Titil Iltitt CHORISTERS GUILD LETTERS VOLUME XVII� 1965-66� September� Number 1

A while ago, Dr. Kenneth A. Carlson wrote in the First Methodist (Glendale, Calif.) Outlook:

"A lad was having a wonderful time practicing on his father's typewriter. When he got through, the page looked pretty well beaten up with words crossed out, spellings corrected, additions made. Across the top was written the title, 'My Story About Me'. Then followed the request, 'Dad, can I have a clean sheet to write on?

"This is the ppicture of your life and mine. Each of us is continually writing, 'My Story About Me'. And it is about as checkered as the boys typewritten page. There are many things we would like to cross out, much has been corrected, and we are ever conscious of the additions to be made. For, as Dr. Fosdick has sug PI gested, 'We can avoid making up our minds, but we cannot avoid making up our lives

Each one is about to write "My '65'66 story About Me As a Choir Director." As September comes, our "Great Father" has given each of us a clean sheet to write on. What will we do with it? Will our summer study, the good resolves, the refreshment of the vacation be reflected in a neatly written page? Will our rehearsals reflect a thorough preparation, an expanding love of others, a truer concern for the spiritual enrichment and musical development of each child?

The new choral year is upon us The clean sheet is in the typewriter

"Grant us wisdom, grant us courage That we fail not man nor Thee."

titiL iLtitt CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 September Number 1

Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A. Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Laurette Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T. J. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynchburg, Virginia Denver, Colo.

The Choristers Guild Letters are published for its members by the CHORISTERS GUILD Ruth Krehbiel Jacobs, Founder 440 Northlake Center, Dallas, Texas 75238 COPYRIGHT p 1965 CHORISTERS GUILD — 1 — TWO YEARS AFTER — by A. Leslie Jacobs Two years -- seven hundred thirty days -- seventeen thousand five hundred and twenty hours -- have rushed into the endless eternity of time since health reasons forced cessation of a long career in Church music from organist, through choral conductor and, finally, as executive secretary of the Choristers Guild. Two years ago it seemed as if my own little world had suddenly collapsed. The prospect of retirement rather appalled me, and still does, for that matter. I was not prepared for it. The finest heritage (outside her memory) which Ruth left me, was to pass from me -- the administration of the Choristers Guild. She had brought the Guild into being in 1949; we both had tended it carefully and watched it grow into national influence in its field. Our Guild, and yet not our Guild, had reached into the lives of hundreds of thousands of boys and girls. The Choristers Guild had become our lives. Do you know what it is to give up a child, whether it be a physical or brain child? Would other hands take good care of this precious child? Gloom and doubt rather quickly vanished. The ease and smoothness of the transition to the executive leadership of Federal Lee Whittlesey seemed Providence led. These two years have completely justified the confidence placed in Lee. The Guild has grown steadily in influence, in membership, in outreach. Two very successful summer seminars are now Guild history. Worry about the future had no basis in fact. All through the period since Ruth's death loomed the encouraging figure of our Guild president, Nita Akin, who with her husband, "Jake", has supported the Guild inspirationally and practically. During these two years what have I learned; why have I lived; how have I used them? To answer these completely would require too much valuable LETTERS space, and try your patience as well. Further, any and all answers would be variants expressed many times by many others, and perhaps many are even cliches. Nevertheless, since the editor has given me this platform to "speak" from you will, I hope, indulge me in the making of a few personal observations. Pride, amounting to conceit, in one's leadership easily falls before the on-slaught of realization that the world and its affairs move onward without one's help. The old saying that there are many pebbles on the beach, 4111. certainly applies. The successful life cannot live in the past; it must move on. The usual view of retirement, that it is a time of no worry, complete happiness, and all that sort of snare and delusion is just not true. No one can live happily and be completely free from some responsibility, and even worry. A need to live for someone or something is paramount. God never promised anyone freedom from troubles, mistakes, failures, anxieties, but did promise strength and courage to live through them if only we believe Him in this promise. This Christ- ian attitude requires experience, time and faith to learn, but the rewards are a happy life. Like many others, I have only gradually learned to live with, but not necessarily accept, my health condition. Though I accept my chronological age, I refuse to be the usual "senior citizen" for whom entertainment must be found — shuffleboard, lawn croquet, square dancing and the like. The years remaining to me ought to have some purpose of outreach, a touching of other lives. Two years of experimentation have not as yet discovered this purpose. However, in the very act of seeking, a finding usually comes. One idea -- intriguing possibilities of helpfulness to the Guild and its members and purpose for me: I would like to visit our Guild family members with words of encouragement -- not to conduct workshops, but for friendly visitation, to answer questions, visit your rehearsals, hear your choirs, be helpful and to help extend the horizons of us all. This dream, at the moment, seems unlikely to be fulfilled, for neither the Guild nor I at this time can afford to carry out such an ambitious project. This ramble must end with encouragement to you children's choir directors scattered everywhere who share in the big job of rearing young America. The temptation comes often to each in his seemingly isolated position in feeling that he is alone with his problems, troubles, and even inadequacies. At such a time the Guild family, members of which also are subject to the same personal aspects, can loom large for his strengthening. No one is ever alone in his work as long as he can find strength in his Guild membership. Be challenged always by the thought that in your work of instilling Christian attitudes in children you have as powerful tools two of the most potent forces in the world -- the Christian religion and music. On the other hand, remember always that the limitations generally of your choir are your very own shortcomings. So find strength in the tools you use, and learn to use them better by becoming a better person, and a more skilled person. It is little enough to expect of one's self, considering the enormity of the job it is our privilege to do -- Christian Character through our Children's'. Choirs. Life has been good to me. For thirty-one years I had as wife and companion, a brilliant, dedicated woman. Then came close contact with the Choristers Guild which, while a small organization, is nevertheless, a powerful leaven in the Christian church. These two years have been the more worthwhile because the Guild has pros- pered. You -- each individual member -- binding yourself to other members, has made the Guild strong. Thank you for your share in my happiness. May God bless you and your work. • — 2 — THE '65 SEMINAR

— Reported by Dona Hoffman, Seattle, Wash. There's only one word to describe it -- an abused but all-encompassing word: grand! "Higher than others having the same title or designation; pre-eminent; foremost, notably great; magnificent; excellent; in best of looks or spirit." Each of these dictionary definitions contributes little more than a glance, however, of the true spirit of the Seminar. With Dr. Frederick Swanson's help we caught a glimpse of the boy-choir at work. Boys have something to give their Lord, he said, and if we are ignoring the boy choir as a possibility of bringing out 000 • • latent talent, then we are actually cheating our adolescent boys. Several "plain, • • garden variety boys" (quote Dr. Swanson) demonstrated their vocal • °Lk agility while in the so-called "voice break age". Two pertinent we rules: (1) Take the boy where he is and begin there; (2) Work from .000 the head-tone down. .0 •O.• "God has a definite reason and a place waiting for our talents. We must work on better and better technique so that our purpose (God's purpose for us) is fulfilled. Always have a plan, work it with imagination and ability, but plan no small thing for God!" Thus began a week with Dr. Nita Akin who gave us pointers on sensitive organ accompaniment for children's choirs, and for general service playing. "You direct the one 'committee' which must report each week to the congregation on the excellence (or not) of its work during the week," said Dr. James Sydnor. He told us that we are especially responsible to children for their association with good hymns. "Incalculable good or harm can be done in giving them an experience in hymnody," he warned. We began a series of studies on the hymn: Where were hymns used in Bible times? (in a field, in prison, a cell, in an upper room, etc.) What happens during the singing of a hymn? (since it is an expression of faith, a strengthening of faith should occur). How can we develop congregational singing, especially as it applies to children? (some workable, tested plans were revealed). "Sing out of your eyes! Some are still singing from your toes!" Helen Kemp's picture-phrasing does much to awaken interest in junior boys and girls. "Sing like you're water skiing"(melodic line), "Home base without a spike" (do is off pitch), "Dig your toes into the sand!" (posture), Result? clear tone, accurate pitch, and enthusiastic interpretation as only Helen can demonstrate in so short a time with a new (demonstration) choir. Dr. Lee Bristol addressed us on the theme of the Seminar -- keys. We left the Hall with a renewed commitment: to serve God better by better service to others. He recommended a one-word sign to hang in rehearsal room or office. Much better than the old "think" signs, he would have us use the single word "OTHERS". "Not for ourselves, but for others, to the glory of God."

Mabel Boyter, beloved long-time Guilder, must have that sign written across her heart. While working with a demonstration choir she exemplified this philosophy by her sincere love of the children. The Primaries, of course, responded warmly to her direction, and we all blossomed under her leadership. She gave us "mountains" of resource materials for use in continuing our pursuit of excellence in choir work. Jane Marshall, with unsurpassable humor, gave us music to think about, to dream about, and to grow into. Finding the "right music" is among our largest problems, and surely each of us found several very useful anthems in the treasury of music presented by Mrs. Marshall.

A word of appreciation for the evenings: The program by the local choirs, the Fink family, the Boy Choir, the boat trip, each added a helpful dimension to the week. Leonard Lilyers always had just what we were looking for in the extensive "store". Mrs. Lauretta Cotton (handbells) and Mr. Delbert Fletcher (choric speech) headed two specialized classes for us. How is it possible that all these sessions could be stuffed into five days of learning? Without a doubt much of the credit belongs to Lee Whittlesey and his wife for organization, planning, and patience. It was great to see Leslie Jacobs, too, sprinting around the campus the last few days -- and on and on — my heart is so full, but in summary -- To me: The most delightful experience was meeting old — and making new — friends. The most enlightening was the feeling that perhaps I'm NOT too old to learn! The most worshipful was the morning devotional period with Dr. Sydnor. The most humbling is (always) the recognition of my limitations in the light of such leaders as Kemp, Boyter, Sydnor and all. The funniest experience was the assignment of a male roommate to my room -- straightened out in a minute because the right room but wrong Hall had been indicated on his card. The most symbolic question of the whole week: "What's your idea?" Asked of leaders and of each other, this question indicated an exchange of imaginative ideas presented in Christian love -- the purpose of the Seminar and the result of excellent leadership! Thank you, Guild, for a GRAND experience in learning!

0 0 0 gi Ye Editor adds a few statistics which will interest the "figure heads" among us. There were 226 people registered. They came from 33 states and Ontario. The top states and their numbers were Illinois (49), Pennsyl- vania (21), Iowa (17), Michigan (14), Wisconsin (13), Texas (10), Indiana (9), Oklahoma (9), West Virginia (8), California (7), Kansas (7). As near as we can tell there were 17 denominations represented. The top denominations and their numbers were Presbyterians (68), Methodists (46), Lutherans (23), Congregationalists (15), Baptists (13). — 3 — PICTURES FROM THE SEMINAR

Here are most of the people who attended the Choristers Guild Seminar at Rock Island, June 14-18. This picture was taken on the platform of Centennial Hall, Augustana College.

Mabel Boyter's beautiful choir picture, which now hangs in the Guild office, is here shown as she presents it to President Nita Akin and F.L.W. For something of the background of this picture see last June's LETTERS. We now have copies of this picture available for framing for your studio or choir room. Also we have lovely greeting cards with the picture, and the latest is bulletin covers with it.

The long-awaited THE CHILDREN'S CHOIR, VOL. II, was put on the market during the Seminar. Here we see A. Leonard Lilyers, Vice President of the Choristers Guild and Director of the Department of Music of the Lutheran Church Supply Stores, presenting the first copy to our President; and D. B. Nystrom, representing Fortress Press, presenting the second copy to F.L.W. This book was edited by Nancy Poore Tufts. The jacket of the book has the following to say about the contents:

"A veritable encyclopedia of material for the director of the children's choir in church, this book has been compiled through the resources of the Choristers Guild.

"Included are not just theories but practical material based on the extensive experience of the author and on a wide range of others covering everything from the small congregation to the large multiple choir program.

"Beginning with the primary choir and on through the youth choir, chapters also are included on the handbell choir as well as suggested programming for special services and for the seasons of the church year.

"This volume gives valuable help and guidance that will aid any local church or children's choir. The director will be assisted toward a program of children's choir music which can lead to deeper religious training and experience for the children. An excellent addition to the church library and an indispensable aid to the church musician that has or plans to have a children's choir." We will be glad to fill orders from the Guild office. The price is $5.95. CHILDREN'S CHOIR, VOL. I, edited by Ruth K. Jacobs is also available from the Guild at $4.95. If you wish the two volumes, the combined price is $10.00. There are no duplications of articles in the two books. The best of the materials in the LETTERS from 1949 to 1963 is contained in these two volumes. SHARING

A tale of two letters. In the same mail one day recently I received two letters which bore on the same subject. One asked a question: "What, specifically, is the Guild doing for the 8-member choir in the 75-member church?"

The other told of a fine service by a choir of 10 in a small church.

I wrote to the writer of "B" letter and asked her how she would answer the "A's" question. "B's" reply is given in full: "You asked me to tell you how the Guild has helped me with my small church choir. Since my background included no formal music training, I needed (and still need) all the help I could get.

"My answer to this question is that the Guild is doing for the director in the small church just what it does for any other director only to a greater degree. All too often those of us in small churches are untrained. The Guild, by its articles such as 'Elementary Vocal Training for Children' — Feb. 63-64 — teaches us how to teach our children. For the trained director, these articles are interesting and may give a new approach but to us they are a textbook on the 'flows' of directing children.

"Mrs. Lowder's articles on repertoire have saved me hours of work. Instead of having to plow through piles of anthems (many of which are very bad), I have a ready made list of good anthems to examine. You really have to be selective when you only have 10 or 11 voices to work with.

"Your 'Book Shelf' suggestions have provided me with a basic library to expand my own knowledge. Many of us cannot afford to go to Seminars so far from home and our churches cannot afford to send us; but we can buy a book and study it. Which books are the best? The answer to that is found in the Guild LETTERS.

"This may sound a bit melodramatic, but sometimes when problems seem overwhelming, I think 'I'm not alone! There are Guilder's everywhere doing the same things, having some of the same problems!' Then I feel better and I get out my notebook with the 'LETTERS' in it and start to read. Somewhere in them will be an answer or an idea that is just what I need!

"The Guild does so many things for me — it educates, it encourages, it gives me ideas for special programs, it provides materials for teaching and enrichment. It is a blessing to this 'mother of six' who directs a children's choir in a small church. Many thanks."

0 r:Th 0 0 cgi

An extended P.S. in a letter from Alice Lyons of Billings, Montana is well worth sharing with you. We all have times when we "wonder if it's worth it all!" Then, — well read her letter and recognize anew that our main work is helping to build "Christian Character through Children's Choirs.":

"It was a hot dry afternoon — one when you wish you could just laze around forever, and I was having a bit of a time concentrating on the chapter of 'The Children's Choir Vol. II' that I'd assigned myself for the day — wishing I could put it all to use at the wave of a wand and wondering how much good what I have done has accomplished, when the mail arrived.

"In it was a letter from one of the girls who had graduated from our high school choir this spring and is counseling at a Scout camp this summer. The letter I'll keep to re-read on days when choir rehearsals go haywire, but I'd like to quote part of it, for I think it is a wonderful testimony to the value of the Guild, which has been nudging, prodding, and inspiring me to be a better choir director for nine years now. The text she quotes is from an anthem her choir sang only in fourth grade (I thought of your 'writing on the heart of a child in indelible ink'). What a powerful reason for selecting more than a 'pretty tune and a cute text' for absorption at that early age! "She says in part: `...you know, I've always wondered what I would do in a real emergency when my life was threatened... During our first session when we had 100 third through sixth graders in camp, a police car roared in just before supper. Three other counselors and I were standing nearby, and the policeman told us a tidal wave was coming and that we had to get the camp exacuated in half an hour. My first reaction was shock and disbelief — being from Montana I hardly knew what a tidal wave was...For just a few moments the other assistant and I prayed in our cabin, then charged out to tell our 23 girls...that we were going on a surprise hike... — 5 — `Within five minutes I was leading them up the highway. Thanks to all the help I've had from our church and choir, I was calm — and trying as hard as I could to be myself and lead fun songs as we went. Inwardly, though, I was singing, 'What shall we fear if only Thou Thyself wilt guide us? Give us strength, however hard the way may be.' `...The wave hit at 6:30 but none of the damage reached our camp or us. About 7:30 we received an "all clear" signal and led our girls back to the dining hall to eat as if nothing had happened. `Two days later, between sessions, some of us went into town to church. Its sanctuary is about the size of our balcony — but everybody sang! We sang 'God of Grace and God of Glory" and "Once to Ev'ry Man and Nation" — two of my very favorite hymns. More than ever I realized how grateful I am for my life...thank you for everything you've done to help me meet these challenges. Love, Lila Jean' ". 0 0 0 0 0 How about your choir having a "Choir Pen Pal"? Sounds like an interesting project. The idea was contained in a letter from Mrs. Shirley Miller. She wrote: "As director of our Candle Choir, I try to select choir projects that are varied, interesting and each member can participate. It occurred to me that a Choir Pen Pal would be fun. We might share pictures, rehearsal games, music and letters from the choristers as well as the directors. "I had first thought of an oversea's choir but hesitated because of language difficulties. Perhaps you could help us by sending us several possible Choir Pen Pal names. "The plan would be to exchange a letter or small package each month. "We are eagerly awaiting your answer. "There are approximately 30 choristers in the 2nd and 3rd grades. Both boys and girls are included. Our church -is the West Highlands Methodist and I remain Mrs. Shirley Miller Route 1, Box 336 Kennewick, Washington 99336" Talk this up with your choir and write Mrs. Miller. This project has a fine potential to stimulate interest within a choir and in choral neighborliness. gi "What requirements do other directors make of their children as the basis for awards?" This is the gist of several letters received in the spring. Mrs. Stephen C. Weber of Rochester, N.Y. sent in the following. She says, "The requirements to be met were printed and sent home early in the fall. "1. Attendance of all rehearsals and performances. Illness can be the only basis for an excused absence. Shopping trips, appointments with the dentist or hairdresser, parties or picnics will not be excused absences. An exception will be made for an extended family trip, provided that an effort is made to study at home what was missed during the rehearsal. "2. Courteous behavior during rehearsals and on Sunday mornings toward the director, the choir mothers, and to the other members of the choir. "3. Thoughtful care of robe and music. "4. No gum chewing. "5. Good posture during rehearsals, processionals and in church. "6. Attention during rehearsals." Mrs. Weber commented most favorably on the cantata LORD MOST HOLY by Rose Marie Cooper (Broadman Press, 1964) which her children sang from memory in their Choral Evensong in May. A recording of this cantata made by Ray Evans' Children's Choir of Park Cities Baptist Church, Dallas, is available through the Baptist Book Stores. In the April LETTER I asked for comments about how the Window Attendance Chart (S-7) worked out. Mrs. Robert Bittle of LaVale, Md. was among those who wrote me. She, however, used the Window Chart in a little different way — she used each sheet as a section of a big window. This is her explanation: "During the past choir season we used the Attendance Windows very successfully. They were hung as a large stained glass window and a section was colored for each rehearsal and service. The background was made from an old sheet. The top part was painted with water colors and hung scroll fashion. The children took their windows home at the close of the choir season." 0 0 0 0 0 On another page in this issue you will find a charming Christmas song which Alex F. Hegenbart of Oakhurst Baptist Church, Charlotte, N. C. is sharing with you. He sent it (with another song which we'll print in the October LETTERS) to me last January. Here is his letter of comment: "Please find enclosed a couple of anthems for the Christmas season. They are the result of a contest in our Junior Choir during the month of October. The choristers were asked to compose a poem with a minimum of four lines dealing with any of the religious aspects of the Christmas season. I had at first intended for our Juniors to make the melody for the winning entry, but time was at a premium because of the many obligations of this choir and I wound up making the musical setting. "In forwarding these to you, you are welcome to use them in the Choristers Guild LETTERS. They may be reproduced by one and all in any form. My Juniors and I are very happy to share these two songs with the Guild family." Hegenbart's style (and I do) you may want to watch for some new anthems by him from Broadman If you like Mr. Press, Brodt Music Publishers, and Abingdon. — 6 — IN THE NIGHT

Pam Payne Alex F. Hegenbart

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• 17. 7 7 7 7 IT A LETTER FROM HELEN KEMP

"Dear Guilders:

"So soon September? Whatever happened to summer? Looking back over the calendar, I am reminded that I have seen many hundreds of you during summer workshops, seminars and convocations. It is a most pleasant experience to meet you personally and to feel immediately that we have enjoyed an acquaintance- ship long before we had an opportunity to shake hands.

"First of all, there was the C.G. Seminar in June at Augustana College. (If you missed that one, I hope you will get your name on the list early for 1966!) Those five days were filled with action — classes, demonstration choirs, material displays, evening entertainments, concerts, lots of 'shop-talk'. And who can forget our evening boat ride down (up?) the Mississippi? But shining most brightly are thoughts of you, all 226 of you, who were there. There is a certain unique spirit which comes alive when Guilders get together!

"Much to my chagrin, I had to leave prior to the final concert by the Moline Boys' Choir. Early in May, I had consented to sing the role of the Mother Abbess in 'Sound of Music' with the Lyric Theater in Oklahoma City. The rehearsals had been in session for one week when I arrived home, so there were three daily rehearsals for the remaining week before opening night. Then came the 13 consecutive night run — a new experience for me! It was quite an assignment to 'Climb Every Mountain' every night for two weeks! But it was fun. In fact, at home, I am still receiving undue respect from my children quoting, 'Reverend Mother, may I have your permission to — — — —?' Plain old Mother Helen rather enjoys that!

"Two days after 'the run', John and I left for the Southern Alabama-West Florida NaFOMM workshop. It was held at the lovely Methodist Lodge at Blue Lake Lodge in Alabama. Quite a number of you became C.G. members there.

"Daughter Julie had come to the Guild Seminar with me, after which she went to the Rocky Ridge Music Center in Estes Park, Colorado. She was violist in the collegiate string quartet. We had promised to take Peggy and Kathy to see her, so off we went on a one-week camping trip in the mountains, near the Center. It is no secret that I am not completely an outdoor woman. I love the beauty of the mountains, and the hiking, and the singing at night around the campfire, but my enthusiasm wanes — in fact, disappears, when I am caught in a thunder-storm with drenching rain in the middle of preparing supper on the camp stove!

"Then suddenly it was August and we headed toward Winston-Salem, N.C. for the Convocation of the National Fellowship of Methodist Musicians. John had the course on Music and Youth; I had Music and Chil- dren. It was exciting and challenging to be a part of this great convocation, where 500 registrants filled the dormitary spaces in Old Salem College.

"One of the many joys for us was having a family reunion when we all got together for the first time since Christmas to sing a Kemp Caroler concert for the convocation. John, the younger, came from Phila- delphia, where he was working as a sales-trainee for Gulf (he pumped gas), Mike came from his job as a landscape foreman (he planted trees and mowed lawns), Julie came from Estes Park, Colorado, after the final concert there.

"After the convocation, we went to Washington, D.C. for several days of looking and learning. One of the highlights of that trip was the visit to the National Gallery of Art. One does not have to travel to Holland to see several rooms filled with masterpieces by Rembrandt, Vermeer and Hals. These collections are among the finest in the world.

"Now all of us are returning to the more disciplined routine of schedules, schools, and daily duties. During the more relaxed summer months many of us have received a booster of instruction and inspiration. The heart of our work, however, lies in the creative expression of our conviction in every assignment of every day. Allow your creative imagination to help change your job into a challenge." Norma Lowder on -- NEW BOOKS Commission on Worship and Church Music, The American Lutheran Church. THE HYMN OF THE WEEK. Augsburg. 1965. 25q each; $2.50 a dozen; $17.50 a hundred. "The 'Hymn of the Week' is an old Lutheran tradition, but adopted to twentieth century customs. It was during the Reformation that Martin Luther introduced the 'Hymn of the Week', designating one hymn to be sung each Sunday, one that fit the specific Sunday. Though the hymns in this book are suitable for use in church services on specific Sundays, they are rather intended for use in the home at family devotions. Good hymn singing in a congregation is closely related to family singing: . .Hymns learned and sung at home will be sung much better when the larger family assembles in church." The hymns are excellent; the book, most useful in children's choir work or as a Christmas gift to each chorister. Ginglend and Stiles, MUSIC ACTIVITIES FOR RETARDED CHILDREN. Abingdon Press. 1965. $3.50. "This book has been planned to assist the special music teacher, classroom teacher, recreation or volunteer leader to initiate a developmental beginning music program for retarded children or young `normal' children. . .The selections have been planned to appeal to children with mental ages from three to eight years." Directors of pre-school or primary choirs will want to examine this book. Songs and activities are grouped and under twelve themes, each with suggestions to teachers and directors: 1. All About Me 7. Let's Make Music 2. Listen! 8. Now Let's Play 3. Ten Little Fingers 9. Quiet Time 4. I Can. Can You? 10. Let's Pretend 5. Holidays Are Happy Days 11. Just for Fun 6. Things to Learn 12. Come to the Party Additional helps are given in the areas of simple folk dancing, the use of the record player, use of the autoharp, and use of percussion instruments. Moyer. THE VOICE OF HIS PRAISE. Graded Press. 1965. $1.75. Mr. Moyer presents here a new appreciation of hymnody with the hope that understanding and appreciation of hymns will be increased. His study of good hymn texts and tunes; selection, introduction and interpretation of hymns make of the book an excellent guide not only for directors of children's choirs but for all who are interested in the music of the church. A must for church musicians! Tufts. THE CHILDREN'S CHOIR, VOLUME II. Fortress Press. 1965. $5.95. At long last, the second volume of encyclopedic material gleaned from Guild LETTERS is available. Nearly all the material has been written by actual children's choir directors and has been proved worthy through actual use in service and rehearsal. Areas of discussion include primary choir, junior choir, boy choir, youth choir, handbell choir, projects and special activities, religious drama and choral speaking, hymns and hymn study, special services and festivals, Christmas and materials. To know Ruth Jacobs, to whose memory the book is dedicated, and Nancy Tufts, who has compiled this volume, is to know two of the most charming, talented, dedicated and inspiring of all women. The contribution which each has made to the development of Christian character through children's choirs is beyond measure or description. Certainly all Guild members will be anxious to read and use this book as soon as possible, and through it catch a bit of the inner glow that was Ruth's and is Nancy's.

F.L.W. Reports on Another New Book: When I was working with pre-school and primary children my regular musical cohort was "a singing school" book OUR FIRST MUSIC published by C. C. Birchard & Co. It had sacred and secular songs for young children, listening pieces, musical calls and seasonal sounds, rhythm band numbers and everything I needed as I worked with young children. (I wonder if this book is still used.) Recently Lorenz Publishing Co. has brought out a similar type of book; it is titled REJOICE WITH MUSIC by Ruth Bampton. Its sub-title describes the book as including "Songs, Games, Rhythms and Drama- tizations for Young Children in the Home, Church and School." The foreword explains: "This book is designed to meet the musical needs of young children in church, in schools, or in homes where sacred music is desired. It is not intended to compete with, but to supplement the excellent denominational and public school material already available. "It is important for four- and five-year-olds to develop in all phases of music: rhythmic response, singing and listening. For this reason, the book presents basic and creative rhythms and music for listening purposes, as well as songs for the entire year." The contents are divided into five categories: I. Rejoicing in Praise, Prayer, and Thanksgiving to God II. Rejoicing in the Story of Jesus III. Rejoicing in Families and Friends IV. Rejoicing in the Wonders of the World V. Rejoicing in Play and Dramatizations One of the helpful features of this book is the availability of a recording of all of its songs and listening music. The recording was made by the DAYTON BOYS' CHOIR ENSEMBLE directed by S. Norman Park. The tone is good, the diction clear, the piano playing clean and crisp. The recording would be helpful in teaching the songs especially for men who work with young children. The book is priced at $3.00, the recording at $3.95 (book and record, $6.50 for the set). It is obtainable at your music dealer's. All who work with young children should examine this new material. — 10 — GRADED CHOIRS ON TV A weekly children's choir television program in Dallas has been attracting appreciative attention. Thinking that this is a worthy project for any metropolitan TV station, I asked the man responsible to give me (for you) some of the details. Here is his reply: "WFAA-TV, Channel 8, Dallas presents a program every Sunday morning (9:15 o'clock) as a public service to the churches of the area, 'Young Dallas Sings', featuring youth and children's choirs. Norvell Slater, host for the series, said that he and Jay Watson, the program manager, started the programs because of the need to let the viewing audiences see and hear what is being accomplished in our churches by the ministry of music through the graded choir program. Slater said he issues the invitations to ministers of music of all denominations by phone. The programs are video taped on Monday nights two weeks in advance of the scheduled telecasts. A different church is featured each week. The minister of music is interviewed briefly during the program. A picture of the church is shown. Questions include who is the minister? What is the size of the church membership? How many graded choirs? How many are enrolled in all choirs? The interview is one minute, or less, in length. The youth and children who make up the choirs have responded enthusiastically and have given excellent cooperation in preparing for the telecasts. The directors have said appearance on the series has stimulated interest in the rehearsals. Parents have been impressed that WFAA-TV has invited children from their church to appear. The television station furnishes facilities, production personnel and air time without cost to the churches as a public service. Slater suggests that pastors and ministers of music in other cities may help to interest TV stations in providing such programs by contacting their local station's program manager." I will be pleased to have a report on any other area where this is being done or contemplated. 0 0 0 0 0 YOU ARE INVITED

The Dallas Chapter of the Choristers Guild invites you to a ONE DAY WORKSHOP, Tuesday, September 28. The leaders will be Dr. Roberta Bitgood, Helen Kemp, A. Leonard Lilyers, and Dr. Cecil Lapo. (This workshop is made possible because the Board of Directors and officers of the Choristers Guild will be holding their annual meeting in Dallas, September 27. These people have been asked to stay over a day to conduct this workshop.) The morning session, beginning at 10 o'clock, will be held at Highland Park Methodist Church. The afternoon and evening sessions will be in the new Owen Fine Arts Center of Southern Methodist University. We are pleased that the superb facilities of this new building have been made available for this workshop. The registration cost will be $4.00 for the day or $2.00 for any one session. Many phases of our work in the church will be discussed by the highly competent instructors during the eight hours of classes. Here is an opportunity for the people in the Southwest to have a day of great helpfulness just as the new season is getting underway. If you wish more information, contact the President of the Chapter: Don Hermonat President-Elect: Mrs. Vincent L. Rohl off First Community Church Or Lovers Lane Methodist Church 6250 St. Moritz 5002 W. Lovers Lane Dallas Dallas 0 0 0 0 0 01

2 in '66 4 To serve you better there will be two Choristers Guild Seminars next summer:

July 1115 Denver, Colorado at Colorado Woman's College 0 August 8-12 Winston-Salem, N.C.

at Salem College

Plan for 1 of the 2 in '66

—11- YE SERVANTS OF GOD Director's Page

TEXT: "Ye Servants of God" appeared first in 1744 in Charles Wesley's collection, HYMNS FOR TIMES OF TROUBLE AND PERSECUTION. The text is said to be based on comparing the praise which John heard in heaven from prison on Patmos (Rev. 7:9-12) with the praise and courage needed by the followers of Methodism in its early years of being persecuted, ridiculed, and accused of heretical intent.

TUNE: William Croft, 1678-1727, named the tune after the house of Hanover. Croft held a doctorate in music and worked for better church music in the England of his times. He served as organist at Westminster Abbey and the Chapel Royal; and he wrote over 30 psalm tunes. An inscription in his honor at Westminster Abbey stresses not only his musicianship but takes note of his manners and friendliness as a person.

CURRICULUM-CHURCH YEAR CORRELATION: This is an appropriate hymn of praise for any season of the church year. Older Juniors and Junior Highs might utilize the hymn in correlation with studies of Christians in times of persecution.

THEOLOGICAL IMPLICATIONS: The "servant" image is one of the most essential to a full understanding of the Christian life — and one of the most difficult concepts to build within children whose cultural environment stresses material success, praise, recognition and "winning".

TEACHING SUGGESTIONS: To teach the meaning of the "servant concept", have the children look up and discuss Christ's teachings on the servant role in Matthew 16:24-28, Matthew 19:20-22, Matthew 20:24-28, and Matthew 25;21-46. The role of the chorister as a "servant" rather than a "performer" should be stressed.

A study project could show the many great hymns that are a reflex of the responses of Christ- ians in times of trouble and persecution, including the Disciples and the Passover Hymn; Hymns by Martin Rinkart, Luther, and others in times of war and disease; and contemporary hymns professing faith amid the uncertainties of the atom age.

Musically, the tune gives excellent practice in sight-reading along scale step progressions and intervals. Practice interval recognition of 3rds, 4ths, 5ths, 6ths and 8ths. Give starting notes and let the children write on the blackboard and sing corresponding interval skips up and down.

Discuss the bass line in terms of pedal point, noting that Croft was especially fond of Bach's music. (Perhaps they will recognize the relationship themselves in the interesting bass line.) Help the children learn to listen for this bass line in all the anthems and hymns sung by the adult choir. Try to develop a "feel" for bass movement as the pulse upon which the music is carried along.... showing what happens when a sluggish bass interferes with the rhythmic flow of the music.

Practice directing 3/4 time might be given with this tune, demonstrating the DOWN-RIGHT-UP triangle pattern, and showing how to start on the 3rd count "UP" beat:

Be certain the children show releases at the end of each long phrase before picking up the beginning of the next line. Teach them that "amen's" are always sung and directed in the tempo of the hymn which they accompany.

Editor's note:

This Guild season Mrs. Kallstrom, who has given us such helpful hymn studies for the past 4 years, will be re-writing some of the hymn material which the Guild published earlier. The hymns will be put in our present format: a director's page, a study for the children, and the hymn reproduced. No hymns, not previously used, will be added to our "11" series this year.

— 12 — YE SERVANTS OF GOD Hanover Text by: 10.10.11.11 Tune by: Charles Wesley William Croft 1707-1788 1678-1727

Dear Choir Friends:

Has anyone ever made fun of you? Then you know how a new religious group in England in 1744 felt when they were persecuted and made fun of and even imprisoned!

A leader of this new group, Charles Wesley, wrote "Ye Servants of God" to give his followers courage and to remind them of John's experience in prison on Patmos in Revelation 7:9-12. Have you guessed yet that the name of the new group was the 7

A contemporary theologian, Helmut Thielicke, reminds us of the time Paul and Silas brought brightness into the dark dungeon in which they were imprisoned by singing praises to God in exactly the way that you and I may sing with confidence in God's purposes no matter how difficult a situation we face in our own lives. "Ye Servants of God" would be a good hymn to have as a part of ourselves rather than knowing it only by looking at the music. I'm beginning to understand, too, that "being on God's winning team" is a different kind of success than winning earthly praise and recognition it means more of "being a servant" to others than "being their masters".

The tune is named "Hanover" after the Royal House of Hanover in England. Its composer, William Croft, held a doctorate in music, served as organist at Westminster Abbey and the Chapel Royal, and wrote over 30 anthems and psalm tunes.

Croft was especially fond of Bach's music. Listen to the bass of this tune and imagine how it would sound played on the resonant deep tones of the Westminster Abbey organ. Why is the sturdy tempo of the bass line important in the singing of this tune?

Now look at the melody line and notice how well the tune carries the text to the end of the phrase. Try marking and singing the melody by intervals. Stepwise progressions up and down the scale are easy to sing... but watch out for the skips of 3rds, 4ths, 5ths and 6ths. How many 6ths do you find? Where is there a skip of an octave? Are 5ths up or downward easier for you to sing?

How many of each do you find?

In a way, being in a choir helps me learn something of the meaning of being a servant of God. We must work many hours to learn an anthem or hymn that takes only a few minutes to present to a congregation and the reason we work so hard is not to show what a good choir we have, but to help others — through our singing — to be more aware of God's Presence in their lives.

