend all their time talking if they were not restricted. If a boy has earned a degree, it is conferred; if there are no designates for degrees the business meeting closes, and. the doors are thrown open to any applicants for membership in the choir and lodge. All the business work of the lodge is secret. A boy must have memorized three hymns, have been received by the rector into the choir through a ceremony in the chancel, and have been balloted upon by the lodge before he may become a member and be entitled to sit in the lodge. In the meantime, however, he is attending the musical portions of the sessions; hence he is required to wait outside while any degree work or business is being transacted. His curios- ity is thereby stimulated. After the business session we go to our music. We hear any boy who has memorized a hymn or hymns. He must know the words, the tune, and must breathe correctly. We are not too hard on candidates, neither do we permit them to do their work in a sloppy manner. They must earn what they receive. We have a monitor, a member of the adult choir, who attends the boys! lodge, and who takes any boy desiring help with any hymn to a piano in another room, and works with him as much as necessary. We have found this to be ex- tremely helpful to all concerned. The boys are boundless in their enthusiasm for this plan of choir lodge. They want to do a thousand things, most of them impractical. Out of their five cents monthly dues, and money which they themselves have earned and contributed, the treasury boasts the sum of seven dollars, which is to go for the purchase of chickens for the Thanksgiving baskets of the poor of the parish. The boys publish a monthly newspaper. It is a four-page issue, one page being devoted to comics, one to a sermonette by the rector, and one to editorials by the editors and any choir boy who desires to say something. Of course, one cannot forecast how long such a thing will last. The essential thing is that all such activities show the interested state of mind of the boys..... The choir here described belongs to a Protestant Episcopal Church. It could, however, be readily adapted to the conditions in any church, or the liturgy of any communion. It could be arranged to fit the needs of a Junior Choir. In any case, our experiment has justified itself, and the acuteness of the boys' interest in their regular choir duties has noticeably increased. Reprinted by permission of ETUDE, the music magazine. Copyright 1937 by Theodore Presser Company. - 38 - The A B Cs of the DO RE MIs Lesson 47 A. Write the scale of C on the board. Point out the following sequences for the children to sing: 1.Ascending and descending scale, 2.Descending and ascending scale. 3.1-2-1-3-1-4-1-5-1-6-1-7-1-8-1 4.8-7-8-6-8-5-8-4-8-3-8-2-8-1-8 Repeat each several times. B. "We have learned to recognize pretty well a 5th and a 7th, but we haven't bothered much with the one in between; the 6th. We had better get acquainted with it too." 1.Play a series of 6ths. 2.Alternate 6ths and 7ths. "Is this a 6th or a 7th?" 3.Starting with middle C, have the choir sing a 6th up, on each half step of the scale. C. Play different intervals in the key of C. Children take turns pointing to that interval in the scale on the board. You might divide the choir into two teams. They take turns recognizing the intervals played. The side with the most right is the winner. D. Point out intervals in the scale on the board. Children sing them. Include the 6th frequently. E. Sing (on oo) different pitches. Children repeat and add the 6th above.

Lesson 48 A. Review sight-singing all intervals, especially- the 6th. Put the scale of C on the board, and point out intervals as they sing. B. "Did you know that notes have names? Their names are easy to remember because they are just letters." Starting with A (2nd space) write the letters under the notes to A the octave above. "Who can say those letters backwards?" Write the letters under the notes from A (2nd space) down to A below middle C. C. Choir reads the letters together, startng with low A. Practice in finding all the As, Cs, and other letters. Lesson 49 A. Review C of Lesson 48. B. Erase all but the octave from middle C to the C above. Give the choir the pitch for middle C. Pointing out various intervals, have the children sing them thus:

Lesson 50 C E a 3rd A. Review recognition of letter names. B. Give each child a copy of "Letter Names Review" and a pencil. Allow only a limited time to complete the answers. At the end of that time, collect their papers. Correct the papers, and give a simple prize the next week to the one with the most correct answers. -39-

LETTER NAPES REVIEW

c"?

EFGABCDEFG

1. Starting from the bottom (first) line, which letters are on lines?

2. Starting with the lowest (first) space, which letters are in snaces?

3. Starting with E (first line), which letter is a: 3rd up7th up 2nd up 6th up

4th up 5th up 8th up

4. Starting with F (first space), which letter is a: 3rd up 7th up 2nd up 6th up 5th up 4th up 8th up

5. Starting with F (fifth line), which letter is a: 3rd down 5th down 7th down 8th down 2nd down 4th down 6th down

6. Starting with E (fourth space), which letter is a: 3rd down 5th down 7th down 8th down

2nd down 4th dawn 6th dawn LET US WITH A GLADSOME MIND Psalm 136 • Freylinghausen's Gesangbuch John Milton, 1623 (Gott sei Dank durch alle Welt) 1704-

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1.Let us with a gladsome mind praise the Lord for He is kind, For His mercies shall endure, ever faithful, ever sure. 2.Let us sound His name abroad, for of gods He is the God. For His mercies shall endure, ever faithful, ever sure. 3. He with all-commanding might filled the new-made world with light, For His mercies shall endure, ever faithful, ever sure. 4. All things living He doth feed, His full hand supplied their need, For His mercies shall endure, ever faithful, ever sure. 5.Let us with a gladsome mincLpraise the Lord, for He is kind, For His mercies shall endure, ever faithful, ever sure. When this poem was written, the only hymns that were allowed in the church were those that came from the Bible, especially from the Psalms. But Bible verses are not even in length and do not rhyme, so the words were changed to fit regular hymn tunes. Such a poem is called a paraphrase. This hymn is a paraphrase of Psalm 136. Underline the last line of each stanza. Copy the line in Psalm 136 that corresponds to it.

Opposite the first line of each stanza write the number of the verse it paraphrases. This hymn was written by a boy fifteen years old. His name was John Milton, and he became one of England's greatest poets. He became blind when he was still a young man, but wrote some of his greatest poems after he lost his sight. Are there other hymns by John Milton in your hymnal? The long name of this tune is German and means "God be praised in all the world." It was first used in a hymnbook (Gesangbuch) that was published by Freylinghausen in 1704. So this tune is years old. -41- ADVENTURES WITH THE HYMNAL Alfred B. Haas, Associate Professor, Drew Theological Seminary, Madison, N.J.

Have you noticed the dates at the top of the hymn? A good hymnal will give the dates of the author and the composer, and sometimes will print the date on which the hymn was written. Now check another index in this adventure in your hymnal. Either at the front or at the very back there will be an index of the "First Lines of Hymns", where all the hymns in the hymnal are listed alphabetically. Well -- that's simple enough, but did you ever go around humming a tune and remembering only a few words from a stanza not the first one in the hymn? Then you are puzzled. All you can sing to yourself is: "Born a King on Bethlehem's plain, Gold I bring to crown Him again." Now what IS the first line of that Christmas hymn? Well, don't fret. Just look up another INDEX. This time in fine print it says: "First Lines of Stanzas of Hymns." There it is'. Why of course, it's the old friend, "We Three Kings of Orient Are." There is an INDEX of Composers, Arrangers, and Sources. That's for the people on the right side of the page. There is also one for Authors, Trans- lators, and Sources of Hymns. That's for those who wrote the words, and gives you the number of their hymns in the hymnal. I do hope you see how many wonderful adventures there are in the back pages of your hymnal. Don't forget to study and enjoy them. Better not do it during the sermon. You can have fun doing it at rehearsal or at home. Make it a game. Find a S.M. Hymn. Look up the meaning of tune names like Beacon Hill and Duke Street, and Finlandia. Any good handbook to the standard denominational hymnals will tell you stories about hymn tunes, authors and composers. And always remember that the Indexes (sometimes called Indices) are the Keys to the treasure chest we call our Christian hymnal.

CHAPLAIN'S CHAT

* * * AUTUMN MORNING CANTICTE Praise God for the day that breaks So wonderful and beautiful Over the golden tree tops And the brown hills. Praise Him for His glory Let down from heaven To touch the homes and lives Of dwellers in the land. Praise Him for the early quiet Before the sound and rush Of the busy day begins. Let a peace like that of the dawn Be in our hearts and homes today. ADVENT WREATH Making an Advent Wreath may be a happy occasion for the family. It is a very simple process, and one which we may enjoy together. The materials needed are: Coat hanger, or heavy wire. Florist wire or dark green twine. Four tin can covers. Four candles. Violet or purple ribbon Evergreens or holly. Form the heavy wire into the shape of a circle. Take two or three twigs of evergreen, put them on top of each other and fasten the ends together with the wire or twine. Fasten this small bundle of evergreen to the wire circle, and ,..01; repeat the process un- / $ tit the entire circle : \ is covered. e-re Shape the tin can covers into candle holders and fasten to '"•••` ( A. the wreath with wire, 11A placing them equi-distant ( ) .--‘ - /A„ )dr on the wreath. A A )() The ribbon may be used in cne ( of two ways. If you are going to hang *-1 L-r-r the wreath, fasten the ribbons to the wreath at equidistant places, draw them together at the top and tie them together. The top knot may then be fastened to a light fixture or something hanging from the ceiling. Or you may run the purple ribbons in and out among the boughs and put the wreath on the dining room table, or in the living room--wherever the family gathers together every day. Put a candle in each one of the holders, and your Advent Wreath is ready. On the first Sunday in Advent we light one of the candles in the wreath. It burns during the family devotions. On the second Sunday of Advent, we light both the first and the second candle, and so on for the third and fourth Sunday until on the Sunday immediately preceding Christmas all of the candles are burning. As we look around the world today, it is very easy to see the need for a religious emphasis as we approach Christmas. The commercial world is competing for the attention of both children and adults. For the Christian the period of Ad- vent should be a period of preparation for the coming of Christ. The Advent Wreath can and does help families in their struggle to think of Advent in terms of Devotions. The symbolism of the Advent Wreath is very simple. The circle represents Eternity. God was and is and always will be. The evergreen has come to mean the everlasting love of God. The color purple is the color of the Advent Season, the color of penitence and fasting. The four candles represent the four weeks of Advent, as well as Jesus, the Light God sent into the world. Our church had a huge florist-made boxwood wreath, weighing nearly 75 pounds suspended in the chancel. It was let down by ropes and lighted by acolytes at each service. -- Nancy Tufts - 43 - ANTHEM STUDY

0 Lord of Heaven and Earth and Sea -- Larson Schmitt 209

First Week A. Give the choir copies of the music, or put the melody and first stanza on the board. Read words together. Give them time to study the rhythm. Ask for volunteers to clap it. Play the accompaniment as they clap. All clap and sing. Repeat. "Now shut your eyes and sing it," B. Read second stanza together. Give them a few minutes to memorize the words. "Raise your hand as soon as you know it from memory." All sing from memory. "How do we pronounce thankfulness? Is it THANK-ful-ness, or thank-ful- NESS?" "Can you sing it right, too?" Practice singing THANK-ful-ness and PRAISE. C. "What does derive mean? What do we derive from God? Can you manage not to take a breath after derive? See if you can carry through on one breath to gifts. Let's try it." Next -- practice clean intervals on: Who giv-est all.

Second Week A. Let the children find all the words that end in consonants. Write them on the board, then sing all of them on one pitch, being sure to sound the final sound. B. Now sing the first stanza, with attention on final sounds. C. Next -- concentrate on right sounds in the right place. "What does this mean: pray zand glory? In my music it is: praise and glory." Have children sing it both ways.

Third Week

A. Review clear diction, then invite some outsider in to listen. Whenever he cannot understand a word he is to stop them. Or, making a game of it, he might mark up a score for the choir for every phrase he under- stands completely, and one for himself for every phrase he does not get clearly. B. Later in the rehearsal, review the song, this time for smooth flow of tone. Pull a cord through your palm for illustration, as they sing.

A GUIDING THOUGHT He had prayed for strength that he might achieve; He was made weak that he might obey. He prayed for wealth that he might do greater things; He was given infirmity that he might do better things. He prayed for riches that he might be happy; He was given poverty that he might be wise. He prayed for power that he might have the praise of men; He was given infirmity that he might feel the need of God. He prayed for all things that he might enjoy life; He was given life that he might enjoy all things. He had received nothing that he asked for -- all that he hoped for; His prayer was answered -- he was most blessed. --Author Unknown. - 44 - CHORAL WORSHIP SERVICE Based on the Venite -- the Canticle of Praise found in the 95th Psalm. Organ Prelude: Benedictus Couperin Bell Choir Preludes: Change Ringing The God of Abraham Praise For the Beauty of the Earth In the Cross of Christ I Glory Processional: Processional du St. Sacrement Chauvet Choral Call to Worship: Tune, The Venite 0 COME LET US SING UNTO TEE LORD Let Us Come Before His Presence With Thanksgiving The Anthems: For the Beauty of the Earth -- K. Davis Belfry Book, Remick Co. A Child's Thanksgiving Baynon Oxford Press 1138 Hymn: All Things Are Thine No 475 Scripture Lesson and Choral Response Let Us Show Ourselves Glad In Him With Psalms The Anthems: Psalm 84 Hernried Concordia CH 60 The 100th Psalm -- Mueller Flammer 86032 Hymn: All People That On Earth Do Dwell . No. 24 The Pilgrim Bell Choir Psalm 100 -- The Doxology All Hail the Power of Jesus' Name When I Survey the Wondrous Cross Rejoice, Ye Pure in Heart Let Us Bow Down and Kneel before the Lord Our Maker The Evening Prayers The Pastoral Prayer A Child's Prayer -- Taylor Oxford Press 1006 The Hymn: 0 Love of God No 84 Let the Whole Earth Stand in Awe of Him The Anthems: Lord of All Beings -- Hatton Belfry Book Remick Fairest Lord Jesus -- Hymn tune: Schonster Herr Jesu The Hymn: God Moves in a Mysterious Way No 103 Glory Be to the Father, and to the Son and to the Holy Spirit The Anthem: All Creatures of Our God and King--Tune: Lasst Uns Erfreuen The Benediction The Benedicticn Response (Bell Choir) Softly Now the Light of Day The Recessional The Organ Postlude: Trumpet Voluntary Purcell This service of hymns and very simple unison and sa ant hems was planned and directed by Edward Johe, First Congregational Church, Columbus, Ohio, for the Choristers' Guild Chapter of Newark, Ohio. Note on the Back Page of the Program How wonderful it is to hear the voices of children lifted in song, praising their heavenly Father. There is confidence, sweetness, trust, in their voices as they sing familiar hymns and anthems which tell of the love of Jesus for all His children. Children love singing. They keep their directors busy searching for new and interesting material,: They learn many things in choir: fundamentals of worship, music, stories and games that develop their musical skills, as well as many choral numbers for the worship services of their church. These are just some of the reasons why the Newark Chapter of the Choris- ters' Guild is presenting this choral service. It is not just a local group working by itself. The Choristers' Guild, active since 1949, is an international organization with members in the United States and many for- eign countries, affecting the lives of some one hundred thousand children, -45 REHEARSAL TECHNIQUES Calvary Presbyterian Church, Milwaukee, Wisconsin Lauretta Cotton, 2831 S. Ellen St., Milwaukee 7, Wis.

Our rehearsal procedure is never exactly the same in consecutive rehearsals; variety is the spice of life. Calvary is a downtown church and some of our young people come long distances to choir, so our rehearsal is at 4:15 P.M., on Thursday, one hour long. We use the primary room, which is small, but we have hopes of better conditions when the new educational unit is finished in January. The chairs are arranged in five rows, and five rows deep, accommodating 25 choir members. The grand piano is in the front on the left side. The blackboard is on the right side. 'We are very fortunate to have an excellent custodian who has the room ready and in good order. The directions for the rehearsal, and any other pertinent material, are written on the board previous to the children's arrival. Those who arrive early receive special help, and memorized songs are checked. If they can sing the song with piano accompaniment (as a solo) they receive credit; if they can sing the song without accompaniment and stay on pitch, they receive extra credit. This also gives me a good chance to know the voices. We memorize all songs. Our Junior Choir includes children in the 4th through the 8th grade in school. We participate in the morning services at least once a month, all festival occasions, and evening services in Lent. Since we started having Junior Choir Festivals two years ago there has been a concentrated effort at every rehearsal to memorize one stanza of a hymn or a page of an anthem at each rehearsal. We keep very busy every minute, and hence we have few disciplinary problems. If there is too much talking between numbers, I just wait until there is silence and the embarrassed person stops. We are learning eleven anthems and three hymns for the 1958 Junior Choir Festival. In addition to these songs, we learn many rounds and carols for the "sound the Table Carol Service." These rounds are fun and when they grow tired, I insert a round and we have a jolly time. We also use the auto harp, and they learn to accompany the choir. Each choir member has a notebook which includes the words of all the songs and hymns; rhythmic exercises; musical signs and meanings; the staff; notes, etc. It also may include interesting articles on our project of the year: stained glass windows, or symbolism in the church. The music committee in- spects the notebooks at the end of the season and they receive credit toward their chorister's pin. Our rehearsal techniques vary according to our needs. Generally, the quickest way for us to learn a song is in the following manner: I play the entire piece, we discuss the subject, the time, meaning of special words. Then I will play one phrase at a time. They sing "Loo" on the melody. If the rhythm is difficult we clap it or say the words in rhythm. Interest is maintained by varying the method. Vocalizing is included where needed. Roll Call is taken quietly during rehearsal by a choir mother or my assistant. During the past two years at Calvary I have had some unusual problems of children who couldn't sing but a few notes. We conquered several of the problems by humming. I would start wherever the child could sing and work up a little, or down, each week. That is what I meant by special help. But if I had singled out these individual cases, the article would have been too long.

- 46 - UNISON SOLOS FOR MASSED CHOIRS Frank Hunter, St. Paul's Methodist Church, 23rd and Okmulgee, Muskogee, Okla. Following the example of the Voice Class concerts on the final day of the Westminster Choir College Vocal Camp, we have over a four year period endeav- ored to teach all of our choirs at least three sacred solos and one chorus so that they can be performed en masse and from memory. There are several needs which made the idea desirable. First, there was the very definite need for the thrill and inspiration that comes from a mass of people performing together in any way, but most of all for the effect of this group intensity of tone on the singers themselves. Secondly, we needed to prove that music can only really come to life when the performers get "the music into their heads, and their heads out of the music." We needed some way by which the choristers could experience the feeling of dynamic and tempo shad- ing, the use of intense mood, and the spiritual uplift of holding themselves spellbound as well as the congregation. Thirdly, we needed badly to begin building an appreciation of the solo singers repertoire of sound sacred music. Fourthly, we needed to prove to both choristers and congregation that a common spiritual experience through music was possible. I have been amazed at the results. Through no other medium have I been able to get from my 200 singers a comparable degree of responsiveness and intensity.

Now for details: I have used boys and girls, men and women, from fourth grade up through the adult choir, singing in their respective octave the solo from beginning to end. Take a key that is comfortable for the majority -- a medium key. It will seldom be too high for the bass, nor too low for the children and the sopranos. The repertoire necessarily started out simple, and with popular appeal. I try to pick solid solos, and teach them to sing as if each chorister were singing an individual solo -- which they have done from time to time in church school or worship service. 1953 Repertoire: Thanks Be to God -- Dickson 0 Lord Most Holy -- Franck (with descant and cello) Father in Heaven -- Handel (Largo) Chorus: Seraphic Song -- Rubenstein 1954 Repertoire: If With All Your Hearts -- Mendelssohn God is My Shepherd -- Dvorak Christ, the Risen Lord -- Hoffineister Chorus: Gloria -- Mozart (3 trumpets, 3 trombones and tympani) 1955 Repertoire: But the Lord is Mindful of His Own -- Mendelssohn I Walked Today Where Jesus Walked -- O'Hara Arise, Shine, for Thy Light is Come -- MacDermid Chorus: Halleluia Chorus -- Handel (with brass ensemble and tympani) 1956 Repertoire: Twenty-third Psalm -- Malotte Prayer -- Guion Christmas Song -- Cornelius Awake, My Heart -- Jane Marshall Chorus: Gloria -- Mozart (with instruments) On the choruses, the adult choir and older youth sing parts; the younger and unchanged voices sing unison soprano, and love to count the rests, etc. The instrumentation for the two choruses I evolved myself. Our chorus for this season is Schubert's "Omnipotence" in a lower key, with the youngsters singing the soprano solo. -47- WHAT'S NEW? The Second Belfry Book -- Katherine K. Davis Remick Music Corp. An exceptionally fine and useful collection of unison and two-part anthems. Ideal for the choir with limited funds. The book costs 850, and has more than enough material for a whole season. A Carol -- Byles G. Schirmer 10514 unison. A quiet, charming lullaby carol with interesting suggestions of minor. Quite easy. A Christmas Folk Song -- Byles G. Schirmer 10513. About the ax and ass wel- coming Jesus to the stable. Several phrases suggestive of the wind blowing down the street might be made effective. sa. To The Christ Child -- Fryzell H.W. Gray 2356. Has a free, speech-like rhythm and melody. Not easy, but very expressive. Could be used effectively as a unison anthem for adult choirs. Very rewarding. Sing This Joyous Morning -- Larson J. Fischer 9039. A really joyous Christmas song for combined choirs. The kind of tune that keeps on going around in one's head. Easy. Sursum Corda -- compiled by Davis Boston Music Co. A collection of Latin hymns and motets arranged for two-part treble voices. Very worthwhile for the director who can use Latin in his services, or who can make adequate translations. A wonderful introduction to the classics of church music. New Additions to Mrs. 13oyter's series of Workbooks published by C. Fischer: My Musical Puzzle Book with charts My Musical Instruments with teaching aids My Look and Listen Book with charts and teaching aids My Composer Book and My Hymn Story Book will appear later this season. MUSINGS OF A PREACHER JUST BEFORE FALLING ASLEEP ON SUNDAY NIGHT Is it really the kids who make the delinquents? Some say so. It might be. There were only seventy-five of them overflowing the choir-loft and jamming the platform. But how could anyone who watched them perform tonight as they sang "The Seven Last Words" with the perfection of a profes- sional believe that the trouble was with the youth? Maybe it's the leadership. Some parents seem to think that a change in our church leadership always helps improve the youth program. But it couldn't have been the leadership tonight. Dave had the choir trained perfectly; I know how hard he worked. What about the parents? Yea, what about the parents? Up in front was a choir that overflowed every inch of space. Seated in the auditorium were at least forty parents. Well, almost forty. Twenty couples for seventy-five kids. The young people had worked months to present this Christian music for their parents and their church, and look at the parental response. Well, educational psychologists tell us that if parents cannot show appreciation for the good things their children bring to them, then the child will get attention with bad things. I'll bet if the youth in our choir had gotten into trouble with the police the parents would have been down at the police station. But since their teenagers were in church --- Maybe we discovered one serious place of failure in our whole youth program tonight. Tonight there was no parental interest shown by the majority of the parents. If this should run through the entire program, maybe we ought to worry less about the kids and more about parent participation, parent responsibility. I wonder. Well (yaawwwnn) maybe I am misjudging them. It's possible that they were at home fasting and pray- ing for the services. --Copied from Catalina News, Vol. 2, No. 17, Catalina Methodist Church, Tucson, Ariz. - 48 -

ABOUT THE GUILD PINS -- A Note from During the Guild year which ended August 31, 1957, a grand total of 11,048 pins was handled by your Guild office. 7,203 new plain pins 380 new pins with note guard 792 new pins with various numbers of pearls 651 noteguards were attached to pins previously earned 2,032 pearls were set in pins previously earned Pins were awarded in 37 states, and in Hawaii. There are probably, with the increased use every season, about fifty thousand children wearing the Choristers pin, creating a large fellowship of children who are learning the principles of Christian character through their association with a children's choir. Boys and girls, moving from one locality to another, have frequently recognized kindred spirits through the choristers pin. Mrs. Jacobs has had the rewarding experience of having children in all parts of the country show their pins with immense pride. And now for something immediate in which you can help. The Choristers pin you have been using is a bronze base with what is known as Glo-tone finish, a thin gold wash, on which the United States Internal Revenue Service does not require the 10% excise tax. In spite of rising wholesale costs, the Guild has continued to make the pin available to members for the original price-41.00 each in quantities of 10 or more--and will continue to do so as long as possible. The use of the Glo-tone pin has enabled many churches on very meager budgets to use the pin. Some directors, however, have felt the need of a heavier gold finish, so that youngsters who have earned a number of pearls,who treasure their pins and wear them constantly-3 may possess a long-wearing finish of heavy gold. The Guild plans to make available the same pin design in a 10 gold-filled finish. This means a gold covering equal to a tenth of the thickness of the bronze base. This quality is second only to a solid gold pin. These pins will have an identifying mark on the back, and can be priced at $1.50 each, plus 15O Federal Excise Tax, a total of 51.65, postpaid. (Pins for use in California carry an additional 3% state sales tax.) The cost of pearls and guard remain the same -- each. Now -- how you can help. Let us know if you are interested in the higher priced pin, and if you intend to use it exclusively, or a combination of the two qualities. Our order to the manufacturer will be determined by your response. ABOUT THE GUILD PINS -- A Note from With the increased use of the Choristers pin, we must also be increasingly careful to maintain the standards it represents. It is neither wise nor fair for children in one choir to receive a pin without having made any consistent effort toward regularity and cooperaticn while others discipline themselves throughout the whole season to earn it. The children should know that the pin is given in recognition of certain definite standards to which they must conform, otherwise the pin has no value to the child nor to the morale of the choir, nor to the Guild. On Page 50 is an outline cf the standards suggested by the Guild. They are not obligatory; they may be changed, but they should never be lowered. Don't start any merit plan without giving it careful consideration. Don't start it unless you have the stamina to carry it through. Don't keep the parents in ignorance of the requirements. Don't think reminders are not necessary. Don't think that favoritism is safe -- or wise. And, finally: Don't think it isn't worth all the trouble. 49 THE CHORISTERS GUILD PIN

THE GUILD MERIT SYSTEM

75 credits for 100% attendance at rehearsals and performances 50 credits for 85% attendance at rehearsals and performances 25 credits for a complete and neat note-book 25 credits for 100% attendance at church school 15 credits for 85% attendance at church school 25 credits for good behavior (It is suggested that a child be given a demerit if he needs to be reprimanded. Ten demerits would disqualify him for these credits.) 15 credits for bringing a new member (Granted only if a new member remains through the season. No more than 15 credits granted in any one year,)

This system is based on a nine months season of regular rehearsals. To earn a pin a chorister must earn 100 credits during the year. The virtue of the system is that it is impossible to earn a pin without being regular, and it is also impossible to earn one by attendance alone.

The Choristers pin is gold finish, with the face (under the Old English C) in black enamel. The C stands for Children's Choirs; Christian Character; for Christ and Church.

The pin is the first year recognition in the Junior Choir. Each successive year the pin is returned to the Guild to have a pearl set in it. Upon graduation into the Junior High or High School Choir; the pin is returned to have the guard attached.

This system is not inflexible; members are at liberty to adapt it to their needs. Some prefer to add the guard the second year instead of the first pearl. We do not recommend using the pin for choirs under the third or fourth grade. It may be used as far beyond the Junior age as seems advisable. CHORISTERS' GUILD LETTERS Volume 9 1957-1958 Number 4 Choristers' Guild Box 211 Santa Barbara] California

GIFTS .THAT ENDURE At this season of the year, everyone is thinking of giving. But mingled with those happy thoughts must also come some sobering consideration of the 'cost of giving' -- for all gifts cost something. Let me suggest a few worthy gifts which know no price in dollars. These are the gifts that all can bestow and be richer for the giving. They are: The Gift of Praise -- Appropriate mention, right in front of the other fellow, of superior qualities or of a job or a deed well done. The Gift of Consideration -- Putting yourself in the other fellow's shoes, and thus proving your genuine understanding of his side of the case. The Gift of Concession -- Humbly saying at just the right point, "Sorry -- you're right and I am wrong." The Gift of Attention -- When the other fellow speaks, listen attentively. If his words are directed to you personally, meet his eyes squarely. The Gift of Inspiration -- Plant seeds of courage and action in the other fellow's heart. Help him to strive for greater accomplishment and lasting satisfaction. The Gift of Your Personal Presence -- In sickness, in trouble, or in the day of great joy, there is nothing quite ecual to your personal expression of sympathy or congratulation. These are the gifts that all can bestow -- at Christmas time and throughout the year -- and be the richer for the Giving. Paul Talbot

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4. 7 rr ,IITTILEM STUDY A Carroll -- Jacobson Birchard 964 Be sure to know this song from memory before you teach it. Let the phrases create the rhythm; the changes of time signature must not be a stumblingblock. First Week Tell the children you are going to play a phrase only once to see if they can learn that quickly. Play: and have volunteers sing it on oo. :ihole class sings it. Play again if necessary.

How play and treat in same way. Now combine the two into one phrase B."Since your ears are so sharp, I'm going to give you a longer phrase, but will play it 3 times instead of just once."