Goodby, "Servant of God",

Your friend,

Charley the Choirboy

H-16

— 13 —

YE SERVANTS OF GOD

HANOVER. to. to. i t. CHARLES WESLEY, 1707-1788 WILLIAM CROFT, 1678-1727 •

• • i. Ye ser - vants of God, your Mas - ter pro claim, 2. God rul - eth on high, al - might - y to save; 3. " Sal va tion to God, who sits on the throne!" 4. Then let us a - dore, and give Him His right, -a- • -a- a •

ttA

And pub lish a - broad His won - der - ful Name; And still He is nigh, His pres - ence we have: Let all cry a loud, and hon or the Son: All glo ry and power, all wis dom and might,

•

?°' O ; The Name all - vic - to - rious of Je - sus ex - tol; The great con - gre - ga - tion His tri - umph shall sing, The prais - es of Je - sus the an - gels pro - claim, All hon - or and bless - ing, with an - gels a - bove, -0- •

His king - dom is glo - rious, and rules o - ver all. As - crib - ing sal - va - tion to Je - sus, our King. Fall down on their fa - ces, and wor - ship the Lamb. And thanks nev - er ceas - ing for in - fi - nite love. A - MEN. -0- • —0 • TINTINNABULATIONS Dear Bell Directors: Welcome to you wonderful people! And to September, a valuable month and time of foreclosures on pro- mises made in June. Let us come rejoicing into September as we bring in the sheaves: — Resift the gold of our past experiences; discard the unworthy, the ineffective, the tired; chart the course for the new season; reinforce with fresh materials, ideas, and values; steady our thoughts, our attitudes, our tongues — and — SMILE!! We're Off! Let's Ring! NEW HANDBELL MATERIAL: Collections of Arrangements 1. "Ringing Praises" Book of Handbell Music, Set II. (H. W. Gray, 1965) by Doris Watson (Music for Handbells alone, and arrangements for various combinations of Organ, Voices and Bells) 2. "Concert Classics' by Bob and Irene Stuart. (BelWin, 1965) (Useful collection for experienced ringers having 3 to 31/2 octaves. The 11 pieces include 2 patriotic, Trumpet Voluntary (Pur cell), The Carillon (Bizet), Mozart, Brahms and Gluck arrangements. Parts written for drum, fife and sound effects. Two excellent features are: Numbered Measures and Performance Time given for each selection.) Handbell Solos 1. "Festive Overture" (for Handbells alone) Alice Procter. 1964. (H. W. Gray Handbell Choir Series, No. 8) Range: Just under 3 octaves. A jolly original composition of Medium Difficulty. 2. "Pastorale" (For Handbells alone) Paul E. Giasson. 1965. (H. W. Gray Handbell Choir Series, No. 10) Range: 4 octaves, plus high D. A pleasant original pastorale in 4/4 time, relieved from a certain repetitiousness by the introduction of several sheep's "baas" near the end, or is that the voice of the relieved director shepherding his flock in, by hook or crook, for a peaceful conclusion? (Medium Difficulty) Anthems with Handbell Parts 1. "A Carol of Bells" Doris Watson. (H. W. Gray Handbell Choir Series, 1964 No. 10) A lilting 3/4 Christmas anthem for Handbells and Combined Children's, Youth and Mixed Choirs, with optional accompaniment. Bell Range: 2 or 3 octaves. (Medium to Easy) 2. "Before the Break of Day" Beatrice Fraser. (Harold Flammer, Inc. 1965) An attractive Easter anthem, reminiscent of "Clementine" with a "Funiculi, Funicula" hooray climax. A good anthem, with the Youth and Treble Choirs, Solo Voice, Organ and Handbell parts cleverly woven together. Range: 2 octaves, plus. (Medium to Easy) 3. "Kevin's Carol" Alta Faircloth. (Broadman Press, 1965) Our current favorite easiest unison Noel, heard in steamy July. Although no bells are indicated, an 8-measure quiet section would be tremen- dously effective with solo bell accompaniment. Books and Records 1. "The Sound of Bells" by E. C. Shepherd. (Record Books, London. 1964) This latest book-cum-record covering the history of Change Ringing in Britain, reviewed earlier in CGL, is now available through the Curator's Office Bookshop, Washington Cathedral, Washington 16, D.C. 2. Westminster Presbyterian Church of Lincoln, Nebraska is advertising a 12" stereo recording of 6 original compositions for Handbells by Dale Fleck, plus 1 transcription of a Bach work. 5 copies of compositions by Mr. Fleck will be included with each order. Price: $5 per order. (To be reviewed later.)

ANSWERS TO RECENT QUESTIONS

1. To order SPEL-BINDER, heavy, loose-leaf notebooks that sit up on the table, write: Board of Lutheran Publications, 2900 Queen Lane, Philadelphia 29, Pa. 2. To order E-Z Kleen cloths for polishing bells write: CLEAN E-Z Mfg. Co., 514 N. 10th St., Philadelphia 23, Pa. 3. To order Pacific Cloth bags of varied sizes with zippers, write: Eureka Mfg. Co., Inc., Taunton, Mass. 4. To investigate sturdy Bell Tables, Mr. Fink's latest invention, write: Lawrence Fink, 1729 N.E. Brockman Place, Seattle 55, Washington. 5. To inquire about Membership and to pay dues, American Guild of English Handbell Ringers, write the new Re istrar: Dr. istvan gladics, 6611 Mission Road, Prairie Village, Kansas. 6. AG HR Members entitled to order Guild insigne: Write Secretary Robert Ivey, 428 Main St., Latrobe, Pa. (Ringers' Guild not CG) 7. Yes, a few copies of the handsome Washington Cathedral Gloria in Excelsis Bell Tower Dedication booklets are still available for 10q postage. Write: Mrs. TNT, 9051 River View Road, S.E., Washington, D.C. 20022.

YOU LUCKY PEOPLE! The Bell Choir Director's load of over-all responsibilities and arrangements for stor- age and transportation seems to increase each season. Despite fitted cases and chests, clever folding tables and racks, and other equipment — the responsibility, the weight, bulk and numerous details are ever with us. The fear of a missing bell, piece of music, or a ringer lies behind the pleasant facade of every Bell Director. Ebrhaps the only sure method is to check against a list all bells and equipment after each rehearsal and appearance, and to double-check before and after trips! — 15 —

Our musical friends, notably bass violists, harpists and tympanists, offer scant sympathy and hard shoulders to our tales of woe. They have even been known to retort, "YOU LUCKY PEOPLE! — You Bell Ringers. We are forever saddled with dog houses, string-tuning, and the kitchenware of the orchestra! You have a sinecure. Dry up!" 4 Station Wagons, 3 sets of folding tables, and 77 boxes of Band-Aids since our bells landed — we are able to manage only a tremulous smile. Lucky, lucky us. AGEHR 1965 CONVENTION: The "largest" Handbell Convention in history drew over 1100 people from 36 states and Canada to Washington, D.C. 70 groups appeared in toto and many others were represented by one or more members. 52 groups rang ensemble in the Guild Concert held at the Washington Cathedral, and 6 others rang solo on that occasion — a total of 58 groups with some 800 ringers. It was interesting and gratifying to note the vast improvement in techniques, in music arranged and original, in memorization, in discipline and public deportment. Handbell Ringing and the music for this medium is coming of age. A slight stirring of serious consideration and respect is evidenced by the rapidly-growing list of Handbell Music being published in the '60's and by such occasional reviews, as that quoted below, from a major newspaper. It is still on the shoulders and consciences of Bell Directors to lift this Art above the sheer entertainment field. MUSIC REVIEW from "The Evening Star", Friday June 25, 1965, Washington, D.C. by John Vinton BELL ERtONC IS MONUMENTAL "The American Guild of English Handbell Ringers gave a monumental Festival Concert last night at Washington Cathedral as part of its Biennial Convention. Probably never before in the history of Western Man have so many bells been used all at the same time to make music. As an appetizer to the event, the multi-ton Cathedral Carillon was played by Wendell Westcott of Mich- igan State University. At the same time, inside the Cathedral, the Bell Ringers and Organists were warming up, and the grand total of all these sonorities was something that only Charles Ives could have imagined. Nobody knows for sure how many bells there were altogether but they numbered in the thousands. Dean Sayre of the Cathedral said there were more bells on view than lie had seen in his entire life. The sound they produced in the massed numbers was beyond anything that has ever been heard on earth. It was a shimmering bombardment that bathed every corner of the Church with golden echoes. It was a sound such as Cecil B. DeMille might have expected to hear on entering heaven. Several of the participating Bell Choirs came forth with solo numbers that evinced long hours of patient practice. . . .A total of 33 states and Canada as well were represented by the more than 1,000 * players who took part in this concert." ( * Corrections: 36 states and about 800 ringers.) BELL-POURRI: Bell-minded people pricked up their ears when the U.S. Post Office announced that the 1965 Five-Cent Christmas Stamp would be issued November 2 at Silver Bell, Arizona. However, there are no bells on this year's design, but an attractive Angel-with-Trumpet inspired by a weathervane atop an old Church of Newburyport, Mass. Those desiring first-day covers may address the Postmaster, Silver Bell, Arizona 85270. . . . .BELOISE advises stitching iron-on tape (sticky side out) to the backs of AGEHR patches, Scout and other emblems. Just press the insignia onto Choir Robes, pockets or sleeves of shirts, blouses, costumes, and so on. Also press from the inside of the garment. When tacking the tape onto patches by means of a sewing machine, protect machine with a sheet of waxed paper. If necessary to remove the insignia, press, and peel off while hot. The robes and uniforms can then be worn by someone else; the patches are reusable also after stitching on fresh stick-on tape. (Two pieces of tape could be sewn together, back to back, sticky sides out, and carefully ironed onto both patch and garment at the same time) The most imaginative Bell Tower to come within our ken is that of Old St. Peter's Episcopal Church, Tacoma, Washington. The first members of the modest frame Church, built in 1870 and one of the few "original" BELL buildings still standing in that city, could not afford a steeple, so a CHOIR huge tree in the churchyard was utilized. The tree was leveled off at R ROM approximately 50 feet, the bell hoisted and fastened to this platform. This natural "tower" was then crowned with an appropriate belfry 0; it-- i surmounted by a cross. Vines covering the tree gave rustic charm to this unique set-up. We were sorry to learn that the tree became so decayed that it was necessary to have it taken down recently, but • that the Washington State Historic Society is undertaking to have it ..."1—# replaced by a giant log the size of the original tree. Perhaps in time for St. Peter's Centennial Celebration? Does any West Coaster have the latest information about this, or the background of the bell itself?

"0 Lord, if we Thy praises due, From out our minds let slide, Then let our dext'rous hands forget The echoing bells to guide."

t ' A (Old Inscription — 1658)

HAPPY RINGING!

DECIBEL MARMALADE SAYS: "Relax, or quit. He who cannot bear the Clapper should not pull Nancy Poore Tufts the Bell." Here we go Again !!!! — 16 — NEW ANTHEMS FOR CHRISTMAS Suggested by Norma Lowder CHILDREN'S CHOIR Buxtehude. A CHRISTMAS CANON. Concordia 98-1780. 1965. 300. SSA. "Buxtehude calls this little work 'une petite chanson'." The text, a paraphrase from the second chapter of Luke, is set to Buxtehude's tune, with a three part accompaniment in the style of the composer's continuo parts. Additional instruments may double (or even solo) any of the voice parts. Davies. BELLS OVER BETHLEHEM. Oxford University Press T74. 1964. 25¢ SA or Unison. May be used with primaries as well as juniors, with the addition of handbell accompaniment, if so desired. Stratham. A CHRISTMAS SONG. Oxford University Press T73. 1964. 25¢. SA. A "chorus" and "semi-chorus" division makes it equally appropriate to use with combined children's choirs. Stathan. JOY! JOY! FROM EVERY STEEPLE. Oxford University Press X120. 1964. 20¢. SATB. Alto, Tenor and Bass parts are doubled in the melody or consist of humming background in all but the coda, making this appropriate for children's unison singing as well. The final chord is the only real "surprise" - a surprise that could no doubt be resolved if it seems too startling. Willan. CHILD IN THE MANGER, and LOVE CAME DOWN AT CHRISTMAS. Concordia 98-1813. 1959. 20¢. SA. Two for the price of one! Settings of a Gaelic and an Irish melody that are simple but effective. Willan. LO, THE STAR WHICH THEY SAW. Con cordia 98-1814. 1962. 200. SSA. A short but interesting setting of Matthew 2:9-10. YOUTH CHOIR Bach. A CHILD IS BORN IN BETHLEHEM. Concordia 98-1803. 1965. 25¢. SATB. Separate stanzas for Christmas and Epiphany use. This 14th century Latin Carol is perhaps most beautiful when sung a capella. Chapman. SING, HOLLY 0! Oxford University Press X122. 1964. 35¢. SATB. "This carol was awarded the joint first prize in the 1964 Bach Choir competition, and was given its first performance in December, 1964, at the Royal Albert Hall by the Bach Choir under David Willcocks. The accompaniment is scored for orchestra: scores and parts are on hire." Curry. (ed.). ANTHEMS FOR SOPRANO, ALTO AND BARITONE. Book 1: Christmas and Easter. Westminster Press. 1965. Included for Christmas are arrangements of "Lo, How a Rose E'er Blooming", '0 Morning Star", "Christ the Lord to Us Is Born", and "Invitatory Antiphon", as well as a "Sevenfold Amen" by D. N. Johnson. Edmunds. FIVE DUTCH CAROLS. Concordia 98-1775. 1965. 30¢. SATB. Settings of "A Noble Child to Us Is Born", "The Day Has Come for Us to Sing", "Let Us Start Upon Our Journey", "The Stork She Rose on Christmas Eve", and "This Night There Comes to Bethlehem" Ehret. A GLAD NOEL. Concordia 98-1758. 1965. 30¢. SATB. A French carol tune of the 17th century that could be used with combined choirs, or, with a bit of arranging, with unison children's choirs. Grams. ON CHRISTMAS NIGHT. Concordia 98-1760. 1965. 25¢. SATB. A setting of the well-known Sussex carol which utilizes unison, canon and four-part singing. Once again, an anthem that could be arranged for children's voices alone or in combination with other choirs. Klein. COME TO THE STABLE. Plymouth Music Co. PCS-14. 1962. 25¢. SATB. An a capella Christmas hymn written somewhat in chorale style. Lewis. MY LITTLE LAMB. Abingdon Press. APM-440. 1965. 250. SATB. An unusual and appealing Christmas anthem which, like the two above, may be used in a variety of settings, utilizing children, youth and/or adults. Lovelace. GLORY BE TO GOD ON HIGH. Abingdon Press APM-26B. 1963. 250. SATE. An excellent setting of a Charles Wesley text. Nanino. HODIE CHRISTUS NATUS EST. Plymouth Music Co. WR107. 1965. 25¢. SATB. An a capella anthem with Latin and English text utilizing an echo idea which may be used effectively as an antiphonal area, perhaps sung by children in unison, and building to a nice climax. Pfautsch. HOW FAR IS IT TO BETHLEHEM? Shawnee Press A-367. 1955. 25¢. SATB. An excellent arrangement of an old English carol, useable with any age group or combination thereof. Pfautsch. THE OXEN. Shawnee Press A-489. 1958. 25¢. SATB. The unusual text by Thomas Hardy finds good expression in Dr. Pfautsch's arrangement. Reed. BRING YOUR PIPES AND BRING YOUR DRUM. Harold Flammer 84699. 1962. 25¢. SATE. A lively carol with flute and snare drum parts; it should have much audience and congregational appeal. Sargent. TWO CHRISTMAS SPIRITUALS. Oxford University Press X119. 1964. 50¢. SATB. Excellent a capella arrangements of "Mary Had A Baby" and "De Virgin Mary Had A Baby Boy". Van Hulse. NIGHT OF WONDER. J. Fischer 9540. 1964. $2.00. SATB, Unison, Solos. A full-length cantata which won the prize award in Centennial Anniversary Competition. (Performance time, 47 minutes.) Writing is for children's choir, men's choir, women's choir, mixed choir and solos (baritone, soprano, tenor, and contralto). Orchestra parts available. Could accompany pantomime. - 17 - TWO NEW ANTHEMS FOR CHRISTMAS When September comes, Christmas is not far away! With this issue, you will find two charming anthems well worth your considering for the holiday season.

THANKS AT CHRISTMAS Ruth Whittlesey Stapp Roberta Bitgood

This anthem was first sung at the Seminar with the composer directing. Its picturesque text (by the daughter of Ye Editor and Mrs. W.), combined with an expressive melody and interesting harmonies, made a deep impression. This anthem has several excellent teaching opportunities: the seven times the octave leap is used, the delicate dotted eighth and sixteenth pattern, the key change, dynamic contrasts, etc. We believe that this anthem will find a ready response among choir directors, the children, and the people. Dr. Bitgood has been an active and helpful member of the Guild for thirteen years. Her anthem, written for us a few years ago (A-25, "Lord Guide Our Thoughts"), is widely used. She is a member of the Board of Directors of the Guild. Let us become better acquainted with her from her official biography: A native of Connecticut, Roberta Bitgood majored in music at Connecticut College for Women, graduating with honors; was Gold Medal graduate of the Guilmant Organ School in New York; holds the Master's Degree in Music Education from Columbia University, and both the Master's and Doctor's degrees from the School of Sacred Music of Union Theological Seminary in New York, having been the first woman to receive the latter degree in 1945. She is a Fellow and Choirmaster in the American Guild of Organists, both by examination. She has served the following churches as full time Minister of Music: Westminster Presbyterian, Bloomfield, N.J.; Holy Trinity Lutheran, Buffalo, N.Y.; Calvary Presbyterian, Riverside, California; Redford Pres- byterian, Detroit, Michigan. She was Director of Music at Bloom- field College and Seminary for 12 years. Since 1963 she has been Organist and Director of the five choirs at the First Pres- byterian Church of Bay City, Michigan. Dr. Bitgood is in demand for church music workshops all over the country and each season gives a few organ recitals and directs choir festivals. She has more than 40 pieces of church music published, and now writes for several publishers. Her cantata "JOB" has been sung all over the country. The cantata "JOSEPH" was sung twice in California, and is now being published. The Christmas cantata for children, "LET THERE BE LIGHT", was released in the summer of 1965. Dr. Bitgood is a member of the American Society of Com- posers, Authors and Publishers; an honorary member of Sigma Alpha Iota; a member of Zonta International; a member of the Hymn Society of America; a member of the national board of Choristers Guild. She plays viola in the Saginaw Symphony. Her organ teachers have been Dr. J. Lawrence Erb, Dr. William C. Carl, Dr. David McK. Williams, and Dr. Clarence Dickinson. In 1964 she was given a citation by the Michigan Federation of Music Clubs for "abilities and contributions to the cultural growth of young people".

r gi

Some time ago, we became interested in the way Shirley Brown expressed herself in music. (Do you recall her setting of Dr. Elton Trueblood's rendering of the "Ten Commandments for Children" which we published in the LETTERS of June 1964?) Three poems which appeared in the Christmas issue of the LIVING CHURCH in 1964 set Mrs. Brown's musical pen a-whirling and she sent the results to us. We believe this trilogy will add a new dimension to our Anthem series. They are distinctive text-wise, appropriately archaic in their mode and tone, yet contemporary in the resources necessary to produce them. We believe you will enjoy each one and find them worthy of study and rewarding when sung. It is a pleasure this month to send to you —

CHRISTMAS SONG Katherine Edsall Shirley L. Brown For children's voices with optional adult parts and autoharp or keyboard accompaniment.

The other two numbers of the Trilogy will be sent to you as supplements with the October LETTERS. At that time we will tell you more about Mrs. Brown and discuss the anthems more fully.

— 18 — SERVICES OF DEDICATION AND/OR PRESENTING AWARDS Often requests come for suggestions for services which would be appropriate for investiture or dedication. Here are four which have come to me recently. You may find some ideas that will help you as you plan a similar service. From All Saints' Episcopal Church, Fort Worth, Texas, Cleve Redus, Director. OFFICE OF ADMISSION OF CHORISTERS Rector: In the Name of the Father, and of the Son, and of the Holy Ghost. Amen. It is a good thing to give thanks unto the Lord. Choir: And to sing praises unto thy name, 0 thou most highest. Rector: Do you desire to become members of this choir? Choir: We do. Rector: Will you promise to be reverent in the house of God? Choir: We will. Rector: Will you promise to obey those set over you, and to keep the rules of the choir? Choir: We will. (Starting with the back row, the Choirmaster will vest you with your surplice and lead you to the Rector, who will admit you and hand you your membership card. After being admitted, return to your place and be ready to read the Prayer for Choristers when the Rector asks you to.) Rector: Let us say together the Prayer for Choristers: Bless, 0 Lord, us thy servants who minister in thy temple. Grant that what we sing with our lips we may believe in our hearts, and that what we believe in our hearts we may shew forth in our lives; through Jesus Christ our Lord. Amen.

Mr. Redus wrote: "I am enclosing a copy of Office of Admission of Choristers. This Office is published by the Royal School of Church Music in England for admitting boy choristers into the Order of St. Nicholas. We decided that since the name of St. Nicholas was not mentioned anywhere in the Office, it would be fitting and appropriate to use this Office also for the admission of girl choristers into the Chor- isters Guild. The Office was said immediately following the Creed in the Service of Holy Communion. "Let me explain a little bit of the ceremonial that goes with this. First of all, our choristers wear the two part vestments, cassock and cotta. During the procession all the choristers to be admitted process wearing only their cassock, carrying their cotta folded over their left arm with their hymnals and other various and sundry materials in both hands. The cottas remain over their left arm until it is time for the Office of Admission at which time all the choristers go to the altar rail, kneeling. The choristers then put on their cottas and are lead by the Choirmaster to the Rector, who receives each of them into the Choristers Guild. After each chorister is received he returns to his place in the choir, and after all have been received, they say together the Prayer for Choristers, which is the Royal School of Church Music Prayer. "The service is 'terse and pithy' and still has enough ceremony to give the choristers a great delight, as well as pleasing their parents, of course."

rEI David Blackburn used the following in a service last May at Polk Street Methodist Church, Amarillo, Texas:

SERVICE OF DEDICATION and PRESENTATION OF AWARDS Processional Hymn No. 1 Holy, Holy, Holy Prayer of Dedication Minister Presentation of Choristers Minister of Music Act of Dedication Minister: Do you desire to become Choristers in this church? Chorister: I do. Minister: Will you endeavor always to be reverent in the house of God, and seek at all times to live a life in accordance with the Gospel? Chorister: I will, the Lord being my helper. Minister: Do you promise obedience to those to whom the Church has committed authority over you? Chorister: I do. Minister: I commend to you parents these Choristers whom we now consecrate to the ministry of music in Christ's Church. Will you sustain them with your prayers and your spiritual support as you seek together to offer praise to God? Parents and Congregation: We will do so, with God's help. Scripture Lesson Colossians 3:16-17 Dedication of Choristers Prayer The Lord's Prayer Presentation of Choir Pins and Choristers Guild Certificate

(Continued on next page)

— 19 — H. A. Smith of the Church of Peace, Fon du Lac, Wisconsin, sent this ritual:

RITUAL FOR AWARDING CHORISTERS GUILD CROSS Choirmaster: Reverend Sir — I present unto you these persons present as candidates to be awarded the Choristers Guild Cross. Pastor: Take heed that the persons whom you present to us are apt and mete, by their purity of life. good behavior and knowledge of music, to exercise this Office to the honor of God and the edifying of the Church. Choirmaster: I have inquired of them, and also examined them and think them to be so. Pastor: (Addressing the candidates) Do you promise obedience to all the rules of this Order, to endeavor always to behave rev- erently in the house of God and that you will strive that your life may be in accordance with this high office? Candidate: I will so strive, the Lord being my helper. Pastor: Our help is in the name of the Lord. Candidate: Who made Heaven and Earth. Pastor: Blessed be the name of the Lord. Candidate: Henceforth, world without end. Pastor: Lord, hear our prayer. Candidate; And let our cry come unto Thee. Pastor: Let us pray. (Candidates kneel) O most gracious Lord, we beseech of Thee to accept the dedication of these persons who are to offer the sacrifice of praise to Thee in this house. Give them grace to prepare their hearts to serve Thee with reverence, and, that coming before Thee with clean thoughts and pure hearts, they may always perform a service acceptable unto Thee. ( As the pastor says the following to each candidate, the choirmaster invests them with the cross.) "Name " I bestow upon Thee the Choristers Cross in the name of the Father, and of the Son and of the Holy Spirit. (After all are invested, but still kneeling, the pastor says:) What thou singest with thy lips, believe in thy heart, and what thou believest in thy heart, practice in thy life. And may our heavenly Father give thee grace to sing His praise and to live in His glory, both in this world and in the world to come, through Jesus Christ our Lord. Amen. (Choristers rise for benediction) The Lord bless you and keep you — the Lord make His face to shine tgi gi Nancy Poore Tufts sent this service which is used in York Minster Cathedral:

ADMISSION OF CHORISTERS (The Master of the Music shall lead forward the boys to be admitted, directing them to stand before the Dean, and shall say:) Very Reverend Sir, I present unto you (full names) as apt and able to be admitted Choristers of this Cathedral and Metropolitical Church of Saint Peter of York. (The Precentor shall say:) Very Reverend Sir, I request you in the name of the Dean and Chapter of York to admit these children to the Choir. (The boys shall then kneel in a line before the Dean, who shall receive the surplices from the table at the hands of the Master of the Music and shall put one over the head of each Chorister, finally saying:) We do here, in the presence of God and of this congregation, admit you into this Choir, and do clothe you with this white garment, in token that all who in any degree minister in the worship of God should be clad with purity of heart and life. (The Master of the Music shall then hand Bibles to the Dean, who shall present one to each Chorister, thereafter saying:) Receive this Book of sacred Lessons; hear them, follow them, read, mark, learn and inwardly digest them; and pray that what you hear with your ears you may believe in your hearts and show forth in your lives; in the Name of the Father, and of the Son, and of the Holy Ghost. Amen. (The Dean shall pronounce this blessing:) God the Father, God the Son, and God the Holy Ghost bless you and keep you, and make you worthy to walk in white raiment, and to sing with the blessed Saints and holy Angels before the throne of His Glory, throughout all ages. Amen. MUSINGS, MEDITATIONS AND MUMBLINGS

The thanks of all of us goes to the following churches and individuals who have made contributions to the Guild since the June LETTERS list was published: First Presbyterian Church, Erie, Pa. First Presbyterian Church, Fort Wayne, Ind. First Methodist Church, Big Spring, Texas Lakewood Christian Church, Dallas, Texas St. John's Lutheran Church, Easton, Pa. Mrs. J. W. Akin, Wichita Falls, Texas George DeHart, Midland, Texas 0 0 0 0 A slight change will be noted in the billing for pins and materials from the Guild office. You will be billed for postage on all orders unless the check accompanies the order. If possible, send the check along with your order. This helps everyone. O 0 0 0 0 0 It is good to be free of collecting and reporting the Federal Excise tax on pins and crosses! This tax went off a couple of months ago. We still have to collect the 2% state sales tax on orders from Texas churches or residents and the 3% state sales tax on orders from Tennessee churches or residents (or have an exemption statement from your church on file in our office). These are the only taxes we have to collect — but not the only ones we have to pay! O 0 0 0 gi Ten people attended the '65 Seminar on scholarships; 8 on the interest from the Ruth K. Jacobs' Memorial Fund and 2 as a result of a gift by Mr. and Mrs. J. W. Akin in memory of Mrs. Jacobs. These people came from Illinois, Michigan, Minnesota, Washington, Virginia and California. They added much to the joy of the Seminar and, we trust, received much. O 0 0 0 One project started by your Board last year was offering complimentary memberships to the seniors in the Sacred Music departments of various colleges and schools of music. Forty-seven seniors accepted membership. They were from Union School of Sacred Music, N.Y., University of Southern California, Los Angeles, Westmin- ster Choir College, Princeton, N.J., Wittenburg University-Hamma Divinity School, Springfield, Ohio and Southern Methodist University, Dallas, Texas. It is contemplated that this offer will be extended to other schools. The Board would be glad for suggestions of institutions having sacred music majors which might welcome the Guild's offer. O 0 0 0 0 0 Our good friend, Rev. William Grime, whose charming songs have been the main diet of many primary choirs, has written two prize-winning children's hymns: "The Cloud that Called me to Prayer" and "0 What a Joy We Find in Jesus". He has offered to send a complimentary copy of each to any C.G. member who requests them (enclose a 5q, stamp with your request). Address him at 15 Sunset Drive, Saint Johnsbury, Vermont 05819 O 0 0 0 0 Some of you have used the CHILDREN'S PROGRAM packets issued by the American Friends Service Com- mittee which I have recommended from time to time. A new one is available now. These are excellent for brotherhood training among children. Following is a press release about the new one for the coming Christmas season: "CARING AND SHARING AT CHRISTMAS AND HANUKAH is the title of a new packet published by the Children's Program of the American Friends Service Committee. "'Look-and-Tell Pictures', made by older boys and girls for preschool children in OPERATION HEADSTART (or similar programs) is one of the projects featured in this packet. Others are 'Togs-in-a-Towel', 'A Gift that Grows' and 'Pencils for the Congo'. Related to the latter project are four games of African origin and a strongly rhythmical work-song, 'Before Dinner'. "This 18-page packet, designed for parents, teachers and leaders of elementary school children, printed in two colors, and illustrated with photographs and line drawings, is prices at 25 cents. It may be secured from CHILDREN'S PROGRAM, American Friends Service Committee, 160 North 15th Street, Philadelphia, Pa. 19102." O 0 0 0 0 0 This issue of the LETTERS is being sent to all of last year's members, as well as new members. Alas, some of last year's members have not renewed (as yet) but receiving the September LETTERS may spur them (you!) into action. If you have sent in your renewal you are now a card-carrying member -- the '65-'66 membership cards went in the mail August 20. The October LETTERS will be sent only to paid-up members. One healthy and encouraging sign is the number of people who have "stepped up" from regular to contributing membership, and from contributing to subscribing membership. This truly strengthens your Guild. O 0 0 0 0 0 New Guild members might like to receive last year's LETTERS and supplements. We have about one hundred sets in the office. A four-dollar check with a request for the '64-'65 LETTERS will bring them to you. • gi 0 0 0 0 Last year a number of people had permanent orders for all new anthems, hymn studies, cartoon sheets and for Psalm series. We sent the proper quantity as they were published and sent a monthly bill. We will be glad to do this again. However, all former permanent orders have been cancelled, so please re-state your order. O 44 0 0 0 0 This little fellow is getting very insistent -- he is demanding recognition. Please use your Zip Code number on all correspondence. In a few months we must have it on all mail we send as bulk mailing, like the LETTERS. We are trying to get the addresses complete, so be sure we have your Zip! — 21 —

WHAT'S NEW AT 440? You might think that this question has to do with Pitch — "A". How can there be anything new about 440—A? Of course, we mean the Guild office, 440 Northlake Center, Dallas. There are many new, helpful and interesting aids available now. Let me tell you about a few of them: THE CHILDREN'S CHOIR This fine 300-page book which makes available the most helpful articles in ear- VOLUME II Tier issues of the LETTERS is now ready for you. It is the type of book which may be picked up when you have only a few moments to read; but in those moments a vital new idea may strike you. Every Guild member will want a copy of Vol. II beside Vol. I on his handy-to-reach bookshelf. The cost is less than 2¢ a page — what a bargain. We have plenty of copies on hand and will put yours in the mail the day we receive your order. CHILDREN'S CHOIR As I write this, the beautiful picture which is shown on page 4 is on the wall of PICTURE the office just to my right. I wish you all could see it. The same color picture (unframed), 16" x 20", is available for your choir room or studio at cost price, $21.00 each. Also 8 " x 10 " color prints of this picture are available at cost price, $8.00. If you wish either of these, let me have your order. Many have ordered boxes of the Children's Choir Greeting Cards which have this same picture. One of these cards was included with the June LETTERS. The cards are packaged 20 to a box with envelopes, at $2.50 per box. Have you noticed the Bulletin cover which came in the envelope with this issue? Now you can have this attractive picture as a part of a children's choir program or festival. We believe the directors, children and parents will be delighted with this new bulletin cover. Many of you wrote last spring for suggestions as to what you could give your choir mothers or adult helpers to show your appreciation for service well rendered. Our jeweler came up with the suggestion of a one-inch gold-filled disc with our Guild emblem (gold-filled) mounted on it. Several directors who saw his sample in our office were enthusiastic about it, so we have stocked them and have them for your use. This charm (and it is charming!) sells for $4.50, packaged individually in small boxes. Pearls may be added at the usual cost of one dollar each. (One director had us put 14 pearls on the emblem he was giving his head choir mother — this was a gorgeous gift.) The charm, with or without pearls, make a fine way to say "thank you" to someone who has given of herself beyond the call of duty. •c-canixt9 ! GUILD EMBLEM "Boys just don't like the Guild pins; why not put a tie-tack back on them". This word AS TI E TACK from a director last spring started the wheels a-working. If Guild members needed tacks (or tacs, if you prefer) for the boys, let us provide them. They were announced in the May LETTERS — too late for many of you, but you can plan for them for next year. They are available only in gold-filled at the same price as pins. Pearls may be added, but not note-guards. We believe the boys will be pleased with these. Not incidentally, I'm taking real joy in wearing one in my lapel, you will, too, men.

Since the postcard series was announced in the April LETTERS more than 30,000 postcards have been ordered by you. Now something new is being added — the vestments on the "three chorister" cards has been printed in red. No increase in cost — a cent each — order by hundreds, please.

IN COLOR ANTHEM In addition to the two anthems which you found with this issue of the LETTERS, I want to SERIES tell you about one other which the Guild has printed this summer. Helen Kemp resurrected an interesting canon by William Billings, an early American patriot-composer. She made plans to use it at the Guild Seminar, the National Fellowship of Methodist Musicians Convocation and other conferences, and asked if we could print it. It had been issued in 1952 in a book of rounds by Summy-Birchard Company. They kindly gave us permission to reprint it, which we have done. It is listed as A-34 at 15 cents each. This interesting composition has the title "Wake Every Breath" (the words are religious). Its musical form is referred to as "Canon of Six in One with a Ground." It is a six-part round with an additional part in the bass clef (for voices or instrument) which keeps repeating as the six parts sing in turn. Printed with it is an engraving of the canon by Paul Revere which served as the frontispiece to Billings "Psalm Singer". This would make a fine study for any Junior or Junior High choir, or a good anthem for a large choir or festival occasion. Because this anthem will not be used as a supplement this year, we will be glad to enclose one free (if you request it) with any order for materials. In '65-'66 let every Guild member use at least one Guild-published anthem! If there are some of the anthems which you would like to see "on approval", we will be glad to send them to you with returning privileges. — 22 — This story is from an UPPER ROOM devotional.

I went to the open window of my third,story room in London to learn where some beautiful singing was coming from. An old man was singing and holding out a battered hat to passersby. Could such sweetness come from the voice of age?

Getting a shilling from my purse, I hurried to the street. His face wrinkled with pleasure as I dropped my coin into his hat and mentioned the sweetness of his voice. "Then I'll sing a hymn , just for you," he beamed.

The voice was old and cracked! It was not at all like the tones that had come to me three floors up! Then I wondered if the singing was not even sweeter to God.

could it be that our songs all sincere efforts , are glori' tied as they ascend to God? May He not take into account the intention as well as the result?

When the rehearsal hour has been frustrating or the anthem less than longed for, may we find some solace in the message of this vignette.

CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 October Number 2

Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A. Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T.. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynchburg, Virginia Denver, Colo.

The Choristers Guild Letters are published for its members by the CHORISTERS GUILD Ruth Krehbiel Jacobs, Founder 440 Northlake Center, Dallas, Texas 75238 COPYRIGHT © 1965 Area Code 214 — Telephone: DI8-0450 CHORISTERS GUILD — 23 — MEET THE COMPOSER - SHIRLEY L. BROWN

Last month we sent you one anthem of the CHRISTMAS TRILOGY by Shirley Lewis Brown. This month you will find the other two of the set enclosed with the LETTERS. It is a joy and a privilege to send these anthems to you, your choirs, and through them, to the congregations. We believe that these are distinctive and add three helpful new Christmas numbers to our catalogue. But who is Shirley Brown? Her biography sketches like this: Attended public primary and secondary schools in St. Louis, Mo. 1945 — received Bachelor of Music degree from MacMurray College, Jacksonville, Illinois — major in piano. 1947 — received Master of Music degree from Eastman School of Music, Rochester, N.Y. — major in Music Literature under Harold Gleason. 1947-49 — taught Theory and Piano at MacMurray College. 1949-54 — taught Theory at the University of Texas, Austin where she had 2 anthems performed at Symposium of Contemporary Music in 1954. During 3 of these 5 years played organ and directed Junior and Adult choirs at St. George's Episcopal Church in Austin. 1954 —married Gene M. Brown, biochemist at M.I.T. and moved to Boston. Since that time, between three children, worked at the First Parish (Unitarian) Church, Lexington, Mass. One year directed the Primary Choir, six years directed the Young Peoples' Choir. Two of those six years also played the organ while directing. Also helped organ- ize Lexington Junior Choir Festival for 6 years. 1963-64 — in California while husband on Sabbatical at Caltech. 1964-65 — moved from Lexington to Concord, Mass. Gave up church job and spent the year composing. Informally, Shirley writes: "Perhaps you are struck by the fact there there are no publications listed on the biography. True. You are my first publisher. I have written things off and on since 1951 or so, but have never sent anything to a publisher before. Too timid, I guess. "You might also be struck by the fact that my formal training was not in sacred music, but in piano. I guess I am a 'late bloomer' in this area. When I went to college there were very few majors offered in sacred music. Things have improved greatly in the past 20 years. It wasn't until I went to Texas that I realized where my real interests lay, and then it was too late for formal training. However, the summer of 1953 I attended the Evergreen School of Church Music in Colorado. While there I showed some of my things to Leo Sowerby. I would describe his reaction as 'non-committal'. I have learned a great deal since then through 'on-the-job' training with choirs. I hope you can make these bare facts sound sufficiently impressive to the members of the Guild, so that they will be impelled to look over the pieces in spite of my meager qualifications." I'm sure all Guilders will look them over with profit and delight. You will first note that they are printed in the three Christmas colors. Primarily this is to make them easier to identify when you are using two or three of them in one rehearsal. You can say, "the green one", "the blue one", "the red one". We believe the children (and adults) will enjoy correlating the various motives of the cover drawing with the phrases of the anthems. The anthems form a "trilogy" because of their subject matter and their style, but they do not need to be used as a unit. The variety of accompaning instruments suggested will add appropriate interest but conventional accompaniments may be used without impairing their messages. Two of the anthems are in the Dorian Mode. You had better brush up on the early church modes before the children ask you about them. The SONG OF SEVEN will need an easily flowing "lullaby" rhythm. Though it comes to a forte climax it is a forte of warmth and love, not power. Then it returns to the quietest of soothing refrains. If you use your adult choir for the humming accompaniment, the men will need to do much of their parts in falsetto. I pre- dict that the phrase which will remain in the minds of all after the tinsel is down and the New Year has "poked out his nose" will be: "Sing a song of one to seven, Six of dust and One from sky, Six of earth and One from Heaven: Lullaby, 0 lullaby" "The Manger Mouse" will be the pet of the Christmas season. Maybe not quite taking the place of "Rudolph", but finding a place of his own in the hearts of the children. Why not have the children learn the poem first? This would point up the overlapping word phrases before they start to sing it. The recurring eighth-quarter note grouping must not become "bouncy" but only a musical reflection of the surprise the mouse feels. Bell directors — the bell parts are easy, but, try really observing the quarter rests by "dampening". This will give much more challenge to the ringers and add a light, delicate timbre to the higher tones. I have thoroughly enjoyed singing the "Christmas Song" with my autoharp assisting. Even in my "has been" voice it sounds good — to me, that is; think how lovely it would be in a Helen Kemp voice! Do not be hesitant about the Latin phrases; get some help, if you need it, from your neighboring Catholic choir director. If your adult choir likes to work on something soulful and rewarding, bring them in, as Mrs. Brown indicated, to assist the children. (Wish my autoharp had an F sharp for the last chord!) And so the poets, the composer and the Guild send these new expressions of the beauties and joys of Christmas on their way to you with the prayer than they may << .lift and bless all hearts on Christmas Day." — 24 — Helen Kemp says: One of the questions which appears most frequently during children's choir workshops and seminars is this:

Very few indeed, are the classroom teachers or choir directors who need not concern themselves with this question. The life-blood of a singing group is nurtured and is kept circulating not by the occasional service or program for which it sings. Those are fulfillment "booster shots". It is during the rehearsal period where the ingredients for growth must be attractively served by the teacher in order to be enthusiastically assimilated by the students. Interest, that highly desired response, depends a great deal upon how the subject matter is presented.. The thesaurus tells us that the following words can be used to express the verb to interest: be interesting to, appeal to, fascinate, absorb, pique, concern, perk up. Can you really expect to do these things during rehearsals? The answer is, "yes, it is possible". A great deal depends on your willingness to stir your own imagination, to think up ideas for colorful presentation of materials. Among those of you who are reading this article are college students about to take your first position of directing a children's choir or standing before your first classroom of youngsters in school. Some of you are lay- leaders who have accepted this position of teaching because there was a real need for your service. Some of you are professional organists, singers, choral conductors who have been highly trained and are experienced artists. For all there is a similar set of rehearsal ingredients and most certainly -- a common goal toward which to strive. If your goals are a bit hazy, I suggest you re-read the purposes of children's choirs as set down by the Choristers Guild to help you re-set your sights. One stumbling block to be removed is the notion that to be a good teacher one must possess the gift of a natural "way" with children. Some of the best teachers I know became expert — not by nature — but by the desire to learn, by disciplined study, by experience (success and failure), by constant evaluation, and perhaps most important, by a sense of purpose and direction. Good teaching techniques can be developed. Before techniques, however, must come the attitude of the teacher. If the children's choir is a task assigned in your job specifications, but one which you regard as superfluous, this attitude is bound to reflect on the inner- quality of your work. If you think, "these are only children. I can get by without much preparation" -- this will reflect. Luckily, attitudes can be changed by several means. One is to become aware of the musical, artistic, creative and spiritual thrust that is possible through leadership of this group. Another is to make contacts with other leaders who have caught the spark of enthusiasm for their work. Another is to read available books and articles, perhaps attend a workshop to search for new, fresh materials and techniques. Our nine year old has begun to take art lessons. When she chooses certain objects and arranges them for a still-life sketch, she moves back very professionally and sights up the objects by moving her pencil vertically and horizontally in front of one eye while she quints the other one. This, she says, helps her to see the objects in prospective within the background. This is somewhat the way a director must scrutinize his rehearsal plans against the background of attitudes and purposes. The planning of a rehearsal is just as important as choosing the objects and arranging the details for an interesting picture. With all the above as background, I would like to make suggestions for the arrangement of details of your rehearsals, for it is in the planning and the executing of these plans that interest of the children is created and sustained.

Develop the habit of writing out a simple plan for each rehearsal. This should include anthems, hymns, special projects, musical theory, interest catchers. Children love to have a rehearsal agenda written on on the chalkboard. Check off each item as you go. Children thrive on this sort of short-term challenge and accomplishment. My agenda often looks something like this: 5:00 Opening chime and prayer Welcome, Welcome, Dear Redeemer (4th week) Praise the Lord, the King of Heaven (Hymn of Month) Song of Thankfulness (New anthem presentation) Chalk-board Work (Sight singing, Rhythm clapping) Church School Hymn (Curriculum emphasis) Solo Time (Mary Hanson — cello) Psalm 150 (2nd week) Service Responses (3rd week) Rehearsal Review Closing Prayer Quiet Dismissal (by rows)

— 25 — You will notice that in the agenda there is provision for changes of pace. If you are working hard on a new song, change to something the children know well. If they have been singing for quite a time, switch to a short listening period -- a story about the next hymn, or a session on conducting patterns. Make a game of sight-clapping rhythms from the chalk-board with two teams participating. Then go back to singing, working on details such as phrasing and diction. Keep several anthems at different stages of preparedness. Do not let the familiar become ordinary. Help children to think of memorization not as the end result, but rather the beginning of real music-making. (a)

Children need both short-term and long-term goals. They like to be preparing for something. Participation in the worship service is always an important short-term aim. A festival, a special seasonal service featuring their choir, are examples of long-term goals. Such planning helps to sustain and build interest from one week to another.

Occasional cookie treats are fun but should not be expected as routine. Plan a surprise visit by the minister, a fine instrument alist, a chalk-board artist who could illustrate a hymn as it is sung by the choir, an architect who could tell them about their own church building. Perhaps you can plan to make a tape recording of several hymns or anthems to be made into small records to give to parents as Christmas or Easter surprises. a04.04. a_ 014.4-Z

Invent flash card learning games of music symbols, instruments, notes on the staff. Keep score on the blackboard. A word of warning --- keep game periods short! (5 minutes) Avoid rowdiness by establishing rules of behavior before you start. Make a game of memorizing music by dividing choir into two or three sections. Point to one group to stand and sing until you point to another group who must stand quickly, continuing the song without missing a word or a count. (First group sits quickly as second group rises.) Alertness is required since they love most to be changed in the middle of a two-syllable word! After this type of game, which allows for many repetitions for memorizing, it is important to sing the song again to come back to proper mood and expression of thoughts. It is wise not to have permanent teams. This encourages rivalry.

/24-.7,1_ •

Beware of too much technical "teacher-talk" and explanations that are too long. Use your imagination to make every presentation stick. Make singing a natural and joyous means of expression. Stress good posture, mental alertness and tone that is clear, vital and unstrained. Encourage projection of thoughts by singing phrase-wise. Expect something from the mind as well as from the vocal cords.

I should add to that statement — whenever possible. Discriminate between work well done and work poorly done. Children like honesty. Praise honestly given seems to spur them on beyond their usual capacity.

There are certain children in every group who have the potential of being either willing workers or persistent pesters! They need a job! Hymn-book distributors, chair arrangers (reserve this job for early arrivers), devotional leaders, music collectors, keeper of the charts, room-checker (after rehearsal) -- all these jobs explained carefully and assigned seriously have a definite relationship to interest created. Assignment of jobs should be made outside rehearsal time. -ems. ettfel_ 44A_

Use attractive, colorful charts for teaching notation, music symbols, instruments, texts, melodies. This is most helpful even when each child has his own copy of music, which is the ideal situation. There is something about group eye- focus that holds the attention during important initial presentations. Learn to use the chalk-board spontaneously. (It may be planned spontaneity!) Draw stick figures for posture, bulls-eye targets for projecting tones. In making explanations, remember that one picture can be worth a thousand words. Your rehearsal room should have an easel for holding charts at proper level. Make use of color. Red, blue and green felt pens are available to add variety to your charts. A specially-chosen picture, attractively matted and displayed on the easel can do much to create the mood for a hymn or an anthem you are teaching. — 26 — Do this not as a routine, but as a petition, earnestly seeking God's help during the rehearsal. A one-minute prayer by the teacher can direct the thoughts of the children and create the attitude that this hour is dedicated to the service and glory of God -- rather than to practicing songs for the director. In the closing prayer, I like to incorporate some thought expressed in the texts just sung. Children should leave rehearsal in an orderly way, with thoughts "pulled together" rather than dashing loudly for the nearest exit. Noise and con- fusion can chase away that lingering of great thoughts and inner feelings expressed in a simple, sensitive closing prayer.

MUSINGS, MEDITATIONS AND MUMBLINGS

My office helpers wonder what the mumbling is all about when the mail man has laid down the daily pile of letters and reaches into his brown bag. I know he is reaching for LETTERS which the P.O. men can't deliver because they have incorrect addresses. So far, 39 September LETTERS have been returned. If you move — please tell us! We don't want you to fail to get your LETTERS on time.

Recently several of you have phoned to place orders. To assist you with this, you will find our area code and phone number regularly listed on the first page of the monthly LETTERS. Do you suppose that Southwestern Bell Telephone Co. will take note of this generous bit of promotion and give us a reduction in our basic monthly rate?

O 0 0 0 0 0

Recently we received an order from the Denver Chapter with this note:

"The Executive Board has decided that it would be a good idea to have some of the material that you offer available to Guild members at our meetings. We thought some directors might be interested in smaller quantities than they were allowed to order directly and that we could have them displayed at the meetings for them to purchase. If this proves to be a success, we will be placing more quantity orders". They ordered a hundred each of the Postcard Series, 5 boxes of Greeting Cards, 500 Guild bulletins.

This is a good idea for any chapter or group of directors.

O 0 0 0 0 0

You will note that the MATERIALS AVAILABLE list included in this LETTERS has taken on a new look. It has been changed into an ORDER FORM. We trust that this will make it simpler to order the materials you want. When we fill your order, we will enclose another form, so you will always have one handy. O 0 0 0 0 Did you see the attractive, patriotic little picture and flag sent out about the 4th of July by Humble Oil and Refining Co.? With it there was a reference to the availability of 12 reproductions of "Great Moments in American History" by sending a dollar to Great Moments, Box 1776, Westbury, N.Y. 11590. I sent a dollar, the 13" x 17" color reproductions have come and they are impressive! I recommend that you spend a dollar in the same way. The pictures, suitable for framing or bulletin board use, will delight you, greatly interest the children and be of pictorial help when you are teaching character-building religio-patriotic songs. The pictures span American history from Columbus to John Glenn. They form a visual commentary which would be highly helpful when teachirT hymns such as: "Lord while for all mankind we pray ', "God of our fathers, whose almighty hand' , "0 God, beneath Thy guiding hand", "Now Praise we Great and Famous Men", "0 beautiful for spacious skies", etc. I can hear you say it in my mind's ear: "That was the best $ I ever spent!" gt5 — 27 — (etal. IRVING JOINS THE POSTCARD SERIES

--kos)

\\‘i- 2 e

Sally Lane of Denver, Colorado, who created Irving, has given us two more evidences of her handiwork and Irving's character with the new postcard on this page and the supplement cartoon sheet found with these LETTERS.

What primary or junior would not respond to Irving's tear and "missed you" look? We believe this postcard will have a real value, particularly to the directors who have made regular use of the previously issued twenty Irvings in the Cartoon Series.

This "Irving-missed-you" postcard is now available at the same price as the other cards — 100 for a dollar. (Would you believe it! Since we announced the Postcard Series in the April '65 LETTERS, over 50,000 of the four kinds have been ordered by our members!)

— 28 — FROM THE SEMINAR We have had numerous requests for a listing of the anthems used in the variousclasses at the Seminar in June. Here is a part of the list. Any or all these anthems would be worth your study. Order them from your regular dealer, unless they are published by your Guild -- order these from 440. HELEN K EMP'S AND MABEL BOYTER's ANTHEMS FOR JUNIOR AND YOUTH CHOIRS (in packet) TITLE COMPOSER PUBL. & NO. From All That Dwell Below the Skies G. Young Galaxy GMC2241 Come, All Ye Shepherds (Tyrolean Carol) Track Schmitt, Hall & McCreary 221 Love Came Down at Christmas Carlton Young Broadman MF672 It Is the Joyful Eastertime Burke Flammer 86162 Father, Teach Us How to Pray Jolley Remick R3423 All Lands and Peoples Lovelace Augsburg1397 Torches (Christmas Song) Hinton Oxford U78 Wake Every Breath Billing Choristers Guild, A-34 Year's at the Spring Caldwell Broadman 454-008 Sing! Sing! Marshall C. Fischer CM7125 Japanese Christmas Carol Lee Gray 2767 Noel, Sing We Now of Christmas Slates Remick R3331 Summer Days Williams Broadman 485-37051 Prayer in Winter Jordan Wood 733 JANE MARSHALL'S READING SESSION ANTHEMS A Virgin Most Pure Jesson Oxford U103 r was in the Moon of Wintertime Hinton Oxford U104 In Bethlehem Town Fiske Oxford T68 Hans Andersen's Carol Raynor Oxford U108 The Yodlers' Carol Caldwell Gray 2863 We Will Be Merry Marryott Gray 2880 The Risen Christ Holler Gray 2872 Jesu, Good Above All Other Willan Peters 6676 I Am the Good Shepherd Matthews Mercury MC460 Song of Thankfulness Parry Galaxy 18776 A Child's Prayer Pfautsch Choristers Guild A-27 Two-Part Canons (Set II) Schalk Concordia 98-1763 How Far is it to Bethlehem? Pooler Augsburg 1365 All My Heart This Night Rejoices Bender Augsburg 1375 It Soon Will Be Evening Track Schmitt, Hall & McCreary 220 Ukrainian Bell Carol Leontovich Lorenz 8604 6 Anthems for Junior Voices & Handbells Butler Abingdon APM367 Bible Songs for Young Voices Smith G. Schirmer 2577 We Sing to Learn (Folio) Marshall C. Fischer 04126 JANE MARSHALL'S LIST OF MUSIC FOR THE SMALL CHURCH (MOSTLY ADULT VOICES) A Rose Touched by the Sun's Warm Rays Berger Augsburg 953 O Lord, Thou Art My God and King Sateren Augsburg PS619 Tell Out the News Curry Oxford X113 The Angel Gabriel from God Oxley Oxford U107 In the Dark of the Night Halter Concordia 98-1704 Jesus, Refuge of the Weary Bach-Bunjes Concordia 98-1765 Like as the Hart Willan Concordia 98-1230 Candlelighting Hymn Fryxell Augustana 62-104 A Hymn of Thanksgiving Webber Gray 2852 (6) The King of Love Coleman Galaxy 401 O Heavenly Father Matthews Fitz-Simons 2153 What Shall I Render to My God Lovelace Canyon 5503 For the Bread Copes Abingdon APM115 Come, Thou Long-Expected Jesus Lovelace Abingdon APM411 Seven Words of Love (Cantata) Pfautsch Abingdon APM362

2 in '66

To serve you better there will be two Choristers Guild Seminars next summer:

July 11-15 Denver, Colorado at Colorado Woman's College

August 8-12 Winston-Salem, N.C.

at Salem College GRACIOUS SPIRIT, DWELL WITH ME Director's Page

TEXT: Thomas Toke Lynch (1818-1871) was a Congregational, Non-Conformist Minister in England, plagued by ill health and a poor appearance but gifted with the ability to make people think in new and intimate ways about the meanings of their faith. Lynch frequently used nature illustrations in his sermons and in his poetry collection, THE RIVULET, which brought intense criticism because of the attitude that such nature worship led toward pantheism — (the belief that God and nature are one). "Gracious Spirit" appeared in THE RIVULET in 1855. Some editions change the words "Dwell in me" to "Dwell with me".

TUNE: Both " Redhead No. 76" by Richard Redhead, 1853, and "Lux Prima" attributed to Charles Gounod, 1818-1893, are used with the text.

CURRICULUM-CHURCH YEAR CORRELATION: The gift of the Holy Spirit is traditionally associated with Pentecost, although the text might also be usable in relation to church membership discussions and classes and in studying basic Christian beliefs.

THEOLOGICAL IMPLICATIONS: The director should be aware of the twofold meaning of "Holy Spirit", and may wish to consult with his pastor regarding his own denomination's belief. First, "Holy Spirit" is used as the Third Person of the Trinity. In the second interpretation, "Holy Spirit" stresses the non-theological spirit of God which pervades the universe and inspires the human spirit. It is this second meaning of "Holy Spirit" which is reflected in the text of "Gracious Spirit".

TEACHING SUGGESTIONS: The twofold meaning of "Holy Spirit" might be discussed with the youth, listing in separate columns hymns which stress each interpretation of "spirit".

The hymns listed under the column emphasizing God's Spirit dwelling within man might then be re-studied to see what changes or characteristics the hymn writers felt would be manifest within the person because of the indwelling Spirit. In this hymn, there will be characteristics such as: "being gracious, speaking words that help and heal, actions bold and meek, being truthful, etc." Many of these phrases will need further amplification to help the child comprehend their meanings in terms of how they should speak and think and act in their own lives. Stress that these behaviors come about not because we are forced to speak and act as a Christian — but because, as Christians, we want to express our response to God's constant love for us by showing that love to others.

Musically, let the children listen for matching phrases (1st and 5th; 3rd and 4th). In singing the words, however, avoid the effect of short, choppy phrases by linking the 3rd and 4th phrases and using a smooth legato line on other phrases. Have the children find the two phrases with an interesting rhythm change.

Scale work is appropriate on this tune, first reviewing the Eb Major Scale and then, singing the tune by scale steps, syllables, or "ca-da's".

- 1 1 2 3 4 4 3

— do do re mi fa fa mi GRACIOUS SPIRIT, DWELL WITH ME Redhead No. 76 Words by: 7.7.7.7.7.7. Tune by: Thomas Toke Lynch Richard Redhead 1818-1871 1820-1901

Dear Choir Friends: Imagine that each of you is making a picture of a tree! What kind of materials will you use for your artwork? Did you use chalk or paint or crayons? What kind of trunk and branches and leaves are in your picture? One thing certain: If your drawing shows your very own feeling about a tree, then it will not look exactly like anyone else's "impression" of what a tree is like! Trying to describe the "holy spirit" — in scriptures, in hymn texts, or in our lives — is exactly like trying to draw a tree. Each person will show the meaning of "holy spirit" in their own way. Read these scriptures to see how different persons described the Spirit in the Bible: Acts 1:1-2:21; 4-13; John 14:15-31; I Corinthians 12:1-14; Mark I: 9-11; John 3:1-8; Romans 8:1-17. Now, look at the hymnal to see the different descriptions of "Holy Spirit" in hymns such as "Come Thou Almighty King", "Holy Spirit, Truth Divine", "The Doxology", and "Gloria Patri". Make a list of the different ways that the Holy Spirit is described.

We know how Thomas Lynch, an English Congregationalist Minister, described the Holy Spirit by the words of this text, "Gracious Spirit, Dwell with Me", which was first published in his collection of poetry, The Rivulet, in 1853. Lynch thought of the Holy Spirit as the part of God dwelling within our hearts, helping us to speak truth- fully, kindly and in such a way as to help others to better understand what God is like through our own thoughts and deeds. Read each verse and make a list of some of the ways the presence of the Spirit will be recognized within persons, according to Lynch:

Say! How do you like this tune name, Redhead? Where does the tune name come from?

Listen to the first phrase. What other phrases are like it? Now listen and decide which phrase is like the 3rd phrase.

Sing the scale of Eb: cs 0 0 0 o 0 1 2 3 4 5 6 7 8

Try sight-singing the melody, using scalestep numbers. Notice how the accents of the tune fall on the appropriate syllables of the important words of the text. Accents in 4/4 usually are on the 1st and 3rd beats — but keep aware of the movement of the whole phrase, too, so that the hymn will not sound choppy. Especially keep the 3rd and 4th phrases "legato".

By looking at all the ways trees are drawn — by studying all the ways that the Holy Spirit is described — we can help understand a little more fully the many different ways God — as Spirit — can work in our own lives.

Your friend,

Charley the Choirboy

H-20

— 31 —

Gracious Spirit, Dwell With Me Thomas T. Lynch, 1818-1871 REDHEAD NO. 76 7.7.7.7.7.7. Richard Redhead, 1820-1901

1 Gra - cious Spir - it, dwell with me, I my - self would 2 Truth - ful Spir - it, dwell with me, I my - self would 3 Might - y Spir - it, dwell with me, I my - self would 4 Ho - ly Spir - it, dwell with me, I my - self would

• L r F

a ar a a • • • I gra - cious be; And with words that help and heal truth - ful be; And with wis - dom kind and clear might - y be; Might - y so as to pre vail ho - ly be; Sep - a - rate from sin, I would -9-

Would thy life in mine re - veal, And with ac - tions Let thy life in mine ap - pear, And with ac - tions Where un aid - ed man must fail; Ev er by a Choose and cher - ish all things good, And what - ev - er

9.0 7 F F r

•• I a O bold and meek Would for Christ mymy Say - for speak. broth - er ly Speak my Lord's sin - cer - i ty. might - y hope, Press - ing on and bear - ing up. I can be Give to him who gave me thee! A - men.

• F uT: INTINNABULATIONS

GREETINGS, IN OCTOBER! • What have we done to deserve such a crisp, exhilarating, promiseful month?? A grand tingle-tangle month for walking, singing, ringing, as well as for squirreling away treasure-troves of clever new ideas and plans to dig up and put into action as the Season unfolds. Tie a bell on your walking cane, or your bushy tail and explore the countryside, to delight in the flaming reds and golds of the trees. Inhale lungsful of clear air, winey with autumn fruit, musty with drying fodder and tobacco, pungent with acrid whiffs of burning leaves and late picnic fires. Then, when the harvest moon appears and the evening vapors rise, how cheerful and cozy to come indoors for a hot drink and fellowship around the hearth. Are you worried about the world? Your position? Other problems? Then get several gallons of apple cider, a pile of donuts, dig out the popcorn popper, and invite the Choir (or ten pillars thereof) over for a songfest. The next day, world conditions and personal problems will be much brighter. OCTOBER FOR POP-OP AND ACTION ! ! ! FALL BAZAAR OF IDEAS PEANUT ART GALL ARY (Moderate Prices) MUSIC: Did you know that several leading Handbell Choir Directors offer excellent arrangements of hymns, carols and from the classics, well-dup- licated, for reasonable prices? Write for their lists and prices: Dr. Robert Hieber, 2345 Robinson Road, Grand Rapids, Michigan; Mr. Richard Litterst, 319 N. Church St., Rockford, Illinois; Mr. Campbell Bunting, First Methodist Church, Ada, Oklahoma; Mr. Lawrence Fink, 1729 N.E. Brockman Place, Seattle, and others. Mr. Robert Gotwald has large gummed rolls of music staves for writing music on charts. A useful invention. Write him at 2537 Lee Road, Cleveland, Ohio. ART: Did you know that Art Galleries such as the Metropolitan Museum of Art, the National Gallery of Art, the Chicago Museum of Art and others throughout the country, sell beautifully-colored replicas of world-famous paintings in postcard, 8 x 10, and larger sizes for prices from 50 to several dollars? A choice few are laminated and can be hung right on the wall of your Choir Room. Subjects of interest to church musicians range from the great Madonna, Annunciation, Adoration, Prodigal Son, Saint and Prophet pictures to the St. Cecilia, angels with instruments, Little Girl with a Bell, The Lute Player, The Harsichordist and So on. Write for the gallery catalogs (sales) which are usually 25o. Rich, tasteful greeting cards, place and book marks, jewelry (sometimes with bells), statuary miniatures and other artifacts are also available. A favorite of Bell Ringers is the Metropolitan Museum's 10o bookmark with a design from Cruikshank's humorous woodcut "The Bell Ringers". . . . Why not retire those old fly-specked calendars, stained engravings and faded fotos of the SS picnic in 1904? Let's beautify our Choir Rooms and studio walls with color and charm. And shift 'em around occasionally! THE CLOTHES HORSE CARE OF CHOIR ROBES: Directors and Choir Mothers are finding the laundromat dry cleaning machines a boon to the budget. At least 8 adult robes,collegiate type, can be cleaned in one machine for $2, and no telling how many of the junior size. When the robes are removed immediately from the machine and hung up, no pressing is needed! Take plenty of hangers along and tie the ends together for the return trip. About 30 satin stoles may be cleaned at one time, and carefully laid in a box — no pressing. Elaborate costumes and evening dresses with lace ruffle and metal-cloth trim clean surprisingly well in these machines. STARCH IT! Many directors prefer that cotton cottas (surplices) and cassocks be rather stiffly starched. Spray starch is not entirely satisfactory. At the beginning of the season, dozens of cotton vestments can be washed and dried in one visit to the laundromat and starched heavily at one home. Following the first rehearsal or meeting, each child can be given a cotta and cassock to take home to be ironed. This gives Mothers the idea of the starching desired. They will never all use starch, or enough starch, until a sample is sent home. Cotton vestments should be taken home periodically for laundering. Mothers are wonderful, and always rise to the occasion. BAGS: Choirs which travel frequently may have trouble finding long garment bags for the robes and costumes of tall members. The makers of JIFFY Garment Covers, Neely Manufacturing Co. of Corydon, Iowa 50060, have a 67"length (No. 65-B @ $2.95). Inquiries might be made at department stores for "Bride's Bags". HOUSEHOLD JUMBLE BOOTH POLISHING: BELoise says you can remove the white or pink specks remaining in corners and cracks after polishing with creams and pastes, with Johnson's Baby Oil. This is useful information for housekeepers who shine brass and copper trays, door-knockers, coins, sleigh-bells and even Handbells. . . .Professor Westcott says that the acrylic spray applied to the Spartan bells in 1964 has stood up quite well. D'ye suppose any ringers agitate their bells as much as the S S2 TABLES, AGAIN: Larry Fink says he will be glad to mail you a flyer describing his Port-a-Bell Table. (Address in 2nd PP) BAKE SALE COUNTER (A cupful of Interest & a Dash of Excitement) RECORDS: A number of directors now have handbell records available. Several, such as Mr. Johe's "Worship and Music", also have Service Music and/or Organ, Choral and Instrumental Music. For information, write: Mr. Edward Johe, First Congregational Church, 444 E. Broad St., Columbus, Ohio Mrs. Eleanor Thompson, St. James Meth., Tabor at Water, Philaelphia, Pa. Dr. Doris Watson, (Presbyterian) 42 Whalepond Road, Oakhurst, N. J. Mr. Lawrence Fink (see 2d PP) and Nancy Poore Tufts. Are there any others not previously listed? — 33 — FILMS: Two outstanding short films of general interest to Bell Ringers and other musicians are available for rental: (1) "The Tower at Washington" is a beautiful film about the Gloria in Excelsis Tower housing the Carillon and the Ring of Bells at the Washington Cathedral. Write the Curator's Office, Washington Cathedral, Washington, D.C. 20016. . . .(2) "Bells in the Steeple" or the Making of Glass Bells. A fascinating electronic system of 2-gram glass bells which imitate the sounds of bronze church bells, developed by a professor of Brandeis University who is also a scientific glassblower. The scientist, Mr. Gerhard Finkenbeiner, believes that glass is a better vibrator than metal and does not fatigue. His glass bells rotate while ringing to produce the prolonged sound of swinging bells. The film was shown at both the AGEHR National and N.E. Guild Conventions of 1965. Write Mr. Finkenbeiner at 23 Alaska Avenue, Bedford, Mass.

CHILDREN'S GAMES AND TOYS CAROUSEL CHIME BARS: Directors awaiting the arrival of handbells, or preparing younger groups for later handbell ringing, may wish to investigate the various Chime Bar and Bell arrangements offered by Church and Music Supply Houses. A few are listed below. Since rhythm is the mainstay and backbone of accurate ringing and good striking, rehearsals with rhythm sticks (or any sticks — dowel rods are fine), pencil tapping, or any convenient device, might well be a prerequisite for group membership or even apprenticeship. A large number of applicants can be quickly weeded out through simple tests of rhythm. Basic Distributors (Classroom Music Merchandise) 1137-Seventh Ave., San Diego, Calif. 92101 B. F. Kitching & Co., 8947 Fairview Avenue, Brookfield, Illinois Targ & Dinner, Inc. (Deagan) 425 S. Wabash, Chicago, Illinois 60605 ALSO Wexler of 823 S. Wabash, Chicago, Illinois 60605 THE GARDEN STALL TABLES, Again??? Bell Ringers often present outdoor programs in gardens, shopping centers, on temporary platforms and places with uneven footing. Directors purchasing or making tables are advised to buy those with adjustable legs. Some tables can even be adapted to fit over pews or chancel rails. It's a convenience and safety measure worth thinking about.

ACOUSTICS: Choirs which appear in public frequently, especially outdoors, are also thinking of portable acoustical shells or screens. Brochures may be obtained from: Wenger Music Equipment Co., 13 Wenger Bldg., Owatonna, Minnesota The Monroe Co., 353 Church Street, Colfax, Iowa Stagecraft, 25-B, Belden Avenue, Norwalk, Connecticut ANTIQUES AND WHITE ELEPHANTS MART CARRIERS: Looking for an inexpensive carrier for handbells? One director found several bowling ball cases at a second-hand shop — very strong and quite adequate for a small set. Others have purchased foot lockers and wooden boxes at surplus stores and junk yards. For real bargains keep an eye on the local Opportunity, Goodwill and Sal- vation Army stores, and church bazaars. The world is replacing heavy leather luggage with the light "aeroplane" type. Huge leather and fabric-covered suitcases and trunks, sometimes foreign-made, sometimes metal-braced, can often be purchased for several dollars. Large briefcases of fine leather and expert construction turn up occasionally. Also old music instruments and typewriters! TABLE COVERS: Portieres of embossed velvet or satin (usually very soiled), if not sun-faded or rotting (test with sharp tug between hands), will come alive with unsuspected colors in the dry cleaner, and make handsome frontals for Bell Tables, elegant piano covers, costumes. Usually these old drapes may be had for a song. Have you priced new heavy material lately? Double-WOW! CHRISTMAS GIFT BOUTIQUE CHIMES: Home-made chimes and mobiles make unusual presents and are fun to make. One Bell Choir often has a gay mobile of bright paper bells fluttering over the Bell Table. A clever inspiration. . . .The oriental shops are gay with shell and bamboo Wind Chimes. Home-made chimes of tin can tops can be just as attractive, and the cost is negligible. Drill or puncture a hole near the edge of tin can lids. Dip in paint to coat, using wire hooks to hang lids for drying. Assemble on heavy thread, knotting at each hole. Suspend from narrow wooden bar so lids over- lap at sides and jingle in the breeze. Several tiers of graduated sizes and colors are effective. . . .An easier and noisier door chime can be made also from tin can lids. Choose fruit cans that are gold on the inside for the outside "bells". These aren't painted (though you may) and will rust eventually, unless sprayed. Cut four snips in each lid, so: fold in to make a square "bell". With red yarn tie in little Christmas ball "clappers", then string up 6 or 8 "bells" with more yarn, top with a satin bow, and hang on the doorknob. What a rackety- clackety, hearty welcome!!

RAMA B EL LS Now our fashion reporter has seen "everything". A gift for bell-minded girl friends with high fashion coiffeurs. A 21/2 string of tiny silver or gold-washed bells from India attached to a long hairpin which suspends the bells from the rear of the chignon. This cute trick is listed in several gift catalogs including Hanover House, Hanover, Pennsylvania 17331, and Maharini, 89 W. 5th Avenue, HB 7, Scottsdale, Arizona. THE BOOK NOOK

BOOKS ABOUT BELLS, especially gift books, are listed in past issues of CGL and in the Materials List of CHILDREN'S CHOIR II. Bell connoisseurs who enj oy browsing in bookstalls are urged to keep watch for out-of- print books about bells, such as those written by Victorian pros: Gatty, Trollope, J. J. Raven and H. B. Walters, as well as the more contemporary Ernest Morris. Tom Ingram's fine "Bells in England", published in 1954 is already out of print. The well-known Satis Coleman book on bells has been out of print (1928) Rand McNally, however a recent ad announced a reprinting. It is an expensive one. Better look for an old copy. (continued 35) —34— REFRESHMENTS (pause for) Shall we "set" a spell? Treat's on me. Coffee, tea or tutti-frutti? One lump or two? German chocolate or fresh coconut? MMmmmm!! Sticky, but delish. That was QUITE a ramble. It was so nice being with you all again this month. Hope some of this Bazaar chitchat rang a bell or at least started a wee sma' wheel turning somewhere. Now let me know if I can be of help to you, as an extension of the TNT's. Deci, Pucci and I walk up to our rural mailbox every morning and are always glad to hear from you and you. Sometimes we sit under the big tree by the gate and read your letters and talk them over. BLESS YOU ALL, in October —

noim-ty)

Nancy Poore Tufts Address: 9051 Riverview Road, S.E. Washington, D.C. 22

DECIBEL MARMALADE, like the old Eskimo who achieved local fame, says: "Sure nice to hear from all those place."

More M, M and M's

(Continued from page 27) I trust that no LETTERS reader, whether a bell enthusiast or not, fails to read Nancy Poore Tufts' "Tintinnabu- lations" regularly. Her refreshing way of writing, her touches of humor, the literary reflections•of her charming self, all make her pages entertaining as well as informative. gi 8 Do you need another idea for your Christmas services or programs? —In CHILDREN'S CHOIR I there are 15 pages of Christmas programs, stories and suggestions. —In CHILDREN'S CHOIR II there are 20 more pages of suggestions. All of these came from the early LETTERS. —Re-read the suggestions in the LETTERS for the fall of '63 and '64. In these there are 20 more pages of suggestions. Somewhere in all this is just what you need to spark up your Christmas programs.

THANKS for all the Zip Codes that have come in, in response to last month's reminder.

THANKS, too, for the large number of renewals and new memberships. Will we reach 3000 this year? Give a regular membership ($4.00) to a director-friend in a neighboring church. "Hands across the street", as it were. We still have several missionaries on our potential "Brotherhood of Song" list. Would your choir like to sponsor one this year? Several choirs have. — 35 —

ABSENCES

How do you handle absences? What makes an absence excused or unexcused? Robert Fraumann of First Methodist Church, East Point, Georgia, puts several REPORT OF ABSENCE sheets in each child's notebook. Let him tell you about how it works:

"Enclosed is a copy of the excuse sheet from my notebooks. I use it in all my children's choirs and it works fine. Our total percentage of attendance last year in 7 choirs was 82% in 270 rehearsals. This includes the adult choir, which keeps the attendance pulled down somewhat. We did have 27 rehearsals with perfect attendance. 160 of our children and youth received the Choristers Guild pin this year out of 170 on roll.