Play clearly and rhythmically r77eLIT- C7-701 Continue as with first phrase. C. Review complete first phrase; second phrase. D. Now have the childreh read the words on pages 1 and 2. m7hy do you suppose there are so many mistakes in spelling?" Let children point then out. Call attention to the dates of the author. Guide them in- to a realization that spelling and word usage change in 350 years. "We use the word Darling in a different way today. 'That do you think it means here?" E.Play phrases 1 and 2 again to remind them of the tunes. Let the children sing them. Now play the melody (if the children have copies of the music) or sing the words (if you are teaching by rote) and ask them to raise one finger whenever they hear phrase 1, and two fingers for phrase 2. Play again, and have them sing these phrases whenever they appear. F. Now let them sing this whole first section. accompany with melody only. Second 1..eek A, Review part learned last week. B. "This melody is like a sea-gull riding the waves. No matter how high the waves splash, he just rides easily along over the top of them, without the slightest effort. Suppose you try to sing it on oo, as easy as the seagull. Listen to the waves in the piano part." C. "Now see if you can make the words just as smooth as the oo and as the seagull." D. "The last page is just a repetition of the beginning (omit the ssa section entirely) so you really know the whole song. Let's sing it once again; and remember the seagull." Third ?leek a. Sing the song once through, then challenge them to sing it from memory. "Now see if you can keep your part going while I play the flute part. It tags ale g behind, and will throw you off unless you are very careful." B. Playktmalwith the sustaining pedal; children listen to the after-vibrations. "An exciting way for a song to end, but a hard way because each tone has to stay right on pitch." Practice sustaining d on oo, then on string, pro- nounced like strung, for the time being, Now try the two tones together; the e on flute, organ or voice. - 53 -- 0 CORE ALL YE FAITHFUL

This hymn was first sung in Latin, and in the Catholic Church.

The name of the tune is Latin too: "„Ldeste Fideles", which means

But it is sometimes called "Portuguese Hymn" because an Englishman heard it for the first time in a Portuguese Catholic chapel, and he liked it so much that he told all his musician friends about the Portuguese hymn he had heard.

More than 40 English translations have been made of the Latin words, so you need not be surprised if those in your hymnal are different from these. Are they?

O come all ye faithful, joyful and triumphant, O come ye, 0 come ye to Bethlehem; Come and adore Him, born the King of angels.

Sing choirs of angels, sing in exultation, Sing all ye citizens of heaven above; Glory to God, all glory in the highest.

Yea, Lord, we greet Thee, born this happy morning, Jesus, to Thee be all glory given; ITord of the Father, now in flesh appearing.

Here are three other stanzas not very often used:

See how the shepherds, summoned to His cradle, Leaving their flocks, draw nigh with lowly fear; 'le too will hither bend our joyful footsteps.

Lo, star-led chieftains, Magi, Christ adoring, Offer Him incense, gold and myrrh; 'le to the Christ Child bring our heart's oblations.

Child, for us sinners poor and in a manger, Fain would we embrace Thee, with awe and love; 'rho would not love Thee, loving us so dearly?

Number all six stanzas in the order of the events of the Christmas story.

This hymn is in all these hymnals: Anglican-Canadian; Baptist-Disciples; Congregational; Episcopal-U.S.A.; United Lutheran; Methodist; Undenominational; Presbyterian; Anglican-English; United Church of Canada; Mennonite.

What page is it in your hymnal?

0 Come All Ye Faithful is probably sung more than any other Christmas hymns. Or do we sing Silent Night more often?

Suppose you keep a record this year.

Number of times you sang 0 Come All Ye Faithful Number of times you sang Silent Night

-54- A GOOD CHRISTMAS IS A SHARED CHRISTMAS Let's Share with the Family Make an Advent Wreath, hang it over the dining room table. Each Sunday of Advent, light an additional candle in the wreath until all are lit. Light the candles for the family worship period. Read the Christmas Story together, letting the children take their turn, too. Prophecies: Isaiah 9:2,6,7 11:1-5 40:1-5. Birth: Matthew 2:1-12 Luke 2: 1-20 Coming of the Light: John 1:1-13 3:16,17 12:46 (The candles in the wreath representing the Light of the World.) Make a nativity scene for the children's room, using cutout figures. Have a workshop night to make gifts for relatives and friends. Have a Christmas Candle-making evening, using accumulated candle ends, and shaping them in milk cartons. A Baking Evening is lots of fun, with everyone having a part in the making of favorite Christmas cookies. Invite the new neighbors in for an evening of carols and popcorn. Let one of the family presents every year be a book of Christmas stories, and take time to read the stories together. If the collection is already started, some good additions are: The Christ Child -- Petersham Doubleday and Co. The Long Christmas -- Sawyer Viking Press A Merry Christmas to You -- W. Harper Dutton and Co. Christmas Stories -- Dickens MacMillan The Animals' Christmas -- Eaton Viking Press And certainly in a choir home, there should be recordings of Christmas music. Good additions to that collection are the Obernkirchen Children recordings of Christmas Carols (Angel iecordings), and Christmas Carols Old and New -- All Saints Choristers, available from Classic Editions, 67 Riverside Drive, New York 24. Christmas is the time for happy, shared homey customs and memories; not for sophisticated novelty. Christmas in the Rehearsal Christmas is the busiest of all seasons for the children's choir, but it doesn't rob the choir of any rehearsal time to play carol recordings while the children are assembling. The notebook can be used to advantage in making the carols and the season more meaningful to the children. Give them a copy of the Christmas Alphabet page in the November Letter, and a blank page for the story they are to write. Tell them to underline every word in the Christmas Alphabet that they are able to use in their story. And why not set up a creche in the choir room? The fragrance of pine branches, or of pine incense heightens the sense of celebration, too. Do the children really KNOW the Christmas story? Give them a list of the Bible references, and suggest that the family read them at home. The following week, let some child begin the story in his own words, and other children continue it. - - Letts Share with the Lonely The place where young carollers are most appreciated is an old people's home. And it is good for the children to share a little of their plenty with the lonely. In these homes, mail is an occasion, and a Christmas card with a message that the children have themselves written (or even a card that they have made) would bring a bit of happiness. Wherever evergreens are plentiful, there are inexpensive gifts that would be treasured: a small wreath, a winter garden of berries and evergreens, a ball of moss wound around with string and stuck full of small evergreen branches, with a red ribbon for hanging it. A home-made Christmas candle would be another welcome gift. GLEANINGS FROM THE 1956 CHRISTMAS SEASON Mrs. George Westby, 219 N. Brighton Place, Arlington Heights, Ill. Her children wrote and presented an original Christmas play. Mrs. Edna Williams, 72 Helwig St., Gloversville, N.Y., reports a city-wide Carol Vesper Service of Children's Choirs. Rev. Walter Davis, 120 S. Broad St., Middletown, Ohio, gave his children an unusual Christmas party. First he showed his pictures of Chartres that he had taken the previous summer. (The choir was learning the anthem, 'The Citizens of Chartres!). This was followed by a movie: "Silent Night"; then a Pinata, and finally a Note Scavenger Hunt. Sounds like fun. Dave Williams, 2220 E. 22nd Place, Tulsa, Okla., used a carol medley in the morning service. The words of all the stanzas to be sung were printed in the bulletin. Splendid for someone who can improvise well. (Dave can.) The primary choir, under the direction of Mrs. Williams, gave a program for the Family Night Dinner. The program included original compositions by the children. Brookes Davis, 305 E. Anapamu, Santa Barbara, Calif., climaxed his Round the Table Carol Sing with the entrance of the Christmas Pudding, which was then cut and served with appropriate ceremony. Several Members had the Order of St. Stephen (boys with changing voices) read the Scriptures in the Christmas Services. Dr. Whittlesey, 3300 Mockingbird Lane, Dallas, Texas, used a choir of Families for the Family Christmas Service. Mrs. 0.L. Whitman, 1510 Allen Ave., Glendale, Calif., used "How Far is it to Bethlehem?" Shaw (Novello SS 1366) antiphonally before the procession. The children also learned "The Twelve Days of Christmas" as a fun song, and used each stanza with a different instrument: flute, glockenspiel, drum -- played by those children who were members of the school orchestra. The song is in "Fireside Book of Folk songs"-- Simon and Schuster, and Decca has a recording of it by the Fred Waring Singers (D.L. 8084). The children also gave a 15-minute program for the Women's Association during the Christmas holidays. Because they had to come to the church at 10:30 when their mothers came for brunch, and were not to sing until 1 o'clock, they had to be occupied for three hours, but it added up to a "lovely Christmas season activity". This was the three-hour schedule: 10:30 Rehearsal in choir room, later in sanctuary. 11:40 Film in lounge. 12:00 Sack lunch in dining room. 12:30 Rest Room, robing. 12:45 Film in lounge. 1:05 Program. 1:20 Robes removed. 1:30 Dismissal. - 56 - The A B Cs of the DO RE MIs

Lesson 51

A. Rapid drill on Letter Names B.Put the scale of G on the board. Point to two notes; children tell letter names and interval.

Lesson 52

A. Rapid review in singing various intervals (up, and down) B.l'eview in quick recognition of letter names.

Lesson 53

A.Starting with G, point out all the intervals. Children sing letters, repeat with numbers: Example: g - b; 1 - 3 B.Same procedure starting with F; D; E.

Lesson 54 Write this melody on the board:

A. Have children point out the various intervals. B. Mark the minor 2nds. Play some major and minor seconds for them to recognize the difference. Let them sing several. Tell them that another time we will find out why we have big and little (or major and minor) 2nds. "?'That do we call the big second? The little second?" C. Children read the letter names of the tune, and you point to the notes. D.Children clap the rhythm. E.Children sing the letter names while director plays the melody. GOD SEND YOU A HAPPY NEW YEAR

What are you planning for Yew Year's Eve? Is your church closed, dark and cold on this last night of the year, while the town celebrates with parties, noisemakers and confetti; with sirens, whistles and bells?

In some communities, a few churches hold watch Night Services or Candle- light Services. Following such a service, the congregation may gather in the Parish Hall for wassail, coffee and cakes, to clasp hands and sing "Auld Lang Syne" and "0 God Our Help in Ages Past," and to exchange wishes for a happy and blessed New Year.

If your church holds such a service, here is a golden opportunity for your Youth Choir and Handbell. Choir to sing, ring, decorate, prepare and serve refreshments. The youngsters will welcome with enthusiasm a New Year Service and/or party as the post-Christmas let-down sets in. Special permission to sit up "until MIDNIGHT" will be ecstatically received.

A few churches in crowded communities have arranged a long New Year's Eve Open House for young people, to keep them off the streets and away from un- desirable influences. An evening's program for the whole family could be delightfully planned, with music, entertainment and refreshments. New Year's customs of the Old World have not been perpetuated as have many customs of Christmas. A bit of digging in the library will unearth some charming, long-neglected customs which might be incorporated in a New Year playlet or charade. One old English custom is to have an apple tree set up in the center of the hall, around which the "actors" dance, holding streamers similar to a maypole. A New Year's carol "Old Apple Tree, We Wassail Thee", or other wassail carols in the Oxford Book of Carols are sung by a choir, or carollers. The audience is drawn into a "round dance". Maids in costume pass trays of large red apples which have been decorated with sprigs of boxwood stuck in, and with sweetmeats on toothpicks stuck in. (Sweetmeats are prunes dates, marshmallows and crystallized' fruits.) At midnight there is sudden , hush while the church bell or a large handbell tolls twelve times, then the assembly joins hands and sings carols and hymns. New Year's wishes are made by casting the sprigs of boxwood into the roaring fire. Ten wishes are Good Will, Good Fortune, Good Humor, Health, Happiness, Prosperity, Fellowship, Fair weather, Increasing Membership, Peace. Now a special New Year's Cake, in which was baked a "broad bean" or a bright coin, is cut, and the lucky person finding the prize is assured a happy and fortunate New Year. Coffee and Wassail (hot, spiced punch) are served. In my past two churches I instituted the custom of serving hot drinks and cakes to the choir after the Christmas midnight and the Watch Night services. The congregation would show up, a lot of them, and horn in, so it is now set up in these churches as a congregational reception. Sometimes we had the choir sing several of their secular carols, or had handbells. The young people loved it, and said they would have gone on to the Hotte Shoppe for hamburgers, and messed around for a while before going home, but, NOW -- full of free, hot food -- they thought, HO HUM -- they'd go on home. --Nancy Poore Tufts - v

-58- CHAPLAIN'S CHAT

The New Testament has a great deal to say about the Holy Spirit. It is written into our creeds and affirmations of faith. It is the theme of many of our hymns and anthems. Sermons are preached about it. What is meant by the Holy Spirit? I do not claim to know its full meaning, but I think it has something to do with the reservoirs of Christian goodness and love which we find in the world. I believe that the Holy Spirit is the reflection of the life of Christ upon the human race. It is the shining of the star, and Christ is the star, It is the fragrance of the rose, and Christ is the rose. It is the music of the organ, and Christ is the organ. The Spirit cannot exist apart from Christ.

When one finds within him a desire to reach out for the hand of the Unseen, or to voice a prayer even though he know not how to pray -- there is the Holy Spirit. Whenever he learns to love truth more than evil, or when he forgets self in rendering some helpful service, or when he sacrifices to aid a youth in a search for knowledge, or when he suffers loss rather than equivocate in the pull and tug of good and wrong-- there is the Holy Spirit at work. It is the continuing life of Jesus Christ on the earth. * * * *

A learned man said to a friend, "If there is a God, show me where he is." Said the other, "Show me where he is notl" * * *

EVOLUTION Dear Lord, I am not what I want to be; Lord, I am not what I know I ought to be; And, Lord, I am not what I'm going to be; But, thank you, Lord, that I am not what I was. Help me always to keep climbing. Amen. - 59 - REHEARSAL PROCEDURES Richard Lapo -- Catalina Methodist Church -- Tucson, Arizona Catalina Methodist Church has a membership of 2800, and is a suburban church situated in the exact center of greater Tucson (population, 180,000). A year ago we split our Junior Choir (4th, 5th, and 6th grades) into three sections that rehearsed on 40 minute shifts on Wednesday evening, starting at 6:30 with girls; boys at 7:10, and another group of girls at 7:50. The evening ended for everyone at 8:30. When one group was in rehearsal, the other two groups were having games, crafts, hobby interests, and general recreation under the leadership of choir parents and the Minister to Children. This choir, the Immanuel Choir (God With Us) sang as one complete unit, 105 strong, every other Sunday morning for the second service at 9:45 A.M. They were the official choir for that service. This was a tremendous schedule for the choir, so naturally we repeated anthems throughout the year. Taking each group of 35 choristers in short forty-minute rehearsals left a great deal of work to be done by the choir mothers as I moved to the next waiting group. The mothers handled all the attendance problems: notebook pages to be issued (we use Junior Choir notebooks as recommended by the Guild), lining- up, robing, etc., as a part of the extended choir time after I went to the next group. Therefore I felt that we were accomplishing as much as if I were with each group for an hour. The only time the three groups sang together was on Sunday mornings. This really worked out well for they depended on themselves in rehearsal, and sang the same way in the combined group. Keeping such a heavy schedule lessened the problem of discipline and maintaining interest. There was too much to do in too little time; the children recognized the challenge, and measured up to it. I usually have fun songs ready for them to sing at the end of rehearsal if we have accomplished the necessary work. The work is outlined for them on our large blackboard. We have to start on time and end on time -- and everyone knows it, even the parents. we use the Chorister's pin award. Our average attendance for rehearsals and services was 91% for the year. Eighty of our one hundred and five juniors received the pin. This is an indication of the spirit of the children. They love singing in the church in the choir-loft every other Sunday, and meet the challenge with enthusiasm. I find over and over again thatthe child's limitationsare not in himself but in the director,

Dick's Choir Program Membership, October, 1957

24 -- 4 year olds 65 -- Kindergarten and 1st Grade (2 sections) 80 -- 2nd and 3rd Grades (two sections) 70 -- 4th, 5th and 6th Grade girls (2 sections) 60 -- Boys 50 -- Junior High 57 -- High School 84 -- Adult Choir Wonder what he does with his spare time?

-60- PRIMARILY FOR NEW MEMBERS (A Note from Leslie)

The Choristers' Guild was founded in 1949 by Ruth as a personal venture in faith based on an ideal and idea, and supported entirely by her for numbers of years. By the fall of 1953, while we were living in Memphis, Tennessee, the Guild had grown to the point where a formal organization seemed wise and even necessary. With the help of three Memphis friends, Miss Louise Durham, Albert M. Johnson, and Harvey Mays -- friends who were willing to venture with us -- the Choristers' Guild was organized as a non-profit corporation under a charter granted by the state of Tennessee. In this move, the Guild had the invaluable help of Et. Jesse Vineyard, who then served, and still does, without fee, as Guild attorney. Legal headquarters of the Guild are in Memphis, while the operations are carried on from Santa Barbara, a perfectly legal procedure.

The Guild is operated by the stockholders through a Board of Directors. The term stockholder is a general one, and must not be misconstrued. As in the case of all non-profit organizations, profits, if any, must remain as assets of the Guild, be paid out to no one, and used solely for the benefit and purposes of the Guild,

According to the By-Laws, the five original incorporators constitute a permanent group of stockholders. The By-Laws also provided for additional stockholders -- those who had previously, for a period of at least three consecutive years paid as Contributing Members, the sum of 110 or more annually to the Guild, These members remain stockholders as long thereafter as they continue to remain Contributing Members. Under these provisions, twenty-two members qualified by the fall of 1954.

In the annual meeting of 1956, the By-Laws were amended by vote of the stockholders. The three year consecutive period was changed to five years. It now appears that during the current Guild year, numbers of additional members will qualify as stockholders. Stockholders are privileged, and indeed expected, to attend the annual meetings. All have done so by proxy at least.

As of August 31, 1957, twenty Guild members were stockholders, long-time Guild members whose interest and support, the Guild cherishes. These are: Philip T. Blackwood, Gastonia, N.C. Mrs. Eugene H. Floyd, Boston, Mass. Lural Burggraf, Albany, Ore. , Mrs. A.A. Harmon,- Dallas, Texas James R, Camp, Oklahoma City, Oklai Mrs. Alice Hewlett, Glendale, Calif. Mrs, Evelyn B. Cooksey, Sara Udy Hubbard, Chester, Penna. Baton Rouge, La. Mrs. John W. Hunt, Miami, .Fla. Mrs. Horace B. Cox, Jean Maxwell, Princeton, N.J. Grand Rapids, Mich. Mary Monroe Penick, Lexington, Va. Mrs. Sherman Crawford, Lawton, Okla. Marvin Reecher, Tulsa, Okla. Brookes M. Davis, Mrs. George Westby, Chicago, Ill. Santa Barbara, Calif. David V. Williams, Tulsa, Okla. Naomi Earhart, Norwood, Ohio Dr. Walter D. Eddowes, Huntington, W. Va. Andrew L. Flanagan, Johnstown, Pa. Those members who have been Contributing Members and did not, or have not as yet renewed this Guild year as Contributing Members are urged to do so. The Guild needs their extra help, and interest, and then as possible stockholders, their participation in the affairs of the Guild. The extra income provided by the Contributing Members has always been in Guild affairs, the means to provide extras in service and in the make-up and contents of the Letters. - 61 - DEAR ONE AND ALL: Here is a note from Ruth, too. Space in these Letters is precious, and we don't dare let any of it be wasted -- so, since there is this extra side available, we'll have a little visit together. Try to picture us. It is supposed to be a den, and in a way it is because the two of us practically hibernate in it for about eleven months in the year. It contains two filing cabinets, two book cases, two big desks and two typewriters. The decorations are a big map of the U.S. on which we locate you, and try to chart the most economical seminar cir- cuits. Leslie is at his desk addressing Letters to members whose renewals came in late; and I'm writing to you and thinking how wonderful it would be if I could drop in on every one of your Christmas celebrations. But since that is impossible, even if I could travel on a Sputnik, I'll be satisfied with the next best -- and that is to have YOU share your Christmas with me. Send your programs; be SURE to list the publisher of the anthems that you found most effective. And if you had an original program or service that we could share with the rest of the Guild family next Christmas, be sure to give us full details. The two little carols on the next page are just such sharing. They were Christ- mas greetings last Christmas, and both Bob and Mary gave us permission to share them with you. Some more sharing, for which you should be as grateful as I an, is the stencils of all the music pages in the Letters. Gloria Sing (Tucson, Ariz.) makes them for us, and always has them back in ample time for mailing. It isn't that Gloria hasn't anything else to do either, because she has a full time job at the First Christian Church. This begins to sound more like Thanksgiving than Christmas, but I guess gratitude is appropriate mostany time of year, so let's add a word of thanks to those who are sharing their experiences with us in the Rehearsal Techniques, and the Youth Choir series, and the Bell arrangements, and all the other fine material that is sent in. The Letters have become a Family contribution affair, and for that too -- I'm grateful, Some of you have written to ask what other persons in your city are members of the Guild. We'd like to publish a list of members, but that would just about take one whole issue of the Letters, so instead, if you're really interested to know, write us and we will send you a list of those in your city or area. There's a reason why we are glad to do this: you will know then, too, who is NCI!' a member, and you will of course tell them' what they are missing -- and a few days later we will have another new member. Last week Brookes Davis had to be out of town and I took his Junior Choir rehearsal. Quite a few of the children had grown up in our Primary choir, but there were others who had come in without previous training. It struck me with force what a difference it makes when children have had musical training in a Primary. choir. Those that had knew how to follow the music, they had a good sense of rhythm, and they knew what the rehearsal was all about. The new ones showed their lack of experience in every way. If I had any doubts about the value of the DO-RE -MI -A-B-Cs they were dissipated. And by the way, more of you should be using the first A-B-C series. You can't always get all your work outlined for you for only 50O. Can you guess what is the most outstanding development this season? It is the universal growth of interest in children's choirs, and in their size. Someone wrote that belonging to the choir seemed 'the thing to do this year.“ And everyone reports having more children than they can accommodate. It's rather frightening. We have to guide that interest intelligently. It doesn't dare be a passing fad that is supplanted by something else next year. The good Lord must expect great things of us, and we dare not fail Him. A Happy and Rewarding Christmas to All of You, - 62 - A - Advent, angels B babe, behold, Bethlehem, Bible, birth, birthday C - Christ, Christmas, camels, carol D - donkey, doves E - East, Egypt, Emmanuel F - firstborn, flocks, frankincense G - gifts, gold, Glory to God, Good to Men H - heavenly hosts, herald, Herod, holy I - inn, innkeeper J - Jesus, Joseph, joy, Judea K - King of Kings, Kings from the East L lambs, Lord, love N manger, Mary, midnight, mother, multitude, myrrh N - Nazareth, newborn, night, Noel 0 - opened, ox P - Prince of Peace, praise - quest, quietly R - Ruler S shed, sheep, shepherds, shine, sign, son, song, stable, star, swaddling T tidings, treasure U - Unto (us a child is born) ✓ - Virgin, visit - wake, watched, wise men, wonder, worship Y - young child CAN YOU WRITE THE STORY OF CHRISTM(S, AND USE ALL THE WORDS IN THE CHRISLIAS ALPHABET?

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By W. Bruce Bell In the Kiwanis Magazine (Used by Permission)

The glorious music of the Messiah that gladdens the world at Christmastide was created out of the depths of despair and affliction. Handel was fifty-six years old, sick, destitute and apparently finished as a composer when the miracle occurred. The story of Handel's great oratorio is one of the most dramatic episodes in musical history. It is also a testament to the power of faith.

George Frederick Handel was the musical-prodigy son of a German barber. At twenty-five, after four triumphant years in Italy, he arrived in London, where he proceeded to compose and produce Italian operas. He wrote an incredible amount of music (of which his forty-four operas were only a small part) and he worked at such phenomenal speed that as soon as interest in one production began to wane, he was ready to stage another. For years Handel and his Italian operas were the rage of London. King George I was his host and patron. He was made director of the Royal Academy of Music and he became an English citizen.

But Handel had a talent for making enemies as well as friends in high places. Arrayed against him were many influential writers and the leaders of smart society. Gradually his fortunes declined--the public abandoned opera in favor of French farces and he lost his influence with the King. To ridicule Handelian music, rival impresarios filched his best-known melodies and staged a ruinous burlesque called "The Beggar's Opera". One failure followed another in the theater and his creditors threatened him with prison. Finally, at fifty-two, Handel suffered a paralytic stroke from which he never fully recovered.

On the night of August 21, 1741, after wandering aimlessly through the streets of London, Handel returned to his flat in Hanover Square, feeling in his heart the bitterness of utter defeat. Nothing mattered now, for he had lost faith in his own ability. Mechanically going about his study to light the candles, he noticed a package on his desk. Beside it was an envelope addressed in a familiar hand. Charles Jennens, his librettist, it turned out, had sent him a compilation of Scriptural texts called Messiah. Jennens hoped that perhaps Handel would find in it an inspiration for the new oratorio he had been planning.

A wealthy, conceited dilettante, Jennens had been a devoted friend through the composer's misfortunes and had written the librettos for his earlier oratorios, "Saul" and "Israel in Egypt". Although Handel had only a meager knowledge of English, he knew that Jennens' rhymes were faulty and amateurish. Not even the best music could redeem them.

Wearily he opened the new manuscript and began to read: "Comfort ye, comfort ye my people, saith your God. Prepare ye the way of the Lord; make straight in the desert a highway for your God..."

"And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it."

No lumbering verses these, he marveled, but poetry of power and wondrous beauty. He read on:

"For 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 Saviour, which is Christ the Lord..."

"Hallelujah! for the Lord God Omnipotent reigneth. King of Kings, and Lord of Lords; and He shall reign for ever and ever. Hallelujah!..."

And it was then that one of the great miracles of musical creation took place. Suddenly the harmonies of mighty choruses, the music of violin and organ and trumpet flooded the barren mind and heart of George Frederick Handel. He reached for his pen and began to stab the notes onto paper.

Night and day the music poured forth, always faster than the crippled fingers could capture the melodies and write them down. For three weeks Handel worked, in such a fever of intensity that afterward he was to confess: "whether I was in my body or out of my body as I wrote it, I know not."

He slept at intervals, but never soundly--never out of hearing of the music that tormented him. His man-servant brought him food from time to time, but usually returned to find the tray untouched. Peeping into the study, he would see Handel sitting motionless and staring into space, while tears dribbled down his face and fell upon the paper. More than once he discovered his master with his head on his arms, his giant frame racked with sobs.

On September 14 he wrote the final note and autographed his work. The manuscript was a maze of notes, blots and fierce erasures that only the master himself could decipher. But it was the imperishable music of the Messiah. Emotionally and physically ex- hausted, Handel stumbled to his bed and slept for seventeen hours.

He awoke refreshed. He had written all the bitterness out of his heart and, miraculously, his creative power had been so restored by the ordeal that within a few days he was able to fling himself into the composition of a new oratorio.

Handel could not bear the thought of submitting to a capricious society audience the sacred music that had been born of his own profound emotion. So at first he refused to present Messiah in London.

That fall he received from the Lord Lieutenant of Ireland an invitation to visit Dublin and perform some of his music for that "generous and polite nation".

Handel accepted at once, and early in the winter he journeyed to Dublin, taking with him the oratorio and his own carefully selected soloists. The Messiah was saved until the very end of the season and, expecting the profits to be large, he announced that every penny would be used for the relief of men who had been imprisoned for debt.

For weeks he trained instrumentalists and the choir of boys and men from Dublin's two cathedrals. On April 13, 1742, lathe Music Hall in Fishamble Street, a reverent and spellbound audience first heard the oratorio that today is loved throughout the world. The profits were more than $2000, and Handel, whose misfortunes had brought. him within the shadow of a debtor's prison, rejoiced that his music had been the means of freeing less fortunate men.

Back in England, he waited almost a year before he had the courage to offer Messiah to the London public. Finally, he advertised a series of performances to be given in March of 1743 at Covent Garden Theater.

Immediately his enemies launched a campaign of vilification that has had no parallel in musical history. Street urchins were hired to tear down his posters as fast as he could have them put up. To rob Handel of his audiences, society women organized balls and private concerts on the oratorio nights and pointedly sent invitations to Handel's faithful patrons. Theatergoers who could giggle over the lewd farces then current on the English stage raised hypocritical protests that Handel had profaned the Scripture by setting it to dramatic music. Bigots took up the cry. Branding the Messiah as sacrilegious, they tried to obtain an injunction against its performance on the grounds that Covent Garden was a place of worldly amusement. Clerics denounced the blasphemy of printing the word "Messiah" on a playbill, and until 1749 it was advertised only as "A Sacred Oratorio".

In the face of all this opposition, Handel went ahead with his plans, but each of the three performances in 1743 was a flat failure. He presented Messiah twice in 1745 and once again four years later, but with no more success. It is an odd fact that during the first eight years of its existence, the oratorio which today fills every church or auditorium in which it is sung was heard with chilling indifference. Genuine music-lovers must have appreciated the beauty of Messiah, but they were not numerous or powerful enough to overcome the pressure of bigotry and social ostracism. If the gruff and sometimes ill-tempered Handel had been a less charitable person at heart, the rejected oratorio might have per- ished. But Handel, although a bachelor, loved children. He was one of the governors of London's Foundling Hospital, an insti- tution devoted to "the reception, maintenance and education of exposed and deserted young children". When wealthy sponsors of the hospital contributed funds for a chapel, Handel promptly donated a splendid organ and offered to dedicate it on May 1, 1750, with a special performance of his "Sacred Oratorio".

The Foundling Hospital was a fashionable charity and on the day of the concert the chapel was crowded to its capacity of 1000. Many had to be turned away. Here in the solemnity of the chapel the music made so profound impression that Handel was begged to repeat it.

Scorned for eight years, Messiah suddenly became London's best-loved oratorio--and the composer's most profitable work. The Church endorsed it, and eventually it was performed in Westminster Abbey with full orchestra and a choir of 500 voices. To Handel it seemed especially fitting that the music he had written to glorify the birth of a Babe in a manger should be consecrated to the welfare of homeless and unwanted infants. At least once a year, as long as he lived, he conducted Messiah for the Foundling Hospital, and from these concerts he contributed a total of more than $35,000. For many years after his death, Messiah was the favorite composition for charities of all kinds. As one writer of the time reported, "It fostered the orphan, fed the hungry, clothed the naked and relieved suffering more than any single musical production in any country in the world." With the success of Messiah, Handel's star rose again. All his neglected compositions were brought out and London rediscovered her adopted genius. But Handel was old and broken in health. His eyesight was failing and while writing Jephtha (the oratorio containing a chorus significantly titled "How Dark, 0 Lord, Are Thy Ways"), Handel went blind. Despite the loss of his sight and his feeble health, Handel continued to compose and conduct. On April 6, 1759, when he was seventy-four -- the aging genius was led to the organ at Covent Garden, and there he directed Messiah for the last time. At the end of the concert he collapsed aid was taken to his rooms and put to bed. Handel knew that posters were already up announcing that the traditional performance of Messiah for the Foundling Hospital would take place in the chapel on May 3, "under the direction of the author." But Handel knew he would rict be present. "I should like to die on Good Friday," he said, "in the hope of joining my Lord and Saviour on the day of His Resurrection." And at midnight, as Good Friday passed into a new day, George Frederick Handel died. He was buried with pomp and ceremony in Westminster Abbey. On the appointed day, as Handel would have wished, the audience gathered in the chapel of his beloved orphanage. There, under the direction of a trusted assistant, once again the immortal music proclaimed: For unto us a Child is born, unto us a Son is given; and the government shall be upon His shoulder; and His name shall be called Wonderful. Counsellor, the Mighty God, the Everlasting Father. the Prince of Peace.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * *

More and more the Messiah is becoming a traditional part of our Christmas celebration. Churches too small to attempt it alone combine their forces with others, and thus provide for both the singers and the congregations a memorable Christmas experience. The Southern California Council of Churches has sponsored area presentations for a number of years. This past year, the number of areas simultaneously singing the Messiah was seventy-six; and in each of those area choirs there were sometimes as many as twenty church choirs. Our children too are learning to appreciate the Messiah. Quite a number of our members have taught their children's choirs some of the solos, such as "How beautiful are the feet of them that preach the gospel of peace" and "Come unto Him", and let them take part in the public presentation. Invariably the report is that the children have been models of attention and responsiveness. Mrs. Thomas Gossard, of the First Presbyterian Church of North Hollywood tried another approach. She gave all the children in the children's church copies of some of the Messiah themes. They sang these melodies, were told something about Handel, and were permitted to take the papers home with them. The following week when the adult choir presented the Messiah, many of the children attended the performance with their parents and showed active interest. But the most original custom is that of John Kemp of the First Presbyterian Church of Oklahoma City. They make it a family celebration. The purpose is not a finished performance, but rather an afternoon of enjoying a great religious work together. The families come together for an informal rehearsal, which is followed after a short social break, with an uninterrupted singing of the work. Families sit together and follow as best they can Whatever voice part is most comfortable, and the adult choir is sprinkled throughout the crowd in strategic spots. No audience is permitted; only those who want to sing are admitted. John says that the Family Messiah has become one of the most loved of their Christmas traditions. "The Story of Handel's Messiah" may embroider actual facts in some spots, but never distorts them. It is the kind of story to which non-musicians and children will respond. To know what a profound experience the writing of this work was to Handel is like being taken into the inner circle of his confidence, and makes of both the music and the composer a personal and cherished friend.

How you can use this story this Christmas: Read it or tell it to the children Enclose copies in your church mailing Include it in your Messiah program notes If you want it for your choir notebooks, we can have extras made

How you can follow up on it: Take your children as a group to hear some good presentation List the radio presentations, and encourage your people to listen to them Get a good recording, and have a Family Night Listening Session Feature the Messiah on your church bulletin board Use the themes in rehearsal for vocal and rhythmic exercises emd guessing games. --R.K.J. CHORISTERS' GUILD LETTERS

Volume 9 1957-1958 Number 5

Choristers' Guild Box 211 Santa Barbara, California

A Post-Christmas Thought

Joseph was humble, bound to daily toil, had little learning, was a man of few words. His world was a carpenter shop in a poor village. The horizontal dimensions of his life were restricted, but he kept his windows open to heaven. Though his hands were rough with toil, he kept his soul sensitive and responsive to things of the spirit. This is a greatness every ordinary man, in God's grace, can share; wherever we work, we can keep a window open to heaven.

Then Joseph had another characteristic; he was willing to believe the best, To all appearances he had been greatly wronged. What if he had not been willing to believe in the purity and integrity of 'Mary? What would have been the story of Christmas if he had been given to suspicion?

We never know in the uncertainty of life when our reputation, our hopes, everything we hold dear, will be subject to someone's willing- ness to believe the best concerning us.

Finally, consider the most significant contribution made by Joseph. He made goodness appealing, righteousness attractive, and religion a noble and shining adventure. He gave God a good name. A small lad growing up in his presence and working at his side loved him, trusted him, learned much. In time, when the little lad became the greatest teacher in the world, and wished to give mankind for all time the greatest name for God, the name he chose rose out of the admiration, gratitude and love he had for an ordinary man, a humble carpenter, who first gave him respect and reverence for the word -- Father.

Let no one belittle himself because he is but an ordinary man in a commonplace job. Wherever he is, he can fulfill life's noblest mission; he can be the kind of person who makes goodness appealing, righteousness attractive, and religion a noble and shining adventure. He can give God a good name.

Notes taken by R.K.J. on a sermon preached by Will Hildebrand, in Santa Barbara, Christmas Sunday, 1955.

Copyright (c) 1957 -63- Choristers' Guild LET'S GET ACQUAINTED PERSONALLY I'd be GLAD to see YOU at ANY ONE of these WORKSHOPS or FESTIVALS --R.K.J. Time Place Person to Contact

Jan. 24-26 Muskogee, Okla. Frank Hunter, St.Paul's Methodist Church 23rd at Okmulgce, Muskogee, Okla. Jan. 28-29 Dallas, Tex. Dr. Federal Lee Whittlesey, 3300 Mockingbird Lane, Dallas, Tex. Jan. 31-Feb. 2 Ft. Worth, Tex. Saxe Adams, 1011 Orange, Ft. Worth, Tex. Feb. 3-7 Ft. worth, Tex. Southwestern Theological Seminary Robert L. Burton, (Southern Baptist Midwinter Seminar) Feb. 10-12 Wichita Falls, Tex. Brent Stratten, First Christian Church, 10th at Travis, Wichita Falls, Tex. Feb. 15-16 Memphis, Tenn. Mrs. F. M. Neill, 364 S. Prescott St., Memphis, Tenn. Feb. 22-23 Newark, Ohio Miss Louise Johnson, 149 E. Granville Rd., Granville, Ohio Feb. 28-March 2 Milwaukee, Wis. Mrs. Lauretta Cotton, 2831 S. Ellen, Milwaukee 7, Wis. March 5 Sturgis, Mich. Miss Phyllis Martin, 2074 W. West St., Sturgis, Mich. March 7-9 Grand Rapids, Mich. Miss Dorothy Goosens, 52 Mayfield Ave. N.E., Grand Rapids,Mich. March 10 -Apr. 21 HOME April 22-23 Melrose Park, Ill. Mrs. Dorothea Heisler, 706 Newcastle, Westchester, Ill. April 26-27 Royal Oak, Mich. Eugene Mogle, 320 W. 7th St., Royal Oak, Mich. May 3-4 Utica, New York Miss Jeanette E. Snyder, 116 Dryden Ave., Utica, N.Y. May 9-11 Montgomery, Ala. Robert Page, First Methodist Church, Cloverdale Park and Park Ave. Montgomery 6, Ala.

INSTRUCTIONS: 1. Look first at the PLACES. If one of them is conveniently near - 2. Look at the dates. If you have those dates clear, sit down and - - 3. write to the person in charge for further information. 4. Fill up your car with fellow directors, AND COME. AS WITH GLADNESS MEN OF OLD

William Dix Dix 7.7.7.7.7.7. Conrad Kocher 1837 - 1898 1786 - 1872 These names and numbers give you quite a bit of information. If you are a good detective, they will tell you the answer to these questions: How many lines are there in each stanza? How many syllables in each line? Which was older, author or composer? Illere did the tune get its name?

You know another hymn that has the same tune. Can you find it in your hymnal? It is:F 2 r Th e B 0- T -- E

As with gladness men of old - - Did the guiding star behold; As with joy they hailed its light, Leading onward, beaming bright; So most gracious Lord, may we - - - Ever more be led to Thee. As with joyful steps they sped To that lowly manger bed, There to bond the knee before - Him whom heaven and earth adore; So may we with willing feet - - Ever seek Thy mercy seat. As they offered gifts most rare - - At that manger rude and bare; So may we with holy joy, Pure and free from sin's alloy, All our costliest treasures bring, Christ, to Thee, our heavenly King.

The Wise Men lived far away across the desert, and it took them many days to travel on their camels following the light of the Star to Bethlehem. The day celebrating their arrival is called EPIPHANY, and it comes on January 6th. Epiphany was celebrat-3d as a holiday long before Christmas was. In many countries Epiphany is the day for gifts, rather than Christmas. In England it is the last of the twelve days of Christmas celebration. Wouldn't you like twelve Christmases every year; Other names for EPIPHANY are Twelfth Day, and Little Christmas. How long after Christmas does Epiphany come? ?,.Thy is this hymn a good Epiphany hymn?

How would you suggest celebrating Epiphany in your church? KNOW Y E

The persons whose names are here listed were original members of the Guild, and are still active as such. Regina Rambo Benson Marietta, Ga. Mrs. C.H. Kreinheder Euclid, Ohio James A. Berry Austin, Texas Mrs. Carl Kritner Los Angeles,Cal. Mrs. Miriam Berry College Park, Ga. Mrs. Marjorie Kryder Northridge, Cal. Mrs. John Boswell, Jr. Charlottesville,Va. Earl R. Larson Duluth, Minn. Lural Burggraf Albany, Ore. G.A. Lehman Rochester, N.Y. Virginia Cheesman Philadelphia, Pa. Mrs. Wesley Marquart Orange, Cal. Harlan W. Cleaveland Grand rapids, Mich. Jean Maxwell Summit, N.J. Mrs. Sherman Crawford Lawton, Okla. Corinne Monroe Worcester, Mass Andrew I. Flanagan Johnstown, Pa. Mrs. Roy McDowell Richmond, Va. Mrs. H.A. Fohrhaltz Pittsfield, Mass. Frances C. Peters Alexandria, Va. Mrs. Eskil Frederickson Garden City, Mich. John S. (uimby Pittsburgh, Pa. Mrs. David H. Gerig Fort Wayne, Ind. Marvin 'eecher Tulsa, Okla. Dorothy Guy Atlanta, Ga. Mrs. Hattie Schatzman Covington, Ky. Mrs. Alice Hewlett Glendale, Calif. Kathryn Scanland College Park,Ga Mrs. John Imbach Carpinteria, Calif. Elizabeth Shelton Bluefield, W.Va Mrs. T.J. Ingram Lynchburg, Va. Mrs, George T T. Sloop Anaheim, Cal. Edward Johe Columbus, Ohio H.V. Taylor Atlanta, Ga. Mrs. Charles T. Jordan Charlotte, N.C. Edith Lovell Thomas New York City Edwin T. Karhu Oklahoma City,Okla. Ruth Turner Ashland, Ky. Mrs. L.R. Keck Des Moines, Iowa Barbara Tuttle Elizabeth, N.J. John Kemp Oklahoma City,Okla. Virginia Wagner Norfolk, Va, Donald Kettring Pittsburgh, Pa. Esther Wiedower Los Angeles,Cal Mrs. Harlan Kirk Appleton, Nis. F.L. Whittlesey Dallas, Tex. Mrs. J.D. Krause Delmar, N.Y.

September, 1949, marks the beginning of a Choristers' Guild organization, informal though it was. That first year membership numbered 183; annual dues were One Dollar; four Letters were issued. The Guild is humbly proud that nearly one third of the original number are listed above. Many of these early became Contributing Members. To these latter, the Guild must eternally be grateful for helping it to grow, and even survive, for the income from regular memberships has never met Guild expenses. Some of these good friends named above gave larger sums as outright gifts. One in particular should be named, Mrs. Sherman Crawford, who made possible the purchase of a small used addressing machine, the first actual piece of equipment owned by the Guild, and in use until very recently. Others have since made possible by gifts, additional needed office equipment. Several persons listed were not members for a year at one time or another, but are now all in the fold. All have, by their continued loyalty, made a solid membership core, and have given permanence to the Choristers' Guild. We salute these pioneers who had faith, and backed it tangibly.

It may easily be that some have been missed. As is the case with many organizations, early records are incomplete, lost, or even non-existent. If you were an original member, and are not named, please write immediately so that your name may be published in an early issue. JUNIOR CHOIR FESTIVALS Madeline Ingram

Successful Junior Choir Festivals have never been known to "just happen." They require careful planning and organization. Even more than that, they need full cooperation on the part of everybody involved. It is never enough to say, 'let's have a festival next April,“ and then sit down with folded hands until late February or early March. And yet far too many festivals are planned in just such a manner with results which might possibly be passable but which never approximate their potential. First of all, the instigators of the festival must make their enthusiasm contagious, must sell their idea to the other directors who would be involved. There are always some directors whose very full program makes them feel that they can add nothing more, and there are others who feel that the music will be too hard for their small groups. Just asking -people to put their choirs in a festival or even prodding them to do so is not enough; they must see the advantage of such action. That are some of these advantages -- both for the director and the children? 1.The stimulation given the children singing in a large chorus. This is especially true for the children in small churches. 2. The spirit of ecumenicity that is begun at an early age by singing interdenominationally. 3. A long-range goal is provided and worked toward during many months. 4. The director will add to his repertory. 5.Each director will have the opportunity to see other directors at work, and to learn from them. Whether or not an out-of-town director is invited to conduct the festival is a matter for each group to decide. There are so many advantages and dis- advantages to each procedure that it is perhaps best to employ both. A visiting director does add to the total expense but he also provides a reason for having a Children's Choir Workshop or seminar, and at least a portion of the fees received may be used to help on expenses. An offering is usually taken at the festival, and it is generally of a sizeable amount. If a visiting conductor is used he may select the entire program material or he may make suggestions and work in close harmony with the appointed committee. On this committee there should be one director from each of the participating denominations so that no number will be selected that could not be used in all churches. This committee will accept suggestions from all directors, but they will have the final responsibility of selection and may need several meetings in order to arrive at definite decisions. All directors should have the festival music in hand by the time the fall rehearsals start, even if the festival is not to be held until late spring. Festival preparations should never interfere with the individual music program of any church, nor cause an overcrowded schedule. The wise director will be able to include work on festival numbers along with regular service music, and will indeed use festival numbers in services throughout the year. Final festival rehearsals can move smoothly and quickly, or they can make everyone involved wish he had never heard of a festival. Here again, careful advance planning and preparation are necessary. Sectional rehearsals are of great value, and help to reduce the length of time necessary for final work together. Churches within reasonable proximity combine their choirs, with one of the directors conducting the festival music. Such rehearsals provide a stimulus for both choirs and directors. - 67 - Before the final rehearsal, charts showing the seating arrangements for each choir (the number of rows reserved for each, and the number of children to be seated in each row) should be distributed to the directors. At individual rehearsals, the children can learn their own line-up, and thus take their posi- tions quickly. Of course, vestment colors need. to be considered in making the chart, so that choirs wearing scarlet and those wearing magenta will not be close neighbors.

Marshals will have been assigned to certain sections, and processional and recessional rehearsal precedes smoothly. These people are responsible for getting their groups into place in the final line-up, and for seeing that all is in readiness for the GO signal.

It helps if each director has been given a list of DOs and DON!Ts for review with the choir z- t their last rehearsal prior to the festival. Such things as white socks for the girls, no colored shoes, no hair ribbons or ornamental hair clips need mentioning, and at the final check-up, all children need hair smooth- ing, and a few may even need degumming.

And now, every chorister, empty-handed, and proud of the appearance of his choir, takes his place in the line anticipating a wonderful and satisfying musical adventure. Behind. them come the ministers and the directors walking side by side, anticipating a heart-warming experience. In the pews the parents wait full of joy and gratitude for the training their children are receiving from the Church. And so - - on with the processional music.

The CHORISTERS1 GUILD

has the honor to announce the election of Dr. Nita Akin to the Board of Directors, at the last annual meeting of the stockholders. With the election of Dr. Akin, the Board now has twelve members, the full strength authorized by the By-Laws.

Dr. Akin is one of the top-flight organists of our country, and is a member of the Council of NAFOMM, the National Fellowship of Methodist musicians. But first of all, Dr. Akin is a warm and friendly woman, generous in time, effort and money to all worthy causes, particularly Christian, and more particularly, Church Music.

Ruth and I are privileged to count Dr. Akin and her husband, "Jake", among our special friends. You will always find Jake on the sidelines, always ready with encouragement and support.

Dr, Akin is vitally interested in the Choristers' Guild, and her influence as a director will be a great asset to the progress of our organization. YOUTH CHOIRS Foster Hotchkiss In our first article (see Page 5), we discussed in a general way the three questions or problems concerning teen-age choristers: how to get them; how to keep them; what to do with them. Now let us consider in more detail the second problem: how to keep them. We have mentioned worthwhile rehearsals, a sense of accomplishment, high standards, loyalty and service to Christ through His church. Yet with all of these, something more is essential -- a sense of personal importance. This can be achieved only by personal contact. We mentioned earlier that in enlisting choristers, the first step is to get to know them. Continue to be interested in them as persons. It has been said that churches are built, not by the ringing of churchbells, but by the ringing of doorbells. That is certainly true of choirs. Each person, in addition to a recognition of the importance of regular attendance at rehearsal and services, needs to know that he is missed when he is not there. Never let an absence go unnoticed. This is particularly important in a large choir, where the chorister may feel that he really isn't too important. Each absentee should be contacted immediately after the rehearsal or service. But don't say, "Where were you?" Let them know that you missed them. They may or may not volunteer their reason for not being there, but that is not too important. The important issue is to let them know that they are needed, and that it makes a great difference to you and to the choir whether they are present or absent. But you say, "I haven't time to follow up on each individual chorister." Then let the choir members do some of it. This year we introduced a group- plan, with the choir divided into groups of 6 or 7 each, and with outstanding choristers as group-leaders. They can easily note anyone missing in their group, and as soon as rehearsal or service is over, begin contacting absentees. Also, if a chorister knows in advance that he will have to be absent, he can report to his group-leader, thereby relieving any last minute telephone tie-up in the church office, or director's home. 70ben one of our choristers misses a service without advance notice, we do not place any music on his chair at the following rehearsal, leaving instead a note on a small piece of paper, saying, "We missed you," or "Your chair was empty," or "The choir could have been better last night." If he comes in early, and comes to you for his music, it gives you an opportunity to talk with him. If he comes in late, he must annoy the person next to him by sharing his music, and is reminded through the whole rehearsal that he has neglected his duties in two ways. A valuable aid to good attendance is a waiting list, or a group of alternate choristers. In our Intermediate Choir, we follow the latter plan, with alternates attending rehearsals, and singing in the place of any chorister who might be absent. The alternate does not have an assigned robe, nor does he have his own copy of the music at rehearsal, but shares that of his neighbor. When a regular member resigns, or has exceeded the allowed number of absences (three excused, or one unexcused, per quarter) his place is given to an alternate. The replaced chorister may, if he wishes, then become an alternate. Most choristers who fall, choose to do this. All this makes more record-keeping for the director, but it is a wonderful incentive to good attendance. Our choristers, if they are to be interested, must be informed. They sing best, and are most faithful when they know not only the music, but know when they are to sing, why they sing, where they sing. We have found a monthly - 69 - choir paper the best means of keeping the choristers informed. In this paper we include the schedule of rehearsals and services for each choir, the music they will sing, a list recognizing those who have been exceptionally faithful, something inspirational, either with or without musical connotation, but always with some religious significance, and some articles concerning highlights of the month to come. The editor likes to include some humor, and something of a personal touch. The choir paper is suoplemented by a bulletin board displaying announcements of future events; seasonal pictures; facts which change from week to week, such as charts showing comparative attendance percentages of all the choirs. The adults dislike for the children to get ahead of them, and. the youth will exert themselves to maintain or gain a place of leadership. Thus, friendly inter- choir competition is stimulated. These two means of coisnunication free the rehearsal from time-consuming announcements, and also leave the church bulletin for news and comments directed to the church membership at large. With the teen-agers, we have no choir sponsors, letting the choristers themselves assume leadershin in social, disciplinary, and custodial details. Our musical assistants (conductors and organists) for this choir are teen-agers. Since these young people will in a few years be choir directors, organists, ministers, Sunday School teachers, deacons, circle leaders, it is our duty as well as our privilege to contribute to their training in Christian leadership now. Mr. Hotchkiss serves in the First Baptist Church (1200 members) of Milledgeville, Ga. Milledgeville has a population of 10,000. The choir program includes 6 choirs with a total enrollment of 211. There are 14 assistants (musical and supervisory), and 25 musicians serving the other organizations of the church as pianists, organists, song leaders, under the supervision of Mr. Hotchkiss.

HOW TO GET ALONG WITH PEOPTR 1. Keep skid chairs on your tongue; always say less than you think. Cultivate a low, persuasive voice. How you say it often counts for more than what you say. 2. Make promises sparingly and keep them faithfully, no matter what it costs you. 3. Never let an opportunity pass to say a kind and encouraging thing to or about somebody. Praise good work done, regardless of who did it. If criticism is merited, criticize helpfully, never spitefully. 4. Be interested in others: interested in their pursuits, their welfare, their homes and families. Make merry with them who rejoice, and mourn with those who weep. Let everyone you meet, however humble, feel that you regard him as a person of importance. 5. Be cheerful. Keep the corners of your mouth turned up. Hide your pains, worries and disappointments under a pleasant smile. Laugh at good stories, and learn to tell them. 6. Preserve an open mind on all debatable questions. Discuss, but don't argue. It is the mark of superior minds to disagree and yet be friendly. .• 7. Let your virtues, if you have any, speak for themselves, and refuse to talk of another's vices. Discourage gossip. Make it a rule to say nothing of another, unless it is something good. 8. Be careful of others' feelings. Wit and humor at the other fellow's expense are rarely worth the effort, and may hurt where least expected. 9. Pay no attention to ill-natured remarks about you. Simply live so that no- body will believe them. Disordered nerves and bad digestion are common causes of back-biting. 10.Don't be too anxious about getting your just dues. Do your work, be patient, keep your disposition sweet, forget self, and you will be respected and rewarded. (Copied.) - 70 - AFTER CHRISTMAS COME HOLY WEEK AND EASTER A List of Anthems NOT NEW but TRIED AND TRUE Junior Choir Agnus Dei Malmin Augsburg M-1 ssa. Alleluia -- Perry Presser 21647 simple; sa, but can be used unison. Alleluia to the Triune Majesty -- warner Birchard No. 2066 u or sa joyous, but not heavy; rather Purcell-like. All Glory, Laud and Honor -- Toschner-Heller Hall and McCreary 2556 sa easy; alto goes down to b; could be used as unison. An Easter Carol -- Holler Gray unison with optional descant; grateful.

Blow Golden Trumpets -- More C. Fischer CM 601 sa 6/8 time; joyous. Easter Bell Carol -- Davies Flamer 86101 very easy unison with descant. Easter Chimes -- Neidlinger Ditson 332-11510 unison; easy; range a little low. Four different settings of a Dutch Carol. Awake, Thou Wintry Earth -- K.K. Davis E.C. Schirmer 1550 sa; good voice parts. This Joyful Easter-Tide -- Harvey C. Fischer 6952 sa; also good. This Joyful Easter-Tide -- Baker Birchard 1153 sa; better with solo instrument on alto part. This Joyful Easter-Tide -- Somervell Boosey No. 15 unison accompaniment in contrary motion. Jesu, Do Roses Grow So Red -- Webbe Gray 1363 sa or unison sensitive; not easy. Naturets Easter-Tide -- Baines Presser 21137 sa; joyous, alternates 3/4 and 4/4. The Empty Tomb -- Hamblen Chappell 8011 sa tells the story of Easter; quite singable. The Lord is Arisen -- Dickinson Gray 237 unison or sa easy. The Palms -- Faure Belwin 1013 sa or tb the old favorite. The Robin and the Thorn -- Niles G. Schirmer 9326 unison; difficult. The Whole Bright World -- Hill Gray bright; easy. The World Itself is Blithe and Gay -- Marryott Gray sa; joyous. Song for Easter -- Eichhorn Gray unison; excellent; easy. COI PINED CHOIRS Alleluia -- Hannahs Elkan-Vogel 1113 mixed voices, sa Junior choir (could be used in unison and trumpets, needs to be well-knit rhythmically. An Easter Antiphon -- Candlyn Gray 683 brilliant and exciting, for 2 mixed choirs, but some spots could be assigned to the Junior Choir. Blessed Is He -- Harter Flamer 84502 rewarding and not difficult. Easter Triumph -- David H. Williams Pirchard 2061 a composite of familiar Taster hymns; not difficult. Hosanna, Loud Hosanna -- Darst Elkan-Vogel 1114 straightforward; easy, but children must be sure of entrances. One Early Easter Morning -- Marryott Ditson 14814 very easy. Alleluia, Christ Is Risen -- Gillette Kjos Juniors and very easy satb; fine effect with simple means. All Glory, Laud and Honor -- Gillette Kjos effective, Juniors and easy satb.

YOUTH CHOIRS Come, Ye Faithful -- Thatcher Oxford Univ. Press EA II good voice lines; baritone has melody frequently. *0 Love of God -- Thiman Novello MT 1195 excellent. 0 Thou Joyful Day Rawls J. Fischer 8741 easy voice parts; tenor and baritone frequently in unison against s and a unison. *0 Perfect Life of Love -- Wolff Concordia 98-1150 good voice lines; fine legato Ye Sons and Daughters of the King -- Arr. Thiman Ditson 332-14550 written satb, but considerable unison; not difficult. (* -- suitable also for Junior Choir in unison)

CIRCLE THESE DATES: ,------_ JULY 7 - 12 and

CIRCLE THE PLACE:

KANSAS CITY, MISSOURI (------for a COMPTETELY AIR-CONDITIONED CHORISTERS' GUILD SUMMER SCHOOL -72- REHEARSAL PROCEDURES Mrs. William F. Peebles -- Delaware, Ohio Carol Choir, 4-6 grades, 30 members; First Presbyterian Church, 600 members. The Choir Room is located on the second floor of the church school wing, and is used for rehearsals of our four choirs. Before each rehearsal, new material is placed on the bulletin board, and exercises are written on the blackboard -- a piece of masonite 4 x 8 feet, painted with blackboard paint. White music lines are painted on two-thirds of the board. Hymnals are stacked on a 30" filing cabinet, and above this anthems are placed in a rack with par- titions to hold six sets of octavos. When singers come into the room, they pick up copies of the music, and put them back in place as they leave. we begin each rehearsal with warm-up exercises, not always the same ones. The first exercise is not announced, but is sung or played by the director, then everyone sings it. An outline is made for each rehearsal, with certain things to be accomplished. However, this outline is flexible to meet the needs of the singers. Immediately after the rehearsal a summary is made; things accomplished -- weak point, changes, etc. Attendance is kept in a school record book. Irrhen the names are called, singers answer, lOaturday," (the day of our next rehearsal), or "Sunday," if we are to sing for morning service the next day. we try to keep instructions simple and brief. Once last year we decided to have a no-talking rehearsal. The "No-Talking Rehearsal Outline" was written on the board. We pointed to the things to be practiced. With our two signals LISTEN (finger to ear) and SING (left hand moved to right) we managed beautifully. The rehearsal was different, a lot of fun, everyone was kept on his toes, and we accomplished a lot. Rehearsal Outline for Saturday, Oct. 5, second rehearsal of the 1957 season: 9:30 Warm-up, and prayer. 1. Last line of "All Creatures of Our God and King" (Alleluias). 2, Match tones. 3.Coo-fa (Page 167, Steps Toward A Singing Church -- Kettring). 4.Prayer. 9:40 "Day by Day"(Songs of Praise). 1.Play melody. 2. "who recognizes this tune from rehearsal last week?" 3. Those who were at last rehearsal say words for new singers. 4. Everyone sings words. 9:45 "I Sing the Mighty Power of God" (Anthems for the Junior Choir--Book 3) Westminster Press 1.Point to each note while melody is played. 2.Sing melody on "tah", still pointing to notes. 3.Sing words; both stanzas. 4. Andy (6th grader) try descant as choir sings second stanza. 5.Sing entire song with descant. 10:00 Assign seats. 10:05 "Sing to His Name" (Anthems for the Junior Choir--Book 3) 1. Last week we learned the first stanza; now let's sing all three. 2.Study Page 34 -- notice that the two parts are alike. 3.Everyone sings refrain. 4.Sing two parts. 10:15 "All Creatures of Our God and King" (Hymns for Junior Worship-Westminster, 1.Who found the seven letter word for 2."Here's an assignment for good listeners: Read together Stanzas 1, 3, 5, 6. 3. 5th Grade sings Stanza 1; 4th, 3; 6th, 5; everybody, 6. 10:20 Review rules and check attendance. 10:25 "Let All the World in Every Corner Sing" (favorite hymn) Hymns for Junior Worship. REFRESHMENTS: Each singer brings a treat the week he has a birthday. My turn this weekl - 73 - The A B Cs of the DO RE Mis

Lesson 55 A. In our last lesson we learned about big (or major) seconds and little (or minor) seconds. "Let us play some major and minor seconds and see if you can recognize them."