"We give an extra supply in each notebook, and as the children run out, they ask for more. It works well with the children and parents. Takes about a year to really catch on. By then they realize that it is necessary to receive the pin."

REPORT OF ABSENCE

was absent from choir on name

for the reason checked below: day(s) date(s) year

Excused Absence

Illness Death

Cold Immediate Family or Mumps Close Friend

Chicken-pox

Measles

Sore Throat

Unexcused Absence

Forgot Flat Tire Had Company Train Delayed Me Too Tired Dentist Appointment Too Much Homework Had to Stay After School

I understand that this report must be returned the first rehearsal following the absence(s) to be valid.

Signed Parent or Guardian THE WISE MEN Robin Deese Alex Hegenbart The wise men, while pray — ing saw a new star.

4 • op- Inf with an easy flow, very smooth. 3- 4 T F One saidsaid to the o thers: " Letts go that far: They

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1• 7* - F gath ered to — geth — er their ca — els and things, the • J.16"

f myrrh, frank — in — cense and gold — en ear — rings. • • • • r r • •

Soon they were gone on the long, long ---- dt • • • IA • • l';) 'Phi* r r r r walk. And as they tr v — e ed th5E sa — hymns and • • 12 j. 9 • r r r r r r r r

the wise men - page 2

talked un - til at last at Jour - ney12„- • • •

r • a end th y came to the sta - ble a round the

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bend. And to their sur - prise they saw on the hay a a ?e II 1, • • Inf a, r 6 tr new - ly born- Babe with a face so gay. While • '&1 • . r • •

wa;ch ng the Ba - by they Jumped with Joy and all said to-

J .1\ J s' r r

°J17 1• i t geth - ers "Haill Hail& Hail, new bsrn Boy I It J ♦ 12 • 1- b e 1, r/i_ if f-ff • con° • CF. c ,• SHARING

Many attractive music-program-promotion folders have come to this office recently; thanks for them. One folder told its story with these cover-words:

"HAPPINESS IS — BOYS AND GIRLS SINGING IN THE CHOIRS"

Each page, which told of a different age choir, carried on the "Happiness is" theme. Mrs. Robert D. Murtha of First Community Church, 1320 Cambridge Blvd., Columbus, Ohio, who created the booklet wrote:

"Here is a sample of a booklet which we handed out to all the children who came to register for the choirs this year It went over so well -- and even before choir begins, we have about 100 registered."

It's late for this season, but a good idea to have in your "planning ahead" envelope for next year. Write to Mrs. Murtha, enclose 6¢ in stamps, and ask for a copy. She has an appealing idea.

gi 0 0 0 0

Another folder with a little different touch is one from Peachtree Road Methodist Church, 3180 Peachtree Road, N.E., Atlanta, Ga., John Dressler, Minister of Music. The five children's choirs each have a five-dollar per year fee for membership. A paragraph in the folder explains "the fee is used to buy supplies for the children's choirs, to take care of robes,and to furnish refreshments from time to time."

This is one way to get around asking for more money from the music budget. If you are interested in how this works out, write to Mr. Dressler. By the way, do you use any of his fine anthems? J. Fischer, Abingdon and others have published them.

gi 0 0

Another folder (this one from First Methodist Church, Glendale, California, Richard R. Alford, Minister of Music) lists "the WEDDING CHOIR — a selected group of 15 boys available to sing for sanctuary weddings." What an idea! I've written for details. Look for them on the SHARING page next month.

Many have written about the helpfulness of the Psalm Series we inaugurated last year. Mrs. Michael Medved of Torrance, California, wrote:

"I would like to thank you for the beautiful page of Psalm studies that you have included in the 'letters' this past year. I thought you would be interested in knowing that I am using the one -- Psalm 96 -- as the basis for our Choir Notebook and hymn study this year. Our theme will be 'Worship and Praise to God Our King' and we will learn one or two verses of this Psalm each month, with a corresponding hymn as our study. I didn't realize before that this particular Psalm covers so many facets of our Christian worship, including missions and tithing, but above all, the worship of God as our King."

You all will be pleased to know that Mrs. Montgomery (M.E.M. to you, Mary Elizabeth, to those of us who know her personally) is working on four more which will come with the LETTERS later in the year. They will be Psalms 19, 23, 100 and 150.

— 39 — A thought — Where song is, pause and listen for evil people have no song. —Johan Seume

Another — Nobody dreams of music in hell, and nobody conceives of heaven without it.

—S. Parkes Cadman

0 0 0 0 PP

Last month we printed a charming little Christmas song, IN THE NIGHT, by Alex F. Hegenbart and one of his juniors. We promised to print another this month. Re-read the background on these two songs as found on page 6 of the September LETTERS. This second Christmas song, THE WISE MEN, will be found elsewhere in this issue. You are welcome to reprint it. teach it by rote or do what you want with it.

One day during the Seminar, I came upon Ronald McGregory taking a picture of Jane Marshall and Harold Groves. The imprinting on the sweater Mr. Groves was wearing interested me. I asked him for the story. Here is what he said:

"One Thursday evening as I was preparing to conduct the adult choir rehearsal, the choir president said he had an announcement to make. He proceeded to read a very official scroll which in essence proclaimed me the charter member of the Jane Marshall Fan Club, signed by the pastor, the chairman of the Worship Commission, the music committee and the choir officers. Then I was presented with a beautifully wrapped box which I hastily opened to find a gray turtle- necked sweat shirt which had been decorated with the words, "Jane Marshall Fan Club". Was this a very subtle way of telling how much they loved their choir director and the music he presented to the choir, or might they have been making a point that he used too many anthems by the same composer in too short a time? I still use and love the music of Jane Marshall and plan to use even more this year."

— and to this last sentence let all J. M. fans shout "Amen". If you ever wish to write to her to express your appreciation for her music, she lives at 4077 Northaven Drive, Dallas, Texas 75229.

— 40 —

ORDER FORM FOR AVAILABLE MATERIALS

CHORISTERS GUILD HEADQUARTERS

440 Northlake Center, Dallas, Texas 75238

Send to: Rill to.

THE "A" SERIES (ANTHEMS)

Choristers Guild Children's Choir Anthem Series

An uncommon series for children's voices

QUANTITY ORDERED

A-3 Children of the Heavenly Father Swedish Melody, arr. Legler 10¢ A-4 Timothy's Christmas Song Gay Carol for Three Kings Gay 15¢ A-5 All Things Bright and Beautiful Burke 15¢ _A-6 A Spring Carol Combs 30¢ A-7 Ballad of the Dogwood Tree (Keyboard or autoharp acc.) Davis 20¢ A-8 The Three Kings Burke 20¢ A-9 1God of All Lovely Sounds Burke 10¢ A-10 A Japanese Carol (optional Handbell accompaniment) Whittlesey Jesus' Birthday Song Whittlesey 15¢ _A-12 Praise God for Wheat Burke 15¢ A-14 Christmas Bell Song (with Handbells) Couper 15¢ A-15 For Flowers That Bloom Burke 15¢ A-16 Little Things That Run and Quail Burke Easter Song Westra 15¢ A-20 Can You Count the Stars (with flute, or violin, autoharp) Burke 15¢ A-21 The Little Child Upon the Straw Lovelace 15¢ A-22 Birds Are Singing Maesch 20¢ A-23 God's Candles Stanton 20¢ A-24 0 Bells in the Steeple Burke 200 _A-25 Lord Guide Our Thoughts Bitgood 20¢ A-26 For Hard Things Marshall 15¢ A-27 A Child's Prayer (with Handbells) Pfautsch 150 A-28 God's Requirements (Old Testament) Adler 200 _A-29 Shepherds Rejoice Spinney The Light of God (A Choral Benediction) Spinney 15¢ A-30 God Who Touchest Earth With Beauty Lorenz 20¢ (optional violin or flute part) A-31 God Is Always Near (Indonesian Folk Song) Kemp 15¢ A-32 It Is a Good to Give Thanks McLaughlin 20¢ A-33 God's Requirements (New Testament) Bristol 20¢ A-34 Wake Every Breath (Canon of Six in One) Billings 150 A-35 Thanks at Christmas Bitgood 20¢ A-36 Song of Seven (Recorder, autoharp) Brown 20¢ A-37 The Manger Mouse (Handbell accompaniment) Brown 15¢ A-38 Christmas Song (Keyboard or autoharp acc.) Brown 200

A 10% discount is allowed on 50 or more copies of one anthem or in combinations.

Total "A" Series Order $

THE "H" SERIES (HYMN STUDIES)

50 each page These studies are designed for use in children's choir work-books. These will be useful to the director to glean fresh ideas for teaching the hymn s. Those marked with an asterisk (*) have the hymn printed with the study; in some cases, melody alone; others, the full hymn. The tune used is indicated in italics. QUANTITY QUANTITY ORDERED ORDERED

(*) H-1 All Creatures of Our God and King (*) H-39 Shepherd of Tender Youth Lasst Uns Erfreuen Kirby Bedon (*) H-2 All Things Bright and Beautiful Greystone (*) H-40 Our Father Who Art in Heaven H-3 Come Ye Thankful People, Come Gregorian Chant (*) H-4 Doxology Old Hundredth (*) H-41 Good Christian Men Rejoice (*) H-5 Faith of Our Fathers St. Catherine In Dulci Jubilo (*) H-6 For the Beauty of the Earth Dix (*) H-42 Now Thank We All Our God H-7 Hosanna, Loud Hosanna Nun Danket (*) H-8 In Christ There Is No East or West (*) H-43 Jesus Shall Reign Duke Street St. Peter (*) H-44 Be Thou My Vision Slane (*) H-9 Joyful, Joyful We Adore Thee (*) H-45 Life Is Good, For God Contrives Hymn to Joy It Trefaenan H-10 Psalm 150 (to be used with H-9) (*) H-46 Sing Them Over Again (*) H-11 Now the Day Is Over Merrial Words of Life (*) H-12 0 Come, 0 Come, Emmanuel (*) H-47 Just As I Am, Thine Own To Be Veni Emmanuel Just As I Am (*) H-13 0 Lord of Heaven and Earth Oldbridge (*) H-48 Our Church Proclaims God's (*) H-14 Rise Up, 0 Men of God Festal Song Love and Care Truro (*) H-15 The God of Abraham Praise Leoni (*) H-49 The Voice of God Is Calling (*) H-16 Ye Servants of God Hanover M eirionydd (*) H-17 Take My Life Sei Dank Durch (*) H-50 Once to Every Man and Nation Alle Welt Tony-y-Botel (*) H-18 0 God Our Help in Ages Past (*) H-51 Sing Praise to God Mit Frueden St. Anne Zart (*) H-19 Let Us With Gladsome Mind (*) H-52 Lo How a Rose E'er Blooming Gott Sei Dank Durch Alle Welt Praetorius (*) H-20 Gracious Spirit, Dwell With Me (*) H-53 Love Divine, All Loves Excelling Redhead No. 76 Love Divine (*) H-21 May the Grace of Christ Our Savior (*) H-54 He Who Would Valiant Be Sardis St. Dunstan's H-22 As With Gladness Men of Old (*) H-55 O Spirit of the Living God H-23 When Thy Heart with Joy O'erflowing St. Leonard H-24 God Be in My Head (*) H-56 Onward Christian Soldiers H-25 0 Sacred Head Now Wounded St. Gertrude H-26 Praise the Lord, Ye Heavens Adore Him (*) H-57 A Mighty Fortress Ein' Feste Burg H-27 God Who Touchest Earth With Beauty (*) H-58 Come Thou Long Expected Jesus (*) H-28 Praise to the Lord Hyfrydol Lobe Den Herren (*) H-59 Come Thou Almighty King (*) H-29 Infant Holy, Infant Lowly Italian Hymn Polish Carol (*) H-60 How Firm A Foundation (*) H-30 0 Brother Man Intercessor Foundation (*) H-31 We Thy People Praise Thee (*) H-61 O Morning Star — How Bright St. Anthony's Choral Appears Frankfort H-32 Long Ago and Far Away (*) H-62 Christ the Lord is Risen Resonet In Laudibus Easter Hymn H-33 Thou Didst Leave Thy Throne (*) H-63 Built on the Rock Kirk en (*) H-34 Holy, Holy, Holy Nicaea (*) H-64 For All the Saints (*) H-35 Into the Woods My Master Went Sine Nomine Lanier (*) H-65 Hope of the World Vicar (*) H-36 We Would See Jesus Cushman (*) H-66 The King of Love Dominus Regit Me (*) H-37 Immortal, Invisible Joanna (*) H-38 If Thou But Suffer God to Guide Thee Bremen (Neumark) Total "H" Series Order $

QUANTITY DIRECTORS' BOOKS AND HYMNALS ORDERED

THE CHILDREN'S CHOIR by Ruth K. Jacobs (A book of complete organizational plans, tried and tested, compiled from the Choristers Guild LETTERS from their beginning in 1949 to 1957) $45..9955 THE CHILDREN'S CHOIR II by Nancy Poore Tufts (Compilation of the best material from the Choristers Guild LETTERS of 1957 to 1963 (Vols. I and II, when ordered together — $10.00) THE SUCCESSFUL CHILDREN'S CHOIR by Ruth K. Jacobs (A book of techniques for handling children's voices) 1.50 THE ABC'S OF THE DO RE MI'S (Teacher's Manual) by Ruth K. Jacobs (A series of 74 lessons for teaching note reading to primaries and juniors. A set of the "DO" series pages is included with the Teacher's Manual.) (See below.) 1.00 CHORISTERS LITTLE HYMNAL, edited and compiled by Ruth K. Jacobs, revised 1964 by A. Leslie Jacobs (Complete, accompaniments and words): 1-5 copies — 50,; each 26-199 copies — 35¢ each 6-25 copies — 400 each 200 or more copies — 30ct each Total Book Order $

THE "DO" SERIES (Choir Work-Book Pages)

50 each page Intended to be used by the children in connection with the ABC's of the DO RE MI's (A set of the "DO" series pages is included with the Teacher's Manual.) (See above) Chart I Review Sheet 4 Notes and Rests Chart II Review Sheet 5 T etter Names Review Chart III Review Sheet 6 Keyboard Chart Review Sheet I Review Sheet 7 My Heart Ever Faithful Review Sheet 2 Review Sheet 8 Work Page Review Sheet 3 Total "DO" Series Order $

THE "C" SERIES (Cartoons for bulletin boards or choir work-books)

50 each page IRVING (21 in series) WHICH IS THE WAY? (8 in series) (To be continued) 1 Irving — himself 1 to start the year? 7 Keeps an eye on director 7 to learn our songs? 3 Which one is you? 3 to act in church? 4 About pronounciation 4 to be on time? 5 Irving is proud of his CG pin 5 to help the choir? 6 Sing We Nowell 6 Finding a good excuse? 7 Irving holds music correctly 7 My attendance chart? 8 Surrexit Christus hodie, Alleluia! 8 Making the director mad? 9 Asks about voice quality 10 Are you a good learner? 11 Treating new choir members MEM (4 in series) 12 Irving misses only when ill (To be continued) 13 Irving and mother mark calendar 14 Eager for choir to start 1 Who put the hearse in rehearsal? 15 Singing in the bathtub 2 Who's the pest in the vestment? 16 Irving thinks about the words 3 Be the emBODYment of music. 17 Paying attention is the best way 4 Choir-attitudes 18 A singer with a stiff neck — — 19 Irving sings to express his joy 70 Organist-Director 71 Irving gets to choir — somehow Total "C" Series Order $

"XTRA" SERIES Children's Choir Greeting Cards (packed 20 to the box, with envelopes) $2.50 Children's Choir Bulletins 100 for 2.00 500 for 9.00 1000 for 17.00 Total "XTRA" Series Order $

THE "M" SERIES (Miscellaneous choir work-book pages) QUANTITY ORDERED 50 each page

M-1 Seven Children's Prayers M-9 The Ten Commandments (Children's version) M-2 My Vestment (poem) by Dr. Elton Trueblood M-3 Psalm 100 M-10 Birthplace of Familiar Carols M-4 Christmas Alphabet "0 Little Town of Bethlehem" M-5 Head of Christ (cutout shadow "It Came Upon the Midnight Clear" picture) "What Child is This?" M-6 Choir Boys on Stairs (scale study) M-11 Birthplace of Familiar Carols M-7 Kitty-Doggie (high-low musical "Angels we have heard" game) "Silent Night" M-8 Choristers Prayers (in art drawing) Total "M" Series Order $

THE "S" SERIES (Special Pages) 60 each page S-1 CERTIFICATE OF MEMBERSHIP (Printed on parchment paper and signed by the President of the Choristers Guild, Dr. Nita Akin. Suitable for framing.) S-2 CHORISTERS PLEDGE AND PRAYER (Printed on parchment paper. Suitable for choir work-book or framing.) S-3 ONE SOLITARY LIFE (Printed on parchment paper with beautiful art lettering. Suitable for choir work-book or framing.) S-4 I AM MUSIC (Impressive statement on the value of music, printed on heavy buff paper. Intended for work books.) S-5 THE OLD WOMAN WHO LIVED IN THE SHOE (A publicity folder especially for Primaries.) S-7 WINDOW ATTENDANCE CHART (Printed on heavy paper for coloring by the child.) Total "5" Series Order $

THE "PS" SERIES

Interpretation of various Psalms with the texts (King James' Translation). Colorful art pages by Mary Elizabeth Montgomery. May be used in choir work-books for general interest or as a memorizing project. Ideal for a summer camp study unit or Daily-Vacation-Bible-School activity. 50 each page Psalm 1 Psalm 46 Psalm 8 Psalm 96 Psalm 24 Psalm 121 Total "PS" Series Order $ "POSTCARD" SERIES (Order by hundreds, please) 100 for $1.00 THE SPOTTED PUPPY (A "missed you" card especially for Primaries) THREE CHORISTERS (There is no writing on this — intended for your message) THERE IS A PLACE FOR YOU (Promotion card for all ages) MISSING "E" (A "missed you" message written on a typewriter which has no "e") IRVING MISSED YOU (An attendance reminder card) Total "Postcard" Series Order $

REGARDING PRICES There is a $1.00 minimum on all orders. The Guild pays the postage if your check accompanies the order. Postage will be added on all orders which require billing. A 10% discount is allowed on 300 or more copies of the "M", "S", "PS", "DO", "C" and "H" series, or combinations. No additional discount on Books, "Postcard", or "Xtra" series.

REGARDING TAXES Tennesseeans — Because the Guild is a Tennessee-Chartered Corporation, the 3% Sales Tax must be collected on the sale of all materials to residents of Tennessee OR your church's Tennessee Exemption number must be on file in the Guild office. Texans — 2% Sales Tax due on materials purchased by residents of Texas, or send the Guild a statement from your church that the materials purchased are for church use only. This statement will be kept on file for future orders. NOTE: New order form for available materials Total Order S will be enclosed when your order is filled. Discount

NET ORDER $ Order all music and material from: CHORISTERS GUILD, 440 Northlake Center, Dallas, Texas 75238

In the last few weeks I have re-read several times Ruth K. Jacobs' challenging and instructive little book, THE SUCCESSFUL CHILDREN'S CHOIR. Here is all one needs to absorb to launch himself in the field of service we call children's choir directing. Below are a few of the pungent phrases which express our revered mentor's philosophy. They should stimulate us to re-evaluate our motives, instruction and procedures:

....I believe that what the children absorb unconsciously from their association with fine music, high ideals and participation in public worship may have greater value than what we consciously teach them. ....I believethe emphasis must be on the child, not the subject. ....Haphazard work is dangerous. ....If the chorus is to fulfill its purpose of build for the future of the church, it will have to appeal to the boys as well as the girls. ....Treat the boys as men and they will respond as men. Try to fit them into a mild children's organization and they will rebel. ....Good deportment means not only quietness but alertness. ....children should never be invited into the choir with the assurance that it will be easy work. ....Regulations, to be maintained, must be perfectly clear to the children. ....Regular routine has distinct value in creating morale. ....At the very heart of the whole question of choir morale, however, is the director's personal interest in each child not an academic, but a warm human interest. ....Those who are looking for some magic formula by which beautiful tone can be produced overnight are doomed to disappointment. The secret of all vocal tone is embedded in adherence to the fundamental laws of natural tone production. ....The backbone of the children's choir is a stimulating, interesting rehearsal. ....The most successful director is the most inventive one. Mrs. Jacobs concludes one chapter with these comforting words and illustration: If the response seems slow, he need not be too discouraged. Comparatively few people ever take time to enjoy the sunsets, but God continues to paint them as magnificently as if the whole world had stopped to admire. itiLLELtZt CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 November Number 3 Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors RUTH KREHBIEL JACOBS, Founder of the Choristers Guild THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A. Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T. J. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynch urg, Virginia Denver, Colo. The Choristers Guild LETTERS are published monthly September through June for its members Regular membership $4.00 — Contributing membership $10.00 or more All correspondence should be directed to Choristers Guild Headquarters at 440 Northlake Center, Dallas, Texas 75238 Telephone: Area Code 214 — DIamond 8-0450

THE ANNUAL BUSINESS MEETINGS

"The annual meeting of the Stockholders of the Choristers Guild will now come to order". With these words, or a reasonable facsimile thereof, Vice-President A. Leonard Lilyers called the meeting to order at 440 Northlake Center, September 27, 1965 at 8 P.M. Parenthetically two things need to be explained. Our President, Dr. Nita Akin, was prevented from attending because of a badly sprained ankle. She is better and, at this writing, is around, thanks to a trusty crutch. Don't be mislead by the word "stockholder". The Guild has no stock (except anthems, cartoons and such!) and no dividends are paid to anyone. The word "stockholder" is used to designate those persons who have contributed $10 or more for their membership for five consecutive years. These people (129 of them in 1964-65) are contributing members and therefore voting stockholders in the legal structure of the Guild.

One-hundred six stockholders were present either in person or by proxy. Many reports were given, actions taken and plans laid for expanding the services of the Guild. After the stockholders' meeting, the Board of Directors' meeting was convened. Nine of the twelve Board members were present.

DR. NITA AKIN Another parenthetical explanation should be made. The legal meetings were held in the evening, as is called for in the Guild by-laws; however, discussions of Guild business had been a continuous activity of the day. Most of the members arrived in Dallas Sunday, so early Monday morning they gathered at Headquarters and from then on it was all business!

The Secretary-Treasurer's report showed significant gains in membership (600 gain in the year to 2722), in total income and in net operating profit. He called attention to the greatly increased sale of anthems, books, hymn-studies, etc., this almost doubled from the year before. He commented on the 1965 Seminar — the largest in Guild history and told of the plans for "2 in '66". Helen Kemp reported on the workshops and festivals (15 in number) which she had conducted during the year. A. Leslie Jacobs reported on the complimentary memberships given to Seniors in the Sacred Music Department of certain schools and colleges. The Board took action to continue and extend this service. Dr. Roberta Bitgood, chairman of the committee on Guild chapters, reported that two new chapters are being formed. This brings to 14 the number of chapters. They are located as follows: Amherst Co. (Va.) Dallas (Tex.) Newark (Ohio) Appleton (Wisc.) Denver (Colo.) Saginaw Valley (Mich.) Blue Grass (Ky.) Essex Co. (Mass.) Enid (Okla.) Central Iowa Lynchburg (Va.) Michiana (Mich.-Ind.) Channel (Calif.) Milwaukee (Wisc.) The nominating committee, Phil Baker of Dallas, chairman, moved that the four persons whose terms on the Board were expiring with that meeting be re-elected for another three-year term. This was gladly voted. The four are Mrs. T. J. Ingram of Lynchburg, Virginia, Mrs. Haskell Boyter of Atlanta, Georgia, Mrs. Earle Lowder of Houston, Texas, A. Leslie Jacobs of Santa Barbara, California. Later in the meeting a rotation plan for Board members was voted upon favorably. Mrs. Lauretta Cotton extended an invitation to the Board to hold its annual meeting in 1966 in Milwaukee. This will be done. A one-day workshop will be held in connection with the meeting. Mrs. Boyter moved that the Guild underwrite a cross-country trip by Mr. Jacobs to visit our chapters and other Guild members to bring inspiration and practical help. This was gladly approved. He will be setting up his trip soon, so if you would like to have Leslie drop in to see you some day, write to him at 2019 Bath St., Apt. A Santa Barbara, California 93105

The present officers were re-elected. These are: Dr. Nita Akin of Wichita Falls, Texas, president; A. Leonard Lilyers of Philadelphia, Pa., vice-president; and ye Editor as secretary-treasurer. Many long-range plans were aired. These include audio-visual aids for directors, a new book of services for children, lectureships at various colleges, possibility of a European tour by and for Guild members to visit children's choir activities there, and much more. Some of these will be taking shape and you will be reading about them in the LETTERS. It was a strenuous, busy, thrilling day of planning for the future of our Guild, by a devoted group of servants of God and your representatives.

— 42 —

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asks Helen Kemp

Anyone who is responsible for children must accept the fact that he is dealing with living energy. Energy can be bottled up with explosive and destructive results, or it can be channeled to create constructive power and growth. Unless we do some real thinking about this, we allow certain attitudes to form rather rigidly in our minds — attitudes which will certainly reflect in our dealings with boys and girls.

Among educators, the philosophy of and the methods of dealing with this energy have been in a constant swing of change, ranging from extreme permissiveness to rigid dictatorship. No matter what the popular method of the moment seems to be, there is this umbrella of truth which encompasses all methods and fads: "Education is the guidance of growth." This view of education as guidance can hardly be separated from its partner, discipline. I like what the dictionary says of discipline: 1. Training, especially of the mind or character. 2. Order among school pupils or members of any group. 3. A particular system of rules for conduct. 4. A branch of instruction or education. 5. Punishment or chastisement.

What does this definition have to say to us as directors of children's choirs? A great deal! First of all, we grasp the idea that discipline is largely an affirmative thing. It encourages us to think of children's behavior in terms of growth, especially of the mind or character.

Every month as you receive these letters, you read somewhere this motto: "Christian Character through Children's Choirs". There are several words implied that must be supplied by you. The implied words? -- The development of -- No, Christian character does not develop and grow automatically with choir membership. It is our responsibility as teachers and leaders to provide "guidance for growth". We must hold ourselves responsible for that development.

As far as behavior is concerned, teachers must face this truth: we get from our children what we consider to be very important. If the behavior of the children in the chancel when they sing is quite disturbing during the service, is it entirely their fault, or have we placed all the emphasis on learning the anthem without preparing them for leadership in worship? We need to think out our ideas on what we consider to be very important.

Expect fine things from your children. They react to your attitude. Let both children and parents know of your expectations. Be definite and clear about requirements.

Your attitude is also reflected in the way you clothe your choir program in dignity and beauty. Both of these factors tend to nurture growth in mind and character. Respect for church property, hymnals, vestments, does not come naturally to children. They must be taught by your attitudes, actions and habit-forming requirements.

To be able to guide the growth of Christian character of children, the teacher must strive constantly to develop certain characteristics of his own. They are maturity, calmness, fairness, and firmness. How do you rate yourself on these qualities?

Besides training, discipline was defined as order. There are some very practical applications of this word. An orderly rehearsal room, well-lighted, well ventilated, and attractively arranged has a completely different effect than a cluttered room in which the director is scrambling chairs into rows and throwing hymn-books casually on them. Remember that the results you get are determined by what you consider to be very important.

Disturbances often start brewing in the free minutes before rehearsals begin, when child-energy is allowed to bubble and boil before you have a chance to channel it constructively. When a child does a wrong thing, the wise teacher substitutes a right thing. Substitute a do for a don't. The secret is to have on hand, or on tip-of-tongue, many do's. Plan pre-rehearsal activities with choir mothers or highschool helpers in charge. This might include a gym period, a time to listen to good recordings, a project period.

If you analyze your choir carefully, you will probably find that there are several ring-leaders who cause disorder. Some are amiable disturbers who laugh, talk and wiggle. Some give vent to hostile feelings by being resentful and rebellious. Look for the underlying reason for their actions, search for ways to get through -- to reach them. Find the right key to open that particular door.

Yes, discipline includes reprimands. There are times when one child is keeping the entire group from learning. Dismissal from the room with a follow-up talk immediately after rehearsal with the child alone, or with child and parent, if it is a second offense, is a proven method. Sometimes this limit being established clears the air and opens the way for better relationships.

Keeping children busy mentally and active physically is the surest way to eliminate behavior problems. Work constantly to develop ideas for having interesting, fast-moving rehearsals. Creative presentation of materials to be learned, an organized plan of action, well-prepared lessons, and interesting, stimulating materials, all serve as anti- dotes for behavior problems.

There is also the value of an established routine where seats are assigned, (no racing to collide on a certain chair) where there is a signal for starting, (a bell, chime, quiet chord on piano, but not teacher's voice yelling for "Quiet!") and where there is a thought-directing opening prayer. A famous boy choir director told me that establishing a "tradition of behavior" was essential and that the older boys were responsible for teaching attitudes and actions to the younger boys primarily by example.

It is almost impossible to separate discipline from creative teaching techniques. Interested children who are learning to serve as well as to sing, are seldom belligerent and unmanageable. But don't expect the impossible! Whenever you are dealing with children you are dealing with energy and action. Be sure your goal isn't just to have them be quiet! It is your great challenge to capture their minds, their imaginations -- so that you can help to guide their growth.

Helen's early '66 dates are listed. If you are in one of the areas, make plans to attend. The contact person will be glad to give you more information.

JANUARY PERSON TO CONTACT 5, 6 Dothan, Alabama Miss Eleanor Baugher NaFOMM First Methodist Church Workshop 7, 8 Panama City, Florida Workshop

FEBRUARY

10, 11 Knoxville, Tenn. Arthur Bayer Directors' Workshop Church St. Methodist Church

MARCH 5, 7 Milwaukee, Wisc. Mrs. Anthony Grunert Workshop & Festival 4330 S. Austin S. Milwaukee, Wisc. 53207 12, 13 Denver, Colo. Austin C. Lovelace AGO Jr. Choir Festival Montview Blvd. Presbyterian Church 19 Okla. City, Okla. Reba Dawson Area Baptist Primary Festival 25, 26, 27 Charleston, W. Va. Mrs. G. H. Overholt District Choir Festival 633 Jane St. Charleston, W. Va.

— 44 — Maybe one of these REPERTOIRE SUGGESTIONS by Norma Lowder will "hit the spot" in your program

CHILDREN'S CHOIRS — CHRISTMAS

Bitgood. LET THERE BE LIGH T. Sacred Music Press. 1965 $1.50 A Christmas Cantata, primarily in unison, by Dr. Bitgood, long-time Guild enthusiast. Jesus' Star Mary's Song of the Halo Candles in the Town The Morning Star A Lantern in the Stall Star Over the Desert Firelight on the Hill There Was Light The Glory Light Let There Be Light

Graham. THE CHRISTMAS STORY. Abingdon Press. 1965 $1.25 Another of Mr. Graham's popular Cantatas. Unison. Suitable for primaries as well as juniors. Long, Long Ago In A Manger This Is the Road The Stars Who Comes to the Gate? Three Wisemen Who Is Knocking? Come, Let Us Sing White Sheep, Black Sheep

Kinsman. TO GREET THE BABE SO HOLY. Abingdon Press APM-418. 1965 SA 25¢ A setting of a "Hommel's Geisttiche Volhslieder" text to an old German carol.

Powell. THREE CHRISTMAS ANTHEMS FOR SA VOICES. Abingdon Press APM-446. 1965 40¢ Unusual effective arrangements of moderate difficulty. When Christ Was Born Love Came Down at Christmas Songs of Praise the Angels Sang

Praetorius-Bliss. NOW SING WE, NOW REJOICE. Augsburg #1350. 1963 SS 22¢ An a capella setting of "In Dulci Jubilo".

CHILDREN'S CHOIRS — GENERAL ed. Curry. ANTHEMS FOR THE JUNIOR CHOIR, BOOK 5. Westminster Press. 1965 The format of this collection is basically the same as that of the first four books in the series. There are fourteen anthems: six, general praise; two, Thanksgiving; three, Christmas; one, Palm Sunday; two, Easter. Four of the seasonal anthems may also be used at other times of the year. Nine are entirely original; five are arrangements of old melodies. Seven include optional handbell accompaniment. Several lend themselves to use by combined choirs. Hymn Society of America. HYMNS FOR CHILDREN. 1965 25cp (10 copies, 20¢; 50 copies, 15¢) Twelve new texts to be sung by children eight to twelve years of age were selected from more than four- hundred submitted to the Philadelphia Chapter of the Hymn Society for use in its May 1965 Hymn Festival for Children. Lovelace. INDIAN HYMN OF PRAISE. Flammer 186207. 1965 Unison 25¢ A delightful arrangement of a Dakota-Indian Hymn. Optional flute solo. Percussion may be added to the bass accompaniment pattern. Pfautsch. THE EARTH IS HUSHED IN SILENCE. Broadman Press #454-014. 1964 Unison 25¢ Another "must". An easy, effective anthem with handbell and organ accompaniment. Schalh. TWO PART CANONS. SET 1. Concordia #98-1762. 1965 40¢ Serviceable and educational canons based on classic hymns and chorales, along with several suggestions for variety in performance. (Note: Sets 2 and 3 also available.) YOUTH CHOIRS — THANKSGIVING Pfautsch. A CANTICLE OF THANKSGIVING. Abingdon Press APM-424. 1965 SATB 25¢ A most unusual Thanksgiving anthem for mixed voices, organ, horn in F, trumpet in Bb, minister and congregation.

YOUTH CHOIRS — CHRISTMAS

Burke. COME, HEAVENLY CHILD. Abingdon Press APM-430. 1965 U-SATB 600 An anthem for use by combined choirs, suggested as especially suitable for candlelight services. Ehret. GLORY TO GOD. Abingdon Press APM-416. 1965 SSATTB 60¢ An Heinrich Schutz melody, set to Luke 2:14. Six voice parts may make ti difficult for most youth choirs, but the anthem is well worth examining. Lapo. JOSEPH DEAREST, JOSEPH MINE. Abingdon Press APM-444. 1965 250 A lovely Christmas anthem for combined choirs, including handbells.

— 45 — Praetorius-Dietterich. TO US IS BORN. Abingdon Press APM-486. 1965 SAB 18¢ An easy anthem for youth, with handbell accompaniment. Also usable in unison with children's choirs. CAROLS OF TODAY. Oxford University Press. 1965 SATB Seventeen original settings for various seasons. Difficult for many youth.

YOUTH CHOIRS — GENERAL

Bechler. 0 THE BLESSEDNESS IS GREAT. H. W. Gray. 1954 SSATB 25¢ Published in conjunction with The Moravian Music Foundation. Also available for Unison, SS or SSA. String parts available. Butler. REJOICE, YE HEARTS, BE GLAD AND SING. Schmitt, Hall & McCreary #8020 1965 SATB 25¢ Excellent for youth or adults. ed. Curry. ANTHEMS FOR SOPRANO, ALTO, BARITONE, BOOK 2. Westminster Press. 1965 Seven anthems for general use, including some for Thanksgiving. A prayer response and choral amens. Three selections are arrangements; the remainder are original. Dix-Davis. HARVEST SONG. B. F. Wood 44-847. 1965 SAB 25¢ Also usable in unison for children's choirs. Drischner. MAKE A JOYFUL NOISE. Concordia 97-4684. 1965 $2.50 Twenty-five hymns and carols for the church year for unison voices, treble instrument (violin, flute, recorder, clarinet, oboe, trumpet), and organ (harpsichord or piano). Greenburg & Smoldon. THE PLAY OF HEROD. Oxford University Press 1965 $4.25 The director who wants the unique and is willing to work to get it should certainly examine this twelfth- century musical drama. Complete with costuming, scenery, dancing, etc., the score calls for three soprano soloists, five tenor soloists, four baritone soloists, three bass soloists; a choir of variable size; bell carillon, soprano recorder, viola, oboe, tenor drum; and seven additional actors (one woman, two men and four children). Hokanson. SING TO GOD. Concordia #98-1790 1965 SATB 25¢ A usable setting of a 17th century text and melody, with accompaniment for piano or organ and two trumpets. Ellsworth. GOD BE IN MY HEAD. Abingdon Press APM-419. 1965 SATB 25¢ Written by a member of the SMU faculty and commissioned in cooperation with the Chaplain of the University for the University Chapel Choir. (Guild members who attended the Dallas Seminar will long remember the gracious hospitality of Gene and Dorothy Ellsworth!) Pfautsch. I WILL LIFT UP MINE EYES. Abingdon Press APM-400. 1965 SATB 25¢ A moderately difficult setting for this beautiful Psalm. Pfautsch. LITANY. Abingdon Press APM-420. 1965 U-SATB 251:p An ancient Irish melody arranged for children and adult (or youth) choirs. Marshall. LORD MOST HIGH. Abingdon Press APM-435. SATB 350 A thrilling dedication, festival or general anthem for mixed voices, three trumpets and two trombones.