B. Tack a copy of the Keyboard Chart to the wall (see Page 76). "Here you have a picture of the piano keyboard. It has white keys and it has black keys. From C to D is a major second. But there is a black key between them. Let me play C and. the black key just above it. That is a minor second." Class sings: C-D; C-Db on co.

"From a white key to the block key just above it is called a half-step. From a black key to the white key just above it is also a half-step. (point them out on the chart as you speak). So from C to D (point) is 2 half-steps, or a whole step. Who can point out another whole step?"

C. "Between which letters is there no black key? That means that from E to F (point out) is only a half-step. And from B to C is only a half-step.

D. Let a child point to the letters, while the class sings the scale of C. "When we sing or play the scale of C we don't need any of the black keys." "But there are two half-steps in the scale. Can you find them? Between which letters? Show them to me on the chart."

"Now let's sing numbers instead of letters, and watch for the half-steps. (Point out scale as they sing) Between which numbers are the half-steps?" (3-4; 7-8)

E. Today we had a lot of important things to learn: white keys, black keys; whole steps, half-steps; major and minor seconds. I wonder if you will remember them all until next week.

Lesson 56

A. "Now let's see how good your memory is." Tack up the Keyboard Chart. "From a white note to the black one just above it is a half or a whole step? From C to the black note above it is a half or a whole step? From that black key to D is a half or a whole step? From C to D is how many half steps? From C to D is a minor or a major second? Can you point out another major second? Can you point out another minor second? A minor second is a half step or a whole step? Between which white keys is there only a half step? Nhich scale uses only the white keys?

B. Review major and minor seconds up and down.

- 74 -

Lesson 57 A. Practice in singing major and minor seconds up and down. Give them the starting pitch, and then play with them while they sing the intervals thus: _t_

' 2nd major; 2nd minor; 2nd major; 2nd minor Same procedure with other starting notes. B. Tack up your keyboard chart. Tell the children what the starting note is, then let them take turns pointing out the correct notes, as you play major and minor seconds up and down from it. Use only G, A, and D as starting notes. C. Between which notes is there no black key? Who can point to the note a half-step above E? Who can point to the note a half-step below F? Who can point to the note a half-step above B? Who can point to the note a half-step below C? D. From C to D is two half-stops, or what kind of a second? From D to E is how many half-steps, or what kind of a second? Frcm E to F is how many half-steps, or what kind of a second? (Continue through the scale of C, pointing to the appropriate intervals.) Lesson 58 A. Review recognition of major and minor seconds by ear. B. The black keys all have two names. The one between C and D (point out) can be either C# or Db . Sharp means above; flat means below. C# is above C; Db is below D. Point out the other black keys on the chart and let the children name them in the same way. C. A 2nd always uses the letters of the alphabet that are next to each other. E to F# is a second, because F is next to E in the alphabet. E to Gi7 sounds exactly like E to F#, but we call it a 3rd, because it covers three letters: E-F-G. (Be sure to point out the notes on the Chart as you speak.) that letter is a 2nd from G? a 3rd?

What letter is a 2nd from A? a 3rd? D. Now here is a hard question'. Who can point out a half-step above E? What is its name? (F) Who can point out a whole-step above E? What is its name? (F#)

Who can show me a minor second above B? What is its name? Who can show me a major second above B? What is its name?

\ \

LL

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fl WE WANT,' TO HEAR FROM YOU

ABOUT

MANY THINGS

HYMNS

• Whether or not you have used the hymn study pages, we want your help in planning the series for next season. Which hymns should we use? Better check with Page 15 to see which have already been usedl And we want your advice too on improving the style. You won't hurt our feelingsl

PINS The time has come to make the requirements for the earning of the Chorister's Pin universal. Some of us have been too lenient, and others have been too hard. What requirements would you consider JUST RIGHT? We want the children to have the pins, but we want them to MEAN SOMETHING when they do get them. Let's have the benefit of your experience on the PIN POINTS.

CROSS OF SERVICE

Yes, that's right. A truly beautiful and distinctive cross to be worn only with the vestment in the worship service. We had it specially designed, and the several people who have seen it all agree that it is one of the loveliest they have ever seen. Its use will be exclusively for Choristers' Guild Choirs. When a child wears this cross, it should be a distinct honor. What do YOU think a child should have done to be allowed to wear it? The cross will belong to the church, not the child, and will be worn only in the church or at churchly functions.

THE GUILD

How can the Guild (that means all of us) deepen its influence on children? How can it serve YOU better? We really want to know. If you push it a bit, you will find that your brain is as full of bright ideas as we hope our mailbox will be full of letters.

CHRISTMAS

We'd surely like to see your programs, but they don't help much without the names of the publishers and the catalog numbers.

And equally as valuable are your personal comments. Add a few marginal notes -- PLEASE. Name: (Sign if you like.)

What hymns should be included mat season in the hymn-study pages?

Title of Hymn: Yame of Tune: Hymnal Including It:

Have the Hymn Study pages been too mature? Yes No

Should they contain more information and use both sides of the page? Yes No

If the requirements for earning a Chorister's Pin are made universal and obligatory, what should those requirements be?

On what conditions should a chorister be permitted to wear the cross of service?

The GUILD. what I DO like; what I DON'T like; what I WOULD like:

I'm enclosing my CHRISTMAS PROCRAYS, with PUBLISH AS AND COMMENTS.

RULES TOR CONGREGATIONAL SINGING J01-IN WESLEY

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4Sinq lustily, and with good courage. Bewarz of singing as if you aro half- dead or half asleep; but lift up your vosesz with strength. Be no more afraid o-F your voicsz noi.o,nor more ashamed of its being hgard,than when you stn the songs o4 aatan.

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CHORISTERS' GUILD LETTERS Volume 9 1957-1958 Number 6 Choristers' Guild Box 211 Santa Barbara, California Copyright (c) 1958 -- Choristers' Guild

"Holy God, to whose service I long ago dedicated my soul and life, I grieve and lament before Thee that I am still so prone to sin and so little inclined to obedience: So much attached to the pleasures of sense, so negligent of things spiritual: So prompt to gratify my body, so slow to nourish my soul: So greedy for present delights, so indifferent to lasting blessedness: So fond of idleness, so indisposed for labour,: So soon at play, so late at prayer: So brisk in the service of self, so slack in the service of others: So eager to get, so reluctant to give: So lofty in my profession, so low in my practice: So full of good intentions, so backward to fulfill them: So severe with my neighbors, so indulgent with myself: So eager to find fault, so resentful of being found fault with: So little able for great tasks, so discontented with small ones: So weak in adversity, so swollen and self—satisfied in prosperity: So helpless apart from Thee, and yet so little willing to be bound to Thee.

0 merciful heart of God, grant me yet again Thy forgiveness. Hear my sorrowful tale and in Thy great mercy blot it out from the book of Thy remembrance. Give me faith so to lay hold of Thine own holiness and so to rejoice in the righteousness of Christ my Savior that, resting on His merits rather than my own, I may more become conformed to His likeness, my will becoming one with His in obedience to Thine. All this I ask for His holy name's sake. Amen." A Diary of Private Prayer -- John Baillie Copyright 1949 -- Charles Scribner's Sons This little volume should be in the personal library, and in the daily use of every Guild member. -77- ANTHEM STUDY A Prayer of St. Richard of Chichester -- White Oxford Univ. Press E. 43 First Week Write the following rhythmic patterns on the board: ai „1 i .1 I .J 1 ci cd .1 I S' -I I ,J G. JIJ.J 7. "al •a .

Clap one of the patterns; see how quickly the children can call its number. Ask for volunteers to clap the patterns. See if the class can clap them all without interruption or mistake. (When clapping them without interruption, the first note of 6 takes the place of the quarter rest at the end of 5.) Repeat a time or two to correct mistakes. "These patterns are all different, but most of them have one thing alike." "Can you find it?" (Ending with two half notes.) "When you can clap all these rhythms correctly, you practically know our new song." Pass out copies of the music. Play the accompaniment, and let children clap the voice part. Second Week Clap the rhythm of the song again, with accompaniment. Clap, and sing on "fa". Have someone read the words. "What names are given to Jesus?" Take a short time to memorize "0 holy Jesus, most merciful Redeemer, Friend and Brother." Sing it once or twice with music, then from memory. All together read the remainder of the text. "This is easy to remember because we must know Jesus to love him, and if we love Him, we will follow Him." Repeat together this part of text, then sing it until it can be sung from memory. Now repeat the whole text; then sing it with the music. Now try it from memory. Third Week Tell the children about St. Richard, who was an English bishop. He was very rich but gave most of his wealth to the poor. He did so many kind things for people that they called him Saint Richard. This is the prayer that he prayed daily; he not only said it, but lived it. Every day he followed Jesus more nearly. Continue memorizing first stanza. When children can sing first stanza with confidence, play the descant in octaves and see if the children can hold to their melody unaided. Select several of your best voices for the descant and teach it to them outside of rehearsal. At next rehearsal put both parts together. "When the whole choir sings the first stanza, start the second stanza one measure later, thus:

Near - ly 0 ho ly -78-

SUGGESTED MUSICIANSHIP PHASES for CHILDREN'S CHOIRS by Lois Oliver Plan for each rehearsal period to include purposeful music games designed to develop the ability to: I. Hear and Identify: 1. Musical sounds as compared to non-musical ones. Learn the word tone as the name for musical sound. 2. The higher or lower of two tones. 3. A repeated tone as being the same. 4. The direction in which a melody travels (up; down; straight). 5. Tones that are next door, as compared to tones far apart. Eventually tell how far apart by interval names. 6. A scale-line melody as compared to a chord-line melody. (The children will describe it as stepping, or skipping.) 7. Major and minor. Compare to a sunny or cloudy day. 8. The longest or the shortest tone in a phrase heard. 9. Rhythm patterns played or clapped, as walking, running, skipping, swinging, etc. 10. A familiar song rhythm. Clap the opening phrase of a song each week for recognition. Call it "the mystery rhythm". II. Hear and Reproduce: 1, Single tones (see "Tone Matching Tunes" -- Coit and Hampton: Flammer). 2. Two tones, a third apart, ascending and descending; then other intervals. 3. Broken chord patterns based on the major triad. Six shapes each of the root position, first inversion, second inversion:

c')71 1. low, middle, top 4. top, low, middle 2.low, tcp, middle 5. middle, low, top 3. top, middle, low 6. middle, top, low 4. Complete phrases. 5.Entire scale, ascending and descending, singing number names of the scale degrees. This is much more effective and interesting if done with a picture of 8 steps drawn on the blackboard to watch and to point to, step by step. Better still if a miniature set of steps made of wood can be provided. 6.Short melodic figures, by singing back the correct step numbers. Make up figures using the first two scale steps, then the first three, and so on up to the first six; then including both the upper and lower seventh. 7. Simple rhythm patterns clapped or played on a rhythm instrument. III. Respond to: 1. The natural rhythms in music heard (walking, running, skipping). 2.Imitative rhythms (those imitating the movements of familiar or imaginary beings, animals or objects in nature, for example: an elephant's walk, trees swaying, bell ringing in a church steeple, a violin or trombone player, a see-saw, a pendulum. 3. The long and short tones in a song being sung, by drawing duration pictures on the blackboard to correspond. Example: "America."

4.The rhythmic groupings of beats, by determining whether the music is counting twos or threes; then by counting steadily with the music. - 79 - 5. The first count of a measure, by clapping or playing a rhythm instrument on one, while counting one-two or one-two-three. Other ways of responding to the strong count: a. Rolling a ball to a partner on one, counting all the while. b. Drawing the strong and weak counts rhythmically on the blackboard to the music being sung or played.

11 11 11 11 11 or I 1 1 1 1 1 1 Iii 6. Ascending or descending melodies by: a. Moving hands up and down while singing. b. Drawing pitch pictures on the blackboard to indicate accurate hearing of up and down.

c.Point up and down the steps pictured on the blackboard, as the melody is played slowly. 7. An incomplete phrase sung, by supplying the final tone (home tone). Also, an incomplete scale, either ascending or descending. IV. Sing: 1. The scale steps as pointed out on theblackboard picture of steps. Gradually acquire the ability to sing any and all scale degrees, by beginning with these figures: 1-2-1; 1-2-3-1-3; 1-2-3-4-1-4; 1-2-3-4-5-1-5; 1-2-3-4-5-6-1-6. 2. Sing at sight short melodies written on the blackboard in scale degrees on pitch lines: 3 22 2 1 1 1 Use same suggestions as given under paragraph II, step 6. (An excellent book to use: Music for Teeny and Tiny -- Newman, Book II.) Creative Music Publishers, 160 W. 73 St., New York City. 3. A short song that has been memorized, following the actual notation of the melody placed on the blackboard or on a song chart, to observe how a melody looks in music, and to discover the difference in how long and short notes look. Eventually, be able to follow with a pointer as the group sings the song. This is an important step pre. ceding the actual presentation of note reading and rhythm names. 4. The rhythm of a well-known song from blackboard notation. Example: "America." Quarter, quarter, quarter quarter, dot, eighth, quarter 11 It tt It It tt tt half-note-dot, etc. Explain that two eighth notes fill one drum beat; therefore we sing "two-eighth" when we see them, even if they may not be holding hands. For whole notes, sing "Whole-note-counts-four." 5.Melodies pointed out from C scale notation on the blackboard. Sing by number names and letter names. 6.Melodies pointed out from C chord notation on blackboard, by number and letter names. Use the four note form (C E G C). 7. Familiar songs by scale numbers, as an extra verse. Either sing from the book, or from blackboard notation. It is better if no words are in sight to distract the eyes from watching the notes. 8. At sight, by scale degrees, new melodies. An excellent source is the Oxford University Press: Folk Song Sight Reading Series, Book I. -80- WHERE'S MY STAR ?

I am the husband of a church school teacher. I am he who rises early on Sunday morning to mingle a baby with cereal and orange juice so my wife can go to teach other people's children. I sit in the car in front of the superintendent's house until 10:30 o'clock the first Tuesday night of each month waiting for her to leave a workers' conference that was to have ended at 10. That handsome printed card for keeping track of her pupils' home work -- I designed it and made it. Those smooth white stones with which her class so impressively construct- ed Abraham's altar for a department worship service -- I drove 20 miles one Saturday afternoon to find them. The week she was sick and couldn't teach -- who was it made six telephone calls trying to line up a substitute and finally locating one, carried lesson materials and messages back and forth between the two women? That was a colorful dramatization my wife's class presented before the whole church school. Whose bathrobe did King Solomon wear? And the realistic shield with which Goliath protected himself against David -- my hands fashioned it out of the lid of our old washing machine. The teacher's book says invite the boys and girls to your home for parties. Woo grills the hamburgers? Who wears himself out umpiring a baseball game? Who keeps the most active pupils from maiming one another or ruining the next-door neighbor's petunias? E V E N T U A L L Y, who chauffeurs them to their homes? Then comes the Sunday when there are tears in teacher's eyes as she walks into the house and lays her Bible and lesson helps on the table. The session didn't go at all as she had planned. Bill asked silly questions, Barbara giggled during the prayer, and Ted upset the offering basket. If that's the way they're going to act, she'll quit -- she must be a very poor teachers Who comforts her and says of course she's a good teacher -- that it was just one of those days and she can try something different next Sunday? Yes sir, I'm the unknown, unrecognized, unhonored assistant in the nation's religious education program and I think it's time somebody knew it ! I am the husband of a church-school teacher.

This appeared in the CHRISTIAN ADVOCATE several years ago. But I miss my guess if the husbands of lots of our volunteer children's choir directors wouldn't fit into the same picture frame. R.K.J.

REMEMBER . ...... n . . . • CHORISTERS' GUILD SUMMER SCHOOL KANSAS CITY, MISSOURI -- JULY 7 - 12 Full Class Schedule for those attending for the first time and Supplementary Classes for those who have attended previous Guild Schools. — gl -- REHEARSAL PROCEDURES -- DR. RORFRTA BITGOOD Calvary Presbyterian Church, Riverside, California. Membership 2200. Suburban type church, almost downtown, but with ample off-street parking. Riverside population -- 70,000. SIZE OF CHOIRS (after first rehearsal of the season, 1957): Chancel--52; Youth-16; Junior High Girls--20; Cloister (girls, grades 4-6)--41; Boys (grades 4-8)-23; Cherubs (grades 2-3)--36. REHEARSAL ROOM: Under the apse of the sanctuary; large windows for light and air; ceiling, 20 feet high; floor and walls, hard surfaces, making acoustics fine for easy singing and good tone production. Unfortunately this room has to be shared, but regularly scheduled rehearsals and Sunday morning warm-up are hap- pily situated there. Accommodates 50 easily; 120 when necessary; separate entrance, convenient for cars. AGES: Most of the groups include children only 2 or 3 years apart in age, which is most helpful; wider age span makes methods of teaching a little harder. SEATING: We use two plans since our chairs are movable. (1) 2 or 3 semi-circles grouped around the grand piano, where singers can all see the director at the piano, and in older groups, parts can hear each other, (2) Duplicate of seating to be used in the sanctuary--thus making possible an exact seating plan, meaning that they always have a picture of how their choir will be arranged in the church. Plan 1 seems more informal, and it is possible to feel better contact with each individual. Plan 2 absolutely necessary to smooth entrance into the church, Plan 2 used at last rehearsal before performance, and at several rehearsals early in the year. (Of course we don't shift chairs during rehearsal.) Chairs always arranged in Plan 2 for the Sunday morning warm-up rehearsal. LENGTH OF REHEARSAL: All are one hour, except Chancel Choir which is 2 hours-- in addition, a half-•hour warm-up rehearsal is expected before every service the choir sings. Younger choirs not always completely prompt, due to car pools, etc., but we schedule the full hour, keep them busy, and feel fortunate to get in 45 to 50 minutes of good serious singing. (We don!t use fun songs at all--we stay "in the groove".) PARTICIPATION: Children1 s choirs (except cherub) sing in church about once every five or six weeks, in combination with chancel choir for morning service, sometimes an afternoon or evening special musical service and each group at two Wednesday evening Lenten services (these conclude at 8:15), plus all available choir festivals and denominational rallies. Cherub Choir sings about 4 times a year--Choir Dedication Sunday, Christmas Carol Service (afternoon), Palm Sunday or Easter Morning, Motherts Day morning, Children:s Day--these all in combination with the other choirs. Plans are being made to use them in their own church school department worship once a month this year. REHEARSAL PROCEDURES: I like the informal atmosphere of conducting rehearsal from the piano. Naturally I wish choir mothers present for usual reasons. We use hymn tunes for vocalises, and I like the use of ah and oh vowels to encourage relaxation of the lower jaw. I expect choirs to watch my mouth position on these. So-called "vocalises" give many youngsters hysterics--so why not be learning a hymn at the same time? When learning grown-up hymns for church, we do so reading aloud, encouraging them to use exaggerated lip movement (here demonstrate, of course). When they can read the hymn, they can sing it. We try to eliminate "lazy lips". Seldom has this become too exaggerated; when they think they exag- gerate, they still donIt use the lips enough. Rote teaching used 3/4 of the year with Cherubs, but they learn to handle word sheets, hymn books, octave music and anthem books during the first year, even though they do not perform with them. CHOIRS IN PERFORMANCE: Each child is given a word sheet clipped to cardboard which includes, in order, Introit, words of all hymns and chants, words of responsive readings, words of anthems (only the parts they sing), and any instructions needed. Why didntt I think of this 20 years ago???? What a help:: No books. -82-

GoD OUR HELP IN AGES PAST

From Psalm 90 St. Anne .2roft,, 1708 Isaac Watts, 1719 C.M.

412

0 God, our help in ages past, our hope for years t) come, Our shelter from the stormy blast, and our eternal home. Before the hills in order stood, or earth received her frame, From everlasting Thou art God, to endless years the same. A thousand ages in Thy sight are like an evening gone, Short as the watch that ends the night before the rising sun. Time, like an ever-rolling stream bears all its sins away; They fly forgotten, as a dream dies at the opening day. 0 God, our help in ages past, our hope for years to come, Be Thou our guard while life shall last, and our eternal home.

Psalm 90 was written about 600 years before Jesus was born, when King Josiah was killed in battle, and the king of Egypt captured the country. It was written to give the people courage; to remind them that though they were captives, no power could take God captive. Copy the words of Psalm 90 that mean that God always has been and always will be.

Underline the words in the hymn that mean the same thing.

When wrote the words of this hymn in the year the Protestants in England were afraid of a persecution. The hymn was written to give them courage. It is sung more than any other hymn. It was sung at the Coronation of Queen Elizabeth, and at the funeral of the Unknown Soldier. It is played every day at noon by the bells of one of the churches in the heart of London.

What does persecution mean?

The name of this hymn tune is

Its meter is 8.6.8.6 or Common Meter, which means

— 83 - VITALITY IN SINGING E. Allen Huntley Condensed from an article in "Music In Education" (an English publication), Vol. 17, Nos. 196-197. I have observed at some of the many school functions I have attended, a certain regrettable tendency in the music making to sing without proper vitality. The children stand solemnly; the tone is--oh, quite proper and nice--but lacking in robustness, in vibrancy, in significance. It is not vital. Recently I heard an adjudicator drive toward the heart of the matter. "Did you enjoy singing this jolly song?" he asked the youthful singers. "Yes sir," came the answer, but it was a dutiful 'yes sir,' rather than one carrying any sense of conviction. "Then why on earth didn't you look as if you were enjoying it?" Exactly: The singers seem to find it difficult to yield themselves to the song, and unless they do so yield, apprehending it clearly and feeling it vivid- ly, the singing will not have in it that splendid thrill of reality, of vitality, born of conviction of its beauty and worth-whileness. The singers will lack the sense of that urgent desire to convey a message and a beauty, imaginatively grasped, which is at the heart of all fine singing. Good singing is first of all a 'vital' business-- a response to the challenge of the song. The words matter greatly. If children sing 'The Seekers' (Mase- field; setting by Dyson), they must know that they are singing in praise of all the splendid adventurers, the people who, single-minded, quest for something unknown and worthNhile. Livingstone, Scott, Madame Curie must be somewhere in the background of their minds as they sing. There must be 'imaginative awareness' of the total significance of the song. It is the lack of such mental heat, such awareness in pictures and image-2y, which robs the singing of vitality. And in the songs which demand quiet treatment, there must still be this vitality; the serenity of the lullaby has to be felt and conveyed, not merely sung. An undue stress on technical excellence may smother a song. Gocd intonation, the shaping of vowels, purity of tone, clearness of diction, the taking of adequate breath for the phrase are all important. Without them singing is not good. But all these things are a means to an end. The true end of our work is fine interpretation of a fine song, and the technical skills have value only as they serve that supreme end. They are essential, but subsidiary matters. The importance cf song selection becomes obvious when we consider these matters. It is useful to think of a song as glorified speech. So the words of a song should be worth speaking, they should have quality, and their quality should be such as the singers can appreciate. One winces when a healthy twelve-year- old is asking angels to waft him to their abode. No healthy boy wants thus to be spirited away when there are jolly kids next door with whom he can play zestfully. Choose then, songs which have some relationship to the singers' most frequently experienced moods, attitudes and joys. They will get out of a song only what they see, or can be led to see, in it. So let us take care to avoid songs, however excellent in themselves, which to young singers cannot mean much. Only if children genuinely like a song can they let themselves go, yielding to its message and its spirit. And these 'feelings' must be seized and experienced from the very first contact with the song. To insist on correctness in notes, time, technical points, is of course needful insistence; but this can be done alongside and not precedent to, a capturing of spirit and mood. It is possible to slog along too lengthily at the task of learning, at the achieving of correctness, and this may smother the ardour which should be aroused early, by a first reading, convincing and vivid, of the words, and a conveying to the pupils of the appropriateness and beauty of the musical setting. If the desire to express is called into being, the learning will follow rapidly. First things first! - - The A B Us of•the DO RE MIs

Lesson 59

A. General Review of Lesson 58. (Use Keyboard Chart.) What does this sign mean? # Who can tell me the name of this note? Point•to c#. What other name does it have? Who can draw the sign for a flat? A sharp? Which scale (or key) uses only the white keys? Who can point out the notes of the scale of C while we sing it? How many half steps are there? Where are they? Point to a note a 2nd above g. What is its name (letter)? a 3rd above g. What is its name? Do you remember the difference between a major 3rd and a minor 3rd? Can you point to the major third above g? What is its letter name? Who can show me the minor 3rd above g? What is its name? Point to various notes on the staff, and let the children point out and name a major and a minor 2nd above, and a major and minor 3rd above. Lesson 60 A. Give the children various pitches and have them sing a major 3rd up. Give them various pitches, and have them sing a major 2nd down. Play the notes of the C major scale, and let the children sing a major 3rd up on each note of the scale. Same procedure with a major 2nd up. B. Have the children point out intervals of a 4th, 5th, 6th, 7th, and 8th above a given note on the staff (not the keyboard, since this would , involve intervals with which they are not yet familiar). C. Starting on middle C, see if the children can sing a sequence of a 3rd up, 2nd down, 3rd up, 2nd down: a-e; e-d; d-f; f--e; etc., on the syllable fa. Lesson 61 A. Review of C scale. "Remember -- the scale of C uses no black keys. "Do you remember where the two half steps are? "Now let's see if all the other steps are whole stepe." Go thrcugh the scale slowly, recognizing each whole step. B. Have class sing the scale of C several times, pointing out the notes an the chart. C. Now have them sing the scale of D, playing with them. "Do you know that you sang some of the black keys that time?" "If we hadn't used any of the black keys, it would have sounded like this --FT Play with f and c. "Letts find where the black keys are. Remember: all whole steps except 3/4 and 7-8." Draw a staff on the board, and as they determine the right notes, write them on the staff. Lessen 62 A. Make flash cards of all the intervals studied, and test the children for quick recognition. They should give the letter names of the notes, and the interval. B. Sing the scales of C and D, with children pointing out the correct notes. C. Give each child a copy of the card on the next page. Ask them to work them out and bring them back next week. You might have a little surprise for all who have it correct. - 85 - A B C ASSIGNMENT

1. Write the scale of C up and back down, in quarter notes, and 4/4 time. Notes below the 3rd line have the stems on the right side, turned up. Notes above the 3rd line have the stems on the left side, turned down. le.

2. Write the scale of D in half notes, and 4/4 time.

WIND BELLS 2 Bone Ring A musical project for the Primary Choir Flower Take clean clay flower pots of vary- Pot-i ing size, and test them for their tone. If they have a flaw or are cracked, they will not ring. Then Heavy Twine-4 lU Bone Ring with bone rings (available at any notion counter), twine, and aluminum foil, fashion them into a primitive Aluminum 1) .‘ bell. Hung up in a row outdoors, Foil I 01 1° where the wind will strike them, , they will provide a fascinating bit

ij of tintinnabulation. t)

Philip Blackwood, of Castonia, North Caroline, sent us this information regarding the poem on Page 44. Because of his long concern for the handicapped, this writer was deeply moved by a Christmas message he received last year from a prominent American. After hearing it read at one of their meetings, a grcup of handicapped patients spon- taneously adopted it as their creed, saying, "Hers talking about me." The father of one was so impressed that he had it cast in a bronze tablet which now hangs in the lobby of a New York rehabilitation center as a constant source of inspiration to patients, staff, and visitors.

Friends have shared it with friends who were troubled and distressed and who found solace and healing in its simple words. Many visitors from other nations have translated and distributed it in their own countries. Written by an unknown Confederate soldier, its philosophy is not limited by time or space. It could well be titled "A Creed for Those Who Have Sufferedt." --Howard A. Rusk, M.D., in the New York Times

"I asked God for strength, that I might achieve I was made weak, that I might learn to obey It (See Page 44) THE CIO LIST MI_D SERVICE COSS

Here is something ycu have been Asking For.

The cross sketched at the left to exact size was especially designed by your Guild for the exclusive use of Guild choirs. Its wearing can be a signal honor, and should be based on some clearly defined grounds. The findings of the questionnaire in the last issue of the Letters on the basis for the wearing of the cross will be reported in an early issue. 7/Je hope you will contribute your opinion.

The Service Cross has a bronze base and is finished in antique, shaded silvertone, a silver wash. The Choristerst Guild emblem is engraved on the back.

The cross is priced at 42.00 each, postpaid. A 10% reduction can be made for quantities of five or more. It carries no federal tax. California residents will, however, remember the 3% state sales tax.

Theacross 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.

Dr, ',hdttlesey, minister of music of Highland Park Methodist Church, Dallas, Texas, and one of our Board of Directors, is the first to use the cross. He is giving one to each of his assistant directors to wear when they appear in eervices with their choirs.

The cross is to be worn suspended by a collarette, in any appropriate color, and made according to the following directions.

COLLAR:72U,

Ono yard of grosgrain ribbon, 1;:i. 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 Jit 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-R and B-C 4 inches A-B and C-D 12 inches -87- THE CHORISTERS' GUILD AWARD PIN

THE GUILD MERIT SYSTEM

75 credits for 100% attendance at rehearsals and performances 50 credits for 85% attendance at rehearsals and performances 25 credits foe a complete and neat note-book The Choristers' Guild Award 25 credits for 100% 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 eara a pin or the additions to it of note guard and/or pearl, a chorister 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 (nearly 12,000 were used last season), 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 Guilde 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. - 88 -

CHORISTEliS1 GUILD 47 El Arco Dr., or Box 211, Santa Barbara, California Order Blank for Choristers' Guild Award Pins

NAME Church Served

YOUR STREET & NO.

CITY & STATE

Date of Order Dates Pins Needed

USE THIS SECTION FOR NEW PINS ONLY IN GLO-TONE FINISH (Number) (Cost) (Number) (Cost) plain pins plain pins with guard pins with 1 pearl - pins with 1 pearl & guard pins with 2 pearls --pins with 2 pearls & guard pins with 3 pearls pins with 3 pearls 7 guard

Other Combinations: tins with Cost Total Cost New Pins pins with Cost

THIS SECTION FOR RETURNED PINS ONLY

I am returning a total of pins as described below and for the additions listed. (Number) (Description),(Additions (Number) (Description) (Additions Needed) Needed)

Total cost of Complete Order I enclose check Cash

Please use the space provided on the reverse side of this order form for additional instructions concerning your order, AND for ordering new pins in the gold-filled finish. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * The Guild Office will fill in the following section. Date order received Mailed for processing Date pins received Order mailed

USE THIS SECTION FOR NEU FINS ONLY IN GOLD-FILLED FINISH (Number) (Cost) (Number) (Cost) plain pins with 1 pearl with guard only with pearls Please fill in on the reverse side of this page in the space provided, the total cost of your order.

USE THIS SPACE FOR ADDITIONAL OR SPECIAL INSTRUCTIONS CONCERNING YOUR PIN ORDER

PRICES GLO-TONE Finish GOLD-FILLED Finish Plain pins 11 each for ten or more $1.50 each for ten or more 11.25 each for less than ten 11.75 each for less than ten

Each pearl -- $1, including cost of setting. Note Guard and Chain -- 11, including cost of attaching. Important Notice -- The Gold-filled pin requires a Federal excise tax of 10% •each. When the pearl and/or guard is added later, the cost of each of these items is as indicated above. HOWEVER., when a pearl, and/or a guard is added at the time of purchase of a new Gold-filled pin, the 10% tax obtains on the entire amount. CALIFORNIA RESIDENTS -- A 3% state sales tax must be added to the total cost of the retail prices, excluding the Federal excise tax in the case of Gold- filled pins,

INFORMATION WHEN ORDERING PINS, PLEASE---- (a)Use this order form; its use will facilitate accurate and speedy service. (b)Enclose payment with order if at all possible; the Guild has no bookkeeping facilities for charge accounts. (c)Allow, if at all possible, several weeks for your order to be filled, particular17 when returning pins for processing. IJHEN RETURNING PINS FOR PROCESSING---- (a)Please put each in a separate small envelope. (b)Print on each envelope--1. Your name. 2. Instructions for work to be done, 3. The name of the child. to whom the pin belongs. (c)Ret)..t.n by first-class mail; it costs no more than insured parcel post and gets faster service, (d)Allow sufficient time for the factory to do a good job.

A pin awarded in any previous year may be returned to the Guild each successive year for the addition of a pearl or the note guard. RULES FOR CONGREGATIONAL SINGING JOIN WESLEY

our wife is mortified once more- at foghorn makes ilgr crirn! g's whisper:on in your daucih+er's ear, "Pretend we're noi- hivn!"

5.5inct mod tly. Moo not bawl, so as to be hard aboviz or distinct rom t g rest of -the concireciation - that you may not destroy the harmony - but strive to uniisz your voices together so as to make onsz clear mglodious sound.

lerithusjasnl is all q.;onviciion wg anclorsg lasariiness ‘s still a vIricus , 13 u4. yot4-. brayin9 Mgr a horse

NersE_WN

It?not the evitnflenten alone hat we dd nob) be sateln „ for, sounding wit% that bare/one's shrill soprano screech! CHORISTERS' GUILD LETTERS

Volume 9 1957-1958 Number 7 Choristers' Guild Box 211 Santa Barbara, California Copyright (c) 1958 -- Choristers' Guild

THE CHURCH OF TOMORROW

The church of tomorrow will not strive to save men from the world; it will save men for the world. It will make honest and whole the cravings and appetites of men, leading to the joys of fullness and self-realization. The church will seek to save the whole man and the whole community. From it will come hopes and ideals for a better world. From the church will come the challenge of free minds to the evils of each age. No one shall be too mighty, too rich or too famous, no tradition shall be too revered, no shrine too sanctified. All shall be weighed in the scale of human values, for this is the church of man, and hire alone will it serve. To this church a man will come all his days, to gather truth and guidance from the past. To hear prophecies of things to come, and to ponder again the wherefores of life. There will he come to be married, and there will he bring his children. There at last will his neighbors of the way bid him goodbye, and he will be gathered back again into the earth from whence he came. As common as life itself, as ordinary as the air he breathes, as reasonable as his own mind, the friendly companion of his days. It will be the hub, the center of our life together, weaving the strands of our lives into designs and meanings, Uniting us with our companions of the journey, helping us in our pilgrimage along the road between the cities of birth and death.

(Author not named)

-89— LETS LOOK AT THE SCORE

The Gilbert Youth Research Company conducted a survey of the attitude of young adults (17 to 22 years of age) toward religious matters, from which the following figures were assembled,

1. Most young people know very little about their own or any other religion. Less than 30 percent could manage a passing grade on a grammar school level Bible test.

2. 68% of young Protestants, 86% cf young Jews, and 24% of young Catholics do not attend church regularly,

3. Less than 28% of the Protestants, and 26% of the Jews consider themselves "a religious person", The Catholics scored 72% on this question.

4. 91% of young adults of all faiths said they would never think of turn- ing to a clergyman for help in solving lifets problems.

Perhaps the most revealing was the abysmally low score on a simple Bible test that was conceived after consultation with the International Council of Religious Education and others.

Scme might have got by -- and probably some did -- on their knowledge of the Bible as literature. Those who claimed no church affiliation scored only a few points lower than the average for the church-going group.

Only three out of ten knew that Paul was the apostle to the Gentiles, or that Thomas was known as the Doubter. Less than half knew that Moses led the children of Israel out of Egypt. Not one in ten could name Pontius Pilate as the official who turned Christ over to his crucifiers, and not one in fifteen knew the name of the Biblical character who saw the handwriting on the wall or the one who sold his birthright for a mess of pottage.

In general, New Testament questions brought a higher percentage of correct answers. Seven out of ten knew that Joseph was a carpenter, that Jesus was born in Bethlehem, and that the Romans controlled Judea at the time of His birth.

Girls of all faiths thought more about the Ten Commandments than did the boys. Girls also scored much higher in this significant question: "Does thinking about religion and church prevent you from doing things you should not do?" 47% of the Catholic girls, 21% of the Jewish, and 20% of the Protestant answered yes, as opposed to 31%, 14%, and 16% of the boys in these respective faiths.

Mr. Eugene Gilbert of the Gilbert Youth Research Company says: "The general indifference among young people to going to church, and their appalling lack of interest in and knowledge of their religion brings up the question of whether the churches are failing our impressionable younger generation."

ARE WE? R.K.J. LITANY OF THE LORD'S PRAYER

Dear God, bring us so close to Thee that we may know Thou art

OUR FATHER WHO ART IN HEAVEN

Bow our souls in reverence that we may pray ---

HALLOWED BE THY NAME

Open our eyes to the great tasks conf:onting- Thy people, and cause us to ask ---

THY KINGDOM COME, THY WILL W DONE ON EARTH AS IT IS IN HEAVEN.

Give us a sense of our dependence upon Thee as we make our request

GIVE US THIS DAY OUR DAILY BREAD

Impart to us a sympathetic and forgiving spirit out of which to pray ---

AND FORGIVE US OUR TRESPASSES AS WE FORGIVE THOSE THAT TRESPASS AGAINST US

Give us the wisdom to know what is vital as we offer our petition ---

AND LEAD US NOT INTO TEMPTATION, BUT DELIVER US FROM EVIL.

Fill us with an appreciation of Thy lordship in all the earth, that we may humbly affirm ---

FOR THINE IS THE KINGDOM, AND THE POWER AND THE GLORY FOREVER.

May the certainty of our faith be complete as we say ---

AMEN. So may it be.

* The Lord's Prayer is a masterpiece of simplicity and sublimity. It is the upreach of the human heart toward God expressed in words all can understand. Senator and street, sweeper, bishop and kindergarten child, millionaire and man on relief are all one in their petition: Our Father.

CHAPLAIN'S CHAT

There were two brothers in a home who took a phonograph record, bored a new hole in it about an inch off center, then placed it on the machine and played it. You can well imagine the confusion of sound it produced.

This little story is a parable of what is happening in much of our world. Our loyalties are off—center and of course there are disharmonies. Harmony can come only as we place our responsibility to God at the center of our living. Religion will not thrive at the periphery of our loyalties. It must be at the center, or it will be nowhere. It is not a side show to life, or a part of life. It is life itself, or it isn't anything. CHRISTIAN SYMBOLISM Ruth Knannlein, Bethlehem Lutheran Church, Indianapolis, Indiana

The Symbol of the Candlestick Here is a seven branched candle stick. The number seven is often called the perfect number because it includes the three persons of the Holy Trinity as representing heaven; and the four directions: North, East, South and West representing the earth. Seven is, therefore the perfect number because it represents all of heaven and earth. Each of the candles represents a gift of the Spirit: 1. Wisdom 2. Understanding (intellectual) 3. Counsel 4. Might (moral) 5.Knowledge 6, True godliness (spiritual) 7. Fear of the Lord (respect)

The Symbol for Holy Baptism

The shell is used very frequently as a symbol for Holy Baptism, Three drops of water indicate baptism. ”In the name of the Father, and the Son, and the Holy Ghost, The color of the shield is a heavenly blue; the shell and the drops are gold.

The Symbol for the Blessed Sacrament

The cross on the rock, from which the living water flows, symbolizes the blessings and the gifts of God which flow constantly into the life of the believer through Word and Sacrament. QA7 The color of the cross is green; the circle and the rays are red; the trees, fish and the rock are green; the water is blue. This is used very frequently as the symbol for Holy Communion or the Eucharist.

— 92 — EASTER FUN FOR THE PRIMARY CHILDREN

Here is a little chick with a feather tail that makes a cheerful place card. On a piece of light weight yellow cardboard, draw a circle as large as the place card is to be. Next, draw a line through the center, Then an ob- long overlapping the base of the circle. Then draw the head and the beak, and insert the feather tail. Cut away the upper part of the circle, fold back at the dotted line, and the place card is ready for the table,

This Easter Bunny carries a trunkful of candies with him. To make him you will need an empty match box, both white and yellow construction paper (or a yellow crayon), three rubber bands, a tuft of cotton for the tail, and some glue. Cover the matchbox with yellow paper cut to fit, and glue. Put two of the rubber bands around, like luggage straps. Punch two small holes, one-half inch apart in the narrow end of the inside box., Thread rubber band through, knot each end to keep it in place as a handle. The drawer can be pulled out with this, Trace bunny pattern on the white paper. Cut out, and draw eyes, nose, mouth and whiskers. Color the ears pink. Paste him up against the match box. Glue the tail in place. Fill the box with tlny Easter eggs, and you have a place card that will delight any child. (Family Weekly, April 14, 1957)

EGGSHELL RACE Give each player an empty eggshell and a sheet of notebook paper folded like a fan. Line up the eggshells at one end of the room; stretch a goal line across the floor at the other end of the room. The players must fan their eggshell across the room without touching it. The shells go in most any direction except the right one, and the game is as much fun for the observer as the player.

WANTED - - - PRIMARY CHOIR DIRECTOR REQUIREMENTS: Must have four hands, four feet, patience of a saint, medical training, Bachelor's degree. Must also be trained furniture mover, expert carpenter, fine pianist, neat, tidy, expert housekeeper, trained psychiatrist, and an artist. Must be able to see around corners, to fly, to run as fast as a racehorse, to move slowly and calmly, to sing and dance, to see each child as an individual and the children as a group. Applications may be addressed to Box 211, Santa Barbara, California. (Adapted from Martha Koiro, Eliot- Pearson News) REHEARSAL TECHNIQUES Central Christian Church, Lexington, Ky. Jean C, Wake, 575 Mitchell Ave., Lexington, Ky. Central Christian Church is located in downtown Lexington. It has a member— ship of 2700. The population of Lexington and suburbs is about 105,000, To limit the number of trips into town by mothers, two choir rehearsals are held on Wednesday afternoon; therefore only 40 minutes can be given each choir and a busy time is had by all. The following is an outline of rehearsal procedure. Some days all steps are not covered and many times one step has to be stressed more than the others. Carol Choir -- 4th, 5th, and 6th grades -- 4:25-5:10 p,m. I. H.O.M. (Hymn of the Month). This choir takes time to study our hymnal, noting author, composer, hymn tune, meter, etc. This should prove to be of some value in years to come. The H.O.M. is used in the church as well as church school. II. Review Music and words of anthem being presently learned. Sing through several times. III. Theory -- Flash cards with note and rest values are used. Key and time signatures of new music is brought to their attention and any rhythmic problems ironed out. A game of "follow me" is played to help the choir become more alert to the direction. (This game is sung to a familiar song so all eyes can follow me.) IV. New Music -- All music is taught by rote and is memorized. Sometimes the words are put on the chalk board. As they are learned all is erased except the initial letter of each word. This looks like outer—space talk, but it is fun and does help, V. Fun Scng -- This is for sheer relaxation, good to "unkink" the director, too. They love motion songs! Laugh, sing and act with them. VI. Roll Call -- This will quiet them down. Make announcements at this time-- keep it shortl ave report for "choir caller"1 as well as progress of "choir project". VII. Sing Again -- The anthem to be sung needs to be polished. If this is the last rehearsal before they sing, this part of the rehearsal is done in the sanctuary as it will be sung on Sunday. VIII.Closing Prayer -- A member of the choir volunteers for this usually the week before, or sometimes the group says the Lord's Prayer.

Before the rehearsal the room is checked to make sure the chairs, lights and music are all in order. As each step of the rehearsal is completed it is checked off. Any unchecked are stressed in next week's rehearsal. A lesson plan is made for each meeting with more to do than time allows; this never leaves the director with "what—shall— I—do—now" time, and eliminates a lot of discipline problems. 1 A volunteer who calls those absent and relays any announcements missed as well as "we missed you," 2 The children come directly from school about 45 minutes before their choir rehearsal. During this time some do homework while the others compile song— books for an Indian village. Music for these books is taken from old and unused church school material.

Gracious Spirit, Dwell In Me Thomas Lynch, 1855 Redhead No. 76 Richard Redhead, 1853 7.7.7.7.7.7. 1. 2. 5 r)/' 4 J ,J

4.

5.

Gracious Spirit, dwell in me; I myself would gracious be; And with words that help and heal -- Would Thy life in mine reveal And with actions bold and meek -- Would for Christ my Savior speak. Truthful Spirit, dwell in me; -- I myself would truthful be; And with wisdom kind and clear -- Let Thy life in mine appear; And with actions brotherly -- Speak my Lord's sincerity. Holy Spirit, dwell with me; -- I myself would holy be; Separate from sin, I would -- Choose and cherish all things good, And whatever I can be -- Give to Him, who gave me Thee.

Because Thomas Lynch loved nature, and said that the cut-of-doors could teach us about God, many people said he was not a Christian. One Sunday just as he was going into the pulpit to preach, someone, to make fun of him, handed him a bunch of flowers. Instead of being embarrassed, he made the flowers the theme of his sermon. How times have changed in these hundred years. Now we held our retreats in the mountains, out in the open, or under the trees to become more conscious of the nearness of God. This is a hymn of dedication. If we could learn to be all that this hymn says, we would be very happy persons. It is easy to learn this hymn, but it is not easy to learn to live it.

How can one be both "bold and meek"?

When you try to be."gracious" what kind of things do you do?

Let's look at the melody. Which other phrase is like 1? Like 3 Which phrases move stepwise? Skipwise? With what kind of note do all the phrases end? - 95 - ANTHEM STUDY Spring Prayer -- Mary E. Caldwell (Birchard 2113)

Probably the quickest way to learn this lovely anthem is to memorize the phrases that make up its melody. I III 1. Lord, now that Spring's in the world, Let me not fear the darkness now 2.And every tulip TS a cup Since light and life break thru 1. Filled with the wine of Thy love, the tomb, 4; Lift Thou me up, Teach me that doubts no more oppress II 4. No more consume 1. Raise Thou my heart as flowers rise IV 2. To greet the glcry of day 1. Show me Thy presence, 0 Lord 3. With soul as clean as lilies are, 2.In all the flowers and grass, 4.And white as they. 5. Then when awake the soft Spring winds, *4. I'll hear Thee pass, 4. I'll hear Thee pass. First Week Tell the children that this is a new song that sounds and looks hard, but is EASY if they can learn four short tunes quickly. Sing melody 1 for them on co. See how quickly they can repeat it correctly. Learn 2, 3, and 4 in the same way. Write the numbers 1, 2, 3, and 4 on the board as they learn them. Now play or sing the melodies in scrambled order, and have the children put up the corresponding number of fingers as they recognize the melody. Have the children sing the melodies as you point to their corresponding number. Play the 1st, 2nd and 4th stanzas (melody only) and have the children put up their fingers as they recognize the melodies. In the last stanza, some child is likely to put up 5 fingers for the unfamiliar phrase. Add 5 to the numbers on the board, and learn that phrase as you did the others. *4 will fool them with the last note going up instead of down. (Occasion for a laugh.) Have choir sing these three stanzas, as you point to the phrase numbers. (Accompanist should play melody only.) Repeat; this time with accompaniment. Second Week Review the melodies learned. Sing stanzas 1, 2, and 4, pointing out the melody numbers. "You learned these melodies so quickly, maybe you can do as well on two really HARD ONES. (First two phrases of stanza 3; learn them separately.) Repeat these two phrases, and then finish the stanza (pointing to 3 and 4). Have the choir sing the whole song on 00, by following the numbers as you point tc them.' Let them help. concoct some signal for the "hard phrases". Use accompaniment, and interludes between stanzas. Give them a copy of the wcrds, and - sing -through-once or twice with the words. Third Week Discussion of the text. Speed contest in learning first two stanzas. You might write the words on the board, and .as they sing them erase the end of each line. Repeat until only the first word of each line remains; then erase and sing again. -96- EASTER AND THE CHILDREN

Our fathers were inspired when they set the date for Easter. For most people it coincides with new life and the resurrection of bulb and grass and plant upon the face of the earth. The whole creation bears witness to the central fact that LIFE cannot die. Even for adults, the essential meaning of the first Easter is not easy to draw from the recorded events in the New Testament. The empty tomb, the rolled away stone, the glistening angel, the familiar voice, the early morning visitors are colorful and fascinating, but they are not the facts of Easter. They are attempts to account for the inescapable fact of resurrection.

Resources for teaching the spirit of Easter are at hand for every teacher of little children. A sensitive parent or other teacher does not have to "send away for materials" to help a child learn that life prevails. He may find the resurrection in the dawn, in the glory of the crocus or the tulip which rolls the stone of soil away, in the butterfly emerging from the linen cloths and the radiance of angelic buds which glisten in the sunshine. This is no appeal for nature worship, but rather for developing appreciation that this is our Father's world, and that He has made all things bear witness that "life shall endless be."

Every dusty path becomes a road to heaven, and every crimson flower becomes aflame with God. The church and its teaching is central in opening the eyes of the spirit. The Psalmist lifted up his eyes to the hills, but he did not worship the mountains. Seeing through the mountain to the One who made heaven and earth he could declare with confidence, "My help cometh from the Lord." The most effective tools of teaching are not the didactic statements of con- clusions such as "God is love." Rather we find them in the concrete commonplace surroundings. A child with alert and sensitive guidance moves through ordinary experiences to discover that "the Lord is never far away."

Fifth Avenue and the Easter parade need not wrest Easter from Christian hands. Most paganism is not anti-religious but ante-religious. It stops short of the fulfillment of life's values. Most people like a parade, and every child is thrilled by seeing or taking part in one. The common experiences of life have to be lifted up in celebration now and then and Easter provides a sublime opportunity. It is a time when new and colorful clothes become garments of praise "in the triumph song of life." To look one's best, to wear festive clothing, to march in grand array is one way to celebrate life.

Every Sunday is such a celebration, but Easter Day is the time when radiance of countenance and dress should march by the most colorful spot in the church. Whether it be the high altar banked with flowers or a simple colored window and an Easter lily, let the little children know that their elders believe that Christ is risen indeedt

Condensed from "Experiencing Eastern -- Leon M. Adkins in Child Guidance and Christian Living YOUR SUMMER PLANS Should Include the

CHORISTERS' GUILD SEMINAR Kansas City, Missouri July 7-12, 1958.

The seminar, beginning Monday, July 7, at 1 o'clock, and ending Saturday noon, July 12, will be held in the new and completely air-conditioned Educational Building of the Second Presbyterian Church in Kansas City.

A full class schedule with demonstration choirs will be offered those attending a Guild seminar for the first time.

Supplementary classes with practice directing, will be offered those who have attended previous seminars of the Guild.

The faculty, a distinguished one which will include Ruth Krehbiel Jacobs, Mabel Boyter, and William Lemonds, will be announced in a later issue of the Letters.

Excellent and very reasonably priced housing will be available in the new and completely air-conditioned dormitory of the University of Kansas City, located only three blocks away from the church. Double rooms only are available; families and couples will be taken care of on a separate floor.

Luncheons and breakfasts, Tuesday through Saturday, will be available at the church. Breakfasts are continental style -- juice, coffee and rolls. Dinners are available in nearby restaurants.

You may of course stay where you like, and eat where you wish. It is strong- ly urged however that everyone make use of the facilities so generously offered us through the influence of Mr. Lemonds, Minister of Music of Second Presbyterian Church. Thus costs may be kept down, and by living in one place you may enjoy a rich fellowship with others in your profession. wralk- festsu in dormitory rooms and lounges can be very rewarding.

Over-all costs can be modest. Tuition, including a packet of music to be studied in classes, is Housing for the first night is 12.50 and 2 for each night thereafter. Luncheons are 750 each; breakfasts are 50¢ each. The total for tuition, five luncheons, five breakfasts, five nights housing is thus only 846.75.

Housing and meal reservations will be made through Mrs. Stewart, secretary, Second Presbyterian Church, 318 E. 55th St., Kansas City 13, Mo.

Registration for the seminar is to be made by writing the Choristers' Guild, 47 El Arco, Santa Barbara, California. Make all reservations early. I shall be most happy to answer your questions. Write me. The 4 B Cs of the DO RE Mis

Lesson 63

"Which scale uses only the white keys?" "Where are the half steps in the scale?" "See how quickly you can call the letter names of these notes?"

-e- "Now can you tell me the letter name of the note above each of them?" "Let's see how fast we can call the letter names of the notes below them." "Now let's do it again, and time ourselves." "Let's see how fast someone can write in the 3rd above each of these notes." "How many letters does a 3rd include?" "Let's see how fast we can name them." (f-g-a; d-e-f; etc., as you point to the corresponding lines and spaces.)

Lesson 64

Put a staff with a treble clef on the board.

lho will write the notes of the scale of C on this staff?" "Who can show me where the half steps are?" Put your Keyboard Chart (page 76) where everyone can see it. "A 3rd includes how many letters?" "A major 3rd covers two whole steps. Who can point to a major 3rd above C?" "Can you write that major 3rd on the staff?" Continue drill with other starting notes, giving them experience in putting in the sharps.

Lesson 65

Put a staff with treble clef on the board with the scale from G to the g above. "?There do the half steps come in the scale?" Let a child mark the spot. "All the others are whole steps. Let's see where we must use the black keys to make the half steps come in the right place." Let the children point out the steps on the Keyboard Chart. Nhen they discover that they must use 44, let a child write it in before the f in the scale.

Same procedure starting with D.

Lesson 66

Give the children a sheet of paper with three staves across it. Ask them to write as quickly as possible the notes of the scale of C. On the second staff, the scale of G. On the third, the scale of D.

-99- THIS !N THAT

The Guild is pleased to add the following names to the list previously published of original members, 1949-50, who are still active: J. Harold Groves, Thomasville, N.C. Doris M. James, Grand Rapids, Mich. Mrs. Luther H. Turner, Richmond, Va. J.0. Williams, Bessemer, Ala. All these receive our especial appreciation for continued loyalty and support. The Chicago area seminar on Ruth's spring tour will be held April 22, 23 in the First Christian Church, 8th & Madison, Maywood, Ill. Mrs. Dorothea Heisler is manager; registration fee is "5, including a packet of music. Persons in the area are urged to attend, and should contact Mrs. Heisler, 706 Newcastle Ave., Westchester, Ill. J. Harold Groves, Minister of Music and Education, Memorial Methodist Church, Thomasville, N.C., has made the Guild a part of his regular giving program during 1958, and has already sent two monthly checks. The Guild is humbly proud to merit such support. Your Guild office is prepared as never before, to handle your Choristers' Guild award pin orders promptly. A large stock of new pins is on hand; most orders can be filled immediately upon receipt. To speed service on pins returned for processing, please follow the suggestions on the pin order blank sent out in the last issue of the Letters. Many inquiries about the Service Crosses have come in. The crosses are now ready for delivery. I guarantee their quiet dignity and beauty. For a period we were very low in our stock of Hymn study and other teaching materials pages. We now have an ample supply of everything. In the listing published earlier, the page, "My Vestment", was omitted, and should be numbered M 4. All these various pages are earnestly recommended to you as valuable teaching helps. The new compilation of the permanent material from the Letters of the Guild years, 1949-57, published in printed book form by the Augustana Press, is now available through your Guild office for 14.95, postpaid. It is a handsome volume. Nearly all this issue was prepared by Ruth while on her exciting six-week seminar trip through the Southwest, Mid-South, and Middle West. This page probably lacks its usual sparkle because it has been prepared by the less skilled-at-writing hands of Leslie. Guild members who need and order pins are requested to examine the price structure of these pins, which appeared in the last issue of the Letters. Here, to remind, are two important details. Gold-filled pins carry a 10% Federal excise tax, which the Guild is obliged to collect. The basic pin in gold-filled is *)1.50, plus 15O tax on each. California residents are reminded of the 3% state sales tax on the total of all pins and/or teaching materials ordered. Please, if you move or contemplate moving and know your new address, send your Guild the information so that your Letters may arrive regularly. Second class mail matter is not automatically forwarded. You help yourself and help the Guild office when you write in advance. Thank you for reading this page. -100- RUINS FOR CONGREGATIONAL SINGING JOHN NN/iESLEY

N

— 1 171

- - - - - 0,7 0 0 .....# 1. 102 : .. 'rho; organ plpis a tempo ; allp The choir stricis ricillt along; cohcirelation lads 'bohlrld 2: Tlizs Luhl *119 som??? 4 IILJAI

6. inct hatever time is sunq, be sure. to keep with it: Do not run before nor stay behind it; but attend close to the leading voices, and rnov¢therawith as exactly as you can; and take care not to sing too slow .Thi s drawling way naturally steals on all who are law, and it high firiirm to drive. it out -from among us, and sync all our tunes lust as quick as we did at first.

4 AL, echoed word may i5e all right -from the top of a inourrtaln palak, 4 but corm nct from the balcony, IIt lanclIqs nervvs all togek!

e you ever heard a rne4rollorne? ilyt never does acce1erate— ljr never drags behind Ole boat, Or start a phrase too latct.

4 r-- — CHORISTERS' GUILD LETTERS -- Volume 9 1957-1958 Number 8 Choristers' Guild Box 211 Santa Barbara, California Copyright (c) 1958 - - Choristers' Guild

NEXT SEPTEMBER - - - - The Choristers' Guild starts celebrating its TENTH ANNIVERSARY Much has happened in these nine years, and lots of perfect strangers have become good friends, BUT THINGS HAVE JUST BEGUN TO HAPPEN.