0 0 0 0 0 0 Add this to the NEW BOOKS recommended by Norma Lowder as listed on page 10 of the September LETTERS.

Carabo-Cone. THE PLAYGROUND AS MUSIC TEACHER. Harper & Bro. 1959 $5.00 On this "playground" children hop-skip-jump their way into the world of music. The author interprets the fundamentals of music through the medium of make-believe, using terms and activities familiar to the child. More than one-hundred games are played on a music staff marked on an indoor or outdoor playground. Through imaginative personification, the players build up a working music vocabulary. 0 0 0 0 0 0

The following were used in the Workshop in Dallas, September 28. Every one is worth your study.

In Dr. Roberta Bitgood's class: The Word Became Flesh (unison), Brandon Canyon Press 22¢ Antiphonal Psalm (2 parts), Pfohl Flammer 25¢ Bless Thou the Lord (SAB), Pasquet Augsburg 25¢ Masters, in This Hall (SAB), Currie Canyon Press 26¢ The King of Love (SATB), Coleman Galaxy 25¢ O Sons and Daughters (2 parts), Martin Mercury 25¢ Arise, My Soul, Arise (SATB), Wood Abingdon 25¢ Build Thee More Stately Mansions (mixed), Young Presser 25¢ In Helen Kemp's class: — For Primaries Songs for Primaries, Jones-Adams (Record available, $3.95) Broadman 1.75 For Juniors — Song of Thanksgiving, Parry Galaxy 25¢ All Lands and Peoples, Lovelace Augsburg 25¢ The Yodler's Carol, Caldwell Gray 25¢ A Carol for Lent, Fryxell Augustana 20¢ Psalm 150, Cooper Broadman 25¢ The Creation, Smart Biglow-Main-Excell 1.00 25¢ Litany, Pfautsch Abingdon — 46 — (See "Note from the C. G. Office" on page 56) PSALM SUPPLEMENT— PSALM 19 Director's Page Last year we started a new series of illuminated psalm pages. These were designed to be of help to directors in teaching the psalms or for illustrations as hymns and anthems, based on the psalms that were studied by the choirs. The psalms were imaginatively and colorfully illustrated by Mary Elizabeth Montgomery. The psalms made available in this manner as supplements last year were Psalms 1, 8, 24, 46, 96, 121. (These are now available; see the order form which was with the October LETTERS.) In addition to Psalm 19, which will be found with this issue, the following psalms are scheduled for later in this season: 23, 100, 150. This year we will continue the plan commenced last year of having a Director's page in the LETTERS when a psalm supplement is included. The material on these pages comes from several recent commentaries on the psalms. The books consulted are: THE INTERPRETERS BIBLE, VOL. 4 PSALMS, PROVERBS, Abingdon Press REFLECTIONS ON THE PSALMS — C. S. Lewis, Harcourt, Brace & Co. THE PSALMS — Elmer A. Leslie, Abingdon Press THE PSALMS AND THEIR MEANING FOR TODAY — Samuel Terrien, Bobbs-Merrill Co. THE PRAISES OF ISRAEL — John Paterson, Scribner's Sons THE HYMNBOOK OF THE AGES — Paul C. Warren, Presbyterian Distribution Service For further aids to understanding and teaching the psalms it is strongly recommended that these and other sources be studied in detail.

Even a casual reading of Psalm 19 reveals three divisions in its language, style, structure and ideas. The first part (vs. 1-6) is a pure hymn of praise for the God of nature; the second part (vs. 7-11) is an antiphonal canticle in honor of the law, and the third part (vs. 12-14) has an introspective direction and a prayer of supplication. There is strong evidence that the psalm was not originally one, but the work of two poets. It may have been brought together by a third person who added the final few verses. The assembling was not haphazard, but for the specific purpose of intimating a subtle message. Do we follow the logic? First, is the contemplation of God's law in nature, then of God's law in the moral universe, then a prayer that this law may operate in one's own heart. Since the natural law is sure and dependable and since the moral law is likewise constant, man can only offer the prayer that he, too, may be dependable and constant in both what he says and what he thinks and, therefore, be acceptable to the Lord (Yahweh). Like Psalm 8 this brief hymn ranks as one of the noblest examples of Hebrew poetry. It does not follow the usual pattern of a hymn of praise by calling on the people to sing. This is omitted for the hymn had already begun. Aeons ago at the time of creation, its first notes were sounded and never since have the heavenly bodies ceased from singing it. The heavens "declare" or "are telling" the glory of God! There is no nation (speech) where this message (voice) is not seen or heard day and night. Having been made aware of the God-made laws of nature, our attention is suddenly turned to the God-made moral laws. The psalmist begins by making a statement about each of the six terms used for the law. To him law, testimony, statutes, commandments, fear, judgments — are virtually synonymous. Verses 7-11 are in an antiphonal or responsive form and might effectively be read by two groups. Thus: "The law of the Lord is perfect, —converting the soul. The testimony of the Lord is sure, —making wise the simple", etc. (Parenthetically, you might have a discussion of the longest psalm — 119 with its 176 verses. Show the children that in all but seven verses the psalmist has made reference to the law. They might like to find the 10 different words used for the law, or the seven verses which do not have such a word. They might like to note that God is addressed in every one of its verses.)

The concluding verses (12-14) have been called a "prayer for a blameless life". Since the law is such a precious means of grace, instructing and warning men (or children) about the Lord's will, he prays that he may be preserved from sins against it. He concludes with an offering of himself, both his actions and his thoughts to his Strength and his Redeemer. This prayer is recognized by both Jews and Christians as a perfect and complete offering to place on the altar of our God. This psalm has found a prominent place in Christian history. Abraham Lincoln quoted verse 9 near the end of his Second Inaugural Address. (Ask some child to look it up and read that part to the choir.) Joseph Addison closed an essay on human faith with a paraphrase which is sung all over the world, the hymn beginning, "The spacious firmament on high." If this hymn is in your hymnal it would be a fine companion project — the learning of the hymn and the learning of this Psalm 19.

— 47 — INFANT HOLY, INFANT LOWLY

Director's Page

TEXT: The author of this carol is not known. The paraphrase of the text is attributed to an English lady, Edith M. G. Reed, 1885-1933. The children will be interested in knowing that Miss Reed was an extremely active out-door woman. OUR HYMNODY by McCutchan says that she "walked around most of the coast of England and Wales."

TUNE: Many arrangements of this carol appear in hymnals and anthems. For a different harmonization, you might play the one by David Hugh Jones in THE HYMNBOOK of the Presbyterian Church, published in 1955.

CHURCH YEAR — CURRICULUM CORRELATION: Both the text and tune are suitable for children of all ages to sing at Christmas, both at church and in home worship services.

THEOLOGICAL VIEWPOINTS: Although we have been in a period when the events attributed to the Christmas season have been thoroughly dissected by Biblical criticism, the meaning of the season in terms of Christ's coming to those who anticipate His arrival and prepare to renew their faith by keeping the celebration of His birth — defies criticism or dissection.

For children, the hymn beautifully expresses the simple yet complex truths of an infant, "Holy yet Lowly" whose arrival was acknowledged only by those anticipating and awake, keeping vigil through the night. The director of more mature youth may wish to lead the choristers into a discussion of how Christmas and its meaning today is often distorted from its true purpose of anticipating the coming of Christ into human experience.

TEACHING SUGGESTIONS: Certainly a generous collection of carols from around the world should be in the repertoire of every experienced chorister to augment his non-Christian repertoire of "reindeer, snowmen, and Santa Claus" songs. Christmas art from around the world might help the chorister to see that while the exact portrayals and customs vary in different parts of the world, Christ is still the central figure. If Christmas service preparation allows the extra time, a study of these varying customs might be built into a family night Christmas service.

Immediately after Christmas, a study of composition, developing 4— and 5—note melodies as demonstrated in this carol, would be an interesting winter project, with the texts based on events in the life of the Christ Child as He matured and discovered His role on earth.

This carol, with its repeating rhythmical and melodic patterns, practically teaches itself to the children in a few singings. Keep the melodic flow light and smooth to the end of the line, rather than breaking at the end of each four-note pattern. Achieve the effect of a ritard by stressing the words of the last phrase rather than by an actual slowing of tempo. If the carol is used in a Christmas service, an interlude might be devised which would modulate to the key of A Major for the second stanza. An amen is not necessary. INFANT HOLY, INFANT LOWLY

Text. Tune: From the Polish Polish Carol Paraphrase by Edith M. G. Reed (1885-1933)

Christmas Greetings!

How amazing it is to me that each part of our world keeps Christmas in its own special way — using its unique kinds of art, music, ceremonies, decorations, and customs!

The keeping of Christmas in Poland includes the roasting of a Christmas pig and the scattering of straws upon a table at which one of the chairs has been left vacant for the Christ Child. And it includes the singing of this beautiful Christmas carol, "Infant Holy, Infant Lowly."

The whole mystery of the Christ Child, "Holy yet Lowly", is expressed in Edith Reed's paraphrase of the text of the carol. Though we can understand how dumb animals like the "oxen lowing" could not know the ml meaning of the presence of the infant, it is much harder to understand how Vj human persons today can "keep Christmas" in ways that leave out of their thoughts and actions the meaning of Christ's coming.

Perhaps the most essential truth of our Christian faith is found in the words of the second verse...."Shepherds keeping vigil till the morning new saw the glory, heard the story, tidings of a gospel true." The essential truth is that while God is always present, an awareness of His Presence is experienced only by those "keeping vigil" — seeking and anticipating His coming into their lives. Singing carols like these at Christmas help persons who hear us to prepare themselves for the season.

First, just listen to the text and tune to hear how well they fit together and how simple they are. Now listen more closely to see what rhythmic patterns keep repeating throughout the carol.

Write the pattern here!

Notice the way the four note melody is repeated again and again at different pitches throughout the carol. Although this tune is a carol whose composer is unknown, the composition device of a motive with its repetition in a series of sequences is a standard part of composition even today. Our choir experimented with our own carols based on simple motives and their repetition up and down the scale. Here is the motive I developed — how would you finish it?

40 Qiu Jesus Christ is born!

Your friend,

Charley, the Choirboy H-29 — 49 —

INFANT HOLY, INFANT LOWLY

W ZLOBIE LEZY (POLISH CAROL). 4. 4. 7. 4. 4. 7. 4. 4. 4. 4. 7. From the Polish English words by E. M. G. REED Arr. by E. M. G. REED In unison

1. In - fant ho - ly, In - fant low - ly, For His bed a cat - tle stall; z. Flocks were sleep-ing; Shep-herds keep - ing Vig - it till the morn-ing new I r-- 1-7---1 1111-10-1- -40" • -AP-

114111Ma.

Ox - en low - ing, Lit - tle know-ing Christ the Babe is Lord of all. Saw the glo - ry, Heard the sto - ry, Tid - ings of a gos - pel true.

•

rib

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

J -61

Tid-ings bring-ing: Christ the Babe is Lord of all. Greet the morrow: Christ the Babe was born for you. A-MEN.

.ENETIESEMIr.

C611,41 0 OF a —1-----d1 12- —50 —

Ahutabulations

Hello, Bell Friends! Come right in, and bring some of that zingy November air with you! Isn't it nippy? We'll probably have hard frost tonight. Coffee or tea? Good, I'll whomp up the pot Though we were sorry to say farewell to October — another golden enchantress we have loved and lost, we have no lasting regrets as the busy, active weeks surge forward and gather momentum. November has been maligned by the poets; Longfellow with his day is cold and dark and dreary and Thomas Hardy's rooks that homeward fly and so do I. Rather, with James Douglas "Let us be done with the stale convention of Autumnal Sorrow. Life among the leaves goes down with all its flags flying, all its fifes playing, all its drums beating". Early November has the calmness of fulfillment — the year's harvest is in and it is good, then, as the season wanes we know the pleasantness of Indian Summer, the happiness and satisfaction of Thanksgiving, and the gradually surfacing expectancy and joy as we thoughtfully prepare for the Advent Season.

. . . .Do have some of Stella Kopolos' baklava with your coffee. She also sent in a fresh yaourtopita, a Greek Thanksgiving treat. It's a sort of a pound cake rich with honey, yogurt and nuts. Super-delicious? Some of you may remember Stella with her Greek bells, pastries, dolls and marble figurines at Conventions. She supports several Greek orphanages, is the moving spirit in the Doll Library idea (little girls may check out dolls, as we do books, and return them), and was 1962 D.C. "Mother of the Year". A multi-talented lady, Stella's book "Interpretive Greek Cooking" will be published in the Spring '66 (World Publishers), and then you can make your own ambrosian baklava and yaourtopita.

COLLECTING MUSIC AND BELL STAMPS: It is always a pleasure to encourage youthful stamp collectors. Several Choir Directors maintain a "Stamp Box" in the Children's Choir Room. Church friends contribute their cancelled foreign stamps and special American issues. Sometimes the stamps are on sale at 3 for 5¢, or some such bargain, to benefit the Choir Fund, somes they are free to everybody Last year's handsome stamp honoring American Music surprised and delighted musicians. The annual American Christmas Stamps are generally popular Virtually every country has honored music and great musicians with special issues, a number of which are available through philately dealers. Occasionally one sees a set of "great composers" stamps attractively arranged in a picture frame with a wide mat on a studio wall. Stamps have also honored performers, or shown musical instruments, musical notation, or have commemorated national anthems Bell Collectors are now checking the records for stamps depicting bells. A small collection of "Bell Stamps" was displayed at a recent regional meeting of the American Bell Association. Representing several nations, all had something to do with "Freedom". In the Bell category, the U.S. Post Office Department has used the Liberty Bell exclusively, in fact the current 13¢ air mail stamp for Central America and B.W.I. has the Liberty Bell as does the 11/4 cent pre-stamped envelope for bulk mailing. A cancellation design once included a silhouette of the Mental Health Bell. Stamp Collectors today differ from the eager page and album fillers of a generation ago. A new, creative approach to the hobby has drawn more adult recruits to it than ever before — that of topical interest. Most do not use stamp albums. Topical collectors have a special interest such as music, art, history and collect with the idea of study, comparison, learning, and for imaginative display. The last issue (September 17) of the American Fine Arts Series (great paintings) reproduced in miniature John Copley's portrait of his little daughter. This beautiful stamp has been extensively admired; the children have gone "mad" over it So enthusiastic are topical stamp collectors that there now exists an active national organization, the American Topical Association. A special Fine Arts Unit of the ATA publishes the magazine "Fine Arts Philatelist". Write the Executive Secretary of the Fine Arts Unit for information: Dr. John S. Papa, 1950 N.E. 59th Place, Fort Lauderdale, Florida 33308. Dr. Papa, a physician, finds relaxation in collecting stamps about — music.

II IN MEMORIAM: Eleanor Thompson (Mrs. S. W.), Organist/Director, St. James Methodist Church, Philadelphia; immediate past Secretary of the AGEHR, on August 28. Eleanor developed an outstanding team of Bell Ringers which was well-known in the Philadelphia Area, and played on the Children's Christmas Program with the Philadelphia Orchestra in 1962. She was, in Pre-Chaucerian phrase, "A verrie parfitt gentil deare". "Well rung, thou sweet and faithful servant." ADVENT AND CHRISTMAS BELL NOTES: As the chimes of December draw nearer, but before our minds are completely stuffed with Christmas clutterabelia, we should pause to consider how we are planning to use Hand- bells this season. Too often? Better to make one effective, well-played offering, than several half-baked attempts. Music Program too long? Don't kill your already tired congregation and choristers. Send them home promptly, with a lift and a lilt. Are the mechanics of ringing over-conspicuous, distracting to the worshippers? Will the ringers maintain good posture and a serious, dignified demeanor when not ringing? Are you keeping your holiday novelty pieces in good taste and to a minimum? It is a temptation, when there are talented youngsters who play instruments and dance, to entertain with arrangements for bells — plus every type of instrument and noise-maker. Don't let your Bell Choir develop a case of the cutes. DO — have the ringers play several stanzas or verses of the hymns and carols during the Services and Programs — in order to give them more participation and to add sparkling overtones to the congregational singing. Descants are especially attractive; even the melody in unison-octave is acceptable. DO — write in a few passages or single notes for bells in the Advent or Christmas Cantata or Prelude. Contemporary composers are more and more beginning to realize the beauty of even occasional Handbell sounds, and are indicating effective sections or passages for them. A recent catalogue (Flammer) describes 2 Cantatas "A Candelight Carol Service" by Paul Hamill and "God's Son Is Born" by Peggy Hoffman as having optional Handbell, other Instrumental and Reader-Verse Choir parts.

BUDGET BELL GREETINGS: Make your own Bell Cards! The sketch below is a pattern for a stunning card. Cut out a 8"x 7 " piece of heavy white paper, and fold in half, longways. On the outer side of one half trace the bells and design; cut out bells, small balls and diamonds. On the inside of the other half glue a piece of colored paper the same size, or contact paper, or a piece of a beautiful old Christmas card. Write the message and draw the scrolls with gold or colored ink. Voila! Aren't you smart?!!

FAVORITE CHOIR JOKE OF NOVEMBER: "Little boy, ogling drumstick: `Oboy, Turkey-on-the-Cob!'"

Blessings on all you Turkey Belles and Cobs!

from 71.04411-1) Nancy Poore Tufts

DECIBEL MARMALADE says: "Tie down your Xmas Music plans this week." Furthermore, "Thinking is when your mouth stays shut and your head keeps talking to itself." I beef the be os elitist/nos day Their o1 !mat o* evois is '0W CD) ,g4 0

•. IhN 0 'ar615' --4"6"5"" l`veto ..1 artg. A SWeeb4. it Ens *TO repeat Of peace en eatA, cro liehe SHARING A letter received last March had a fine Christmas suggestion. The following is the full letter: "Dear Fellow Members: "While re-reading my last 'issue' of Choristers Guild information, I noticed that Mrs. Whittington from Elgin, Illinois wrote how the Choristers LETTERS had enhanced their Christmas program, and I thought you might like to hear how a local chapter meeting helped ours. "I attend a small brand new church (1 year old) and our attendance runs about eighty on the average. I looked through numerous books and sacred magazines but couldn't find a suitable Christmas program for the limited number of children that we have. At the first fall Guild meeting they had a panel giving various program ideas. One member, from a large Denver church, told of a program they had arranged for a Sunday School class that had fifty members. They told the Christmas story by using prose and Scripture interspersed with the favorite carols. First the women would read, then all would sing; next the men would read, then singing; and then the children read, then singing again. The women sang alone, 'It Came Upon a Mid- night Clear'; the children sang, 'Away In a Manger'; and the men sang, 'The Three Kings of Orient Are' to add variety to the group singing. To make it even easier for the congregation we used carols from our hymnal and pre-marked them before the service so they could be found easily. In order to make the program a little more exciting, we kept the whole thing secret. Only the organist, the chairman of the Deacons and myself knew what was going to be done. After the service we served Christmas cake and hot chocolate to everyone and had treats for the children. As you can see, this program could be geared up or down to just about any size group. We had many favorable comments on our 'Family Christmas Program'. Several adults commented on how much they enjoyed participating instead of merely observing. "I might say that in order to not let the reading and singing lag, we appointed three good readers in our group to lead in the reading. We also requested that the high school age help the children in reading and singing their parts, of course, this was due to the smallness of our group. "I know this letter is 9 months early, but I was so thankful to our local chapter for rescuing us from a "Christmas Tragedy', and so pleased with the results we obtained that I wanted to share it with you. Sincerely, Mrs. Joan Hubbard "P.S. Even though the Guild is strictly for children's choir directors, I've found a lot of your suggestions in the LETTERS help my adult choir — hope you don't mind!" Not at all!

Mrs. Meadowcroft of Berwyn, Pa. has a unique method of using the Guild cross. She told of it with a recent order: "We award the cross for 100 singing hours of service to our youth choirs. At graduation (12th grade), the cross is presented for personal possession. From 6 or 7 grade — (or time of 1st presentation through service in H.S. choirs) it is worn as a possession of the church — in trust to the wearer — and only within the sanctuary."

Last month 1 commented briefly on the "Wedding Choir — a selected group of 15 boys" listed in the folder from First Methodist Church, Glendale, Calif. Muriel and Richard Alford, the directors, gave me some details: "We have many weddings in our contemporary, cathedral-style sanctuary and ever since it was completed four years ago, we have hoped that some bride would ask for a boys choir to sing at her wedding. Finally, last June it happened! So we chose 15 of the best voices from our Crusader Boys Choir and worked for several weeks in extra rehearsals. The boys sang '0 Perfect Love' (Methodist Hymnal, 431) in two parts, and Cesar Frank's '0 Lord Most Holy', also in two parts. The boys were thrilled to sit in the Chancel and get a 'front row seat' for the wedding ceremony! They were on their very best behaviour and we were very proud of them. Now we list the Wedding Choir on our choir set-up, hoping more brides will take the hint! Just to be sure we are ready, we are beginning to learn the Bach-Gounod 'Ave Maria'."

1E1 g El Eleanor D. Fossick of Nashville, Tenn., who previously was a writer for the LETTERS, recently wrote of a special hymn service: "Perhaps you will recall that I used to write a bi-monthly article on the Roman Catholic Liturgy -- specifically on the work of our youth choirs -- for the Guild LETTERS. "It occurred to me that you might be interested in learning about an interfaith hymn singing sponsored by the Nashville Music and Arts Teachers Guild, last spring. It was such a rousing success that we have scheduled another one in our 1965-66 Year Book. — 53 —

"This project was planned by Frances Patrick, Organist at Glen Leven Presbyterian Church and myself. Piano teacher members of the guild had their students play hymns from many different hymnals. We asked a young man who directs a Methodist Church choir to lead the congregation in singing the hymns. Boys and girls -- members of six various churches -- played excellent accompaniments. They invited their parents and friends to come and participate in the singing. The accompanists, and likewise the audience, consisted of Presbyterians, Episcopalians, Methodists, Roman Catholics, Lutherans and Baptists.

"The pastor entered into the spirit of the occasion. He opened the program with an Invocation, and at the end of the first half hour, gave a beautiful reading of Psalm 150. The program lasted one hour. After the last hymn, the pastor gave the Benediction. "Guild members agreed they have never seen so much enthusiasm on the part of an audience, and those who attended the hymn-singing agreed that it was a most inspiring experience, and that they had never sung with such fervor. "At our next interfaith hymn singing, we shall have ministers of several different faiths participate in the prayer program. "Although we are not dealing specifically with young choirs in our Music and Arts Guild, we are training young church musicians." Interfaith musical services have great value if sincerely and purposefully planned. The "Tri-Village Junior Choir Festival" held at Covenant Presbyterian Church, Columbus, Ohio last February was such a service. If you would like to see a program from this service, Guild member Mrs. Robert Murtha, First Community Church, 1320 Cambridge Blvd., Columbus, Ohio, might still have a few.

Mrs. Lee Magnarella, R.D. 1, Millbrook, New York, wrote at length about her choirs' activities. Two of the ideas I want to share with you: "Our minister has an especially meaningful baptismal service. He often mentioned to me his wish that our choir might sing a short response at the close of it. Last summer at Alfred University, Andy Flannagan used the anthem, 'A Child's Prayer (A-27)' at his Junior Choir Workshop. We learned this as one of our anthems during the year. It occurred to me that just a portion of this would be exactly what we wanted. By changing a word or two, this is what we sing, a cappella: 'Gentle Jesus meek and mild, Look upon this little child; Pity his simplicity, Suffer him to come to Thee." "My apologies if I have violated any rules or copyright. The reaction by our congregation to this little prayer after baptism would cause the poet to give his permission, I am sure. "As always, control and cooperation have been our most difficult problems. Our membership has been as many boys as girls, ranging from 8 to 14 years old. By January we knew something had to be done, and we came up with the solution that worked!!! We formed what we later named a Choristers Council. The children elected among themselves a president, class representatives (one for each two grades in school) and two senior and two junior librarians. At our first executive meeting, this council made up a set of rules and regulations for choir members. We ran these off as a page for each child's choir notebook. I will enclose this page for you to see because I think it is fabulous. Adults could not have done any better, but the important part was since they had done it themselves everyone accepted it and believe me, discipline was no longer our biggest problem. To me this was a sample of Christian living and democracy at work!"

DO'S AND DON'TS DO'S 1. Be prompt to choir practice. 2. Leave playthings out of choir. 3. Eat candy and chew gum outside of choir. 4. Talk before and after choir practice. 5. Keep your hands and feet to yourself. 6. Follow directions. 7. Pay attention. 8. Co-operate. 9. Keep quiet and listen. 10. Practice the Golden Rule. 11. Report major annoyances. 12. Leave music on chairs neatly. 13. Help each other with robes. 14. On Sunday, line up quietly when you are ready. 15. Play in field above the church. 16. Bring your choir notebook to rehearsal every week. DON'TS 1. Don't interrupt. 2. Don't bother other people by: a. Putting your feet on their chair. b. Kicking chairs. c. Pulling chairs. d. Running in church. 3. Don't play near church. 4. Don't wear ponytails and large ribbons on Sunday. If a person violates these rules, he will be spoken to after choir practice. If you are spoken to twice, you will be suspended for one month. If you are spoken to two weeks in a row, you will be asked to leave the choir for eight weeks.

— 54 —

This MUSICAL STORY was used by Walter Davis, Central Methodist Chuch, Fayetteville, Arkansas, at a choir Family Night Supper. Try it at your next gathering.

It was a beautiful, sunny day, and Mr. and Mrs. Smith were in their

car with their three j ol ti headed for the 3 --' picnic from Mr. Smith's office. Mrs. Smith had packed a supply of

sandwiches and a bowl of salad, ample

to three dozen people. "Do you have the road map?"she had asked er husband before they left. "Oh, I don't need a map," he replied. "I have a wonderful sense of direction. I've been this way before and up the mileage. It was easy to on the speed- ometer, and we have plenty of to get there." But before they had driven far, they heard a bumping noise. At first it was p , but soon it began to 46ef.:: until the whole car was shaking. "Wouldn't you know we'd get a b just now?" said Mrs. Smith. "You should have left sooner you should have brought that road

map. I don't see a anywhere. We'll never make its" "You've .11 said that before," said ilr. Smith, "You don't need to He climbed out to fix the tire, pulling off his I . " I can't help it * if we hit something ." By now the children were getting hungry and cross. "Cant you

us now?" begged the 41 But soon the 19 was fixed, and Mr. Smith started off again. But somehow the road did not look familiar. "I think we ought to DS: and see where we are," said Mrs. Smith. "I consider that a against my intelligence," snapped Mr. Smith. "If I Ri4". a little, we'll see another before long." Just as he said this, they came to a ttit,z, across the road. "I KNGU I'm right," said Mr. Smith. "I'm goin:_ around it." And so he did, but not for

ft long. Just ahead he saw a washed-out 4 N•ao. yourselves," he shouted, as he ground the car to a (7) • Just then, a policeman on his motorcycle came up, signalling Mr. Smith to

get out of the car. He did, and they talked for several minutes. When Mr. Smith returned to the car, his wife asked, "Did you el his directiors?" "I could-

n't," Mr. Smith replied. "The officer had too much of an > • I could- n't understand a word he saidl Anyway, it's too late to mak the picnic. All we can do is pir, , unl9ad our ci 6. r - and eat at homes I'd sooner be than to -.1 the people therel" "That's only ," replied Mrs. Smith

— 55 — THE CREAM OF THE CROP

According to the comments of our members, last year's listings and remarks about favorite anthems were helpful. In July, I wrote thirty-six Guilders and asked for their favorites, with a brief statement as to why each anthem was so considered. Their replies will be printed month by month under the heading CREAM OF THE CROP. Some Christmas suggestions are given here.

GO TELL IT ON THE MOUNTAIN, Arr: Hinson (Unison and two-part), Broadman Press This joyous spiritual is one of the favorites of my 4th, 5th and 6th graders. I find it very useful in teaching beginning two-part work because of the repetition. This anthem makes our group sing in spite of themselves. SWEET HOLY CHILD by Caldwell (Unison) H. W. Gray Co. #2612, 22¢ The flowing melody and movement of this anthem makes a charming background for the lovely text by Mary Caldwell. The rhythm of this anthem should not go too slowly; however, at the same time it is so "wordy" it must not be rushed. It is a very good anthem to teach dynamics to the children. The idea of the text is reminiscent of the ever favorite "What Shall I Give Him?" IN BETHLEHEM'S LOWLY MANGER by Williams (S.A., optional descant) H. Flammer #86067 25¢ This anthem has three verses, each of which is divided into a narrative about the manger scene, followed by a cradle song to the Babe. Written for unison and two-part with a descant over the two- part work in two places, this anthem, however, may be done all in unison . It is a very good anthem to use with your adult choir soprano soloist on the descant for variety. The two melodies are tuneful and sweet. This anthem will be a favorite of your group. REJOICE AND BE MERRY by Dean (Unison and two-part), Broadman Press #MF 622 17¢ This happy Christmas anthem by T. W. Dean almost sings itself. Although written for two-part work in the second and third verses, it can be adjusted for unison singing. Some very nice antiphonal effects are used, both in the second and third verses. This anthem might well be used by two different groups combined together. Jimmy Key, Parkdale Baptist, Corpus Christi, Texas

THE MORNING STAR by Hagen-David, G. Schirmer #8434 200 An American Moravian carol for child's solo voice and children's choir, sung in a response style. Four stanzas make possible two boys and two girls for the solo parts. Choir part may also sing soprano line only. Text unusually fine, and music easy but interesting. Good for grades 4, 5 and 6.

RISE UP EARLY by Kountz, Galaxy #1701 20¢ A zesty anthem for SA, juniors. I adapt the last page to use ending of second stanza, top of page 6. Children love this anthem and its jubilant mood. Contrasts in volume very effective, also. CAROL OF CHRISTMAS CHIMES by Kountz, Galaxy #1885 20¢ An unusually effective anthem with a very soft second stanza contrasted by a tumultuous final one. The accompaniment at the end reminiscses of gayly ringing bells under a choral Hallelujah. Fine for juniors -- unison or SA. HASTEN SWIFTLY, HASTEN SOFTLY by Kountz, Galaxy #1776 25¢ This invitation to the manger stall can be an exciting one with three stanzas. The refrain, to be done in easy SA, may be sung faster for the effect of excitement on "Hasten swiftly, hasten softly, hasten to the lowly stable." I use the stanzas in unison, refrains in SA with a very quiet ending. Paul S. Lefever, First Presbyterian, Haddonfield, N. J.

PRAYER IN WINTER by Alice Jordan, (Unison), B. F. Wood #733 20¢ Good anthem for Juniors to present in a Christmastide worship service. In verses 1 and 2 the melody is the same; in verse 3 the melody is similar with a delightful change. 0 COME, LET US ADORE HIM by Marie Pooler, Augsburg #19-165 75¢ Is an excellent Christmas Cantata for children. One choir or two or more might combine to do this delightful work. Also has a narrator part for some adult and a speech choir. My 1st and 2nd Grade Choir, 3rd and 4th Grade Choir, with the Boy's Choir as the Speech Choir, did this. We did not use a manger scene or children dressed as Mary and Joseph, but this is optional. Unison with optional second part, but second part can be done by one choir, while melody is carried by another choir. We loved it and the children loved doing it. Don Tyler, Beymer Memorial Methodist, Winter Haven, Fla.

JAPANESE CHRISTMAS CAROL by Lee (Unison), H. W. Gray Company #2767 20¢ My junior choir has not enjoyed singing anything any more than this particular number. It has enough open fifths to remind them of oriental music. A celeste on a couple of bridge passages would be extremely effective. Leroy Yarbrough, Trinity Baptist, San Antonio, Texas gi Note from the C.G. office: Any music listed in the LETTERS (other than that published by the Guild) which you would like to obtain should be ordered from your regular music dealer or directly from the publisher. We are not music dealers and so do not have music from various publishers. An thems which we publish ("A" series) or any other material listed on our order blank should be ordered from the Guild Office, 440 Northlake Center, Dallas, Texas 75238. — 56 — MUSINGS, MEDITATIONS AND MUMBLINGS In the September LETTERS I mentioned the offer of Rev. Wm. Grime to send a copy of two of his new songs for primaries to any Guild member who sent him a request and a postage stamp — of the nickel specie. In a letter recently I asked what response, if any, had come from our members. His reply: "You very kindly ask about the number of our Guild members who have written for a copy of my two primary songs. I had 275 printed and have left about 40! Requests are still coming in one or two a day".

gi 0 0 0 0

On the back of an envelope recently received from a member, I found the following: "The Wise Men" is a hit!! Please print??!! If you don't know what is referred to, see page 37-38. Do others want it printed in regular format?

0 0 gl 0 0 0 Fairly often someone writes in asking me what the Guild does for directors in small churches. We must do something — read this from a town in Georgia: "I am so grateful to the Guild for its inspiration and guidance this past year. We are a small church and this was our first attempt at a choir program for children. We began (and ended) the year with eleven Juniors and had an average attendance of 98%. They sang every Sunday at an 8:30 service, presented a combined choir program at Christmas, and gave a concert in June. We have thirty registered for September. "We used several Guild anthems during the year but two were special favorites of the children — Burke's 'The Three Kings' and Tor Hard Things' by Jane Marshall. Many, many thanks to the Choristers Guild for repertoire suggestions, ideas, methods and encouragement."

We estimate that 70% of the churches our members serve are "small" churches. Large city churches also receive our LETTERS and materials. I'm reminded of the lovely little song that ends: "All that we need to do, Be we low or high, Is to see that we grow Nearer the sky." 0 0 0 0 0 0 In our family, we are planning on using the Guild Greetings Cards as our Christmas cards. They are beautiful, appropriate, and provide a little profit for the Guild. How about joining us in this plan? 0 0 0 0 0 0 Nearly a hundred-fifty directors attended the one-day workshop in Dallas the day after the Guild Board of Direc- tors' meeting. Don Hermonat, Ruth Rohloff and all members of the Dallas Chapter Committee worked hard to make this a day of real helpfulness. Next year the annual Board Meeting will be held in Milwaukee. A "day after" workshop will be planned for there also. 0 0 0 0 0 A letter has just been received from the Library of Congress Exchange and Gift Division asking for certain issues of the LETTERS to complete their files. We would gladly comply but we have only our file copies of all the earlier volumes. The thought occurred to me that some Guild members might have the issues needed and would be willing to give them to the Nation through the Library of Congress. The following are the LETTERS requested: Vol.9 1957-58 No. 1 through 7 Vol. 10 1958-59 No. 1 only Vol. 11 1959-60 No. 10 only Vol. 12 1960-61 No. 3 and 9 Vol. 13 1961-62 No. 10 only If you have any of these and will contribute them to the Library, send them to the Guild office and we will forward them. If more come in than are needed, they will be returned to the senders. 0 0 0 0 0 0

"2 in '66" Seminars, that Isl.

IP/ 11-1S, Denver August 8.12, Ilinton-Salem pions to atterta tkre 1.ovone neatest you. — 57 —

llitthe he e s decl e t of God, the fi ment s e eth hi han

2 D unto ay eret speech, iiht she know led :

3 ire is lo or langike, where threir vilice is n heard.

4 Tir line is gene oust through all the earth, and their words to the end of the world. In them hat* he set a tabernacle for the sun,

5 Which is as a bridegroom coming out of his sham' ber, and rejolceth as a strong man to run a race.

6 His going forth is from the end of the heaven, and his circuit unto the ends of it: and there is nothing hid from the heat thereof.