WE ARE FULL OF PLANS -- EXCITING PLANS that will make your choir work much easier and much more interesting. AND

We HOPE that in this ANNIVERSARY YEAR

EVERY ONE of our present members will become CONTRIBUTING MEMBERS. Persuade the church to pay for it. After all, you do the work but they reap the benefit. It may be wishful thinking, but it just COULD happen. AND if your renewal arrived

BEFORE JUNE - -

?-.THAT A HAPPY ANNIVERSARY PRESENT THAT WOULD

BE

- 101 -

YOUTH CHOIR RECOGNITION DINNER Mrs. Ionise Whitman, 1510 Allen Ave., Glendale 1, Calif. Families sit with their children at their Choir's table. Leave potluck food at serving table. 6:30 Singing grace: "Be present at our table, Lord," Everyone seated. 1st table South side, 1st table North side, go to serving table nearest their side of room, returning by center aisle to their choir table.

Singing waitresses, having eaten earlier, serve coffee, rolls and dessert. 1-1 Pass the "Kitty" to pay for oi ...... I \\ \ coffee, rolls, milk, etc. ... . - - . , gLIT ,i (77 1 tf .0 ...... _S ,..... ,...... ,,,

7:08 Welcome to 9th Grade girls graduating into Chapel Choir. 7:13 Mother and daughter act (repeated from recent Mother-Daughter Banquet), 7:25 Short intermission. Clear tables. Children to rest rooms. 7:35 Everyone seated (same places as before). Thanks to Choir Guild members in charge of dinner. 7:38 Community Singing 8:00 President of Chapel Choir (charter member of present unbroken line of eleven years of youth choirs), reviews "Early Steps Toward a Singing Church." 8:10 Announce: Year Books on table for display. Few feet of film -- A Junior Choir in Our Church 15 Years Ago. Colored slides of this year's choir activities. 8:30 Choir Business. Introduction of Choir presidents, assistants. 8:40 Awarding of certificates of promotion. Announce: Choir Recognition Service; Registration Day. 8:50 Closing Prayer Song

PRIMARIES Cut me out. Set me up behind the piano keys Play these melodies: 5332355 3311553 3 514321 Do you know them? Can you make up some tunes of your own? -102- ,TUE.CHOIR PROGRAM AT BELLAIRE METHODIST CHURCH, BELLAIRE, TEXAS Mr. and Mrs. Earle Lowder

Ours is the only Methodist church in Bellaire, a small incorporated town entirely.surrounded by Houston. The community and its people are young; the church is eleven years old and has a membership slightly under 2000. The youngest organized choir group is comparable to the Primary Department in the Church School in that it includes all first, second and third grade boys and girls. With a total membership of 106, the Primary,Choir is divided into three rehearsing sections, meeting on separate afternoons. The youngest .children (those who do not read and have had no previous choir experience) meet together. The others are divided according to a preference for rehearsal time. All sections combine as one unit when singing in service. "We attempt to give our youngest choristers a background in the various com- ponent parts of music generally, and of "Music worship Specifically, For example, after three years in the Primary Choir„ a chorister can clap and read fundamental note values at sight; he can read and sing intervals; he can sing simple two-part music; he has had ear-training experience; he is familiar with the orchestral instruments, and has been introduced to our most famou6 composers; and he has at least a simple, basic knowledge of the elements of worship. An attempt is made to correlate our music with that of the total church'program. Our Primaries never sing in the morning worship service. They do sing for. two'or three evening services each year, at which time they are the only, choir singing. It is at these times that we attempt to present on a child's level, the place of music in the worship service. They also sing for special occasions: Candlelight Carol Service, Recognition Day, and this year, the dedication of our new church. Once a year we have an informal program for the parents. This is primarily a demonstration of goals we hope to achieve and methods of achieving them. The percentage of attendance at rehearsal and service is quite high. No chorister is permitted more than five excused or three unexcused absences per year. Even with the current epidemic of virus infection and,chicken pox, we seldom have fewer than 90 at the combined rehearsals. A large attendance chart is one of our most popular conversation pieces. Never is a choir member absent without being contacted by a representative of the ministry of music. We have one big party at the end of the year. This year, for instance, we plan a trip to ”Kiddieland”. The Christmas party is held during rehearsal time the week following the Candlelight Carol Service. Weekly surprises must be earned in rehearsal. Each chorister in the children's choirs is remembered on his birthday. The major emphasis in the Junior Choir is hymnology. At the time our Primaries are promoted, they are given a personalized copy of our Methodist hymnal. For them, this book ranks second only to the Bible which is presented by the Church School at the same time. These fourth, fifth and sixth graders are eager to learn the hymnody of our faith. Our Juniors have made a study of hymn-tune names, meter and poetry; they can sing the full communion ritual which is used once a month at Bellaire, and they have the various indices at their command. In short, they are our assurance of good hymn singing, both in choirs and congregation in years to come. Our 82 Junior Choir members sing for two morning services per year: Palm Sunday and Easter, at which time we have 8:00 A.M. services, recognizing members of the class in church membership. In addition, they too sing for occasional evening and special services. Outside activities increase when our choristers reach the Junior Choir. Several summers we have presented operettas, proceeds of which have purchased the material for our Junior Choir vestments, and have paid expenses for one out- of-town concert, and transportation to the Texas Conference Choir Clinic. Each Christmas the shut-ins of the church are visited by the Junior Choir. Shut-ins say they look forward to it with eager anticipation, and the Juniors consider it their finest Christian service of the year. Each season finds several social events on the Juniors' calendar. This year opened with a Western party at a nearby ranch, complete with horseback riding, hay ride, Western movies, miniature golf, and various typical Western pastimes. October 30th, a spooky choir was entertained by one of our student assistants. Following the Christmas caroling, games and refreshments were waiting at the church. Early February saw us at a local skating rink. A swimming party is scheduled for late spring. In addition to our choir mothers, we consider it an invaluable opportunity to enlist the aid of our high school and college students who are considering entering some phase of the ministry. These boys give much of themselves; it is our hope and prayer that they will gain even more in the way of inspiration and experience in the field of church music. Youth Choir, composed of 91 high school voices, sings for the 9:30 service •every Sunday morning. This group is capable of doing most of the anthems in the Adult Choir library. Therefore we have identical morning services. Youth Choir practices Sunday afternoon immediately preceding recreation, supper and MYF program. In addition there are clinic sectional rehearsals during,the week, at which time technical and interpretative problems may be studied. Several small ensembles give further opportunity for study and service. This group does at least one cantata or oratorio each year. This year they will sing Stainer's "Crucifixion's on Good Friday evening. They also combine occasionally with the Sanctuary Choir to present larger works. One of the greatest joys of the Christian service of our youth is what we call our musical missionary journeys. Twice each year, fall and spring, Youth Choir presents an out-of-town sacred music worship service. Usually these are sung in small churches where such a program is a rare inspiration. The entire youth department participates in these journeys, often leading the MYF activities as well. Several times each year, Youth Choir sings for local services, youth rallies, TV programs and the like. They consider this a part of their Christian outreach' Money to defray the expenses of such journeys, the purchase of all choir vestments, transportation to camp, and other similar projects is earned by the group. One of our more recent benefit programs was Gilbert and Sullivan's "H.M.S. Pinafore". Youth Choir is administered by an executive committee, composed of elected officers and appointed section heads. This committee meets once a month to plan and administer all non-musical activities, general policies, transportation, social activities, and eligibility to sing. To be permitted to sing in the worship service, a Youth Choir steward must maintain a 70% average attendance at rehearsal (full and sectional) and services. If at any time he falls below the 70%, he reverts to the status of a probationary member and remains such until the 70% is achieved once again. Finally, the Bell Choir is composed of Junior Choir members who have the highest level of stewardship. This group does not ring for regular services but for special occasions only.

-104- The climax of the church year comes the week-end before school is dismissed for the summer, at which time we have a Festival of Music. On Saturday afternoon are vocal recitals, giving individual expression to worthy choir members. This is followed by an all-choir dinner, at which time outstanding stewardship is recognized and presentations are made to those graduating to the next unit in the School of Choirs. Sunday is Choir Recognition Day, ending with an evening service sung by all the choirs. Thus do the 279 members of our four pre-adult choirs study and serve by "singing to the Lord a new song."

TEN COMMANDMENTS FOR PARENTS Posted in a Bookstore in Oxford, England

Thou shalt love thy child with all thy heart and soul and strength, but wisely with thy mind. Thou shalt think of thy child not as something belonging to thee, but as a person, Thou shalt regard his respect and love not as something to be demanded, but as something to be worth earning. Every time thou art out of patience with thy child's immaturity and blunderings thou shalt call to mind some childish adventure and mistakes which attended thine own coming of age. Remember it is thy child's privilege to make a hero out of thee and take thy thought to be a proper one. Remember also that thy example is more eloquent than thy fault-finding and moralizing. Thou shalt strive to be a signpost on the highway of life rather than a rut out of which the wheel cannot turn. Thou shalt teach thy child to stand on his own feet and fight his own battles, Thou shalt teach thy child to see beauty -- to practice kindness -- to love truth and to live in friendship.

NEAT QUALITIES MAKE FOR SUCCESS?

This question was asked of Wheeler Sammons, who has published "Who's Who" for the past 27 years, and who has studied the backgrounds of millions of successful men and women during that period„ This is his answer: "Concentrate on one goal or idea that is higher than you think you can achieve. This means you have to think straight and keep your ideas practical. Search yourself, to find out what you really want to be, then shoot for it, no matter how high the mark." Here are some of the other qualities listed by Mr. Sammons: 1. Ability to deal with, and influence people. 2. Capacity for working really hard, for giving your all to your job. 3. A sense of satisfaction with your job. 4. Courage to withstand the reverses that you'll necessarily encounter. 5. Good physical condition. 6. A lively interest outside your job. 7. A liberal education that teaches you to THINK. - 105 -

CHRISTIAN SYMBOLISM

Apostles and Evangelists

Simon Peter is usually symbolized by two keys that are crossed in the form of the letter X. The keys refer to Matt. 16:19, where is recorded that Jesus said to Peter, "I will give you the keys to the kingdom of heaven, and whatever you loose on earth shall be loosed in heaven." There are numerous stories concerning the death of Peter. The story that is most popular relates that he was unwilling to die on the cross in the same position as his Master was crucified. Those who St. Peter hold to this manner of Peter's death sometimes symbolize him by forming a. cross with the horizontal bar toward the bottom of the vertical bar.

Andrew was a fisherman with his brother, Simon Peter. His intimate friends were James and John, who also became ardent disciples of Jesus. Andrew was bound to a cross rather than nailed, in order to prolong his suffering. The most common symbol of St. Andrew is a cross shaped like an X. Sometimes two fish, placed to form a cross, are used.

St. Andrew James the Greater, who is often referred to as Boanerges, or James the Elder, was one of the closest friends of Jesus, as we gather from the Bible when references are made to Peter, James and Johm, James was the first of the apostles to suffer martyrdom, dying under the sword of Herod Agrippa (Acts 12:1-2). Here we find partial fulfillment of Jesus' prediction that the brothers should indeed drink of the cup. Stories abound which tell of James founding churches in Spain. The symbolism of James the St. James, The Greater Greater usually consists of three scallops, references to long pilgrimages; cr the pilgrim's staff, or a pilgrim's cloak and hat.

In ccmpany with Zebedee, his father, and James, his brother, John's early life consisted largely of fishing in the Sea of Galilee. John was a quiet and thoughtful man. The Bible refers to him as "the disciple whom Jesus loved." When Jesus was crucified, John took Mary, Jesus! mother, and provided a home for her through the remainder of her life. The serpent, issuing from the common cup is St. John's most usual symbol. There is an interesting story connected with it that an attempt was made to poison John, but the attempt was unsuccessful because St. John the poison vanished in the form of a serpent. Philip introduced Nathaniel to Jesus, advising him wisely to "come and see" (John 1:43-51) if any good thing could come out of Nazareth. Philip is symbolized by a staff surmounted by a cross. Usually two loaves of bread are pictured, one on each side of the cross. The staff and cross refer to his successful missionary journey among the barbarians in upper Asia and Phrygia, where he spread knowledge of Christianity and the cross of Christ. The loaves of h:ead recall Philip's remark when Jesus fed the multitudes: "How are we to buy St. Philip bread so that these people may eat?" (John 6:5).

Bartholomew and Nathaniel are held to be names for the same person, about whom the Bible tells very little. Jesus said of him, "Behold, an Israelite indeed in whom is no guile." (John 1:47). According to traditional information, Bartholomew won King Polymus of Armeniato Christianity. But it happened that the brother of the king was so angry at Barthol- omew that he had him flayed, crucified with his head down, and even beheaded. The symbol of Bartholomew is three flaying knives, or one flaying knife, re- St. Bartholomew ferring to his martyrdom.

Thomas, the seventh apostle according to Matt. 10:3, was also known by the name of Didymus, meaning twin. The best known incident with which Thomas was connected is recorded in John 20:25. "Unless I see in his hands the prints of the nails, and place my finger in the mark of the nails, and place my hand in his side, I will not believe." The carpenter's square, a vertical spear or a lance or an arrow are the symbols of Thomas. Some writers claim that Thomas built a church in India, doing much of the work himself. The spear, lance or arrow refer to his supposed martyrdom, at the hands of King Midsai, St. Thomas for converting Queen Tertia, the king's wife, to Christianity.

Matthew, whose original name was Levi, was a tax collector when Jesus said to him, "Follow me." (Matt. 9:9). Numerous symbols for him are used: three money bags, a purse, a chest, and a battle-ax, The purses or money-bags refer to his occupation as a publican or tax collector before becoming an apostle (Luke 5:27). St. Matthew James the Less, the son of Alphaeus, is also called the Minor or the Little because of his small stature. According to tradition, James at the age of ninety- six was thrown from the Temple by the Pharisees, and stoned by a mob, who also beat him on the head with a fuller's club. Sometimes he is symbolized as lean- ing on a club, and sometimes by a saw with the handle uppermost. St. James, The Less -107- Jude was referred to as Judas Lebbaeus. The Bible records but one question he ever uttered: "Lord, how is it that you will manifest yourself to us, and not to the world?" (John 12:22). Tradition is that he traveled with Simon as a missionary. Jude is symbolized by a sailboat with a mast in the shape of a cross,

Simon was a member of the Zealot party. He was successor to James the Just as bishop of Jerusalem. A fish on a book is the symbol of Simon. The fish refers to his success in fishing for men through the gospel.

Judas Iscariot was the treasurer in the group of twelve apostles. He is well-known as the betrayer of Jesus. When Judas is symbolized at all, a blank yellow shield is generally used.

WORSHIP 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 full-grown Christians. Fellowship is a man- to-man experience, and is important. New buildings are but ve- hicles in which expression may take place. But worship is a man- to-God and God-to-man experience for which man was created, and without which true fellowship with God does not attain depth or 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. This is not characteristic of the non-liturgical church more than any other. An Episcopal church with all its possibilities in form and meaning may be a rote experience or a superficial one in any particular church, The non-liturgical church with its less formal and free approach may find meaning and depth in its worship. 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 during communion and before the prayers -- and some little things like that. The attendance has increased every Sunday. The best attendance-getter for a Sun- day 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. --Dr. O.L. Shelton, in a letter to his nephew, Brent Stratten

- 108 - THE A B Cs of the DO RE MIs

Lesson 67

1Jrite the following melody on the board:

1.Clap the rhythm. 2.Take two pieces of cardboard and hold them on either side of two successive notes to "frame" the interval. Find all the small 2nds; frame them and sing them. Large 2nds; minor 3rds; major 3rds; 4ths. 3.Now sight-sing the whole phrase. Lesson 68 Make flash cards of the following intervals:

'CO

Have class name the interval; find it on the keyboard chart; and sing it. (Give them the pitch of the first note of each interval.) Have the following phrase on the board:

. ,.g ....., iif -- +- ---1

"Here is a tune that uses all these intervals. Can you sing it?"

Lesson 69 Have the following phrase on the board:

Have children point out the different intervals and sing them. Give special attention to the interval of the 6th. Sing the whole phrase.

Lesson 70 Give the children a copy of the song on the back of this page. Ask them if it looks familiar. Clap the rhythm; sing on the syllable la. Read the words together; call attention to the syllables with more than one note. Sing with the words. Tell them something about Bach. Let class take their copies home. Suggest that they play the song at home. C1. CD I—'• Ui CD CD cD — 110 0 CD

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ALL IN THE FAMILY

***** Ernestine Peebles, First Presbyterian Church, Delaware, Ohio. "You will be happy to hear that we are reaping the harvest of our first Carol Choir. Some who sang in that choir have helped in the Crusader (Junior High), have gone on through Chapel Choir (Senior High), and are now singing in our Chancel Choir. They are faithful members. It is a real joy to see this development. Several of these choir members have brought their families to our church and have become members. Four of the boys who sing each Sunday are college age but are not attending school. What a wonderful tie to the church the choir has been. Of course some of the former carol choir members are attending college away from home; two of them are majoring in music, one of the two in church music. The last Sunday in December we have a homecoming service; all former choir members are invited to sing. We've had much good from this service, as I'm sure others have who observe this custom." Mrs. Peebles and her exceptionally sympathetic partner, Yr. Peebles, have given their lives to their choirs. Delaware is a college town, and the Peebles' country home is HOME to the college students who sing in the choir. Mr. Peebles is a printer and in the fall he prints a form on which these students are invited to check their favorite foods, and the dishes that they don't like at all. Sunday evening is Open House and the substantial supper is always made up of favorite dishes. Every Sunday from September to Junel That is a program few of us could imitate, but all of us can admire. ***** Bob McGill, Grace Church, Skinker Blvd. at waterman Ave., St. Louis 12„ Mo. Bob's article in the International Journal of Religious Education, on which he and his minister collaborated, brought more than 70 inquiries from all over the country and Alaska. He answered all of them personally and urged them to join the Choristers' Guild. "It is the best thing going today for help in the choir program." That is the sort of recommendation one can't buy at any price. ***** Jim Camp, formerly of Oklahoma City, is on his way to Japan to be the first music director at the Canadian Academy (an elementary and secondary mission school) in Kobe. Jim will be the first Guild member in Japan, but knowing Jim, there will be others before long.

***** To the list of seminars on Page 64, add the following: April 19-20, Portland, Oregon--Mrs. LeRoy Rulifson 3301 S.E. Madison Street May 12-13, Orlando, Florida--Edwin Irey First Baptist Church, Pine and Main Sts. June 16-19, Portland, Oregon--Mrs. LeRoy Rulifson 3301 S.E. Madison Street

***** There's a whole box of Christmas programs and ideas waiting to be organized for your assistance next year. Thanks to all of you who sent them. But we're still looking in that mailbox for your reactions to the hymn studies, the Letters, the pin and the cross. (See Letter No. 5.) we really DO want your help.

**** The Santa Barbara chapter of the Guild probably has the distinction of having in its membership the oldest, actively engaged children's choir director. Mrs. Lena Lawrence will celebrate her 89th birthday in April. She attends the chapter meetings regularly, and her children all love her. ***** Leslie says the last issue of the UTTERS was too "preachy"., Sorry:

- 111 - The Lowders, Earle and Norma, an enterprising couple, ministers of music of the Methodist Church, Bellaire, Texas, persuaded the Council of Churches of Greater Houston to sponsor a seminar in their church, June 30-July 4. The faculty includes: Mabel Boyter, Ruth Krehbiel Jacobs, Margaret Kendrick, Austin Lovelace. For information, write Mrs, E.B. Lowder, Box 266, Bellaire, Texas. Members are reminded that the Certificates of Choir Membership are available again. They are on gcld-colored heavy stock, Old English type, and 6x8 inches in size, The certificates are suggested for Choir graduation so that youngsters who do not receive pin awards, will have something to call their own. There is space for your signature, and/or that of your minister, They are 50 each in quantities of 100 or mores postpaid. For lesser quantities, add a flat 25(t per order. Order early if at all possible because each is personally signed by Ruth as head of the Choristers' Guild. Nearly ten thousand were used last year during graduation time. The little folder included in a recent issue of the Letters announcing the new book, THE CHILDREN'S CHOIR, was prepared without proof being submitted. The Guild P.O. Box is 211 instead of 1087. Further, since the Guild has no bookkeeping facilities for charge accounts, it would help me just a lot for you to send a check with your order if at all possible. However, if your church insists on statements, they can and will be sent, in order that you may have the book.

Every Director needs the refreshment and energizing of summer study and contact with others in his field . . . . Plan to attend the CHORISTERS' GUILD SEMINAR Kansas City---July 7-12, 1958 For the finest highly specialized training and help for your work with boys and girls. A summer vacation with a purpose in completely air-conditioned buildings. You will be stimulated by the teaching of Ruth Krehbiel Jacobs Mabel Boyter Williams Lemonds and others. Mr. Lemonds will guide you in your work with, and thinking about, Junior-Hi youngsters and the difficult Hi-Schoolers. He has been particularly successful in these areas. Every director who has previously attended a Choristers! Guild Seminar, and desires it, will enjoy the opportunity of practise directing and supplementary classeS.

For all information, write:

CHORISTERS' GUILD 47 El Arco Santa Barbara, California MAY THE GRACE OF CHRIST OUR SAVIOR John Newton Sardis Ludwig van Beethoven 1725 - 1807 8.7.8.7. 1770 - 1827

1.May the grace of Christ, the Sav iour, and the Fa-ther's boundless love, 2.Thus may we a - bide in un - ion, with each o ther and the Lord,

With the Ho-ly Spir- it's fa-vor, rest upon us from a - bove. And poss-ess, in sweet com-mun-ion, joys which earth can-not of-ford. A-men.

1.'iTould this hymn be used at the beginning or the .end of a service?

2.A church service closes with a Benediction. TriThat is the meaning of BENEDICTION?

3.What is the origin of the benediction?

4.Copy another benediction that is used in your church.

5.Is the benediction usually said, or sung? Thy? 6.

7.For the words that are underlined, fill in a word that makes the meaning more clear. Thus may we abide in union with each other and the Lord, And possess in sweet communion joys that earth cannot afford

8.Nhat does a good chorister do during the benediction?

Ask your minister to help you with 2, 3, and 6. A good chorister can answer all the others alone. - 113 - NEWS from the CENTRAL IOWA CHAPTER of the CHORISTERS' GUILD President -- Mrs. W.G. Haslup, 605 11th St., West Des Moines, Iowa Dear Mrs. Jacobs, Enclosed are duplicates of a letter and rules sent to Iowa composers by our Contemporary Music Committee. We feel the need of recognizing contemporary composers and their music. Each year one will be chosen for our Spring Festival. Perhaps other chapters will want to recognize their composers in like manner. Ne are enthusiastically looking forward to our Fourth Annual Workshop-Festi- val. Our director this year is Miss Marion Marr from our own Drake University in Des Moines. Our November meeting was highlighted by a very fine speaker, Dr. Earl E. Harper, head of the Fine Arts Department, Iowa City, Iowa. He spoke on "The Use of Hymns with Junior Choirs." He gave inspiration to all of us. The Letter Sent to Iowa Composers Dear Friend: Composers today deserve support. we'd like to give them ours by performing their music and by assisting in having it published. Accordingly, we are inviting any composer, resident in Iowa, to submit music for this committee to consider. The music thus selected will be performed by massed youth choirs sponsored by this Guild. The performance of the SAB number will be on Reform- ation Sunday in the fall, and of the unison or sa number at the Festival of Youth Choirs in the spring. (See attached sheet about directives about this music.) We have the assurance of publishers that, with the quantity of music these choirs purchase the music selected will be published. "re hope that this effort to assure performance and publication will encourage the composition of worthy music for youth choirs, and focus wider attention on the composer of this state. Signed: John Dexter, Chairman Contemporary Music Committee CONTEMPORARY MUSIC PROJECT The project to encourage the composition and publication of worthy church music for youth choirs is open to any composer now resident in Iowa. TEXT: 1.The text should be meaningful to children. 2. Text is not limited to Biblical sources. As several denominations participate in the use of the music, however, care should be taken that it would logically be acceptable to all users. 3. Text may be general or seasonal as long as it is suitable for performance in a Christian Church service. MUSIC: 1. The Guild uses two categories each season: a. Unison or two part; b. SAB. a, Music should be written for 3rd to 8th grade children. The range of the voice parts should not exceed soprano high-G, or alto middle C excessive- ly. A combination of unison and two-part is entirely acceptable. b. Music should be written for Junior and Senior High children. The range of the voice parts should not exceed soprano high-G, or baritone C below middle C. A combination of unison, two-part as well as three-part writing is entirely acceptable. Generally speaking, a range not exceeding an octave in any one voice part is desirable. PUBLICATION: 1.The music is to be inscribed to the Central Iowa Chapter of the Choristers! Guild. 2. The composer is free to arrange publication with any publisher he desires. The Central Iowa Chapter of the Choristers! Guild, however, will be happy to assist in securing the publication with a reputable publisher, once the music submitted is accepted for use by the chapter through this committee. 3. All manuscripts must be submitted for consideration by February 1, 1958. - 114 - RULE MR CONGREGATIONAL SINGING JOIN \A/6S[1Y

4,z5urrec-Go 11

7.Above all sing spiritually. Have an eyp to sod ‘r, evtry word you sing.Aim at pleasing -11-iirn more than yourself,or any other creature. ffn order to do FrtyAzr this, attend strictly to the sense fnuidanccz of what you s!ncl ,and sesz that your heart is not carried away with the sound, butoffer- I ed to God continually; so shall your singinci be such as the Lord wthld approve of berg, and reward you when lift corneth in clouds of heaven.