7 The law of the LORD is perfect, converting the soul: the testimony of the LORD is sure, making wise the simple.

8 The statutes of the LORD are right, rejoicing the heart: the commandment of the LORD is pure, enlightening the eyes.

9 The fear of the LORD is clean, enduring for ever: the judgments of the LORD are true and righteous alto, gether.

10 More to be desired are they than gold, yea, than much fine gold: sweeter also than honey and the honey, comb.

11 Moreover by them is thy servant warned: and in keeping of them there is great reward.

12 Who can understand his errors? cleanse thou me from secret faults.

13 Keep back thy servant also from presumptuous sins; let them not have dominion over me: then shall I be upright, and I shall be innocent from the great transgres' sion.

14 Let the words of my mouth, and the meditation of my heart, be acceptable in thy sight, 0 LORD, my strength, and my redeemer.

PSALM 19 Dear Chorister Guild Member:

As your president and on behalf of our entire staff and board I wish to send a very special Christmas greeting to every member of the Guild and to all the wonderful boys and girls that are singing in your choirs.

It is a great privilege to be a part of such a wonderful organization, to be able to see its growth and to feel its influence more and more in the youth of our churches. We are thankful for all these blessings and especially for Ruth and Leslie Jacobs, the beloved founders of our Guild.

May God's richest blessings be yours throughout the whole Christmas season and the coming New Year.

Sincerely,

PRESIDENT. CHORI GUILD

P.S. "IRVING" also says

"MERRY CHRISTMAS" LLit LZit CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 December Number 4 Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors RUTH KREHBIEL JACOBS, Founder of the Choristers Guild THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A. Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T. J. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynchburg, Virginia Denver, Colo.

The Choristers Guild LETTERS are published monthly September through June for its members Regular membership $4.00 — Contributing membership $10.00 or more All correspondence should be directed to Choristers Guild Headquarters at 440 Northlake Center, Dallas, Texas 75238 Telephone: Area Code 214 — Diamond 8-0450

— and the Hearts Response

By Douglas Childress First Wesleyan Methodist Church Gastonia, N.C.

'You must dread the Christmas season", said your sympathetic friend as you relate to him, just after Thanksgiving, your personal schedule for the coming Christmas season.

"Is it worth it?", you ask yourself as you sit eating a fancy dinner on the first day of December, trying to fix in your mind words of appropriate "thanks" to the out-of- town group for making you their "honored guest".

"Is it worth it?" repeats itself again as you sit with a committee of youth and discuss the best day, time and place for their annual party.

"Is it worth it?", as you drop into bed and lay with tired mind and body reflecting over the long day of Christmas shopping with a group of teenagers, hurrying back to the church to supervise the decorating of the large Christmas tree; then assisting in adding a few finishing touches of decoration to the adult class' annual dinner and finally in the few remaining minutes before the guests arrive, to mimeograph a program, only to slip away with the promise to return for the dinner after you have spent an hour rehearsing in a community effort of the "Messiah".

"Is it worth it?" you ask yourself as you lift your tear-stained daughter from among briers and place her in your arms beside your young son, while on your way through the woods to find the family tree and try to catch something of the child's enthusiasm for their first meaningful Christmas.

"Is it worth it?" as you help take up the decorations and fold up the tables of your second Christmas dinner in two nights.

"Is it worth it?" when you find yourself yelling above the crowd trying to command attention enough to explain details to a group of spiritfilled choir members.

"Is it worth it?" as you drive the crowded highways with a group of children coming from a TV program. hoping not to lose the car behind you with a similar group; only to find yourself reaching the church in time to begin a rehearsal with the cantata choir that you pray will be ready to present a good program this year.

"Is it worth it?" again you ask yourself as you make your way through the crowded sidewalks to find gifts for those you love most.

"Is it worth it?" as an uncertain, empty feeling creeps over you after the last big rehearsal with your adult choir. "Is it worth it?" as you crowd into the last week's schedule entertainment for a benefit party of underpriviledged children.

"Is it worth it?" as you lead the teenage choir on Christmas Sunday morning, rush home to eat, change clothes caly to return to the church to set up the platform and equipment for the big Christmas program that is just a few hours away "Is it worth it?" as you direct the large cantata choir before a small audience.

"Is it worth it?" as you walk into the dark cold night with carolers to sing to a few people who would not otherwise receive outside attention.

1 4.'.17111 *

Then on Christmas Day you stand and realistically analyze and again ask yourself, "Was it worth the effort?" You look this time not for an answer, but for value. You find to your amazement there is no regret. It is now very difficult to remember the demanding details. Your mind can only retain the memory of the warm friendship of that first dinner. The laughing teenage voices as they walk through the stores, and decorate the tree. The thanks for the added touch to help make the dinner a success. The satisfaction of participating in a community effort. The smile of your children as they dragged their first tree out of the woods. The child's voice lifted in song. The gaily wrapped packages, store windows, and colorful clothing worn by the shoppers. The sparkle in the young boy's eyes, that so needed a haircut, as he watched your hand puppets. The youth choir that stood tall and noble and sang with beauty unheard from them before. The adult cantata that left everyone present with a deep sense of worship and adoration. The tears of appreciation from the lady as the carolers left. And somewhere in your memory you hear a faint echo, "For behold I bring you good tidings of great joy which shall be to all people." Suddenly a warm feeling moves into your heart. Now you stand before yourself and your God with an enlarged soul for helping others to find meaning at Christmas. Dec. '65 — 59 — CLIPPINGS FROM MY CLOTHESPIN

Special End-of-the-Year Assortment by

To All Chorister Guilders who have asked for suggestions for

THE CHRISTMAS CHURCHMOUSE: by Elizabeth Wenning and Barbara Remington Recently I received this reply from The Press at Kingswood, Tadworth, Surry.

Dear Mrs. Kemp: RE: THE CHRISTMAS CHURCHMOUSE Thank you for your interesting letter of October 5th. I would personally be delighted to give you this permission (to make the 0.41.•••••.° story into a chancel play for children) but I cannot give it for the'" United States because the book was originally published by Holt, Rinehart & Winston, Inc. in America and we took the British rights from them.

I suggest you write to them at: 383 Madison Avenue New York 17, N.Y.

Yours sincerely, David E. Elliot, Managing Director I have taken Mr. Elliot's suggestion and we may yet have the miniature chancel play in written form! If you have your heart set on doing something of this nature for Christmas, I believe you have time . . . since the only music to be learned is "Silent Night". If you do not have the book, whose illustrations give you wonderful costuming ideas, you could get it in a hurry by a special delivery letter to the above address. Here is the way we did it....(my children are clamoring to do it again this year -- for the third time! -- but we are working up another one on St. Nicholas ... "Christmas in Holland" .. from which we have included one carol elsewhere in this issue.)

Characters: (in order of appearance)

A Storyteller — (we used a young woman who reads with attention-holding animation, from the lectern.)

Churchmouse — a ten year old boy, dressed in mouse costume with exaggerated head. We used cardboard head from the Noye's Fludde performance. He must be able to react well, and should be nimble. Father Mohr — dressed in long black robe. (We used a choir vestment). Needs also a cloak and broadbrimmed hat.

Franz Gruber — dressed in old fashioned coat with pockets, long bright woolen scarf around neck, woolen gloves. Old Tyrol style hat. He should be able to play " Silent Night" on the guitar (three chords!) Mrs. Gruber — dressed in bright, long coverall apron, longsleeved dress or blouse. She should wear hair in a bun on top of head. Should be an animated personality.

Children's Choir in chancel loft.

Setting: we have always used a living creche scene, with children from the choir. Background of several small fir trees for the mouse to hide behind. This is left chancel.

Right chancel: a tall candelabra, an old pump organ — on the back of which has been fastened posterboard on which is painted a kitchen stove (as illustrated in the book). This makes an interesting change for the Gruber kitchen. Simply have two "stage hands" turn the organ around for this scene. Add a small table with Christmas bread on it, a candle.

Only two rehearsals have been needed to do this -- that is with all the characters and the reader. It is important for the "actors" to hear the story all the way through so they can respond with actions to the reader. The mouse needs to exaggerate such things as shaking from cold or fear. Mr. Gruber has to be quite demonstrative as he takes goodies from his pockets and places them on the organ (for Mouse to nibble later). He also has to react noticeably to being very upset about the organ being chewed up by mice. It would be nice to have a Tyrolean dressed family — a father, mother and several children — to act as congregation for the last scene at the Midnight service (in the chancel).

Dec. '65 — 60 — Although I cannot give you word by word instructions, I can give you suggestions for cuts in the reader's part. There are no page numbers in the book -- I shall give you beginnings of sentences and paragraphs to be cut to make it a logical length.

Possible Cuts: "He soon saw that the whole village. . . .(to). . . .shared in their games." "He enjoyed licking up the sticky raisins Great joy!" "But why don't you take him home. . . ."That's a pity" ". (some of these sentences connect to the middle of a later sentence to preserve some action suggested.) "Kasper was excited just thinking saved for Christmas Day." "Kasper looked around the church again." "As he nibbled away must dine on the dried-out bellows of an organ." (Here is a suggested addition immediately after the above cut to continue the story smoothly.) (All additions are indicated by CAPITAL letters.)

AFTER NIBBLING A SIZEABLE QUANTITY, KASPER SIGHED, "AH, WELL, THAT'S THAT", AS HE AMBLED DOWN THE AISLE. HE HUDDLED IN A DARK CORNER FOR HIS NAP. (Continue with next paragraphs as in book until following cuts.)

"Surely only Mr. Gruber would feel like this with a clear conscience Kasper curled up again and finished his nap." (The next paragraph needs adjustment: I suggest this way.) FINALLY KASPER FELL ASLEEP; JUST HOW LONG HE SLEPT HE DID NOT KNOW. (Continue; adjust here) KASPER SAW FATHER MOHR COME IN AND LIGHT A CANDLE. (Skip to:) THIS IS WHAT KASPER HEARD: "SILENT NIGHT, etc."

Cut: "Kasper made up his mind himself." (This is the time to change the organ around to become the kitchen stove.) "Kasper knew Arnsdorf well Who could ask for more?" Kasper woke from his day-dreaming." (adjust here.) SUDDENLY FATHER MOHR CAME TO A QUICK STOP. KASPER SAW THAT THEY HAD REACHED THE GRUBER'S HOUSE. -- etc.

Cut: "Oven! into the kitchen." "Now he was too weary Kasper was glad!" Organ back in place for church scene. Adjustment — OFF THEY WENT AGAIN, TRUDGING HOME IN THE COLD NIGHT AIR. HOURS LATER THEY ARRIVED BACK IN OBERNDORF. HOW GLAD KASPER WAS TO SHAKE OFF THE SNOW AND WIGGLE HIMSELF INTO A LITTLE CORNER OF THE CHURCH. HE CUDDLED UP AND WENT TO SLEEP.

KASPER SLEPT FOR A LONG TIME, AND WHEN HE AWOKE, HE HEARD THE CHURCH BELLS RINGING LOUD AND LONG. THE TALL STAINED GLASS WINDOWS SEEMED TO BECKON TO KASPER -- YET FOR THE FIRST TIME IN HIS LIFE HE HESITATED TO ATTEND THE MIGNIGHT SERVICE. (Continue from book, beginning, "KASPER ONLY HOPED etc.")

Cut: "Once again he tried to remember nearby Saltzburg."

"By hurrying, Kasper was about the new hymn."

All actions and the singing of choir are done on cues from the storyteller. They should be done spontaneously. At the end of the story we had the congregation join in the singing of "Silent Night".

It is necessary to have two copies of the book in order to do this. Costumes and scenes and actions all come from the text. It must be kept moving and the storyteller must know the story well enough to be able to look up from the book a great deal. She must know when to pause for actions, scene changes, etc. Little children in the congregation, mothers, dads and grandparents will love your efforts.

Dec. '65 — 61 — If y(,,i hurry to your favorite magazine stand, you may still be able to get a copy of the November "Jack and Jill" magazine. In it is an article called "My Father is a Musician", as told by Alan David Abel, age 9. If any of your children's choirs are studying about the instruments of the orchestra, they would love to hear this wonderful story. Alan's father is a percussion- ist with the Philadelphia Orchestra, and young Alan has had some pretty exciting experiences with the orchestra himself.

The entire Abel family is one for the Choristers Guilders to know. They have been dear friends of the Kemps for many years, a friendship which began when the Abels joined the First Presbyterian Church of Oklahoma City when Mr. Abel was associated with the Sym- phony Orchestra here. I could go on at length — but the story in "Jack and Jill" will tell you in a more intriguing way. (Mrs. Abel (Janet) is a new member of the Guild.)

FF Our "2 in '66" Seminars are both going to be in exciting, interesting places! Since this is December, this incurable SV cookie-cutter-collector couldn't resist thinking about Winston- Salem the old Salem part. The natives there told me last summer that during the Advent and Christmas season the little streets in Old Salem are filled with mouth-watering frag- rances.....unusual old-world cookies and sugar cakes seem to be the specialty of everyone there. The Historical Association of Old Salem is trying to keep alive the quaint and appealing religious and family traditions of their ances- tors — — — much to the delight of visitors and travelers.

These cookie cutters are shaped and soldered by hand as you wait each cutter being shaped from an original which hangs on the wall. Only these authentic designs are made and carefully stamped by hand.

Other unique shapes are a little child's hand (sort of the design that every kindergartener brings home made of plaster of paris.)

A larger model of the cello shown is meant to be a bass viol. (Wouldn't your choir BOYS love that size?)

Then there are Moravian stars, flying birds, and little animals. This is an outline of a Just think of it! All this wonderful atmosphere and the Seminar, too! copy of an Give yourself a Christmas present Reserve your place early! original Moravian cookie cutter. Next month: Delights of DENVER. It would be especially P.S. While we are thinking of the Moravians, let me offer a nice for lovely Christmas hymn suggestion which is especially you who suitable for an antiphonal arrangement between Adults are and Junior Choir. Even Primaries could learn the solo Choir Mother selections. It is called "Morning Star, 0 Cheering cookie bakers. Sight" by Francis F. Hagen (1815-1907). It is Hymn A nice treat to 59 in The Hymnal and Liturgies of the Moravian have when your Primary Choir completes its Church an interesting addition for your collection unit on the instruments of hymnals of the orchestra. Handmade of heavy tin.

Available only through the Historical Association of Old Salem, Winston-Salem, N.C.

$1.50 Dec. '65 — 62 —

Kerstlied V. Hoe leit dit Kindeken. Oud-Hollandsche melodie

1.See now the Infant Christ,here in the cold; See how the 2.Shepherdsl come quickly nowCome to the stall; Play a soft

.0. r r r r r r J r

r r r r • ox-en and young lambs are trem---bling; See how they tune for the Lamb of Hea yen; Play on your J • J dir r r

IN J J r r r r

ten. r r r • t‘- J hud--dle so close to the crib; Na,na,na, na, na,na, pipes for Him,so He will sleep; ern. J NI .1) J 11 • fr -417 iv t ). •

r. ; u- • 7 r r • JYJ - r .1. .f) o. 1 Dearest Holy One; Na,na,na, na,sus,sus,Thou art God's Son. ' .1 ..') J .. .1) J. III.J7;r r -F . f r ff A' -f• 1 010 , P P P' 41 I • r r ,J.

Translation by Helen Kemp

Dec. '65 — 63 — THE CREAM OF THE CROP

The center of your immediate musical life may be Christmas and its joyful music, but the New Year will come! Are you ready with some challenging new anthems for your children? Here are some suggestions from fellow Guild members.

LET ALL THE WORLD IN EVERY CORNER SING bu Geoffrey Shaw (Unison), Novello MT 1107 This is a stirring unison setting of the familiar text of George Herbert. It is not only good for Juniors but would make a magnificant festival type number for massed choirs. Recommended for all directors! REJOICE THE LORD IS KING by Gilbert (SS or SB), Oxford T 18 A fine straight forward anthem for two part junior choir or a youth choir with limited resources. Lots of unison passages and easy antiphonal sections. It would be especially effective with Junior High voices. The text is familiar Charles Wesley Hymn. Recommended! Gene Butler, The First Methodist Church Wichita, Kansas

GOD'S CANDLES by Stanton (Unison), Choristers Guild A23 20cp This anthem has great appeal to junior children and can be nicely used with the junior-high group also. The symbolism contained therein is very obvious and opens the door for an excellent discussion on Christian discipleship. A real winner to use. CHRISTOPHER ROBIN IS SAYING HIS PRAYERS by Fraser-Simson (SA) Chappell & Co. #4083 25¢ This was the favorite of my juniors this past year. Especially does it work well for use in a festival. The two part arrangement is just beautiful. The story is simple and describes as clearly as a picture. Very good to whet the appetite of juniors and encourage them to love to sing. Robert Fraumann, First Methodist Church East Point, Georgia

LET THE SONG GO ROUND THE EARTH by Buryl A. Red (Unison with Descant), Broadman Press #453-694 220 The joyful text makes this anthem suitable for missions, general and possibly Easter usage. The rhythmical, independent voice part offers an outlet for naturally bouyant spirits. The descant is canonical and may be omitted, however, it is easily learned and serves well as an introduction into two-part singing. BIBLICAL SONGS (BIBLISCHE L I EDER) by Antonin Dvorak, Opus 99, Vols. I and II, available for High or Low Voice, N. Simrock Pub., (available through Associated Music Publishers, Inc., New York), $1.00 per volume. There are five songs in each of these volumes. Several of them offer rhythmical and pitch problems beyond the ability of most Junior choirs. However, I have had much luck with numbers 4 (God is My Shepherd), 5 (I Will Sing New Songs of Gladness), and 10 (Sing Ye A Joyful Song Unto the Lord). Each has an independent voice part and I find that the low key edition usually lies better for less experienced choirs. My Young People fell in love with No. 5, which is essentially AABA in form with varying accompaniments. Slight, but challenging, variations in rhythms and pitches of the A sections offer a great opportunity for teaching the reading of music. Eva Lee Savage, Virginia Beach Methodist Church Virginia Beach, Virginia

I WILL SING UNTO THE LORD By Reynolds (Unison with descant) Broadman Press JF002 220 Excellent for Junior Boys and Girls. A very singable melody in good voice range with a joyous lilt appealing to the Junior age child. Words are from Exodus 15 and present opportunities for work on diction. MY FAITH, IT IS AN OAKEN STAFF, Swiss Melody arr: Vigeland (Unison with descant) H. W. Gray No. 2698 25cb Excellent for Junior Boys and Girls. Strong melodic pattern attractive to the junior age. The accompaniment is in pleasing contrast to the melody. The descant is not difficult yet enough of a challenge to be interesting. HANG UP A STAR FOR THE LORD by Lynn (Unison) Golden Music Publishers, Golden, Colo. P.O. Box 383 G3 25¢ Folk quality. Rhythmic interest. Requires good voice control and musicianship to sing well. Children like it. Excellent for the Junior age child. Catherine Mallatis, Boston Avenue Methodist Church, Tulsa, Oklahoma

Note from the C.G. office: Any music listed in the LETTERS (other than that published by the Guild) which you would like to obtain should be ordered from your regular music dealer or directly from the publisher. We are not music dealers and so do not have music from various publishers. Anthems which we publish ("A" series) or any other material listed on our order blank should be ordered from the Guild Office, 440 Northlake Center, Dallas, Texas 75238.

Dec. '65 — 64 — 0 BROTHER MAN Director's Page

TEXT: John Greenleaf Whittier, 1807-1892, was a Quaker poet whose theological beliefs regarding brotherhood, simplicity and sincerity of worship, were expressed in his poetry and in his writings as Corresponding Editor of the Anti-Slavery Society Journal, The National Era. Of the fifteen stanzas in his poem, Worship, only three are used in the hymn, 0 Brother Man. Another poem found in many hymnals is Whittier's Dear Lord and Father of Mankind. 0 Brother Man may be found in the Chorister's Little Hymnal.

TUNE: A number of hymn settings exist for this text, including Windsor by Joseph Barnby, 1838-1896; Strength and Stay by John Bacchus Dykes, 1823-1876; and Intercessor, C. Hubert H. Parry, 1848-1918.

The anthem setting, Worship, by Shaw, published by Novello gives an especially vigorous reinforcement to the text and is in the repertoire of many youth and adult choirs.

CHURCH YEAR-CURRICULUM CORRELATION: The text, though appropriate for any season of the church year, has special implications for brotherhood, social action and similar emphases.

THEOLOGICAL VIEWPOINTS: The meaning of worship in its broadest dimension — our response to God's steadfast love through the love we express to others as a direct reflection of God's love in us and through us — is the essence of Whittier's text. While contemporary critics scoff at the 19th century idealism which viewed "peace on earth" as an achievable goal to the men who wrote of it, none can quarrel that at the very center of New Testament teachings lies the command, "Fold to thy heart thy brother", as stated in Whittier's poem.

This broader dimension of worship — outside the walls of the institutional church — is also found in the writings of contemporary theologians, such as H. P. Phillips, New Testament Christianity; John Robinson, The New Reformation; H. Elton Trueblood, The Company of the Committed; R. J. Lee, Psychology and Religion; and to some extent, in the writings of Albert Schweitzer.

TEACHING SUGGESTIONS: Musically, the suggestions in the hymn study might be carried out, with additional emphasis upon phrasing — to avoid choppiness — and careful diction and enunciation. Give full value to the vowel sound in each word, but be careful to add the final consonant before beginning the subsequent word in the text. The picardian tierce into A Major might be withheld until the final verse to make a more dramatic ending from minor to major.

For older children, this hymn suggests many additional choir study projects in poetry, creative movement, philosophy, etc.

Poetry is a moving outlet for the emotions and energies of youth, so that portions of a series of rehearsals might be devoted to a study of poets as their poems express their beliefs; styles of poetry; the symbolism and meanings of words used by poets; and — as a climax — a session in which the young people express their own convictions and concerns in some style of poetry. If the director feels inadequate, high school teachers of creative writing might be willing to direct a session. Also, Erik Routley's Hymns Today and Tomorrow, Abingdon, has interesting discussions of imagery as do some portions of Amos Wilder's Theology and Modern Literature, Harvard, 1958. Above all, the youth should be permitted to be free and open and honest about their thoughts and feelings — even if they have arrived at an age of some pessimism and doubt.

Creative movement offers another dynamic means of probing and interpreting Whittier's text — dividing the group into two or more opposing segments — each with their own interpretation of the first stanza; followed by a soloist to bridge the groups in the second stanza — (representing, of course, "...him whose holy work was doing good"); and climaxed by the opposing segments being brought together by the soloist in the third stanza.

The director may also wish to be alert to indications by the more mature members of the group of their acquaintance with the many current paperbacks critical of the institutional church. While the frame of reference of the choir rehearsal does not allow time for deep discussions in this area, the director may wish to consult with other church leaders to plan for small group discussion groups for these more mature youth to help them explore their own identity and relationship to God — both within and without the institutional church

Dec. '65 — 65 — O BROTHER MAN

Intercessor Text by: 11.10.11.10. Tune by: John Greenleaf Whittier C. Hubert H. Parry 1807-1892 1848-1918

Brothers and Sisters!

The first time I heard grown up church people call each other "Brother" and "Sister", I snickered at how old-fashioned it sounded.

But after studying the teachings of Jesus, I learned that because we are all children of one Father — God — we were meant to live as brothers and sisters with one another. Jesus didn't mean fighting brothers and sisters, either, because the New Testament is full of scriptures explaining about a relationship of love. Take turns looking up and reading Matthew 23:8-12; Matthew 25:40; Gen. 13:8; Psalm 133:1; Mal. 2:10; John 13:34; Romans 12:10; Gal. 6:2; and I John 3:23 to see how God wants us to live.

The Quaker poet, John Greenleaf Whittier, described "brotherly love" as the deepest expression of worship in three stanzas of a much longer poem which we sing today as the hymn, 0 Brother Man. Close your eyes to ponder the meaning of Whittier's words

The worship service of which Whittier writes is held not just on Sundays but whenever and wherever people show love toward their fellow man

Hymns are sung whenever persons smile in genuine friendliness at others

Prayers are heard by God through each deed of kindness

Walls of a church building cannot contain such worship, but the "whole earth becomes our Father's temple"....

And with love filling the earth --- wars would cease.

Poetry can be a very powerful way of combining intellectual thoughts with emotional images. Read the text once again, noticing particularly the words which most stir your imagination: "...fold....pity.... peace....love....shackles....clangor....wild war music....fire of anger....ashes....tree of peace."

Strong convictions in a text need to be matched by an equally strong tune setting. Listen closely to Intercessor to see if you think it is appropriate. See if you can find other tune settings to study. Which tune

seems to you to be most suitable2

Notice that Intercessor is in the key of A Minor with a "Picardian Tierce" on the final cadence to end in A Major. Study the melody to see if any two lines are identical. If the intervals are difficult to you, circle the 3rds and 4ths and practice them in relationship to the A tonic pitch. When you know the tune well, add the harmony with the accompanying instrument, being careful not to let it over-power the melody and the text.

And say — the next time you hear church folks call each other, "Brother" and "Sister" — don't laugh! Whittier's idea of "Worship" — put into practice four wars ago when the words were first written — just might have changed our world from "anger" to "Peace"

Goodby, "brothers and sisters",

Charley, the Choirboy

H-30 Dec. 65 — 66 — 0 Brother Man, Fold to Thy Heart John Greenleaf Whittier, 1807-1892 INTERCESSOR 11.10.11.10. C. Hubert H. Parry, 1848-1918

a • do . -so- Pr 1 0 broth - er man, fold to thy heart thy broth - er: 2 Fol - low with rev - erent steps the great ex am - ple 3 Then shall all shack - les fall: the storm - y clang - or • • l• • • P

a • 4Ir -0- Where pit - y dwells, the peace of God is there; Of him whose ho - ly work was do - ing good: Of wild war mu - sic o'er the earth shall cease;

• J a • • L. •

To wor - ship right - ly is to love each oth - er, So shall the wide earth seem our Fa - ther's tem - ple, Love shall tread out the bale - ful fire of an - ger,

• • • • • a • 9: •

Each smile a hymn, each kind - ly deed a prayer. Each lov - ing life a psalm of grat - i - tude. And in its ash - es plant the tree of peace. A - men.

4110- -4P- b•

Dec. '65 — 67 — SHARING

First in our sharing this month is a letter from Virginia Huntington of Cambridge, Mass., who wrote the picturesque words of the anthem "Song of Seven." (A-36) Two directors wrote asking for an explanation of the numbers in the last two stanzas of the anthem. The more I thought about it the more I wondered, too. So I wrote Mrs. Huntington. Her answer follows: As to the meaning of the last two stanzas, I am reminded of the story of one who asked a major poet (T. S. Eliot, I think) what was the meaning of a line in his poem; whereupon he replied that he knew at the time of writing, but now it eluded him!

I use seven because it has been thought of as sacred — "7th Heaven" — the seven seals of the Book of Revelation — 7 churches — 7 angels, etc. — symbolic numbers.

In stanza 5: "six and five" — just a rough indication of others who must have come to worship — how many we do not know; but I had to carry on the order of the numbers 1-7 in the poem.

Stanza 6 — "Six of dust", "six of Earth" — the people in general — plus the One, the Christ- Child.

I hope this is a help — it is salutary to be "put on the spot".

Then she added a charming new Christmas poetic thought which I want to share with you. -Asleep in the Hay"

Tenderly they spread the hay Beneath the Baby weight, Pillowing His radiancy, Humble and elate. Hay that grew through summer days, sweet and tall and free, Along the quiet country ways To cradle Deity.

Splendor came to earth that day, Godhead manifest; Blessed was the fragrant hay Where Innocence found rest.

0 0 0 0 0 On page 59 Donald D. Childress of First Wesleyan Methodist Church, Gastonia, N.C., gives us his feelings as the hectic Christmas rush is upon him. When we corresponded, he sent me several programs of his choirs which have much of interest for every director. One of the things that makes them unique is the use of INDIVIDUAL pictures of his choir members. What chorister wouldn't take pride in having his picture on a program-bulletin! If you would like to have one of these picture-bulletins, writ.e. to Mr. Childress. Of course you'll include a stamp for mailing.

Walter Davis, whose choir family night Musical Story was in the November LETTERS, .recently wrote the following to me for you: "It just might be that some of the Guild readers would be interested in the Arts Study program which we have in our 5-6 — grade choirs. This covers a variety of the arts, but with special emphasis on great religious paintings. We study one or more a month and give miniatures of the paintings to be kept in the choir notebook. This year we are covering the following paintings or religious art masterpieces: October: The Boy Christ in the Temple (Hofmann) November: The Gleaners (Millet) December: The Annunciation (Fra Angelico) January: Adoration of the Magi (Stained glass) February: St. Cecilia (Dolci) Mar ch: The Last Supper (da Vinci) April: Praying Hands (Durer) May: Madonna (Feruzzi) I would be happy to send copies of the notebook pages on these to anyone interested. If you would like some of these notebook pages, write to Mr. Davis at Central Methodist Church, Fayetteville, Arkansas, with stamp enclosed. Dec. '65 — 68 — Alice Hewlett of (-len iale, Calif., tells of her using the Guild Cross: "Perhaps some directors would like to know how we use the Choristers Guild Service Cross. We use two crosses for each choir (Cherub and Carol). Two members wear them when the choirs sing at a church service, which is twice a month. Each chorister is recognized. The Pastor calls their names, they stand and face the congregation.

These crosses are a privilege and honor to wear — based on — "A good choir member" which includes — attendance, deportment, memory work."

0 0 0 0 0 G,

Would you like to know who will be on the faculty for next Summer's Seminars? I'll share this with you in the January LETTERS! What a faculty! but you'll have to wait 'till next month. What you need to do now is check your '66 calendar. JULY I 2 3 45 W, 9 loccrr29-n4 w16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 AUG. 1 2 3 4 5 6 7(8 9 10 1117)13 WINSTON SALEM 14I5 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

0 0 01 0 0

Two people have written recently asking about patterns for robes. I answered both, but did not have too much to suggest. While in Denver yesterday, Mrs. A. D. Havekost gave me a tour of her lovely church and choir room. She showed me some white cottas which her choir mothers had made. I asked about the pattern. Immediately she took one from the shelf and handed it to me. I was assured that they were easy to make — just follow the pattern! (Doesn't look easy to me, but, then, I didn't major in sewing in school!)

For any who are interested, the vital statistics seem to be these: "McCalls Printed Pattern #2105, Small, Medium or Large, Choir Cotta or Surplice with rounded or pointed sleeves"

Mrs. Havekost said she had some cottas she would be glad to sell at a real "bargain-basement price". If you are interested in these or want to know more about the pattern, write to her at Wellshire Presbyterian Church 2999 S. Colorado Blvd. Denver 22

Do any of you have other patterns to suggest? Let's have a sewing bee!

Who will take our directing places in the churches in the next generation? What responsibilities do we have to God, to the church and to the children to guide their thinking toward Christian vocations in general, and to the Min- istry of Music in particular? How did you become interested in serving the church through music?

One of the satisfactions each director should strive for would be seeing some of his choristers follow him. Plan your strategy to this end. Spot the children and youth who seem to have the special talents and churchly interests. Give these your particular attention. Take them to hear great organists and choirs; take your prospect with you to a church music conference or a guest directing engagement. Talk up the satisfactions of a life given to serving God through music.

This is best done on a personal basis as suggested in the preceding chapter, however, all the children in the choirs should be brought face to face with Christian vocations from time to time. This month's supplement — MEM-5 is designed to help you to this end. Every child will love to "join the dots". (The numbers and letters may be small, but young eyes are sharp!) This page gives you an opportunity to talk up this whole subject.

We have an obligation in this field. Share with the children the deep pleasures you feel in your ministry with music; point them toward this same service for the church of tomorrow.

Dec. '65 — 69 — V

i NtiNNa.bulatioNS

li1ay Greetings! Bell Friends — —

efore you come in, let's stand on the portico a few moments and watch the silent glory of e Heavens Wait until I get my warm, wooly sweater. . . .The stars are spectacularly bright at this season here's a special sheen and clarity in the cold, crisp atmosphere. . . . Instead of peppering the sky in their usual ofusion, the stars cluster to climb infinite ladders of light, while the very constellations assume new positions — ading the eye up and UP vast reaches of diamond-studded stairs. The milky way spreads an endless filmy plume .f silver smoke.. . The Almanac tells us that the full moon will fall upon December 8th, the last quarter on the 15th, and the new moon will rise on the 22nd. Christmas Night will be resplendent with starshine and a gleaming crescent moon. Since olden times, man has marveled at the brilliance of December skies and "singing" or "dancing" stars. The testimony of St. Ignatius of Antioch, whom Jesus picked up in His arms when a young child in Capernaum of Galilee, is the first retelling of the story of the Nativity outside the New Testament. Quoting from a translation of one of the 7 letters preserved: "A Star, brighter than all the other stars, shone in the sky, and its brightness was ineffable, and the novelty of it caused astonishment. And the rest of the stars along with the sun and the moon, formed a choir about the star; but the light of the star by itself outshone the rest. It was a puzzle to know the origin of this novelty unlike anything else. Thereupon all magic was dissolved, every bond of malice disappeared, ignorance was destroyed, the ancient kingdom was ruined, when God appeared in the form of man to give us newness of eternal life. What had been prepared in God now had a begin, ning. And because of the plan for the abolition of death, all things were disturbed." Even today the more "modern" and those whose only contact with Christmas is through its secular aspects, are still touched by the radiance of that Light that shone forth from Bethlehem nearly 2,000 years ago Come in, now, come in to the fire. Will the tallest of you kindly place this shining, tinselly Star atop the Christmas Tree?.. And wherever you are, wherever you go, whether you are surrounded by family and friends or are alone — I wish for you a shining silver star — of peace, love, joy and blessedness — for your Christmas.

A FOOLPROOF STAR: Decibel Marmalade has drawn you an almost perfect 5-point Star, using the letters SHIN E. This idea can be enlarged or reduced to any size, if you will keep the spaces between the letters in the same proportion. Twinkle away, and snip-snip, You!

BELL NOTES: Frederic Fay of Whittemore Association has recently mailed out some thousands of his annual Handbell Music & Book listing. You who would like the convenience of ordering Handbell music of many publishers from one source may write Mr. Fay. Whittemore's new address is No. 3 Wax- ford St., Boston, Mass. 02194 We regret to hear that "The Story of Handbells" by Scott Parry (Whittemore) is now out of print It is not too late — to arrange to bring your Choirs to sing and ring at the 1965 Christmas Pageant of Peace in Washington, December 17-31. Write or call Mrs. TNT. . In Belleville, Illinois a ring-along with the Belleville Philharmonic Orchestra was scheduled for this winter. The audience was invited to bring bells (any kind!) to ring during the Coronation Scene in "Boris Godunuv". The scene calls for general rejoicing and celebration for the crowning of the czar. "I'll let them ring for 2 minutes", said Conductor William Schatzkamer. "Think of all the repressed anxieties that can be rung out in 2 minutes." (All Handbell Directors who agree with the last statement, please stand in this nutshell.)

Dec. '65 — 70 — CHRISTMAS IS BEAUTIFUL MUSIC! Our little Southern Belle exclaimed at a recent rehearsal, "Mrs. T. the sound of Handbells just transports me to the highest heaven. I just know the angels rang bells instead of playing harps!" (or singing?) . . .Our Bell-Ringers have tired of the various versions of the well-known carol about the Drummer-Boy, but not of drumble-type noise. This season we were happy to discover a traditional French Carol "Willie, With Your Drum, Come Here". The arrangement by Arthur Ward (Flammer, 1944) is for SA or SAB, with fife and drum accompaniment. This is short, snappy and turelurelu. Hope it's still in print. Footnote says it's also in "Christmas Carols for Secondary Schools", same publisher.. .If you want your choirs to sing a good setting of Tennyson's great and often maligned poem "Ring Out, Wild Bells", order a copy of Alan Tregaskis' published by Hinrichsen #708 in 1962 (write C. F. Peters, 373 Park Ave. S., New York 16). This setting is for SATB with soprano solo that could be sung by children, who might also join in the final climax. This anthem is dedicated to the Adelaide Boys' High School, and may appear in other arrangements. The fanfare introduction and interludes might be arranged for bells, but this reviewer hears a reed chorus on the organ, or possible a brass ensemble.

WISHBONE WISHABLES. A Lollypop Tree! Last fall we dined at a delightful cafe- teria in Tennessee which was featuring a large "tree" stuck full of lollypops for good boys and girls. What a.fun idea for the Christmas Choir or SS Party! Arrange a real or simulated tree trunk, cover with pieces of styrofoam, wrap with brown crepe paper or cloth, stick full cf gay lollies, and watch the youngsters' eyes pop! .A Christmas Gift for your Songbirds! The Pet Department of several Dime Store Chains carries 2 sizes of Bell- shaped Seed Balls for wild birds. Last winter our cardinals and blue jays enjoyed the suet n'seed and peanut butter we spread in pine cones and hung in the crabapple tree outside the breakfast room window.

MERRY CHRISTMAS RECIPE: Take the crisp cold of a December night, add two generous parts of snow, stir in air so clear it tingles. Into a generous heart, mix the wonder of a little girl, and sparkle of a little boy's glance, the love of parents, and set gently before the chimneyside. Add the lightest touch of reindeer's hooves, a sprig of holly, a scent of fir. Set the mixture to rise in the warmth of a dream of good will to men. Bake in an oven of kindness and tolerance.

It will be ready to serve when it bubbles with warmth and good feeling. Bedeck with the light of a star in the East, garnish with shining balls of gold, silver and red. Serve to the tune of an ancient carol in the middle of the family table.

This recipe is sufficient for all the men and women you will ever meet. (from an old Almanack)

WISHING YOU A CHOIRING

AND A BELL RINGING CHRISTMAS!

I • • Nancy and Decibel Tufts My goodness, my goodness, It's Christmas again. • The bells are all ringing. • I do not know when I've been so excited. The tree is all fixed, The candles are lighted, The pudding is mixed. The wreath's on the door And the carols are sung, The presents are wrapped And the holly is hung. The turkey is sitting All safe in its pan, • And I am behaving As calm as I can.

Marchette Chute

Dec. '65 — 71 — MUSINGS, MEDITATIONS AND MUMBLINGS

As I take my quill and start these mutterings, I do so wish instead I could just sit and talk with ou — all 2500 of you. You are such interesting people — you are the molders of character, the ifluencers of life. God, music and you will shape the 70's, the 80's and to eternity, for the many housands of lives you touch. The Guild through its LETTERS, its letters, its publications, its workshops, its ideals and all, trusts that it is of value to you.

r-D This anonymous verse points up a helpful thought Concern yourself but with TODAY; Woo it, and teach it to obey Your will and wish, Since time began Today has been the friend of man.

But in his blindness and his sorrow He looks to Yesterday and Tomorrow.

We have been delighted at the response you have shown to the four Christmas anthems we sent to you with the Sept- ember and October LETTERS. Several hundred of you have ordered copies of some or all of these. Do let me know how these are received by the singers and the people. I'll transfer your comments to the authors and composers. (See the Sharing page for a letter from one of the authors.)

How many times have you written an author or composer a letter of appreciation for his efforts and the help his brain child has been to you and your choirs? Many are beyond the reach of a postman, but many are still with us. If you do not know the address of the one to whom you want to write, send it in care of the publisher. He will forward it. A little later in this M. M. & M. there will be a reference to a pamphlet on letter writing. One paragraph in it is titled "The letter you don't have to write, - That's the letter which will make you feel good and brighten the day for the receiver.

We have many new members who have recently "found the Guild and become enthusiastic boosters. Several have written asking about back issues of the LETTERS. We have about 100 sets of the '64-'65 LETTERS and supplements. We'll be glad to send a set to you when we get your check for $4.00 for the back membership.

Because in a sense C. G. Headquarters is a mail-order house, we have two needs which only you can supply: changes of address and Zip Code Numbers. If you are moving, please give us the change a month in advance — then we'll not have so many "return requested" returned and you'll receive your LETTERS without delay. We have the Zip numbers of about half our membership. Which half are you in?

In 1961 the Guild published an appealing song by Brookes M. Davis of Santa Barbara, titled BALLAD OF THE DOGWOOD TREE. Recently ,( we have re-issued this in our present anthem format. It is folk- songish in its style, and appropriately, has suggested autoharp v.- .:\ chords as an optional accompaniment. The text is Lenten ---- • :,,,,41' \, c)1 and has a strong appeal. You may want to consider _ • • VN1 /4 :ib:4! this as you plan for spring. Because this anthem e1•2:. • was previously issued, it will not be included with 'IN_ -, 1p the LETTERS as a supplement (as is done 111b 4100e,,, - / _ ..... — -`4PF, x.. ":,,, with all new anthems). However, we will 1r..._,..40iL ...,,,,-N-1 be glad to send it to you "complimentary" -.....-- - ; jr, A. -... if you will request it when you send in iv ...... LNI,S4,,...... Ite't your next materials order. Just write on your r," order "a complimentary Dogwood, please". ..... V [El gi e e e e 4 Six of you have permanent orders for hymn-studies, cartoon pages, 1 V or psalm sheets. This means that as soon as new ones are issued, we send whatever number is requested and then bill in the usual way. If you know you are going to want these regularly, let us have a permanent order from you, and you'll not need to think about it again — except see that the bill is paid!

Dec. '65 — 72 — This brings me to another mumbling. Would you like to see our "accounts receivable" file? I think you would be surprised. Some unpaid orders go back six months or more. The amount of this item reported to the recent Stock- holders meeting was $2319. Please see that the church treasurer or the family treasurer pays the statements promptly, thank you.

"M-1", a choir-book page of seven prayers, will soon be re-issued in regular printed form. I want to make some changes and add several prayers. Do you have a particularly meaningful prayer which you use at the beginning of rehearsal or the close, or before you go into the sanctuary? Would you submit it for consideration for this page? Have your children written prayers which you believe others could enter into? Why not have a prayer writing project with your choirs? I would appreciate receiving your suggestions.

In our positions as choir leaders we have to communicate, to sell ourselves and the thing we believe in — "Christian Character through Childrens Choirs". We do this through speaking and writing. Sometime ago I told you of a small book which I had found to be challenging and helpful, and again I recommend it; WORDS ON TARGET by Nichols published by John Knox Press (1963) $1.50 The cover says it "is a short, lively, discussion about the practical art of communicating. Written to prevent Christians from boring each other".

Recently I saw a notice of a "give-away" pamphlet titled "Speak when you write". It is delightfully and help- fully written. Many of your pat phrases will be analyzed, criticized and ostracized. Your personal cliches will be exposed. However, if you will accept the ideas in the pamphlet your letters will be more interesting both to you and to the receiver. Tho written from the business-world standpoint, it has much of value for our Christian- communications-world also. Write for it ("Speak when you write") to Human Relations Program The Connecticut Mutual Life Insurance Company Hartford 15, Connecticut Its free and good! 0 Christmas Gift Suggestions. Recently several have ordered quantities of the Choristers Little Hymnal saying the church was giving these to the choristers as appreciation Christmas presents. Good idea. Do you have a head-choir- mother or adult helpers you would like to remember with gifts at Christmas? The charm with a Guild pin on it makes a lovely gift ($4.50) or Guild Cross and chain ($3.00). An interesting trend has been observed this fall as the memberships have been renewed, that is, the number of members who have included an extra $4.00 saying to send the LETTERS to a director-friend as a gift. Maybe you would like to do this, too. If you don't already have it, high on your Christmas Books Wanted List should be The Children's Choir Vol. 11. Read what Helenclair Lowe wrote about it in Worship and Arts. New Books At last it is available! — panion to Ruth Jacob's first vC- practical, the larger part being Volume II of the Children's ume. Material from the Choris- not just theory, but suggestions Choir (Fortress Press $5.95). ters Guild Letters of r e c en t },,-Ised upon successful use by di- Personally, I can't imagine any years has been selected and com- rectors of children's choirs. Be- director of childrens choirs who piled, and the volume should ginning with the primary choir has not read and reread that in- prove to be of great help and and on through the youth choir, dispensible Volume I. Many of guidance to directors, teachers chapters are included on the use us have been looking forward to and church school administra- of handbells, special projects, a second volume and just re- tors. Along with Volume I, it is festivals and hymn study. Be ceived this new book by Nancy a necessary part of any church sure and get your copy immedi- Poore Tufts as a worthy corn- library. The material is most ately. The Children's Choir Greeting Cards (packed 20 to the box with envelopes) which sells at $2.50 a box would make beautiful and useful gifts. You might use these for your own Christmas cards or give a box as a remembrance to a friend. These are the cards which have the color reproduction of Mrs. Boyter's choir. They are most attractive. We have all of these suggestions, including both books, in our office ready to play Santa for you. We mail the same day we receive your order — this is both a promise and a fact. n 81 tTh ,,,_,,,•••01011191 Keep the letters coming. It is a joy to hear from you. Send me your programs with comments including publishers and all pertinant data. When you see a poem about children, a good anecdote or drawing, send it along. It may be something we can share in the LETTERS. Do you have ideas you would like to see developed by the Guild either materials or as articles in the LETTERS? Let me hear about them, the Guild wants to serve you. 8 t'll be thinking about you and your choirs on Christmas Sunday, and I'll be a bit envious, I expect. May the Star of Bethlehem shine in your eyes and heart, and through your influence, shine in every chorister you direct. Blessed, Singing Christmas to you,

Dec. '65 — 73 —

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.5-, cvt.estkr tx-t, krs. ? St.. 5; .„ • E • 55- VAS On A MEM--5 rriT c., J Throughout history people have sought the "Foun- sA? tain of Youth", an "Aladdin's Lamp" or some magic formula that would grant success. As we begin the new year and contemplate the problems that are before us, we may look longingly at this church or that church with its multiple choir program, or large facilities or unlimited choir members or budget. And as we turn back to the reality of our own program, its short comings — limitations and pressures, we are aware that there is no magic formula — but wouldn't it be nice if there were. Yet, maybe there is. Although it may be too simple, what do you think of this.formula? —

First — sit down, think through your program and deter- mine the 3 or 4 biggest problems, identify them, spell them out. Second — do some reading, talk to other directors, figure out a way that these problems could be solved. Third — set up a plan, roll up your sleeves and work the plan.

This may be an oversimplification yet as I see successful programs and talk to directors with programs that I greatly admire, I get the feeling that this is how they do it. They may not have been conscious of this formula yet it's in this way that they have gone to success. May I suggest this unglamorous plan of action as your "Aladdin's Lamp" toward a successful program that reaches out to the boys and girls in your Children's Choir.

A. Leonard Lilyers Vice President — Choristers Guild titit ■ \ELEZ CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 January Number 5 Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kalistrom, Contributing Editors RUTH KREHBIEL JACOBS, Founder of the Choristers Guild THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A. Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T. J. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynchburg, Virginia Denver, Colo. The Choristers Guild LETTERS are published monthly September through June for its members Regular membership $4.00 — Contributing membership $10.00 or more All correspondence should be directed to Choristers Guild Headquarters at 440 Northlake Center, Dallas, Texas 75238 Telephone: Area Code 214 — DIamond 8-0450 COPYRIGHT C 1966 CHORISTERS GUILD Jan. '66 — 74 — CHORISTERS GUILD SEMINARS 2 IN '66

01 oa I

WHO k' WHAT .--16-/114111 SS WHO will be on the faculty?

HELEN KEMP MELVIN GALLAGHER NORMA LOWDER ALFRED HAAS MARGARET FISK TAYLOR JOHN KEMP WHAT will they teach?

Helen Kemp will have techniques and materials for Primary and Junior High Choirs.

Norma Lowder from her knowledge of anthem literature will have the daily class in Broadening Your Repertoire.

Margaret Fisk Taylor will instruct us and demonstrate Children's Use of Creative Dramatic Movement.

Melvin Gallagher will bring to us his unique method of Teaching Music Through Activities to Pre- School Children.

Alfred Haas will be the devotional speaker for the week and have a daily class in Hymns for Growth.

John Kemp will work with Junior Children. Many men have asked to see and hear a man work with children.

There will be one-time classes in Autoharp Techniques, High School Choirs, Handbells, Organ Accompanying of Children.

All of these classes and the special evening programs will be explained in detail in later issues of the LETTERS.

WHY Through the Seminars, the Guild seeks to provide five days of inspirational and practical helps for directors of children's choirs. You will be a better director if you attend and enter into the fellowship and learning experiences. WHEN and WHERE C.,,P4uP

July 11-15

at Colorado Woman's College

Denver, Colorado

gn. aunettzfua &tem August 8-12

at Salem College

Winston-Salem, North Carolina

The tuition will be the same at each Seminar: $31.00 for Choristers Guild members $35.00 for non-members For the enrichment of yourself (which will make them members) and your service to the children, to attend Board and room will be $36.75 at Denver and $33.25 at plan Winston-Salem. Many other details will be in the 1 of the 2 in '66 Seminar brochure coming to you in the early spring. Jan. '66 — 75 — igimtaWations

My first is in cHime but not in ring, My second in chAnt but not in sing. My third is in claPper but not in flight, My fourth in roPe but not in sight. My fifth is in belfrY but not in steeple, My sixth in parson but Not in people. My seventh's in h Eadstock but not in crown. My eighth in loWer and also in down. My ninth is in foundrY but not in cast, My tenth in cov Er but not in last. My eleventh's in peAl but not in touch, My twelfth in gRab but not in clutch. MY WHOLE IS A GREETING TO RICH AND POOR, A THREE-WORDED MESSAGE (FIVE, THREE, FOUR). LEFTOVERS: ALL that fruitcake and cookies. Freeze them for the 4th of July picnic: Bells, tarnished and not put away in order? After you sweep up the confetti and catch your breath, plan a Work Party; Candle stumps. Save to melt down and mold new candles for next Christmas; Donate your outgrown clothes and unusable gifts to charity. You know you put on weight; Eliminate rehearsals for a week or two until everyone recovers and is rarin' to go; Fat and skin from hams and turkeys. Make into Chickadee Puddings. See recipe elsewhere; Guilty feeling about people you failed to send cards or notices or gifts to. Forget it. They're feeling guilty about those THEY forgot, so it cancels out. Happy New Year '66! Stop writing '65, if you can; I. Leave a few I's, myselves, me's and mine's behind. It's time some of us learn to see beyond capital "I"; J uggle your schedule in the New Year for change of pace and Islands of leisure. Plan to avoid fatigue hangovers; Kind intentions — with which hell is paved. Do them spontaneously and gladly, or else forget them; Loved that Christmas music! But straighten it up and put it away. Don't sing it in January! There's next season and next; Mistletoe. Leave it up and stand under it frequently. You can't miss 'em all; New friends and choristers acquired during the Holidays. Are they still with you? or were they good time Charleys? Better check; Organ, Old Fai thful, deserves a tuning, a dusting, and cleaning out the pine needles, wax, berries, candy-wrappers; Piano, ditto; Quick, before the new weeks fly by like greased lightning, write your Christmas thank-yous; mimeograph and mail letters of appreciation to the Choirs; Rose-_colored glasses. We can't hang onto past glory. It'll be hard to top the Christmas music, but ring in some changes and fresh, stimulating material; Star-dust still in your eyes? Don't worry. Some people celebrate Christmas all year! But pack away that music; Tree. Keep it through 12th Night, then burn or set outside and tie on food for the wild birds; Up-date your perpetual calendar; Vestments, check through for condition, wax, food or gumdrop smears; Wassail. Freeze or can. A dollop of Wassail is elegant in any fruit punch during the year. Friends always want to know your "secret ingredient"! X. Unknown Quantity is always left over. C'est la vie! Yule log. Save the char- 'red end to start next Year's log; Zeal. Yours is probably at an all-time low. But perk up and get in some Early Licks for Sixty-Six!

FOOD FOR THOUGHT IN THE NEW YEAR

"A Brotherhood of Thieves": The Music Educators Journal is calling all musicians and music teachers to study the inadequacies of the 1909 Copyright Law and to seriously consider the pending Revision, HR 4347. Educators claim that the limitations and obstacles provided by the 1909 Law have made American musicians "A Brotherhood of Thieves"; that the revision still hamstrings the music teacher and provides no clarification of what he may do legitimately with the devices of reproduction now at his disposal. The legislation under consideration by the House of Representatives Judiciary Committee, while it protects the rights of the composer (as it should), does not recognize modern methods and tools of learning. For instance, teachers cannot record, film, or tape a rehearsal to provide a learning experience without special permission, nor simplify a 2nd alto or 3rd trumpet part, nor copy thematic material on the blackboard, nor rewrite words. Section 109, with respect to performance is satisfactory, but Section 107, the fair use provision, is nebulous and subject to misinterpretation. Section 107 should be re-written in language that would provide some sort of educational exemption that would permit teachers to do the best job without feeling guilty and without depriving authors and composers of their just recompense. Jan. '66 — 76 — RING OUT, RING OUT THE FALSE

Cull out the Time Wasters: Can you muster the will-power to discourage the friend who talks 25-35 minutes at a time on the telephone though you say you are SO busy, but who never asks how things are with you? The hypochondriacal monologist who believes that no conversation is complete without details of "my operation"; The Doting Parent, who talks incessantly about her brilliant, adorable children while her angels bang on your piano and chase through your house; The Callers who drop by for a "few minutes" and stay on and on, showing no consideration for family routine and convenience; The Busybodies (often found at church, alas) who hear all, know all, tell all; The Griper, always disagreeing and taking the joy out of life; The Sensitive Plants who keep us on the defensive, apologizing; The Name-Dropper and the Insincere Flatterer (watch the eyes)

Perhaps we should check our own habits — some thoughtlessness and inconsideration on our part may have landed our names in some friend's waste-basket.

RING IN THE TRUE . . . THE LARGER HEART, THE KINDLIER HAND

It will never make headlines, it has no name. But there is a vast force of good neighborliness, human-kindness and fellowship at work in our world. People who may not even know each other reach out to communicate, to help, to share, to inspire. Women, especially, enjoy passing along recipes, patterns, clippings, secrets and discoveries in respect to home-making. Musicians enjoy sharing programs, music, methods and successes. But even more, people enjoy sharing their discoveries of the spirit.

Throughout the years, I cannot count the times that a friend, or sometimes a stranger, has sent me a clipping, a verse, a picture, or a book that they thought would interest, please, or help me. And one of the nicest rewards of writing is to find contributions in the mail — a poem, a program, music, a cartoon, a little thought from people who want to share their treasures of the mind and the spirit.

Oh, it's a secret fellowship — this of rustling pencils and pens and typewriters, of clipping scissors, of addressing and mailing. There are no dues, no membership lists, no publicity. Just the impulses of larger hearts and kindlier hands. And if you have ever sent an offering winging on its way, you have joined its shining fellowship.

(Inspired by Marjorie Homes' column "Love and Laughter") HAPPY NEW YEAR TO OUR BIRD FRIENDS:

"Chickadee Pudding"

Suet, ground up Peanut Butter Flour Apples, ground up 0 Sugar Seeds of Apples, Melons, Corn Meal Pumpkins, Squash Old Cake, Bread, Donuts Nuts and Raisins Wild Bird Seed Bacon and Ham Fat

Melt plenty of grease and fat and pour over other ingredients. Stir while you twitter, hum and sing. Pour into old disposable aluminum plates, and use as needed. Smear Chickadee Pudding in pine cones or cocoanut hulls and hang, or smear on bark, or place in feeders.

GOD BLESS THY YEAR! nava* Nancy Poore Tufts

Decibel Marmalade says: Here's to your Rumblegumption in the New Year!

An' dinna forget a toast for Rabbie Burns on Burns' Nicht! (January 25)

Jan. '66 — 77 — THE CREAM OF THE CROP What do we use to challenge our singers in the New Year? Selecting anthems is always a responsibility. Read what Mr. Hall wrote in response to my request for his suggestions for this page. Selection of "four general anthems for children" which are the most effective and similarly representing the "Cream of the Crop", is, indeed a difficult choice. Since one of the Children's or the Youth Choir present an anthem for the Sunday, 9:30 A.M. Family Service throughout the year (summer months included) I have become rather pragmatic in the selection and performance of anthems. Thus, repertoire is perhaps the most important factor in successful children's choirs. For those of us who are fortunate enough to use our children's choirs often, planned rehearsals of anthems is always a rich and rewarding experience--the fulfilment of practical but realistic goals. But what does one do on the last two Sundays in August, the Sundays after Christmas and Easter, when no rehearsals are scheduled and Church attendance dwindles? It would certainly be easy to play an organ offertory, call in an adult soloist, or use a congregational hymn. No, either choice would defeat the purpose of choirs used for the Family Service. The anthem belongs to the choir! Here are four of the numerous anthems we use at such times. (Church Year permitting.) BROTHER JAMES' AIR, Arranged, with descant, by Jacob, Oxford University Press, No. 166 160 Descant for use with mature Junior Choir. Descant excellent for use with Junior High Choir--Diatonic Melody. JESUS, BLEST REDEEMER, Grieg--Black, The H. W. Gray Co., Inc. No. 1687 180 Beautiful and simple unison anthem. Two diatonic sections; E Flat Major and G Major. I SING A SONG OF THE SAINTS OF GOD by Hopkins, arranged by Sowerby, The H. W. Gray Co., Inc. No. 2608 220 Sing first and second verses in unison if used by Junior or Junior High Choirs. Last verse arranged as canon. Sing last two notes one octave higher than written. Spirit of Christmas always present with "Antioch" tune in accompaniment of second verse. FROM ALL THAT DWELL BELOW THE SKIES, by Young, Galaxy Music Corp. GMC 2186 250 Festival anthem — optional second part in first verse. Second verse arranged as canon. Excellent training for part singing. Third verse has optional second part ending on C Major chord with fanfare for organ. (Singers singing any note they please on last chord so long as they don't stop before organ stops playing!) The last two anthems are listed as SATB settings. Well adaptable for any singers ages 8 through 80. Broyles Hall, Church of the Good Shepherd Episcopal Wichita Falls, Texas A CHILD'S PRAYER by Taylor (Unison) Oxford University Press No. OCS 1006 250 This is a lovely little anthem on the text "Father, we thank Thee for the night...." which could be done with much finesse by a choir of Juniors (3rd and 4th grade). This text is a prayer that is probably too often learned by the children and passed off lightly, but this is a very reverent setting that seems to revitalize the "every- dayness" of this Child's Prayer. FATHER, WE THANK THEE by Lewis (Unison) Concordia Publishing Co. No. 1497 200 The exact same text as A CHILD'S PRAYER. I feel they are both good settings of the text and have used them both. The accompaniment to this anthem is (to my taste) a little more interesting and does not follow the voice line as closely. But I feel that almost any Junior Choir could do it nicely. Which one a director would choose to suit his individual taste would be fine, because each one has its own uniqueness in expressing a simple text. Don Tyler, Beymer Memorial Methodist Church, Winter Haven, Florida MY SINGING IS A PRAYER by Williams (Unison with Descant) Broadman Press No. JF015 This anthem may be used as a "call to worship" for a junior choir rehearsal or a church service. It is easy to learn but is not trite. One of the better anthems for juniors to come out in the last few years. Leroy Yarbrough, The Trinity Baptist Church San Antonio, Texas A CHILD'S PRAYER (Thou who once on mother's knee...) by Geoffrey Shaw (Unison) G. Schirmer No. 10292 A short (2 stanza) easy prayer anthem for primary or lower junior age. The accompaniment includes the vocal melody but is interestingly written. HOLY SPIRIT HEAR US by Willian (S(A)) Concordia Publishing Co. No. 98-1120 Short (2 stanzas) and basically not difficult, but needs a smooth phrase line and good breath control. Jr. High girls take to it. GOD SO LOVED THE WORLD by Bender (SA) Concordia Publishing Co. No. 98-1641 This arrived too late last year for us to do in service, but we dipped into it a bit and found it most interesting in its fresh approach to a familiar text. Its open chords, independently moving parts in the second section, and independent accompaniment took some time to penetrate, but the Jr. High kids particularly like it. Alice Lyon, Fi rst Congregational Church Billings, Montana Note from the C.G. office: Any music listed in the LETTERS (other than that published by the Guild) which you would like to obtain should be ordered from your regular music dealer or directly from the publisher. We are not music dealers and so do not have music from various publishers. Anthems which we publish ("A" series) or any other material listed on our order blank should be ordered from the Guild Office, 440 Northlake Center, Dallas, Texas 75238. Jan. '66— 78 — LET US WITH A GLADSOME MIND

Director's Page

TEXT: John Milton (1608-1674) wrote "Let Us With a Gladsome Mind" in 1623 as a paraphrase to the 136th Psalm while he was a student at Saint Paul's School in London. Since Puritanism rejected hymnody not directly from the scriptures, Milton's major contributions were in lyric poetry (L'ALLEGRO, IL PENSEROSO); political pamphlets and prose; and in the epics, PARADISE LOST and PARADISE REGAINED. Blindness and unhappy marriages added to Milton's despair.

TUNE: "Monkland", arranged by John B. Wilkes in 1861, is the setting of this hymn used in THE CHORISTER'S LITTLE HYMNAL; but other settings include "Innocents", adapted by John Smith, 1800-1873, and "Gott Sei Dank Durch Alle Welt" from Freylinghausen's GESANGBUCH, 1704.

CHURCH YEAR — CURRICULUM CORRELATION: Although this hymn is sometimes classified as a "Thanks- giving" hymn, it is appropriate as a hymn of general praise during any season — simple enough for younger children without being too childish for adults.

THEOLOGICAL IMPLICATIONS: The text is a direct paraphrase of the 136th Psalm with its recurring..."For his lovingkindness endureth forever".... as a reminder of the steadfastness of God in a troubled time when many gods and goddesses tempted God's chosen people into pagan rites.

TEACHING SUGGESTIONS: An emphasis upon the Psalms could be the most memorable of the choir year for your choristers — with some advance planning on your part.

First, reread the Psalms — a portion at a time — to renew your feeling of the different persons expressing their joy and sorrow and anger and concerns through their songs.

Second, look through your previous Guild LETTERS to study the interpretations of the Psalms — art and verbal — which have been included for your use. Make a note of any Psalm interpretations you may wish to order for choir notebooks or to reproduce in bulletin board size to augment your study project.

Third, decide over how many weeks your study will extend and what the culminating event will be — letting the weekly portions of time work toward the culminating event.

One such event might be a Psalm Service — combining choral speech, rhythmic movement, and instrumental and ensemble music to interpret the various types of Psalms. The choir group might be augmented by other functioning youth groups of the church to assist as the Choral Speech Choir and the Rhythmic Movement Group with a younger group block printing bulletin covers based on the Psalms.

While each participating group might work out their portions of the service separately, there should be certain similarities in overall interpretation:

SPEECH MOVEMENT MUSIC

Psalms of light, upward, flowing, ascending melodies, Joy rising reaching high moving rhythms, quality movements lightness, major

Psalms of deep pitch, downward, drooping, descending, dark, Sorrow heavy, slow lethargic legato, minor mode

Psalms of changing pitches, conflicting interwoven parts Uncertainty qualities, movement rhythms patterns

Psalms of shrillness, heaviness, marcato, exaggerated Anger accents accents diction, unusual harmonic effects

Jan. '66 — 79 — LET US WITH A GLADSOME MIND Monkland 7.7.7.7. Psalm 136 Arranged by John B. Wilkes Paraphrased by John Milton 1608-1674 1785-1869

Dear Choir Friends:

When John Milton, an English writer, was just about your age.... 15 years old he translated nine of the Psalms into metrical verse so that their words would be easier to say and to sing.

Look up the 136th Psalm in your Bible and compare it with John Milton's "Let Us With a Gladsome Mind". This way of rearranging words and phrases so as to retain the meaning of the original text is called a "paraphrase". What other paraphrases of scriptural texts can you find in your hymnal?

Say! Why don't you try to make your own paraphrase of a favorite scripture? After rearranging the texts and choosing words with contemporary meaning, count the syllables in each line and see if there is a tune in the metrical index which fits your "paraphrase". REMEMBER! The meaning of the original source must be preserved even though it is expressed in different wording!

When Milton first wrote his paraphrases, only actual scriptures were permitted to be used in formal worship services — and it was not until after Milton's death in 1674 that hymn writers like Isaac Watts began to popularize non-scriptural hymnody in 17th century England.

Sometimes even today — in our times — there is disagreement over what is or is not an appropriate hymn for a worship service. When it is my responsibility to select hymns for vesper, church school, or other worship services, I think of these things:

First — Is the meaning of the text consistent with the teachings of the Bible and the service in which it is to be used?

Second —Is the hymn appropriate for the portion of the service in which it is being used....Praise?._..Prayer....Christian Consecration and Service?

Third — Do both text and tune express effectively my thoughts and feelings in response to God's constant love? Are they the most appropriate vehicles for the responses of those who will be worshiping with me during this service?

Notice how the "Monkland" tune seems to say the words of gladness by its ascending pitches on the opening phrase and the rhythmic pattern of eighth notes which keeps the feeling of joy and lightness even when the melody descends. Our choir had fun making a descant out of the bass line, singing it two octaves higher than written. Some of the choir members experimented with their own descants, using both their voices and musical instruments such as the flute.

Milton continued to write paraphrases, poetry, and prose as he grew older, including a famous epic, PARADISE LOST, which many of us read in High School English — but I think my favorite will always be this paraphrase of the 136th Psalm. "Let Us With a Gladsome Mind", which reminds me of a boy over 300 years ago whose thoughts and feelings about God were much like my own!

Your friend,

Charley the Choirboy

Praise the Lord For He is kind

H-19 Jan. '66 — 80 —

MONKLAND. 7 7, 7 7. Moravian Melody Arr. by JOHN BERNARD WILKES, 1785-1869 With dignity

f ------al-- r 3.; 60- 1 1 1 1 1. Let us, with a glad-some mind, Praise the Lord, for he is kind: 2. Let us blaze his Name a-broad, For of gods he is the God:

I j I I -41 _J_ _4,1_ _IJ_. J 0 s r ,.._.. Refrain

411--4-10 • ► For his mer - cies -aye en - dure, Ev - er faith - ful, ev - er sure. r r 3 He, with all-commanding might, 5 He hath, with a piteous eye, Filled the new-made world with light: Looked upon our misery:

4 All things living he doth feed; 6 Let us then with gladsome mind His full hand supplies their need: Praise the Lord, for he is kind: John Milton, 1608-74 Psalm 136

Jan. '66 — 81 — SHARING Edward Johe of First Congregational Church, 444 E. Broad St., Columbus, Ohio, tells us of two interesting phases of his choir ministry. His letter is as follows: The enclosed may interest Choristers Guild. The "project" of writing the texts and music for the Church School Thanksgiving Service was the first unit in our Church Arts Class this season. The Minister to Youth led the study of texts in a worship service, discussing particularly those texts in our service which have choral settings, then the children were asked to write texts for a Call to Worship; A Hymn of Thanks- giving; Offertory Presentation and Benediction. The next step was setting the texts to music. An outline of Keys and Voice range for the specific texts was given each child and they were asked to write tunes. Copies of the service materials were sent to the homes, rehearsed in the Children's Choir and in the Church School classes for three weeks so that the service was sung by "the congregation" without a segregated choir. (He enclosed a copy of the service music and bulletin. If you are interested in receiving a copy, write to him — include a stamp, of course. His letter continues:) Here is a "traditional" part of our Children's Choir (Treble Choir) year which has been fun and also of significance for the children. It is our Initiation Party, held the first Saturday after the choir's first service appearance in the Fall. The party i s both serious and fun, and the purpose is to officially welcome the new singers into the choir. To open the party, we "examine" the new members musically, giving them questions from the service materials we used the previous week and from things presented in the rehearsals. Having satisfied our expectations (no one has ever failed) about music and worship procedures, we proceed into the "good sportsmanship" aspect of membership with the other members of the choir, putting the new members through a couple of tricky blindfold games. At the conclusion of this, each new child is presented with a diploma, duly signed and with red ribbon and gold seal, formally admitting him into membership in the Treble Choir, having passed all musical, worship and good sportsmanship aspects of choir membership. The remainder of the period is spent in games and a little refreshment, one of the few times in our year we indulge. As you recall, we are a downtown, city-wide church, with our Children's Choir work being done on Saturday mornings from 10:00 to 12:00. gl 0 0 0 0 01 Mrs. Henry Meier of DeKalb, Illinois, writes: I have two ideas I would like to share with other Guild Members. The first is an attendance chart. If the child is present, he receives a whole note — absent is half note and in case of illness, a quarter note. I have used this system four years and like it very much — Date Date Date Date The members do too.

Name d di For years I had trouble keeping the choir quiet after c) il robing and before going into church. Even a prayer had no lasting results — were quiet only while praying. Name 0 0 0 0 After robing, lining up, answering last minute questions, they fold their hands and we sing "Grant Thy Grace 0 Name 0 co cl 41 Lord Jesus Christ that we may so sing Thy praise and make known Thy love that the hearts of men may be turned unto Thee, Jesus Christ our Lord. Amen." (Dickinson — H. W. Gray Co.) Before we sing, I remind them no talking after the prayer and they don't. The meaning of the words should be explained, of course. I hope these ideas will help other directors. They will, Mrs. Meier, thank you. Ei 0 0 0 01 H. A. Smith of Fond DuLac, Wisconsin, is looking to the future of the music program of his church when he induces the church fathers to underwrite this idea. Let others emulate him. We intend giving two scholarships to a couple of our young people to attend the Guild Seminar next summer, and, needless to say, the choristers are trying real hard to be considered for this award.

Its a little early to think about ice cream socials, but you do have to plan well ahead. Mrs. Edward D. Meares, Unitarian Church of Arlington, Virginia shares a program idea with us. I have long meant to describe, for the Guild, a program which proved successful in many ways. Since trips to the typewriter seem to stretch further and further apart, I will do so now. On Mother's Day, our Junior Choir, who named themselves "Unitarian Songsters", gave a combination Ice Cream Social and Choir Concert. Since our church is long on dreams and short on cash, this program was designed to provide funds for the following year's choir program, as well as make opportunity for the choir to perform for those members of the church, who for a variety of reasons, cannot hear the choir when it sings at the (very) early church service. In two sections of our program, we sang our favorite and best-sung anthems from the year's repertoire. In the third section we included secular songs which we had learned just for fun. Jan. '66 — 82 — After the concert, we sold ice cream sundaes, cookies, juice and coffee from gaily decorated booths on the church lawn. Tickets for the concert were 50¢ per person, or $1.00 for the family. Our concert was a big success. We dedicated it to the mothers and during an intermission, choir members handed out paper carnations which we had made one Saturday morning. Sauces for the sundaes were donated as was the coffee and cookies. All other expenses were taken from the proceeds. Our choir committee felt it was a fine way to 1) celebrate Mother's Day, 2) make use of the secular music which is a welcome spice to a choir program, 3) allow many members of the congregation to hear the children's choir who wouldn't ordinarily have the opportunity to do so, 4) give the children an opportunity to give a sustained musical performance (all music was memorized, of course), and, perhaps least important of all, 5) provide funds for a richer choir program than would otherwise be possible. I thought other Guild members might enjoy hearing about our "Ice Cream Social-Concert". We intend to make it an annual church tradition. gg g

A novel ad — makes me want to attend. "Glees with a Beat"! Wonder which ones!

41-

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The Guild's incomparable cross has different uses by different directors. David Wehr of Boise, Idaho, writes As you can well imagine the uses for the "Guild Cross" are limitless. We have made it something quite special here at First Methodist in Boise. The cross on the silver chain is awarded to those people who have attained four years consecutively perfect attendance. The singers wear the cross and chain over their usual vestment each week at service. These crosses have become prized possessions!