6tP:;...... b ‘,,, Discipleshi p Irhca 14)rcrs ,Su pp e r

Christian Home and family

Tha Holy Scriptures

The Church The Ministry CHORIERSI GUILD LETTEaS

Volume 9 1957-1958 Number 9

CheriFters. Guild hox 211 Santa Ba2ba2a, California Copyright (c) 1958 -- Choristers' Guild

After a year of hard work, of little successes and big (for the moment) frustrations, May is likely to be greeted with relief as the end of the season. But the real joy of May, 'after a few days of decreased pressure, can be the stimulation of planning for a new season. Our- first concern is to find interesting new music. That is a major under- taking, and the next few pages are intended to help in that search. The anthems in these lists were selected from hundreds of review copies sent by the publishers. The chief consideration in these selections was usefulness; numbers that could become a worthy part of the repertoire of the average choir. For every one included in these lists, there were ten times as many discarded. The numbers starred are especially recommended for festival use. Those with the double star were among the past season's recommendations, but are so exceptionally fine that they bear repetition. Code: J -suitable for Juniors; T -for Teen-age Choir; A-for Adults. GENERAL A Child's Prayer -- Taylor Oxford Univ. CS 1006 J. Fine; childlike in spirit and text. Come, Children, Join to Sing -- Larson Schmitt 216 J. Hymn tune; appropriate changes in accompaniment for each stanza. Father, Hear the Prayer We Offer -- Brook Novello Chor. Ser. 101 J. A useful prayer anthem, suitable for children. Forever Blessed Be Thy Holy Name -- Handel-Perris Birchard 2128. Good to acquaint the children with Handel; very singable, not difficult. God's Two Dwellings -- Lang Novell() Chor. Ser. 103 J. Canon style, but can be used in unison; a prayer; churchly in character. Jesus, Live Within My Heart -- Jordan Birchard 2122 J. 3/4 time; should not be sung too fast. Let Us With a Gladsome Mind -- Means Gray 2498 J.T.A. Strong; unison. 0 Come, Let Us Worship the Lord -- Dickinson Gray 266 J.T.A. Useful for any choir or combination of choirs. 0 Lord Our Governor -- Marceilo Concordia 98-1045 J. One of the early classics, good experience for the choir; nice contrasts. Praise We the Lord -- Elliot Novello Anth. 1343 J.T.A. An uncomplicated anthem for combined choirs on Thanksgiving. Psalm of Praise -- Darst Gray 2471 J. Melody keeps a steady pace; good for starting two part work. Sing Praises to God -- Frances Alliams Flammer 86112 J. Few words to learn; interesting interplay of two voice parts. Praise My Soul, the King of Heaven -- Clokey Flammer 86149 J.T.A. A good unison anthem for children or combined choirs. The Saints of God -- Reed C. Fischer CM 7019 J. Vigorous in text, melody and tempo. We Thank Thee, Lord, for This Fair Earth -- Harvey Novell() H.C. 3. Singable; good text. - 116 - CHRISTMAS * All Were There -- Lynn Ditson 332-40083 P.J.T.A. Charming, simple, unusual. Christmas Comes in the Morning -- McKay Summy 1597 J.T.A. Slightly modern in feel (parallel fifths), simple and singable. Text: the spirit, rather than the events of Christmas. * Christmas Meditation -- Lapo Row Music Co. 495 J. Written for solo and satb. Using only the solo and the accompaniment it makes a lovely, quiet, short number for Juniors. Let the Infant Jesus Sleep -- Jenkins Morris & Co. P.J.- Childlike, easy to learn; tells the animals to be quiet, not to wake the Baby. * Manger Carol -- Sowerby Gray 2419 Familiar French carol (tune: d-d -e-f -d -a-a -a). Unison, with unusual and effective accompaniment. Mary Sat Spinning -- Christiansen Augsburg 1180 J. Quiet; easy; few words to learn; hummed interlude should be played on organ instead. Of the Father's Love Begotten -- Rodgers Gray 2427 J.T.A. Exceptionally good accompaniment; fine for T.A. For Juniors, have them sing melody only and use the first stanza accompaniment on all stanzas. * Peace on Earth -- Lovelace Choral Services, Inc, 133 J. Unison,- lilting, good range, to be sung "quickly, with expectancy". Ring Dells, Ring -- Raphael Augsburg 1195 J. With satb part played on bells, this should be an effective number; easy melody. The Babe in Bethlehem's Manger Laid -- Buebendorf Flammer J.T.A. Straightforward; a useful anthem for combined choirs. The Savior Now is Born -- David H. Williams Gray J.A. A flute-like melody answered by an satb phrase. PALM SUNDAY and EASTER * Alleluia to the Triune Majesty -- Warner Birchard 2066 J. sa or U. Energetic, steady rhythmic urge, but does not encourage shouting. Blessed in the King -- Brandon Augsburg. J. Churchly, not difficult. * Christ Our Lord is Risen -- Hutson Gray 2509 J.T.A. Unmistakably joyous, it sings itself. * Christ the Lord is Risen Today -- Eichhorn Gray 2124 J. U. with optional descant; easy to learn and easy to sing. Lift Up Your Heads, Ye Mighty Gates -- walker Gray 2452 J. Rather stately, but with spirit; fine text. Sing Hosanna -- Sullivan -- Davies Flammer 86145 J. Melody easy enough for the Primaries; a happy Palm Sunday number. COMBINED CHOIRS Blessed Be the King -- Harter Flammer 84502 Antiphonal throughout; easy. Blessed Be the Lord God -- Wennerberg Augustana Book Concern 21. Short; antiphonal; text from Psalm 28. Hosanna, Blessed Is He That Comes -- Mueller C. Fischer CM 7017 An easy and effective setting of the Gregor tune; antiphonal; Palm Sunday. How Beautiful Upon the Mountains -- Gibb Boston Music Co. 2919 Use children on the solo sections; majority of anthem is satb. May the Grace of Christ -- Eldridge Novello Sh. Anth. 325 A short benedictory anthem to be sung by all, with children on soprano part. St. Francis Hymn -- Olds Hall & McCreary 1570 A very effective arrangement of "All Creatures", but it needs to be well rehearsed. Sing This Joyous Morning -- Larson J. Fischer 9039 Christkas; easy; straightforward. Unto Thee, 0 Lord Aulbach C. Fischer CM 4824. Very easy and effective. - 117 - TEEN-AGE CHOIR All Praise to God -- Vulpius - Aufdemberge Flammer 84491 1st stanza unison; 2nd ssa; 3rd satb with descant; chorale tune. An Easter Chorale -- Bach-Tucker Summy 5020 Satb chorale followed by effective but easy polyphonic alleluias. Awake, Awake to Love and Work -- Thiman Gray 2411 Strong text; sturdy melody. Hosanna, Lord -- Clokey Flammer 86126 Unison; voices and accompaniment closely interwoven; useful. My Sheep Wandered Through All the Mountains -- Graham Elkan -Vogel 1124 Quite unusual; good voice range; comparatively easy satb. Now with Hands to God Uplifted -- Lotti E.C. Schirmer 1696 Fine church style; legato; worshipful. 0 God, Beneath Thy Guiding Hand -- Bristol Gray 2444 Good for Thanksgiving; alternates 5 and 6 counts to, a measure; easy harmonization. 0 Be Joyful in the Lord Ortlip Birchard 2126 Excellent; quite exciting. Shepherd of Tender Youth -- Darst Birchard 2116 Partly two vocal lines, otherwise unison; useful. The Souls of the Righteous -- Thiman G. Schirmer 10594 Unison; splendid setting of text. Thou Art the Way -- Lovelace Summy 5076 Unison and easy satb; useful The Altar of my Heart -- Lovelace Summy 1598 Melody divided between men and women's voices; hymn-tune uKedron", to be sung "with "stately swine. The Spacious Firmament on High -- Thiman Novell() Anth. 1346 Not difficult, but would not be effective with a very small choir. Quite majestic. Thou Knowest, Lord, the Secrets of Our Hearts -- Purcell Novell() Anth. 1339 An old standard; good vocal and church training for young people. COLLECTIONS and CANTATAS A Little Christmas Cantata -- Dietrich Concordia For recorders (or flutes), violins and cello or organ. Chorus parts very simple, mostly stanzas of a chorale tune; the narration according to St. Luke, is sung in chant style by one male voice. ' A Nativity Cantata -- Wienhorst Summy Scored for two flutes, two violins, cello and choir, but so arranged that organ could be substituted for the instruments. Choral parts simple but fine. Narrator's part could be either chanted or• spoken. Excellent for the teen-age choir with much ambition but limited ability. Christmas for the Very Young -- Upshur Flammer Perfectly charming little nativity play for the Primary choir. The six songs are delightful in themselves, but combined with the tableaux (also Primary children) they make a choice little Christmas celebration for parents or church school department. The Feast of the Star -- Friedell Gray A pageant for Epiphany in which all the choirs as well as the congregation can participate; musically very effective; the candle-lighting ceremony a very fitting close for a service celebrating Jesus as the light of the world. Five Sacred Songs -- Heinrich Schuetz (1585-1672) Concordia 98-1370 A challenge for the really superior Junior Choir. Praise Him -- Ringwald Shawnee Press The finest sab collection available; superior in every way; recommended without reservation; 42 numbers -- all excellent. Service Music for the Adult Choir -- Curry Westminster Press Introits, responses, amens; useful for the Teen-age choir. - 118 - (Continued next page) COLLECTIONS and CONTATAS (Continued) The Chelsea Unison Choir Book -- Frances Williams Flamer Excellent for the JuniOr Choir that needs simple, eingable music that is not trite. ANTHEM USED WITH GREAT SUCCESS IN 1957-58 FESTIVALS Jesus Was Born in Bethleham -- Marshall C. Fischer The Gifts a Child Can Bring -- Rawls J. Fischer 8899 Christ the Lord Is Risen Today -- Davis Remick 10-G 1855 0 Lord of Heaven and Earth and Sea -- Larson Schmitt 209 A Carroll -- Jacobson Birchard 965 Jesus, Blest Redeemer -- Grieg-Black Gray 1687 Prayer of St. Richard of Chichester -- White Oxford Univ. Press E-43 Spring Prayer -- Caldwell Birchard 2113 Rise Up Early Kountz Galaxy (2 part arrangement) 0 Love of God -- Thiman Novello MT 1195 FESTIVAL NUMBERS FOR ADULT CHOIRS A Mighty Fortress -- arr. Frances uilliams Flamer 84463 Some portions ssa with men on melody; excellent. Except the Lord Build the House -- Bit good Flamer 84499 Splendid both in text and treatment for dedication of a church. *Jubilate Deo -- Purvis Leeds L-143 An exciting unison number, with strong and unusual organ accompaniment. *0 God Our Help in Ages Past -- Whitney Gray 2435 Organ, voices and optional trumpets; congregation on last stanza. Old Hundredth Psalm Tune -- Vaughan Williams Oxford Univ.Press Recommended before; fine for festival use; organ, voices and trumpets. Variants for "St. Anne" Coke-Jephcott Gray 2493 Long organ interludes between stanzas; optional trumpets and timpani. AROUND THE YEAR WITH THE PRIMARY CHOIR Compiled by Mrs. Haskell Boyter DEDICATION SERVICES The Hymnal for Boys and Girls Parker and Richards Fleming H. Revell What Can I Give Him ...... No. 161 Song Wings Book II Birchard God Make My Life No. 103 AUTUMN and THANKSGIVING Sing, Children Sing Thomas Cokesbury Autumn- Comes p. 62 Father, Ige Thank Thee . • p. 68 Songs and Play for Children Danielson and Conant Pilgrim Press Thankful Children p. 31 For Sowing and Reaping . • p. 32 CHRISTMAS Sing Children, Sing Thomas Cokesbury The Glad Time p. 69 Play Sweet Music . . . p. 77 The Manger Cradle . . . p. 72 Songs for Little People Danielson and Conant Pilgrim Press Christmas Song . . . . . p. 56 Common Service Book with. Hymnal Bd. of Pub. United Lutheran Church As Each Happy Christmas Dawns p. 549 Hymnal for Boys and Girls Parker and Richards Fleming H. Revell Little Jesus, Sweetly Sleep p. 132 Jesus, Our Brother . . . . . p. 135 Christmas Carols -- Series I Grime C. Fischer Giddy-up, Dear Little Donkey Christmas Carols -- Series III Grime C. Fischer We Meet Around the Manger Bed p. 3 God's Gift to Us P. Shepherd, Blow Your Horn . p. -119- EASTER Song Wings -- Book II Birchard Happy Easter Day p. 96 Alleluia I. p. 36 Song Wings -- Book Birchard Easter Praise . p. 58 Songs and Pictures Foresman American. Book Co. Easter Carol p. 83 Songs with Happy Thoughts for Children Burnam Willis Easter Lilies p. 7 (for 4 and 5 year olds) SONGS OF NATURE Union Hymnal Central Conference of American Rabbis Who Taught the Bird p. 247 Songs for Little People Danielson and Conant Pilgrim Press The Father's Care p. 11 Let's Sing Thompson Augsburg Press God, Our Loving Father . p. 34 Hymnal for Boys and Girls Parker Richards Fleming H. Revel Dear God, 'Twas Thou Didst Light the Stars p. 160 Songs and Pictures Foresman American Book Co. Little Things p. 7 Concord Hymnal Huntington-Robinson E.C. Schirmer Each Little Flower That Opens . . . . p. 88 Songs with Happy Thoughts for Children Burnam Willis When I Close My Eyes p. 16 MISCELLANEOUS SONGS Teachings of Jesus Series I Grime C. Fischer Songs for Little People Danielson and Conant Pilgrim Press The Extra Prayer • . p. 14 Songs and Play for Children Danielson and Conant Pilgrim Press When I Am Happiest, I Sing p. 1 The Hymnal for Boys and Girls Parker-Richards Fleming H. Revel Glad That I Live Am I p. 122 The Whole World Singing Thomas Friendship Press Lovely Appear p. 119 Songs of Praise for Boys and Girls Deamer-:Ttms5Shaw Oxford Univ. Press Jesus, Friend of Little Children . . God Whose Name Is Love p. 63 ) good for 4 and 5 year olds God Made Little Robin p. 60 ) Can You Count the Stars p. 47 Songs With Happy Thoughts for Children Burnam Willis When I Say A Prayer p. 7 Little China Girl p. 11 When Moses Was A Tiny Baby p. 28 Things I Know About David p. 29 Little Indian Talks to God p, 30 INTROITS AND RFSPONSES Let's Sing Thompson Augsburg Surely the Lord p. 11 Lutheran Hymnal Jesus, From Thy Throne On High . . . . p. 578 (first stanza) Heavenly Father, Send Thy Blessing . . p. 569 (first stanza) Jesus, Tender Shepherd, Hear Me . . p. 585 The Hymnal Presbyterian Board of Christian Education -- Philadelphia May the Grace of Christ Our Savior • . p. 495 Hymns for Primary Worship Tiestminster Press Just Before I Sleep Tonight p. 48 - 120 - SUGGESTED PATTERN FOR A 1958-59 FESTIVAL PROGRAM

Procession of the Choirs Jubilate Deo -- Purvis would be an excellent selection, using the organ only for the procession, and then having the festival chorus sing it for the - -- Choral Call to Worship Invocation

Hymn of Praise (Choirs and Congregation) Words of '.1elcome

Prayer and Choral esponse Anthems of Thanksgiving and Praise Introduced by Verse Speaking Choir Psalm 100

Anthems of Advent, Christmas and Epiphany Introduced by Verse Speaking Choir The Christmas Morning -- Elizabeth Roberts Anthems of Holy ',reek and Easter Introduced by Verse Speaking Choir The Earth Worshiped -- Catherine Coblentz Remarks; or Story for the Children (see A Family Quarrel) Offering

Closing Anthem (based on a familiar hymn) in which congregation can participate 0 God, Our Help in Ages Past -- Whitney -- would be a good selection. Benediction Recessional

GETTING STARTED ON A FESTIVAL Select music that can be used throughout the year, and USE IT. The music should not be too difficult for any one participating choir. Have selected numbers on hand for the first rehearsal in the fall. If possible, read through the music with the festival director before starting rehearsals with the children. Otherwise, have all the participating directors study it together, and agree on a common approach. Repeat one or two of the most successful numbers of previous festivals. Include opportunity for congregational participation. Include the words of the hymns in the festival programs.

- 121 - A FAMILY QUARREL Dr. Frank B. Fagerburg A few days ago, as I was walking in the hall up behind the organ, I imagined I heard some voices. They seemed to be arguing among themselves. I unlocked the door( and stepped- into the organ chamber. You would be surprised to know what I saw. I found myself in a great apartment with two or three rooms -- a place larger than many homes in which people live. I was surrounded by a forest of pipes. Some were made of metal and some of wood. They varied in size all the way from the biggest wooden pipe, about tw r,t inches square and thirty-two feet tall, which sounds like trikk largiast-diap4aQp-IATe-), to the tiniest metal pipe no bigger than a toy whistle, which sounds 11111044b4440K .4. , The organist, in play- ,14080-tiniptitidbftitekse/, " , ing the pipes, iiust use not Only the ten fingers of-iiiieLhands upon several rows of keys, but also litits two feet upon a row of wooden pedals. Now the voices seemed very real indeed. Yes, they were quarreling--disput- ing among themselves about the same old subject we had heard so many times: Who is the most important? The different families of pipes wrangled ill-tem- peredly, each group claiming itself to be the most important part of the organ. Above them all I heard the deep, rich tones of the Diapason family: "It would be foolish to imagine that any other family could mean quite so much as we do. All organ music is built around the diapason tone. See how our pipes are made of various materials -- the largest ones of wood; some of pure tin; and those of zinc. The walls of our pipes are very thick. Listen to our son- orous tone, and imagine how thin and weak your music would be without us." (prganist plays-"The-God of Abraham Praise"-, using - only- diapason Lone-;) But before the Diapason family had time to finish, the Flute family broke in, shouting "Pshaw! Where would the organ get the quality that makes it so much like an orchestra if we were not here? We supply tones like those that come from the flute. We too must be made some of wood, and some of metal. Listen to us, and you must admit that our tones are loveliest of all." (Or,- ganist- plays_ ___!!Evening-Prayer , using cry-flutes. ) But other voices rudely interrupted. "Orchestra? Did someone mention the likeness of an organ to a great orchestra? But where would an orchestra be without violins, violas and cellos? We are the String Family. Our voices are soft and sweet because we are made of soft metal with thin, delicate walls. Listen to the matchless beauty of our voices." (Organiot plays-___!!Away_in_a---14az4=- strings-r-} Then a fourth family broke in. "Tut, tut: We are the Reeds. We belong in a special class. We are the aristocrats of the organ. We have been made to imitate the soft woodwinds such as the clarinet and the oboe. We have been blamed for the difficulty of keeping an organ in tune, but that is not our fault at all. It is because we remain in tune, and the other families leave us when it is a little warmer or colder. We are very proud of our many solo voices; indeed we have one called the Vox Humana, or human voice, a tone that sounds like the voice of a real human being. ($-;-- - a few-net-es-on-the-Vex Ham. Listen to us and all of you will back away ashamed!" Organst-k-mri mThe.=strife-701 4aru, using al4ly reeds.) Then some other voices joined in the argument. "We may not be a real part of the pipe organ, for we are not made to sound with air blown through pipes. Rather, we are bars of metal struck with little hammers. But we imitate that instrument of which we always hear in descriptions of heaven. We believe that our music is sweetest of all. We are the Harp. When you hear us you will imagine that music fingers are plucking strings of gold." Then from far-avay, other voi5es,called. They came from theextreme,rear of the:sanctuary. "W-0 are' the Eche Organ.„---Wefiavemambers‘...Qf -the Plute, Sthing, and the Rebel families. We are not large: but very, very important. - 122 - Distance lends enchantment, and we send beautiful tones far across the great space ofthe worship room like choirs of angels chanting from the skies. Then, too, the' CHIME/familyilives with us: The chimes sound like bells in a beautiful ch ch:tower. Listen' while We prove what we can do. (Organist-plays "Silent Night", using only the-echo organ.) I could not keep silent any longer. "Shame on you--Diapasons, Flutes, Strings, Reeds, all of you. You are just like us human beings: we are all very different. Some are men, some women; some tall; some short; some old; some young; some are white, black, brown or yellow. But no group is more important than another. We all need each other. Life would be uninteresting if we were all alike, and this organ would be impossible if we relied upon any one of you fine families alone. But all together you are wonderful. Show me how beautiful and powerful you can be when all of you play in harmony." (GygAniet-Tilays, .beildi-nig-tip-tpe-a-fulI-organ-fort at the-end%) REHEARSAL TECHNIQUES , Alice Lyon -- First Congregational Church, Billings, Montana i Ours is a downtown church of slightly over two thousand members in a community of about sixty thousand. Membership in our choir is open to anyone who can attend regularly and feel a real enthusiasm for the work of the choir. When we are limited by a lack of seating space, or robes, a rotation system of performance is used. We have five choirs: Children's (4th grade--32 members), Plymouth (5th and 6th grades--62 members), Youth (7th and 8th grades--39 members), Pilgrim (9th-12th grades--50 members), and Chancel (adult--45 members). Each of these choirs participates in one of the two services each Sunday; the two younger choirs alternating weeks on the anthems, but sing the hymns and responses each week. The three youngest choirs leave the service atthe Children's recessional hymn before the sermon. These three choirs have after-school rehearsals, from 4 to 5 o'clock, and because they come from widely varying distances, arrive as much as half an hour early. There is no play area outside, but our rehearsal room is large enough for them to let off a little steam until time to begin. We have little disciplinary difficulty because there is always so much to do to get ready for the next Sunday's service. The free time before rehearsal is often utilized for work on memorizing music. The rehearsal begins with the singing of the Chorister's Prayer, a "gathering together" time to remind them that they come not just for a good time, or a singing lesson, but to prepare for a worship service. During the rehearsal, as much time is spent on the spirit of their offering as on the music itself, for we stress that the purpose of the choirs is not to "show off", but to give them training in the responsibility of actual service to the church. When points of pronunciation or interpretation have been explained, we sometimes let half the group listen while the others sing, to see if words are clearly understood, or if expressions of praise or prayer come across. Hearing a group sing often corrects errors that were not understood in the spoken explanation. Sometimes we learn the words of a song first, sometimes the tune. We feel that if the words are learned separately as a poem or statement, they will be better understood, than if concentration is divided between the words and music. .We often have them listen to the tune several times before they sing it. Sometimes they direct it with me, lowering or raising their hand as the tune rises or descends. This gives them a more visual picture of the shape of the melody, especially where wide or unusual skips occur, and it en- courages active listening. When they begin to sing the tune, we often hum it first or sing it on "la", if it is legato. When it is- a more bouncy tune we sing each note staccato, on "doo". At the end of rehearsal, we proceed into the sanctuary to try the hymns and anthem with the organ. We are fortunate in having ari active Choirmothers' organization. Their members assist at the fall registration, and at rehearsal and Sunday services. Not only is this association with the mothers helpful to the choir set-up, but to me, for as I talk and work with the mothers, I gain a better understanding of the children. - 123 - ALL IN THE FAMILY Mrs. E.D. Callender, 130 Franklin Ave., Pearl River, N.Y. "You will be interested to know that the church which has a nembership of 700 has 96 in its youth choirs. We are so happy about this because we feel that these choirs are a very important factor in the religious training of our youth." Walter Davis, 120 S. Broad St., Middletown, Ohio. "My Wesley Choir raised money for their new vestments by having a paper drive and by selling doughnuts. All in all they made nearly 000.00, which shows what 4th-5th-and 6th grade boys can do if they get interested in something. The robes mean a lot more to them now that they have worked for them." Vivian Blum, Monroe, Wisconsin. "I am looking forward to Father's Day when the boys choirs sing with their dads. By doing that I have rounded up some excellent material for my adult choir." Kathryn Hill Rawls, 1805 37th St., N.W., Washington, D.C. "I have divided my Junior Choir (9 to 14), taking the Junior High students separately. They were always the offenders and gave me most of my gray hairs. Now they are very decent, and are proud of their choir. The use of the Ser- vice cross at each performance has solved all discipline problems." Mary Wigent Hornberger, Garden City Community Church, Stewart Ave. and Whitehall Blvd., Garden City, New York. "During my first two years at this church we were invited by a New England church to exchange choirs. This was done over the Easter vacation. The children left by train from New York City and arrived in Boston four hours later. After we were delivered to the church the children were taken'to the host home where they stayed the weekend. Friday evening was spent visiting the family. Saturday they were taken into Boston for sight-seeing and a box lunch on the Common. After dinner in the evening there was a party for both choirs at the church. Sunday morning the guest choir sang for church service, and after Sun- day dinner we took the train back home. Two weeks later the New England choir came down and the same plan was followed. I have written a number of churches in Philadelphia, Washington and even Williamsburg to see if such a venture could not be planned again. Not only have I met frustration in the written replies, but too often my letter has not even been answered. This is inexcusable. I have therefore thought of an idea that might help. Would you print this letter in one of the Choristers' Guild Letters, and anyone interested could write me directly?" (Good luck, Mary. It's a fine idea.) Virginia Cheesman, Teacher of Children's Choir Methods, Westminster Choir College, Princeton, New Jersey. "At Westminster we have a Laboratory Choir of about 55 boys and girls of different races and creeds that meets every Thursday afternoon in conjunction with the Junior Choir Methods Class. Shortly after three the children begin to come across the campus, hurrying to get into their teams--the Sharp team, the Fer- mata team, the Crescendo team and the Clef team. Junior students at the college are the leaders and help their teams to learn music and words to earn points for their side. Each has a large attendance chart with its special musical sign above it. Attendance is marked with a note, and an absence with a rest." CONGRATULATIONS to Milwaukee on the birth of a new Choristers' Guild chapter. The directors who had participated in their very successful children's choir festival voted unanimously to strengthen their association by becoming a Guild chapter. Louisa Triebel, Parkland Presbyterian Church, Flint,Michigan, writes that from a total church membership of 600, she has a membership of 161 in her choirs. Can anyone top that record? From the responses regarding the use of the Guild cross, a pattern for its use is gradually emerging. It is interesting to see how many members are ordering a single cross for their church and children to see. - 124 - JUNIOR DAY CAMP Betty Pidgeoh -- First Presbyterian Church -- Santa Barbara, Calif.

Our church has sponsored a Junior Day Camp for two successive summers, and we plan to continue this summer. This program was initiated because we were reaching only a few children of this age group in our Vacation Church School Program. Registration in the day camp is limited to boys and girls who have completed the third, fourth, fifth and sixth grades in public school, and who will attend the full session of the camp each day of the week unless they are ill. This limitation was adopted in an effort to assure a group feeling in the camp, and to augment the continuity in program. We feel this purpose has been accomplished and is worthwhile.

The camp site is a park within the city limits, and close to a bus line, so that all juniors are responsible for their own transportation to and from camp each day. Camp is held from 9:30 A.M. to 3:30 P.M. each day, Monday through Friday, for one week. A small registration fee of 't1.50 is charged for the week, to help cover the cost of study and activity materials and milk for lunch. Each camper brings his own Bible and his own lunch to the camp each day. The difference between the total cost per camper and the registration fee is furnished by the church.

The average cost per camper, approximately, is as follows, exclusive of craft materials. - These materials can be as expensive or inexpensive as you care to have them, depending on the type of craft you choose, of course. We spent approximately 300 per camper on crafts.

Workbook and materials .30 Milk (1/3 qt. per day) .40 Paper, Pencils, soap, towels, leaders' materials, etc. .65 "1.35 Plus crafts, $.30, or a grand total of $1.65 per camper.

We used game equipment, scissors, crayons, etc., from the church school supplies.

The camp schedule is as follows:

9:30 Singing -- fun songs, and then some hymns. 9:45 Thoughts of God -- a small booklet is written for this brief worship period, with guidance for each day's Bible reading, thoughts, and prayer. Each camper finds a place apart from others for his private "Thoughts of God". 10:00 Class period and related activity. Classes were divided by- age groups, and we use our Westminster Vacation Church School materials, which include a workbook for the pupils. (Outside, in a park, studying this material becomes fun;) Activity connected with the class study includes workbook work, dramatic play, charts, etc. The last day the classes share their activities with each other. 11:15 Recreation -- including a choice of organized active games, table games, or free play within ESTABLISHED BOUNDARIES. 11:45 Preparation for worship. A volunteer planning committee plans the worship for the next day. The rest of the group learns the hymns or litan- ies to be used that afternoon. 12:15 Lunch -- including some singing and stories at the table. (Continued next page) -- 125 -- Day Camp (Continued) 12:45 or 1:00 Rest Time -- Campers can choose between a continued story by one of the leaders, or individual reading, but they must lie down and not talk. 1:15 or 1:30 Crafts or Nature -- Campers choose their own group. 2:15 or 2:30 Recreation -- as in the morning; or continued crafts. 3:00 Vesper Service -- worship led by Juniors after the first day. Talk by one of the ministers, or one of the leaders. 3:30 Home. This schedule has seemed to suit our purposes, but might not work under different conditions. We have tried to include the essential elements of a vacation church school, and at the same time give the Juniors the feeling that they have really had a day at camp. We have had two adult leaders on the staff, a college student and two high school assistants (a boy and a girl). We hold two staff meetings before the camp opens, in addition to individual preparation. Our day camp has been enthusiastically received by the Juniors, and they seem to learn as well as have fun. We recommend it highly.

••• •••• OW Nano REGISTRATION -- FIRST PRESBYTERIAN DAY CAMP -- SANTA BARBARA, CALIFORNIA August 26-30, 1957 Rocky Nook Park Name Boy Girl Address Phone Age School Grade Completed Signature of Parent RETURN THIS CARD AND $1.50 TO THE CHURCH OFFICE.

(Tear off here) W H 0 ? Any Presbyterian boy or girl who has completed the third, fourth, fifth or sixth grade, and who will attend the full session of the day camp every la of the week. W HEN? Every day, Monday through Friday, August 26-30, from 9:30 to 3:30. W HERE? At Rocky Nook Park, on Mission Canyon Road. (Take bus to Old Mission.) W HAT? Class periods, creative activities, recreation, music, stories, crafts, worship. C 0 S T ? A registration fee of ,,1.50 will be charged for the week. This will include craft materials, and milk for lunch each day. W RING? Your Bible, and a sack lunch. (Milk will be provided.) (Please do not enroll for day camp unless you will be present on time for the full session all five days.) CAMP EXPENSES (based on a camp of 25 Juniors and 5 Leaders): 5 Leaders' Guides-=%.75; 30 Junior Journals--6.00; paper, pencils--2.00; soap, paper towels, napkins, paper cups, straws for milk, matches, etc.-- 3.00; worship booklets (mimeographed)-41.50; first-aid supplies-41.50; poster paints, chalk, paste--("13.00; milk (1/3 quart apiece each day)-- $12.00. TOTAL (excluding crafts)--$33.75. This estimate does not include scissors, crayons, game equipment, chalkboard and eraser, which were bor- rowed from the church school supplies. -- 126 -- THE A B Cs of the DO RE MIs

Lesson 71- "Several weeks ago, we wrote some scales. The easiest scale of all is the key of C. It has no sharps or flats at all." Let one child write it on the board, and another make the half-steps. Let another-child play it on the piano; Let another point it out on the keyboard chart. "Then we wrote another scale beginning on G." Using the keyboard chart as a guide, create the key of G. When completed, let a child write the key-signature. Follow same procedure with D. Give the children a copy of the Work-Page (p. 228) to complete at home. "We will see next week how many of you wrote the scales perfectly." Lesson 72 Let the children correct their work-page from a model on the blackboard. "Are you good detectives? The last sharp in the key signature tells you where to find the key-note." Make a large copy of this chart, and let the children discover that the key- ote is the de ee ab ye the last sharp -r- .41- ,--- 7 k3r ) 27------1 ' (IP

"How can we tell in what order the sharps are added? Letts be detectives again." Show them on the piano, how each new sharp is a 5th above the previous one. Then let the class write the signature for the key of G on the board, and then add the sharps in order to the key of C#. "Remember: In sharp keys the key-note is always found where?" (The degree above the last sharp.) "Each added sharp is how far above the last one?" (A fifth.) Lesson 73 Let each child take a hymnal. Then calling out the number of hymns in sharp keys, let them find the hymn and tell what the key-note is. Then take a simple hymn in the key of G or D and let them sight-read it. ("Come Thou Almighty King" would be a good one to use,) Lesson 74 REVIEW: Quick recognition of intervals (on the board). Singing different intervals from a given pitch. Recognizing intervals played on the piano. Where the half-steps come in the major, scale. How to find the key-note in sharp keys. The order of added sharps in sharp keys. Clapping rhythmic patterns. (Continued on 'Page 129) CHORISTERS' GUILD MEMBERSHIP RENEWAL 1958-1959 Miss Name Mrs. Mr. Please print Street City and and No. State

Church served

I enclose 110.00 for a Contributing Membership.

I cannot become a Contributing Member, but enclose 4'4.00 for my regular membership.

How has the Guild been most helpful to you?

What suggestions do you have for greater helpfulness?

Total church membership Total choir membership 'Number of choirs

Age range of youngest choir

Check one: I am a full-time minister of music ; Paid part-time

assistant to full-time minister of music • ;' volunteer, unpaid

We participated in a Children's Choir Festival this year. Yes ; No I have attended the following Choristers' Guild Seminars; Have you ever thought of the Guild as a Missionary Movement? And of yourself as a missionary? If you are making the church more meaningful for your children; if you are helping them accept the responsibility of group effort; if you are opening the ears of your congregation to the recognition of worthy music; if you are strengthening the ties of community and of inter-denominational understanding; if you are schooling yourself to ever-increasing patience, understanding, achievement, selflessness, then you are a very special kind of missionary. And with the true dedication of a missionary, you will want others to join in this meaningful movement of which you are such a vital part.

Children's Choir Directors in Your Community:

Name Address

CHORISTERS' GUILD LETTERS Volume 9 1957-1958 Number 10 Choristers' Guild Box 211 Santa Barbara, California Copyright (c) 1958----Choristers' Guild

SUMMER ORGZIZATIONAL PROGRAM

FIRST OF ALL RENEW YOUR GUILD MEMBERSHIP, then Outline the year's program for each choir (see Robert McGill's charts, (p. 135-137.) Decide on notebook projects. and prepare the material. The Guild hopes to have available a monthly story on some famous choir- boy: Palestrine, Schutz, Bach, Purcell, Haydn,etc. and an anthem by each. Other suitable projects: the Organ, Our Hymnal, the Church Year, Church History, How we got our Bible,History of Bells, etc.

Prepare a notebook page outlining the requirements for:membership; earning the Choristers pin; the right to wear the Service Cross. Plan the Dedication Service with your minister to make it a dignified and impressive experience. (see p. 132.) Send letter to parents of Church School children. (see sample, p. 134.) Prepare registration cards. (see sample, p. 138.) Plan a progressive program of educational publicity. (see p. 3.)

Outline duties and procedures of choir mothers. (see p. 133.) Contact every eligible child in church school. (see No. 7, p. 131.) Get music mended and catalogued. Use the assistance of capable choir children. Design an insert for the church bulletin to use just before the choir season starts. (see example: School of Choirs, First Baptist Church,Birmingham.) Organize a transportation plan, or have a mother in each area do so.

Plan with the Christian Education department for a year of closer cooperation.

Find a promising assistant or two,and have the church send them to Kansas City. Then take a little vacation, and wait relaxed and expectant for the

BEST YEAR YOU HAVE EVER HAD. ,r---

-130- HELPFUL IDEAS 1. ***** The School of Choirs of the First Baptist Church of Birmingham,Alabama divided the year into three semesters: Fall- September-December; Spring- January-May; Summer- June-Lugust (Two different choir camps). Registra- tion precedes each semester. e: 2. ***** Alice Hewlett of the Glendale California Lutheran Church also has two registration periods; Sept. and Jan. and claims that it has been helpful not to admit children except at those two times. 3. ***** Kathryn Gilmer of the First Presbyterian Church, Dallas Texas has solved the transportation problem in a unique way. "I tried a neighborhood choir plan this Spring. Ours is a downtown church,with the congregation spread from one end of Dallas to the other. I went to homes in four different areas (each home one day a week) for a rehearsal with the children of that area. Then we all got together Sunday night at our regular rehearsal time. It proved to be quite interesting. Some of the children felt more at ease socially in the small group and got to know each other better. Each group was interested to know what the other groups had done that week and whether they learned more or less than their group. And one can surely go a lot faster with fewer children." 4. ***** From a letter by Dr.Roberta Bitgood to her church families."One of the effective and meaningful experiences in Christian Education can come to your young people through our choirs. Membership in one of these makes possible a tangible contribution to the church in talent,and atthe same time provides education in worship,hymnology,church history,history of music,cooperation and self-discipline as well as teaching the individual how to make better use of his or her voice. The Department of Christian Education and the Music Department are working together to coordinate all these learning experiences within the church,and plans are being made to make these programs more helpful to each other if such be possible. There is room for everyone who will be faithful in our music program.Re- hearsals start the first week in October." 5. ***** Suggestions from Guild members for possible uses of the Service Cross: Every choir director who is a Guild member should have the right to wear it. It can be given to responsible assistant directors as a mark of recognition. Children must earn the right to wear it each time they sing. At each rehearsal following their previous appearance as a choir they must earn four points: 1.Present. 2. On time (to come late or leave early forfeits this point). 3. Attention (to be admonished by the director forfeits this point). 4. Required work done on time (whatever may have been assigned in memorizing or notebook work ). 6. **31** Clever attendance reminder cards are available from Accent, 478 Sexton Building, Minneapolis 15, Minn. 7. ***k* Members of Bob Page's Senior Choir went out in pairs to call on pros- pective choir members. It might be an interesting experiment to let the children do the recruiting for their choirs during the summer. 8. ***** Two of our members, Donald Sanford and J.Harold Groves, give a portion of their monthly tithe to the Guild. That is a wonderful idea, and one the Guild deeply appreciates. 9. ***** It is a good idea to register as early as possible for the Kansas City Summer School,and be assured of receiving the packets of music and materials. Packets will be assigned to registrants in the order of their registration. 10.**- Pk Foresighted members are either sending or bringing potential assistants to the school. 11.**** Persuading your church to become a Contributing Member of theGuild not only helps the Guild,but makes the church aware of the importance of the work you are doing. They should know that you are an active member of an organization that makes use of church music to train the child and strengthen the church. -131- cf) a U 1 V ® 0 __I CO 0 1— 0 U c z U 2 et. (1) 11 7-

UMM Pf?C SPECIAL EVENTS S ER oGRAM • du ✓ 0 2 rt 4 0 O yF U > 2 -1 0 - g al Q. C1) }. 1 Z

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CHOI U DEDICATI ONS ERVICE

THANKSGIVING F ESTI VAL OP MUSIC REHEARSALS J (I)

CH R I ST M AS Cherub (ages 4-5) Sunday 6:00-6:30 6-8) Sunday 5:30-6:20 s E.RvI CE S U dr CE 1 r q g

,U) z 0 111 O I- J z 1J 0 0 I 0 U) CHOIR DEDICATION SERVICE

Pastor: It is a good thing to give thanks unto the Lord, and to sing praises unto Thy name, 0 Most High; to show forth Thy Loving kindness in the morning, and Thy faithfulness every night.

Choir: I will praise Thee, 0 Lord, with all my heart. I will show forth Thy marvelous works. I will be glad and rejoice in Thee. I will sing praises to Thy name, 0 most High.

Pastor: The ministry of music is not to be entered into lightly. To lead the people in sincere expressions of praise and prayer requires dedication of self. But the rewards of such service are a deeper sense of the nearness of God, and a reverence for the house of God. Do you, as a member of the choir, dedicate yourself to the principles for which your choir and your church stand: faithfulness to duty, thoughtfulness of others, and loyalty to Christ?

Choir: I do so dedicate myself.

Pastor: Ministering in the name of the Lord Jesus Christ, and of this congregation in which you serve Him, I place upon you the responsibilities of Choir Member of Church.

Let us pray. 0 Lord, Author of all things true and beautiful, bless these Thy servants and lead them in their worshipping that as ministers of music in this congregation their lips may praise Thee, their thoughts glorify Thee, and their lives honor Thee, through Jesus Christ our Lord. Amen.

Choir: AMen.

Pastor: May the Lord Jesus Christ keep you steadfast in your purpose, and faithful in your endeavor, now and always. May the consciousness of His presence be and abide with you forever. Amen.

To make this SERVICE OF DEDICATION more impressive and meaningful for the children

1. Enclose copies of the service in the church bulletin.

2. Have the children preserve their copy of the service in their Choir Note- book.

3. Rehearse the service carefully with the children.

4. Have the choir stand for the service,preferably at the chancel rail. In churches where it is customary to kneel for prayer, the children should kneel for the pastors prayer. HINTS FOR CHOIR MOTHERS Roberta Bitgood AT REHEARSALS 1.It is helpful if at least one is on hand 5 or 10 minutes before rehearsal starts--in case Dr. Bitgood gets called to phone when the over-active ones come early. 2.Arrange chairs if necessary (plan 1 or plan 2)-this has to be done before each rehearsal: (plan 1) chairs arranged exactly like that particular choir sits in choir loft so they get an exact picture of their position. (this plan always used Sunday mornings and at the last week day rehearsal before a performance.) (plan 2) 2 or 3 rows with about 12 in each row, in a sort of semi- circle (in this position they see the face of the director better, and they see each other less.) 3. Assist in passing and collecting music. We like the children to learn how to pass things themselves, but a little supervision sometimes saves the director hours of time afterwards.

4. Collect gum, candy, distracting toys, etc. Sometimes hats and jackets have to be removed from chairs if they are a temptation to a neighbor (this can be done quietly during rehearsal with nothing said--thus it saves stopping the rehearsal to call attention to it). This requires circulating a bit in front so you can see the children's faccs--these things are never seen from a back seat. 5.Watch for children a wee bit slow in reading--a finger over the shoulder is most helpful to a few. This also must be observed from the front. 6.Help late comers to find the proper seat quietly,and show them the place in the book or music. Some children must come a bit late,which is per- missible,but late-comers need not be noisy.

WHEN THEY SING 1. Be on hand 10 or 15 minutes before the children have been asked to come 2. Check and double check until YOU ARE SURE of: 1.seating plan in church-standing position in narthex. 2. which door they enter,which aisle they use to process. 3. when they are to be in place INSIDE the narthex. 4.when the first choir is to start processing. 5.when recessional starts, and route for recessional. 6.find out if some children are singing a special part which de- mands sitting with certain others. 3. Allow no singing in the halls on processionals or recessionals-only sing INSIDE the church--and be sure you start on the right verse . 4. On recessionals,usually children's choirs keep walking ahead,outdoors, but they must be quiet for several minutes after they have left the church (while chancel choir finishes hymn followed by benediction, followed by chimes,during extinguishing of candles.) 5. INSPECTION--look for gum, candy, etc. See that they have everything in hand they should (or see that they are empty handed if they are supposed to be) smooth hair,adjust surplices if necessary--remove hair ribbons and ornaments--inspect feet (remember, dark socks with no shoes are better than shoes with white.) 6. YOURSELF--know where your gown is ahead of time,wear black shoes, no earrings or beads--try and tuck high neck dresses below the neck line on gown. 7. If you are a Sunday helper,be sure you attend the LAST REHEARSAL AND STAY THROUGH. DO YOU NOW WONDER WHAT TO DO WHEN YOU COME? YOUR ONLY LIMITATION IS YOUR OWN IMAGINATION -133- SAMPLE LETTER TO PARENTS may be copied, or adapted as you see fit

Dear Parent:

ARE YOU GUILTY? :ire you one of those who says:

"I'd like for Mary or Jim to be in the choir,but they just don't have time." "0 yes, they do have their club meetings, ---but that's different." "And dancing lessons are so good for developing poise, don't you think?" "There are so many school activities that there's really no time for choir."

You and I both know that we find time for the things that are IMPORTANT.

Well - CHOIR is important.

I'LL TELL YOU WHY

Maybe Mary can't carry a tune in a basket. Why should she be frustrated all her life. She is a rare exception if the choir can't teach her to sing.

Does Jim have trouble getting along with other boys? There's no place where working together is more necessary, and more fun too, than in the choir.

Is Mary one of those put-it-off-ers? Choir is a good place to learn to enjoy doing What you should When you should. Yes, truly!

You see,the choir helps Jim and Mary to grow into the kind of dependable,alert,understanding,secure individual you want them to become, And that's IMPORTANT, don't you think?

Did you say that Jim and Mary don't get much out of thechurch service? That's just where the choir can be specially helpful. You see,as a member of the choir they are responsible for what other people get out of the service,and that makes it interesting and important even if they don't understand all of it.

Have you noticed how many psychiatrists say that the greatest help in weathering the storms of life is a firm rootage inthe church? The CHOIR makes use of responsibility,interest,fun, fellowship and sound training to help Mary and Jim build such a foundation for their lives.

COULD ANYTHING BE MORE IMPORTANT THAN THAT?

Your signature

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Saturdaya nd Sunday tripout Half ofr ehearsal time of theci ty. Singinga devoted toth e Follies. Youth Vesper (inth evi sit- ingch urch.)

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1 Sunday2 nd- 11 :00 Palm Sunday,30th Follies- Friday, 18th Sunday, 4th- 11:00 9:30and 11:00

MEMBERSHIP FILE CARD

Choir

he Believing in the values of choir training for my child, I request that she be enrolled for the season. I will do all in my power to encourage regularity and faithfulness. Parent's signature:

Name Age

Address Telephone

Year of birth Month Day

School attended Grade

Special interests or hobbies

Father's name Mother's

Parents' Church MembershLp

reverse side

Vestment: length neck chest sleeve

Previous choir record

Current record: points Service Cross earned times

attendance Notes: notebook

church school

behavior

new member

TOTAL “ 77

(For 16 Bells "G to G")

0J 3 (.-) 4 0 5 6 APPAMPAMMIM

10 11 12

-.. C

13 14 16 17 1F3 CY

19 20 21 22 arranged by 0 I ) • Nancy Poore Tufts

The "BELL AMEN" also rings the finale to a splendid and exciting season with our Bell Choirs and Bands. Over the summer we will gather new- ideas and arrangements so as to be prepared for a Pall, full of well-planned ringing rehearsals. What would you like in the way of Handbell information in the LETTERS next year? A Question Box? More Music Arrange- ments? More How-Tos? More Background Material? I hope to meet Choristers Guild friends in Dallas in June, in Boston (NAFOMM) in July, at Ipswich in August.

Ringingly Yours' Nancy Poore Tufts

-139- The Guild is proud of its nearly 1600 members, knowing that they represent 1600 areas of influence for better children's choirs. But it is particularly appreciative of its Contributing Members (those who pay membership fees of kp10.00,) and those who contribute larger sums. It is their contribution that makes possible the steady expansion of the Guild program, and provides for the extra features in the LETTERS. Whatever progress has been made in the standards and in the recognition of the Childrens Choir movement can be credited largely to these people, and for that reason we are particularly anxious that this recognition list should be absolutely accurate. It has been checked and re-checked, and if there should be an omission, we beg to be corrected promptly. Those whose names are marked with an asterisk have had continuous membership since the beginning of the Guild in 1949. ROSTER OF 1957-58 CONTRIBUTING MEMBERS

Mrs. C. R. Augden, *Lural Burggraf, Cuyahoga Falls, Ohio Albany, Oregon

Mrs. William Albritton, Danford Byrens, Andalusia, Alabama Montgomery, Alabama Board of Christian Education, Church of God, Anderson, Indiana Henry L. Cady, Kansas City, Missouri Fred G. Buckhalter, Flint, Michigan Frances Carr, Austin, Texas Mrs. Win. L. Bader, Portland, Oregon Central Christian, Lexington, Kentucky Mrs. Fred Baumgartner, (Arthur N. Wake) Hamilton, Ohio Virginia C heesman, Mrs. G. Colby Bartlett Princeton, New Jersey Ithica, New York Chorister Choirs, Crown Heights Arthur C. Bayar, Methodist, Oklahoma City, Oklahoma, Hyattsville, Maryland (James R. Camp)

Mrs. Homer Barto, Mrs. William H. Clark Reed City, Michigan Toledo, Ohio *Beal Heights Presbyterian, Maurice N. Cloptin, Lawton, Oklahoma Dallas, Texas (Mrs. Sherman Crawford) Community Congregational, Regina Rambo Benson, Manchester, Iowa Marietta, Georgia (hrs. Kermit Olson) Bethany Lutheran Church, Elza Cook, Indianapolis, Indiana Fort Worth, Texas (Mrs. Ruth Knannlein) Mrs. Millard S. Corbin, Dr. Roberta Bitgood, Cleveland, Ohio Riverside, California Coronet Choirs, Crown Heights Methodist First Methodist, Oklahoma City, Oklahoma Memphis, Tennessee (James R. Camp) (Mary Grace Newton)

Roland Crisci, First Methodist, Boise, Idaho Shreveport, Louisiana (James Lamberson) Mildred Crowder, Charlotte, North Carolina Falls Church Presbyterian, Falls Church, Virginia (Mrs. Richard Barkley) Brookes M. Davis, Santa Barbara, California First Presbyterian, Huntington, West Virginia Ray Davidson, (Dr. Walter D. Eddowes) Wichita Falls, Texas First Presbyterian, G. Robert Downer, Lynchburg, Virginia Wilmington, North Carolina (John E. Pfeil)

Mrs. Ralph L. Dungan, First Presbyterian, Boise, Idaho Oxnard, California (Howard Stampfli) Naomi Earhart, Norwood, Ohio First Presbyterian, Rocky Mount, North Carolina Mrs. R. Y. Ellison, (Marijane Boulware) Miami, Florida Mrs. Robert D. F ischer, Mrs. G. H. Fetherlin, Rollings Hills, California Washington, Pennsylvania Andrew L. Flanagan, First Baptist, Johnstown, Pennsylvania Birmingham, Alabama (Dr. Shelby Collier) Mrs. Eugene H. Floyd, Brookline, Massachusetts First Baptist, Sherman, Texas Berneita Foote, (Wesley Coffman) Rockford, Illinois

First Baptist, Melvin L. Gallagher, Wichita Falls, Texas Honolulu, Hawaii (Kent Balyeat) William B. Giles, First Christian, Middletown, Ohio Wichita Falls, Texas (Brent Stratten) Mrs. B. Eunice Gross, Hyattsville, Maryland First Congregational, Columbus, Ohio Dorothy Guy, (Edward Johe) Atlanta, Georgia

First Methodist, Mrs. Philip R. Hampe, Midland, Texas Belleville, Illinois (George DeHart) Mrs. A. A. Harmon, Dallas, Texas Marian McNabb Herrington, Mrs. J. D. Kraus, Washington, D. C. Delmar, New York

*Alice Hewlett, Cecil E. Lapo, Glendale, California Oklahoma City, Oklahoma Theodore C. Herzel, Richard Lapo, Detroit, Michigan Tucson, Arizona Foster Hotchkiss, E. Nelson Larrabee, Tupelo, Mississippi Canton, Ohio Jack R. Hoyt, Dr. T. Charles Lee, Roanoke, Virginia Worcester, Massachusetts Mrs. John W. Hunt, William W. Lemonds, Miami, Florida Kansas City, Missouri

=firs. T. J. Ingram, Mrs. J. Armande Lewis, Lynchburg, Virginia Webster Groves, Missouri Edwin Irey, Lewis Memorial Methodist, Orlando, Florida Calhoun City, Mississippi (Mrs. Virginia Pryor) Aletta Jahren, Milwaukee, Wisconsin Lookout Et. Presbyterian, Tennessee *Doris M. James, (Stephen Ortlip) Grand Rapids, Michigan Mrs. Earle B. Lowder, Mrs. Reidar Jerme, Bellaire, Texas Brecksville, Ohio Mrs. Ruth Maclay, Louise H. Johnson, Dubuque, Iowa Newark, Ohio Mrs. Bert MacWhirter, Robert C. Johnson, Monrovia, California Cincinnati, Ohio *Jean Maxwell, Robert L. Jones, Summit, New Jersey Miami, Florida John Mizell, Edwin Karhu, San Antonio, Texas Oklahoma City, Oklahoma Mrs. Addison S. Moore, Mrs. L. R. Keck, Bell Gardens, California Des Moines, Iowa David W. McCormick, Mrs. Alex Keith, Jr., New York City Eau Claire, Wisconsin Jack R. McCoy, Mrs. Isaac Keith, Kansas City, Missouri Alexandria, Virginia E. Fred McGowan, Rev. George Litch Knight, Reading, Pennsylvania Brooklyn, New York. Mrs. R. V. Newbell, *Mrs. Hattie Schatzman, Lake Forest, Illinois Covington, Kentucky

Sarah Newport, Rev. Robert Scoggin, Wheeling, West Virginia Dallas, Texas Mrs. Leif Olsen, halcolm H. Scott, Glen Ellyn, Illinois Houston, Texas Shirley Ostrem, Mercer Shaw, Batavia, Illinois Tulsa, Oklahoma

Robert Page, *Elizabeth Shelton, Montgomery, Alabama Bluefield, West Virginia Mrs. D. R. Pershing, Margaret Sigafoose, • Easton, Pennsylvania Wheeling, West Virginia *Frances C. Peters, Gloria Sing, Alexandria, Virginia Sacramento, California David Pew, Mrs. Philip L. Speidel, Denver, Colorado Lake Forest, Illinois Pilgrim Congregational, Mrs. Earl F. Spencer, Toledo, Ohio State College, Pennsylvania (Hrs. Francis Freedman) G. Douglas Sloan, Rev. George Pool, El Paso, Texas New Orleans, Louisiana Paul W. Snyder, *Marvin E. Reecher, Winston-Salem, North Carolina Tulsa, Oklahoma Rev. Hubert V. Taylor, William T. Rennecker, Decatur, Georgia Flint, Michigan Edith Lovell Thomas, Helen R. Richards, New York City East Cleveland, Ohio George F. Thomas, Helen L. Robinson, Detroit, Michigan Lancaster, South Carolina Richard Thomasson, Florence A. Rubner, Nashville, Tennessee Erie, Pennsylvania Travis Ave. Baptist Church, Fort Worth, Texas St. George's Church, (Saxe Adams) New York City (Charles N. Henderson) Trinity Methodist, Tallahassee, Florida St. Paul's Lethodist, (Walter James) Cedar Rapids, Iowa (Donald L. Sanford) Trinity Methodist, Youngstown, Ohio (Rev. Carlton Young)

-143- Ruth M. Tubbs Maxine Watkins Canastota, New York Ruston, Louisiana

Nancy Poore Tufts, Mrs. Alberta Westby, Washington, D. C. Arlington Heights, Illinois *Mrs. Luther H. Turner, Lyle J. Wheeler, Richmond, Virginia Sherman Oaks, California *Barbara Tuttle, Mrs. 0. Louise Whitman, Elizabeth, New Jersey Glendale, California

University Methodist, Dr. F. L. Whittlesey, Baton Rouge, Louisiana Dallas, Texas (Mrs. Evelyn B. Cooksey) David V. Williams, Oliver H. Wagner, Tulsa, Oklahoma APO San Francisco, California SPECIAL GIFTS Philip T. Blackwood, Mrs. Christine Kallstrom, Gastonia, North Carolina Grand Prarie, Texas Ray Evans, Margaret C. Kendrick, Dallas, Texas Atlanta, Georgia *Mrs. H. A. Fohrhaltz, Donald L. Sanford, Pittsfield, Massachusett Cedar Rapids, Iowa The Reverend UM. Grime, St. Paul's Episcopal Church, Great Neck, New York Great Neck, N.Y. (The Rev. Wm. Grime) The Reverend J. Harold Groves, Santa Barbara Childrens Choir Festival, Thomasville, North Carolina (Mrs. John Imbach, President.)

A PLEA The volume of pins handled weekly in the last two months and the anticipation of several weeks more of large numbers,impels me to ask your help-from those who still will be sending in pins for processing. Please package your pins individually in a small envelope;write on it your name,the instructions for that pin„andif you wish, the name of the pints owner. The first two are really a must so I can honestly guarantee accurate and speedy service; I cannot otherwise Unhappilylnany pins arrive loosely in a box; it then becomes necessary to package each and label it so it can go through the factory properly. The procedure delays the filling of your order. I want to get your pins back to you quickly and accurately processed-so please help. And please another matter-give us adequate time to process your pins. The factory is giving us this spring faster and better service than ever before,but a two week schedule between tte time I receive your pins and the date you need them, is about the best we can do,though sometimes we can and do surprise you and ourselves as well. Orders for new pins only can be filled usually inmediately except in the case of unusual pearl and guard combinations.

The Choristers Guild pin is rapidly becoming an easily recognizable symbol of unity between choir boys and girls the country over, for thousands upon thousands of pins are being worn and/or awarded each year. Your boys and girls may wear the pin with distinction and honor.

-144- CHORISTERS' GUILD LETTERS INDEX 1957-1958

ANTHEM STUDIES HYMN STUDIES p. 9 My Song Shall Be Always 11 Hymn of Consecration 10 Jesus, Blest Redeemer 19 This is my Father's World 23 0 Love of God 41 Let us with a Gladsome Mind 44 0 Lord of Heaven & Earth & Sea 54 0 Come all Ye Faithful 53 A Carol 65 As with Gladness 78 Prayer of St. Richard 83 0 God Our Help in Ages Past 96 Spring Prayer 95 Gracious Spirit Dwell in Me 113 May the Grace'of Christ Our Savior A B Cs of the DO RE MIs 13 39 74 109 ORGANIZATION 21 40 85 127 22 57 99 3 A Good Start is Half the Battle ADVENTURING WITH THE HYMNAL 24 She Keeps Her Church Informed 29 On Maintaining a 97% Attendance 12 20 42 67 Junior Choir Festival 103 Choir Program at Bellaire Methodist CARTOONS:Wesley's Rules of Singing 125 Junior Day Camp 130 Summer Organizational Plans 16* 50* 75* 100* 133 Hints for Choir Mothers 34* 62* 88* 115* 134 Sample Letter to Parents 135 Annual Plans CHAPLAIN'S CHATS 138 Membership File Card 139 School of Choirs 27 36 42 59 91 MATERIALS CHRISTMAS 31 Teaching and Reference Materials 55 A Good Christmas is a Shared 33 Basic Materials-Pre-school & Primary Christmas 48 What's New? 63 A Post-Christmas Thought 71 Tried & True Anthems for Holy Week 43 Advent Wreath Recommendations for 1958-59 Season 50* Christmas Alphabet 51 Gifts that Endure REHEARSAL TECHNIQUES 56 Gleanings from 1956-57 Christmas Season 46 73 94 60 82 123 FAMILY AFFAIRS PRIMARIES 16 62 III 124 32 100 114 131 25 Cut-outs 26 A Year-round Interest Center GUILD INFORMATION 26 Seasonal Flash Cards 52 Christmas Figures I 79 Musicianship Phases 15 Pages available 86 Wind Bells 49 Pine 93 Easter Fun 61 Information for New Members 102 Keyboard Chart 66 Charter Members SERVICES 75* We Want to Hear from You 132 Dedication 87 Service Crosses 28 Worship with Charles Wesley 88*'Pin Order Blanks 45 Choral Worship Service 98 Seminar 102 Youth Choir Recognition Dinner 101 Tenth Anniversary 121 Suggested Pattern for Festival 129* Membership Renewal-List of 1957-58 Contributing Members *an unnumbered page following the page indicated HAND BELLS SYMBOLS 14 Care of Handbells 7 27 92 106 16* Now thank we, & We gather together 34* Ding—dong merrily on high YOUTH CHOIRS 50* Les clochettes de Noel 62* Bell Carol & 0 God our help in ages 5 How to get; how to hold past 69 Organization and objectives 88* 0 sacred Head now wounded 100* The strife is o'er 140 LIST of 1957-58 CONTRIBUTING 114* Processional ringing MEMBERS 127* Vesper Hymn and America 139* Bell Amen SPECIAL ARTICLES 2 Religious training in the choir 89 The church of tomorrow 17 An open letter to ministers 90 Let's look at the score 30 Choir quarters 91 Litany of the Lord's Prayer 35 Thanksgiving 97 Easter and the, children 37 The choir boy problem 105 Ten Commandments for parents 47 Unison solos for massed choirs 105 What qualities make for success 48 Musings of a preacher 108 Worship 58 God send you a happy New Year 44 A guiding thought 62* The story of Handel's Messiah 93 Wanted—Primary Choir Director 70 How to get along with people 122 A family quarrel (illustrated 77 A prayer story) 81 Where's my star? 84 Vitality in singing And so — FAREWELL to the 1957-58 SEASON. It has been a good one. The member— ship is much larger than ever before,and the participation has increased in a most satisfactory way.

To one and all, our HEARTY THANKS

For the increase in PROMPT renewals. YOU HAVE NO IDEA how much they help. For the number of programs and program notes sent in. A part of MY summer schedule is to study them, and out of them to compile the suggestions and materials and procedures and novelties that will be helpful to all of us next season. THANK YOU FOR YOUR PROGRAMS. For the special articles contributed to the LETTERS. Do you realize that there were more than 150 pages of material this'season, and much of it came from you. THANK YOU FOR YOUR ARTICLES AND REPORTS. For the response to the appeal for suggestions for improvement. Pages 75* and 129* were for that specific purpose. It is NOT TOO LATE to send them in. THANK YOU FOR YOUR RESPONSE. For the many seminars and festivals it was my privilege to conduct, and the many churches I was able to visit and observe as a result. THANK YOU FOR YOUR HOSPITALITY. And most important of all, for YOUR FAITH AND YOUR DEDICATION TO THIS WORK. May God bless us one and all.

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