Jan. '66 — 83 — FI A,

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January-February slump ahead? — I hope not — because this is really a wonderful time of the year! There is no wild rush as at Christmas; schedules are usually routine; time is now available to do the personal contacting which you have had to forgo since Thanksgiving; and best of all, this is the season of growth in skill for your young singers. This truly is the time to come to your choristers' aid by mixing large doses of the understanding of sinking into your rehearsals. Draw examples and exercises from the regular choir hymns and anthems. Be creative in your presentation of techniques. Much of what we have said in previous articles dealing with the development of good tone quality has been aimed toward the production of vowel sounds — an essential part of teaching children to sing well. We have also written much about the importance of texts when we choose anthems for children. For some reason, I have backed from writing a practical article about how to help children communicate these texts audibly to the worshipping congregation. Sometimes a choir can sing a beautiful ah or oo sound, but the texts are lost to the listeners because consonants are not audible to clarify meaning. As you are reading this, I invite you to make a little experiment for fun and practice. 1. Read the title of this article aloud, eliminating all consonants. It should sound something like this: Ahoo i uh ahee uh aw oo ahee-eh-aw oo uh oo uh ay eh aw-i-uh. Does it make sense? Could all these vowel sounds be sung on a given pitch? Try it. (You should be able to!) 2. Read title aloud eliminating all vowels. nz(s)thtmfrIgddrk(c)trz(s)tkmtthd v(f)thrk(c)rstrz(s). Does this communicate a meaning? Try to sing all these consonants on a given pitch? Possible? — (No) Let's analyze a little: Now — has pitch IRVING asks, "Are you carefully is — (z) has pitch pronourciny all your word sounds the — has pitch (another th as in think, has no pitch) time — t is an explosion of air, no pitch m has pitch as in humming for — f is a pushing out of air without adding tone or pitch r — at end of word is best treated as the vowel uh with a final suggestion of r (It is possible to sustain r as a gringing rrr, but it is one of the most unmusical sounds we have in singing — especially for children all — 1 is a liquid vowel having pitch. Should not be gulped with a gutteral uh sound. Think tip of tongue forward. good — g is a voiced consonant (back of tongue) d is a voiced consonant (tip of tongue) directors— d — pitch of following vowel must be thought and sounded r — in middle of word may be a short roll k(c) — explosive — no pitch t — explosive — no pitch r — treated as vowel (ih) at end of word z(s) — has pitch (hard s as in see is a sibilant and has no pitch) . or are you. a. ertumblern tsifko_ etc. — — — -mouth full ai -mush ana-mo.rbles P "

Sometime, for fun and yet for learning, have your children sing a hymn using only the vowels i n the text. Ask them if there was a melody (yes), rhythm (yes), good tune (yes). Then ask if there was a meaning which they were communicating. They catch on fast to the fact that consonants give meaning to the vowel sounds. This makes your approach to diction more than a technique to them. Before we start using terms which are not clearly defined in our own minds, let's review the words which seem to turn up in every article on diction; Articulation: division into syllables or words meaningfully arranged; clear and effective expression. Enunciation: the act of making a definite statement; to utter articulate sounds. Jan. '66 — 84 — Pronunciation: the employment of the organs of speech to produce sound (words). Projection: the act of throwing or shooting forward, to communicate vividly, especially to an audience. Communication: an act of transmitting; a technique for expressing ideas effectively in speech or writing or through the arts. In reading this vocabulary list, we are made aware not only of the vocal techniques implied, but of the words by which these terms were defined in the dictionary: meaningful, clear, effective, definite, vivid These words also describe what good diction should be — and yes, from Children's Choirs! Unless you have an unusual group of youngsters, I believe you will agree that speech in general is quite poor. This has nothing to do with timidity in most cases. — — In fact, it is the noisy ones who usually bring this carelessness of speech to my attention. Here are a few everyday examples: Can you de-code them? Waderwegonnasang? Wearzmehvesmen? Ledusbray Waduhyawan? "tinderenmalld" (echoes of Christmas!) I'm sure you have many such examples in your location with your local speech tendencies! In trying to observe faces, eyes and general demeanor of children, I have found that there is a definite connection (in most cases) between speech and spirit. Disinterested children are seldom articulate. As with other phases of singing, mental alertness and physical alertness are the keys to meaningful expression. Sloppy diction is often the fault of us who set sights too low for our children. Their minds and tongues are capable of agility, but we do not expect it from them, nor do we take time to listen hard enough to how they are singing, to what sounds are missing, to what sounds are distorted, to what sounds are good. Of course, this takes some self checking. Do you need to review the basic sounds of vowels and consonants? Read over this simplified chart — aloud! Listen for the sounds!

LONG VOWELS SHORT VOWELS DIPHTHONGS soon soot pie = psalm — see so sod sound = psalm — soon saw sun sight = psalm — see psalm sat voice = sung — see say set pure = see — soon see sit soul = so — soon

CONSONANTS VOICED EXPLOSIVE SIBILANTS ASPIRATE WITH PITCH CONSONANTS CONSONANTS m z b s h n w d t sh ng y q k f I (them) th j (ch) th (thin) v Singing rules for r 1. roll (short) at beginning of a word and in the middle of a word when it is followed by a vowel (praise) 2. prounced uh with suggestion of r at end of word and in middle of word followed by a consonant (park, heart)

It is not necessary to explain this technical approach to children, but you must have an understanding of these sounds and how to encourage children to produce them. The best way I know is by the "do-it-yourself" plan. You don't have to be a performing vocal soloist to sing children's anthems, but I am convinced that you will achieve better results in diction and tone-quality if you study the music thoroughly, not only at a keyboard instrument, but also by singing it. Produce your own vowels and consonants. Know which consonants sing through on pitch and which are voiced. This thorough preparation will tend to make your ears conscious of the sounds the children are making or are not making. Lazy tongues and lips are often the cause of mumbled words. Make this test with your children. Have them sing a 5—tone scale on la-la-la. Observe how many of them have to clasp their upper and lower jaws almost together because their tongues are too lazy to lift up. The secret to the loose jaw and the agile tongue applies to children as well as adults. Remember also to apply the concept of projection. This "throwing or shooting forward" does much to encourage clearer articulation, providing you do not allow children to confuse projection with — "louder!"

Jan. '66 — 85 — PSALM 150

An Anthem and An Illustrated Psalm Sheet This month we send to you two contemporary interpretations of the ancient psalm which climaxes the "Hymn Book of the Ages" — Psalm 150. We believe that both Mary Elizabeth Montgomery's colorful art and Samuel Adler's expressive music add modern dimensions to the venerable text. We believe they will be usable in vivifying for mid-twentieth century children the meanings of this praise psalm. The anthem has the text as found in the Bible used by Hebrew congregations. The choir-book sheet uses the King James' translation. A comparison of the two will interest the children.

THE PSALM Elmer A. Leslie in his The Psalms Translated and Interpreted in the Light of Hebrew Life and Worship (Abingdon Press) says: "It is a veritable paean of praise, most appropriate for the closing psalm of the Psalter, and no doubt created or chosen with that in mind by the final editor of the Psalms." He calls attention to the fact that "Praise Ye" (hallelu) appears exactly ten times, an arrangement which was most likely intentional with the poet. (The first and last sentences, — "Praise ye the Lord", are not parts of the original psalm.) Let the children remember some other "ten" of the Old Testament. There are four implied questions answered in the Psalm: Where is the Lord to be praised? (Vs. 1) Why is the Lord to be praised? (Vs. 2) How is the Lord to be praised? (Vss. 3-5) Who is to praise the Lord? (Vs. 6) In teaching the Psalm, one could employ the dialogue device. Have a part of the choir or one person ask the questions; let the remainder answer with the verses of the Psalm. The first answer suggests that God is to be praised both in buildings especially dedicated to His worship and throughout the heavens and earth. The second answer calls us to praise Him for His creation of the world and all therein, and for what He is in His own being.

The third question is answered with a recital of the musical instruments which are appropriate to accompany the words of the Psalm Leslie says "in this section of the poem we get in a single passage the most complete summary we possess of the musical instruments used in the Temple worship". The Lord is to be praised by the blast of the trumpet (horn or shophar). This was done by the priests. SHOPHAR (a ram's horn, straightened Lyre by heating) The lute, harp, lyre and cymbals were instruments of the Levites — the musicians. The other instruments were played by any of the laity participating in the praise ritual. We can imagine that each group, as its instruments were mentioned, took up its part, and so, the volume of sound swelled to a great crescendo.

Hebrew Timbrel Hebrew Cymbals

The final implied question brings forth the climactic declaration that everything that hath breath should praise the Lord! The Psalm ends with a postcriptum of a joyous hallelujah.

THE ANTHEM Appropriately, Samuel Adler who has made the musical setting of the psalm, has scored it for rhythm instruments and piano with voices. It may be used with various rhythm instruments, not necessarily the ones suggested, or they may be omitted entirely. No attempt should be made to play the piano part on an organ. The music is strongly rhythmic with many challenging, tricky intervals and intonations. It is not for the easy-going, spiritless director or choir. However, those who find satisfaction in working for a worthy achievement will revel in the challenge this anthem presents.

Jan. '66 — 86 — We are convinced that once this anthem is carefully studied, it will be as highly regarded, by both children and directors, as Mr. Adler's previous anthem in our catalog, A-28 God's Requirements (Old Testament). For the first presentation of this new anthem by combined children's choirs in March at his own Temple, Mr. Adler is writing parts for wood-wind instruments. Later these parts may be obtained on loan from the Guild office.

At the time Mr. Adler's previous Guild publication was sent to our members, we published a brief biography of him. It may be timely to repeat it here.

Samuel Adler was born in Mannheim, Germany in 1928. With his family he came to the United States in 1939 and settled in Worchester, Mas- sachusetts where his father became Cantor and Musical Director of the Reform Temple.

Samuel studied violin in Germany and continued his studies in Wor- chester, where he also played viola. He received a Bachelor of Music degree from Boston University in 1948, with a major in composition, and a Master of Arts degree from Harvard University in 1950. His teachers in composition were Walter Piston, Randall Thompson, Paul Hindemith, Aaron Copland and Herbert Fromm.

Mr. Adler has been Director of Music at Temple Emanu-El, Dallas since 1953. He has been Professor of Composition at North Texas State University at Denton, Texas since 1958; and Instructor in Fine Arts at Hockaday School in Dallas since 1957.

His compositions (most of them published and performed) number more than a hundred. These include an opera; three symphonies and many other works for orchestra; chamber music; piano, organ and vocal solos; cantatas and choruses; and several songs and operettas for children.

THE ILLUMINATED PSALM SHEET

This is the eighth art interpretation of psalms which has been created for us by Mary Elizabeth Montgomery, Dallas artist and long-time friend of F.L.W. This is the same "MEM" who has given us the cartoon series, the Attendance Window (S-7), and numerous drawings which have been used in the LETTERS.

The Psalm Series was started a year ago. The illustrations have proven to be helpful to directors as aids to teaching the Psalms, as illustrations when psalm texts were being sung, as special study projects in Daily- Vacation-Bible Schools and summer camp study units. The psalm sheets are kept in stock in the Guild office and may be ordered in quantities at five cents each. The psalm sheets so far available in this series are: Psalms 1, 8, 19, 24, 46, 96, 121 and 150. Others are scheduled for later in the year.

We are all indebted to Mrs. Montgomery for her striking illustrations. She is doing a good service to directors by creating these arresting illuminations of passages from the "Hymnbook which Jesus knew".

Jan. '66 — 87 — FROM THE EDITOR'S DESK

At the Board of Directors meeting in 1964, three new types of memberships were established. In addition to the Regular and Contributing memberships, the Board established Subscribing, Patron and Life Memberships. Our first LIFE MEMBER is A. LESLIE JACOBS. His check which brought this new status was received early in December. Leslie has given of himself to the Guild in so many ways, we are all indebted to him. For this new evidence of his interest we can but appreciatively say "thank you". The money received from Patrons and Life Memberships is "to be used for special projects at the discretion of the Board". In addition to our 2,604 Regular and Contributing Members, we now have nine Sub- scribing Members. no Pat ron Member but ONE LIFE MEMBER. 0 0 0 0 0 0 And while we are thinking about Leslie (and it is a delight to do so), in response to the offer made by Leslie and by your Board and included in the report of the meeting on page 42 of the November LETTERS, Leslie is planning a trip through the central and far west for the early spring. Requests for a visit from him have come from South Dakota, Nebraska and California. If you would like to have him visit your church and choir to bring inspiration and practical help (no cost to you!) write directly to him. It may be Leslie can visit your area on the coming tour. His address is 2019 Bath St., Apt. A Santa Barbara, Calif. 93105

Florence Heston, Guild Member from Chicago, has sent me an interesting little book of hers recently published by Vantage Press, Inc., 120 W. 31st St., New York 1, New York. It has the title Just to Point It Out. Tho it is in verse form, as she says in the forward, "This is not a book of poems, but of concepts. The purpose of this book it to point out to the child the things he has been learning, to let him see a subject in a few words, perhaps in a different way — a sort of verse." It is primarily intended for the school and home, but many of the 150 plus subjects versified are subjects a children's choir director would refer to in the course of a year's rehearsals. The three divisions of the book are Special Subjects, Special Attitudes, Special Days. Mrs. Heston has given me permission to quote from her book so you can feel her style. In the Special Subject division, one subject is "Let's Learn About the Note". The first two verses are: Today let us learn So this is why About the note. We must beat time. Besides having pitch It really is It has duration. An obligation. This would be a good book to have on your Before-Rehearsal-Reading-Table or for your own ready reference. The cost is $2.50.

Another recent Guild author is our own Tintinnabulations Editor and "Decibel's Mama", Nancy Tufts. Her long awaited manual The Bell Ringers' Handbook is now available. Here are forty pages of pertinent information and data, designed, as Nancy says in the "Dedication", to keeping bell ringers "thoughts assorted and tidy". This manual should be put in the hands of every bell ringer and be required reading at least once a month! In other words, it contains . concisei information and many helpful suggestions. is HEAR y I muchobtainableabmarne fr moemr,yIonucr ,m2u5silcW stooretborstd.irNecetwly yfororkm the1t publisher, HEAR YE! • Harold New York. Price 90 cents.

(0‘My face became longer, my countenance sadder as the requests for bulletins for use at Christmas kept coming in. We ran out of the first 25,000 order about Thanksgiving time. A frantic re-order was placed //41\1 with the factory in the East. The depressing word came "delivery in 6 weeks". My apologies to all I I who were inconvenienced. I just didn't re-order in time — I've learned a business lesson. We will , \ have plenty of bulletins by the first of the year. You may now "order with confidence" — we'll be able to deliver before your spring festival or choir program. On the other hand (or should I say face), my countenance is arising as your orders for post cards continue to come in. All five of our available cards seem to be of value (Th to you, but specially are you ordering the Three Choristers card. 34,000 of these have been sold since they were first made available in December, 1964. I recently received from our printer a new order of 25,000, so let your orders continue. We want to serve you in every way possible. Several new items will be announced soon, helpful items, we trust. Be watching for them.

Jan. '66— 88 — How well do you know A. Leonard Lilyers, our Vice-President, who has given us the thoughts for the New Year, which are to be found on the cover page of this issue? He is presently Director of the Music Department of the Board of Publications of the Lutheran Church in America. His office is at 2900 Queen Lane, Philadelphia. He is Director of Music at St. Michael's Lutheran Church, Cherry Hill, New Jersey, and sub-Dean of the Southern Jersey Chapter of the A.G.O. In connection with the last meeting of the Lutheran World Federation, he attended the International Seminar on Church Music in Helsinki, Finland. Those who attended the Guild Seminars in '64 or '65 know that Mr. Lilyers, and his charming wife, Jean, were the helpful people behind the counter at the "store". He has done a fine job for all of us with his handling of this important part of the Seminars. Again in '66 he will serve us in this capacity. Meet him at Denver or Winston-Salem. I've recently found other sides of his nature. He's a fisherman - a true sign of greatness! - and a magician. He has membership in the International Brotherhood of Magicians. We'll be expecting evidence of this latter skill at each Seminar. 0 6 0 0 6 0 In the December LETTERS (page 73) I asked you to send in prayers which might be used in re-issuing "M-1". To date there has been no response. If you, or your children, have composed a particularly meaningful prayer which you use in connection with rehearsal, please share it with us. 6 6 0 gi 1 Tieviiiir I've taken legitimate pride in saying of the Guild "we have members in every state in the , Union". Alas, I now have to add "....but one, Nevada". The Nevadan who was a member last Iyear has not renewed. Won't someone please give a membership to a director-friend in the Silver State! Then again I can lift my rusty voice and say "every state and fourteen other 0 is countries!" 0 0 6 6 0 0 The "other countries" remind me to report that again this year several directors or choirs have given memberships in the Guild to musical missionaries in other countries under our Brotherhood of Song plan. We still have a list of several directors in foreign countries who would appreciate our material.

Anno Domini ecember's clocks have struck their last. A new year conies D But the new year came before, long weeks ago When Glorias disappeared and purple bloomed. That told of God who stood before time's birth and ours, And stands beyond time's death and ours. This new calendar repeats the name Of a god time-dead who looked both ways. That was the year's beginning, it sprang from prophecy, It sprang from creation and looked to the last destruction. This springs but from a new ledger sheet and looks to the next. That was beginning again at the front of an old book of named days; While this begins at the front of a new tablet of numbered days. That was the Christian's New Year, this is the world's — And yet The number on the front of the calendar, At the top of our checks, On the ledger sheet, Dates from Him. Not from the forward-backward god of business's graphs and charts, But the birth-and-death-enduring God of before time, And within time, And beyond time. His year is not bound with purple ribbons or red tape either — All is His. Christine Fleming Heffner From The Living Church

May our -7A11" be His in 1966 Anne) Domini

Jan. '66 - 89 - PSALM 150

iraise ye the Lord. Praise God in his sanc- t tuary: praise him in the firmament of his power.

2 Praise him for his mighty acts: praise him according to his excellent greatness.

3 Praise him with the sound of the trumpet: praise him with the psaltery and harp.

4 Praise him with the timbrel and dance: praise him with stringed instruments and organs.

5 Praise him upon the loud cymbals: praise him upon the high sounding cymbals.

6 Let every thing that hath breath praise the Lord. Praise ye the Lord. WHAT IS A VESTMENT? HOW DO YOU FEEL WHEN YOU WEAR ONE?

By Madeline D. Ingram Some time ago, while on a junior choir workshop trip, a chance acquaintance in the train diner learned of my interest in children's choirs. That prompted her to produce a snapshot picture of a young grandson in his choir vestments. Beaming fondly she said, "Doesn't he just look angelic? But then I've noticed that all children look that way in vestments. I wonder if vestments make them feel different?" Her remarks set me to thinking, and upon my return home I asked my junior choristers the questions listed above. It is some of their answers that I have quoted. They speak for themselves, don't they?

71 vestment is a kind of robe we wear to tell people we are choristers. It is somethin,g we wear to show we are ready for church. It is what ministers and choir people wear to let people know they are leaders in worship. It is a robe we wear to show people we are ready to help them worship. It is what we wear to remind us to be quiet inside and outside. It is what choristers wear to make them look and feel alike. I feel different because I do not wear that kind of dress any other time. I like the way it makes me feel. When I wear a vestment it makes me feel that I am quite important to my church. I think I sing better when I wear a vestment because I feel good. When I wear a vestment I always remember that I am in church. I think I worship better in a vestment.

It is a badge we wear To show that we Are ready now To worship Thee.

CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 February Number 6 Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors RUTH KREHBIEL JACOBS, Founder of the Choristers Guild THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T.. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynchburg, Virginia Denver, Colo. The Choristers Guild LETTERS are published monthly September through June for its members Regular membership $4.00 — Contributing membership $10.00 or more All correspondence should be directed to Choristers Guild Headquarters at 440 Northlake Center, Dallas, Texas 75238 Telephone: Area Code 214 — DIamond 8-0450

HERE IS WHERE THE 2,737 CHORISTERS GUILD MEMBERS LIVE AND SERVE

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Feb. '66 — 91 — HAPPINE% IS SINGING IN THE CHOIR I

The New York World Telegram and Sun had the following to say about the creator of the above drawing:

"Charles Schulz is the only man we know who can make a round circle, a dash, a loop and two black spots express the following: an abiding love for Beethovan, a disillusionment with all women or an eight-day crusade of hate against a paper kite. If Charlie Schulz jiggles the circle, spots, dash and loop one way a comic strip character named Charlie Brown will tear your heart out with man's inhumanity to man. If he wiggles them a little differently, he will set you to laughing so hard your sides will ache. The ability to make these little ink scratches into facial expressions is, of course, the mark of the great cartoonist — and Charlie Schulz has only recently been voted the greatest of them all by the National Cartoonists Society." Linus and Charlie Brown have become symbols of active, typical, natural young America. We believe that young America needs a well rounded development and that this includes music. As everyone knows who follows Mr. Schulz' "Peanuts" he also believes in music. Mr. Schulz has given us an evidence of this by creating for the Choristers Guild the drawing and slogan above. What a slogan!

"Kafvpi4-1.e_o.a, n_ituiung. ike eft ! "

We hope to be able to produce this drawing for you on postcards for your use in promotion. This we will let you know about later. As for now, let's use these lovable characters and their message to our children and extend to Mr. Schulz our thanks and appreciation.

Feb. '66 — 92 — CHORISTERS GUILD SEMINARS "`1 he Seminar announcement arrived Saturday and was so exciting 1 simply must get to that Seminar!" — — — — from a member.

THE FACULTY There will be "2 in '66" but the same faculty will be at each Seminar! All agree that it is a fine faculty which will stimulate you and sharpen the "tools of your trade" as church musicians. Your service to God and His children will become more effective from the instruction, inspiration and fellowship of the Semina rs.

Helen Kemp will have techniques and materials for Primary and Junior High Choirs. Norma Lowder from her knowledge of anthem literature will have the daily class in Broadening Your Repertoire.

Margaret Fisk Taylor will instruct us and demonstrate Children's Use of Creative Dramatic Movement. Melvin Gallagher will bring to us his unique method of Teaching Music Through Activities to Pre-School Children. Alfred Haas will be the devotional speaker for the week and have a daily class in Hymns for Growth. John Kemp will work with Junior Children. Many men have asked to see and hear a man work with children.

There will be one-time classes in Autoharp Techniques, High School Choirs, Handbells, Organ Accompanying of Children. In the evenings, there will be Get Acquainted Times, Children's Choir Programs, Organ Recitals, Dramatic Movement Demonstrations, etc. Next month's LETTERS will have a brochure with all details. But make your plans now to attend the Seminar nearest you.

SCHOLARSHIPS

The Board of Directors has authorized ten scholarships in memory of Ruth Krehbiel Jacobs. Five will be awarded for each Seminar.

The scholarships will be awarded by a committee of the officers of the Guild, on the following basis:

1. The applicant must be a member of the Guild.

2. The letter of application must give some indication of the person's age, musical background, church experience and interest in children's choirs. It must also indicate which Seminar the applicant desires to attend. 3. If the applicant is an assistant in a church music program, the application must be accompanied by a letter from the director of the program. 4. The application must be attested to by the minister of the church which the applicant attends. 5. Only one scholarship will be awarded in any one church. 6. The applicant must show need for financial assistance. 7. The application must be received in the Guild office by May 1, 1966. Each scholarship will provide the tuition, meals and housing for the Seminar. The scholarships do not include travel costs nor personal expenses. 2 IN '66 In Colorful Colorado In Picturesque Old Salem July 11-15 August 8-12 at Colorado Woman's College at Salem College Denver, Colorado Winston-Salem, North Carolina

Feb. '66 — 93 —

A LETTER FROM HELEN Dear Guilders: In my last month's article on diction, you probably noticed several mistakes in the printing. In all fairness to our very exacting editor and to the printer, let me give you a little "inside information" about what goes on occasionally at 440 Northlake Center, Dallas. January's material was to hit the editor's desk on December 10th — while at 224 NW 33rd, Oklahoma City, a certain contributing editor was over-scheduled by about 17 extra programs. (Unfortunately, this is the real number!) To save space and lengthy explanation, my article was late, and, — even worse — written in long hand. Have you ever had to edit a hand- written article on diction, thick with vowels and consonants and phonetic spelling? It is a task even when there is plenty of time to do the job.

If your January LETTER is handy, perhaps you could take a few minutes now to correct several things, and perhaps really study through the maze of p — t — k's and ah — ay — oo's. The first mistake is found on printed line 4. The sentence should be, "This truly is the time to come to your Chor- isters' aid by mixing large doses of the understanding of singing (not sinking!) into your rehearsals."

Could you de-code the gibberish sentences? (page 85) 1. What are we going to sing? 2. Where is my vestment? 3. Let us pray. 4. What do you want? 5. "tender and mild". As you review those lists of long vowels, short vowels and diphthongs, take a minute to review several definitions. A diphthong is a sound made up of two vowels, one sustained and the other treated as a vanishing vowel. A vanishing vowel of a diphthong is treated as a consonant as far as length of time allotted to it. The sustained vowel receives 95% of the allotted time, the vanishing vowel 5%. Speak, then sing the following words: The sustained vowel as in "psalm". sound vow The vanishing vowel as in "soon".

The sustained vowel as in "psalm". sight vie The vanishing vowel as in "see"

The sustained vowel as in "so". voice rejoice The vanishing vowel as in "see".

The sustained vowel as in "say" (eh). day say The vanishing vowel as in "see".

The vanishing vowel as in "ee". view pure The sustained vowel as in "soon". * I have starred this section because these facts are so important to understand and to heed with children's singing. Misuse of diphthongs has much to do with twangy, whiney and tonal results. You can teach your children the secret of diphthongs, encouraging them to hold the sustained vowel, change quickly — and on the same pitch — to the vanishing vowel, without exaggerated lip motion. I have found it valuable to use the blackboard to explain such a word as "found" in the following way. f ah oo nd 95% 5% You need not go into the technical details of a vocal pedagogy teacher, but children do respond to these visual helps. It also gives them an understanding that singing and "sound-making" is more than just learning a tune and some words. The word "rejoice", which appears in so many songs for children, is a good one for you to practice. If children are allowed to sing: — ree — joheeeese, dividing that diphthong in the middle instead of 95% and 5%, the result is less than musical or beautiful. It can be insensitive and ugly. ri (as in "sit") unaccented jo (sustained vowel as in "so") stressed

ece (vanishing vowel as in "see") unaccented Feb. '66 — 94 — Try picturing words on the blackboard, or with flowing hand movements. By this picture approach children capture jo —

ice

the idea much more quickly than by spoken explanation.

Under consonants with pitch, let me remind you that w and y are treated as vowels. (oo) want; (e) yes Under voiced (explosive) consonants, the correct list is 1.), d, g (not as stated q) and j. These consonants have the sound of "uh" at the end of a word. This sound should not be forced or over-voiced so that it becomes offen- sive to the listener. Remember that it is not only final consonants of words which are important, initial consonants should also be heard on the flow of the phrase.

A few more rules to remember with your children: (1) Consonants having pitch must be sung on the same pitch as the vowel that follows. (Encourage children to assume responsibility for pitch. Scooting and sliding around on consonants having pitch has something to do with general flatness, which can take the spark out of a junior or primary choir. (2) All consonants made with the tip or the back of the tongue demand a quiet jaw and an active tongue. In last month's article I gave several singing rules for the consonant r. It would be helpful to discuss a few particular words that usually give us less than the best in tone quality. (1) When or is used as a word itself or comes at the beginning of a word or an accented syllable which precedes a consonant, as in order, organ, ornament, etc., it is treated as a diphthong, having the sustained sound of aw (saw) the vanishing sound of uh (sung) (2) When or is found at the beginning of a word on an unaccented syllable which' precedes a consonant, as in ordain, ornate, or has the single vowel sound of aw as in saw. (3) At the end of a word when or is an unaccented syllable following a consonant, as in honor, it has the single vowel sound as uh as in sung. I mention these particularly because the grinding r heard so many times from children's groups is so unpleasant and unmusical. Sometimes it is rather difficult to teach these subtlties, because the first reaction is that it is "fakey — put-on". Your best friend here is a tape recorder. The proper use of r is one of the things that can take your group out of the ordinary class. Do you need a good exercise for r's? Why not review "0 Lord, Our Governor" — by Marcello. It is filled with lots of different kind of r's.

Since we have gone over such technical details, I should like to finish with a brief review of some simple vocal suggestions. All of these go hand-in-hand with the articles on vowels and consonants.

15 SIMPLE VOCAL SUGGESTIONS 1. Phrases must start on pitch 2. and on the first sound in the phrase. There must be no preliminary grunts or scooping. 3. Mind, mouth and breath must be prepared for the first vowel. (Consonants are sounded so quickly that the vowel must already be prepared.) 4. Breathe in: — a vowel sound — a pitch — a mood — a volume — a phrase line — a tempo Sing to the end of the last sound, rounding the phrase as you finish within the duration allotted. The last syllable must go somewhere — must be somewhat elastic — must either decrease or increase. The release at the end should be a little lift, like loosening a soap bubble from a pipe. In children's singing, remember — the lower, the lighter. 8. Sing sounds, not letters in words. 9. To stop on consonants having pitch, (m, n, 1, ng, etc.) the breath must stop before the mouth or tongue position is changed. Otherwise there is the unpleasant, tacked-on "uh" sound. To stop on the word sing, the tongue should remain in that ng position until after the lifted release — to avoid "singuh". This is to tune your ears to hear. It is an easily-caught habit, and rather difficult to correct. 10. Consonants take less time, but more energy than vowels. Consonants enter the stream of vowel sounds with definiteness but without stopping the flow of the stream. 11. Pronunciation in singing is the same as in speech. The rise and fall, the accented and unaccented syllables are the same as in speech. (On high pitches, g's and a's, some vowels must be sung with more "uh" sound.) 12. Think musical phrases instead of notes. Think thoughts instead of words. Think phrases in swinging pendulum movement instead of being sliced up into measures. (This advice is given thinking of creating music after initial learning of correct pitches and time values has been done. There is no substitute for careful preparation of basic requirements.) 13. Staccato is easier to sing than legato. Visual aids help to interpret the idea of legato to young singers. Pull a ribbon smoothly from a spool or a plastic ring while they sing the phrase. Tie knots in a rather coarse piece of string, then pull it through your fingers. They will be conscious of the "bumps" in contrast to legato. Study texts aloud. Do not allow children to 14. ks is true with pronunciation, speech is the basis for phrasing. memorize words by repeating in an old-fashioned sing-song meter. 15. Encourage vitality of mind and body. Remember that the "whole person sings!"

Feb. '66 — 95 — T).r INTINNABULATIONS

"qcip4j Dear Friends and Gentle Hearts:

Do come in, and "Ring the Bell for Tea. Three Good Wishes, Three Good Kisses, I will Give to Thee." Welcome!There's a bit of New Year's cake leftover, It's delicately flavored with anise and braided with benne seed. Tea? The metal "tea-bags" with long strips came from Sweden . . The little twins who live down the road begged for two, and hurried home to use them as warming pans in their colonial doll-houses' We're snug as six bugs here by the fire; let the icy wind machine outside romp as it may. The birds' Christmas Tree went flying past the window awhile ago — it's probably ten miles down the river by now. That barge is having a hard time bucking the wind and tide and ice in the channel. The Indians call February "Hunger Moon". BRrrrrr! Yes, the sunsets have been glorious this winter. The geese will be coming along any moment, now — black silhouettes against a flaming backdrop. Our neighbor feeds them; they're as regular as the clock. Their cries remind me of the "Sound of the Organ" at church. Our organ chamber needs more insulation. It becomes frightfully cold in bitter weather. (Oh yes, that's included in the budget for "next year".) The Choirs nearly suffocated with hysteria over the honks and quacks emanating from the pipes last Sunday. Even the Sunday's bulletin had a picture of geese on the cover . . . . Have another honk of cake? How are your hiccups of geese? Oh my, I hope this isn't contagious!

EDUCATIONAL MOVIES: The proverb about seeing ourselves as others see- us, implying as it does that if we could it would be a good thing, even a revelation, is having successful real-life application by modern psychiatrists and educators. According to reports, correctional institutions, the police, and even the AA having succeeded in starting alcoho- lics on the long hard road to normalcy by showing them movies of themselves while drunk. While the self-portrait approach is not a cure, it often overcomes the patients' unwillingness to face the awful truth and builds up deter- mination to try to help themselves. For years Voice and Speech teachers have advised students to practice in front of the mirror, but little serious use has been made of the movie-camera for self-study. Since the inception of the phonograph, musicians have studied the recordings of great artists, and now with the proliferation of relatively inexpensive recording devices, choir directors, teachers and students are realizing more and more the value of the hear-yourself approach. Most choirs and soloists have made acceptable records and tapes, and directors often use tapes for demonstration and study. But how many have tried the see-yourself approach? This technique could point out to the offenders a variety of objectionable traits, i.e., the grimacing singer, the rocker, the head-nodder, poor posture, gaps in the processional formation, inattention, ill-fitting vestments, the grimly-determined faces of bell ringers. The director can study, with objectivity, his own facial expressions, his conducting techniques: does he maintain a steady rhythmic beat; are his signals clear; his upbeat definite; does he use his left hand effectively; or does he flail like a windmill; does he rock, bob, nod? and so on. Does the lady director teeter on stiletto heels; does her bouffant hair-do tremble; is her make-up excessive; does her vestment ride up and down? Is there anything about the choristers or the director that is distracting to the eye, disturbing to the serious worshipper? (And don't forget the organist. Does he pump with his body; keep time with his head; gaze soulfully at the ceiling; frown at latecomers; scramble around with music, kleenex and cough-drops?) Invite your movie-camera friends in to shoot a vested rehearsal in the Sanctuary. The film will tell the un- varnished truth. A see-yourself-truly picture session is surely worth more than a thousand-thousand words.

BELL-POURRI: The Opening of Congress at noon on January 10 was marked by a half-hour ringing of the Bells at the Washingtor. Cathedral. Students from the Cathedral School for Girls and St. Alban's School for Boys rang the ten Tower Bells from 12-12:30 P.M The Rector of St. Mary's Church, Welwyn, England is often asked to explain the inscription on one of his Tower Bells "Down with Enthusiasm". The reference is (we hope) to the down or backstroke used in ringing bells by means of ropes, or to the lowering of the bells. So heave away, me hearty bell-ringers. Ring down with enthusiasm' WHY A DUMBBELL? The ringing of church bells was not impromptu. Indeed, some patterns of ringing were (and still are) so elaborate that they required much practice. And this practice was annoying to the parishioners when it went on for deafening hours. To spare them, ringers began to practice the patterns (changes) with handbells. Some merciful genius invented a dummy practice machine a fly-wheel with a weight attached on which the ringers could practice handling the rope and exercise their muscles (as a pianist on a dummy keyboard). This device was called a dumb-bell and a few are still in use. It became a popular exercising machine; the name was later transferred to the present exercise bar with weights at either end. In early models, the ends were bell-shaped

ORIOLE BELL: A 2,000 lb. Bell always led the parades during the great Oriole Festivals held in Baltimore, Md. in the 1880's. These annual festivals were 3-day affairs of the Mardi Gras type that drew 150,000 people to the City. The highlight was a torchlight parade featuring some 50 floats, and always the great Bell preceded the parade, booming with excitement ...... The Bell was mounted on a platform hung between two wheels on a cart drawn by four horses. The wheels, like ship wheels, were spun by two men . . .. After the last festival, the Bell was presented to St. Mark's Lutheran Church of Hanover, Pa. 75 years later (1958) the Oriole Bell paid Baltimore a return visit. It was reconditioned by the McShane Bell Foundry, returned to Hanover and installed in the tower of St. Mark's new $650,000 building. The history of the Bell is inscribed on its waist.

Feb. '66 — 96 — CAN SPRING BE FAR BEHIND? A reliable spring-inducer for snow-bound Bell Directors is to promise some nice lady, via telephone, that in April you will make a talk about Bells in the basement of her church. As you gaily agree to perpetrate this campanological chicanery, you watch the icicles dripping from the eaves and convince yourself that April will never come, that it is ten thousand light years away Just try it. Before you have the date written down in your calendar, the date has arrived and you are in the undercraft making an April Phool of yourself before a roomful of lovely ladies in confectionery hats and several clergymen in the latest ecclesiastical collars.

DECIBEL MARMALADE says:

"To be seen, you stand up; To be heard, you speak up; To be appreciated, you shut up."

Well, Ring DOWN the Curtain with ENTHUSIASM!

Greetings, from

QUINQUAGESIMA (February 20, '66) PARABLE: With deep and holy wisdom the Church bids us fix our minds upon charity — the most excellent of all gifts, the bond of all virtues — on the Sunday immediately preceding Lent. We are to begin our Lent firmly understanding that supernatural charity, the love of Christ which we are to receive from Him as members of His Body, is indeed the Ultimate Weapon — the one power which is mighty to the pulling down of all strongholds of evil.

So here is a timely parable.

A man with scanty virtue but a host of friends died and went to hell. His worldly friends, one after another, were allowed to approach the gate of hell to plead for his release. One after another they would say to Satan, "He wasn't such a bad fellow in some ways. He's learned his lesson by now. Let him out! Let him out!" It was all to no avail.

Then, one day, his mother approached the gate. Quietly, with a strange catch in her voice, she said to Satan, "Let me in."

The massive gates immediately swung open. Against this love which harrows hell they could not prevail.

(From an editorial in LIVING cHUR0-1)

Feb. '66 — 97 — THE CREAM OF THE CROP Three Guild members give you their selection of Lenten anthems for children. The message of this season is difficult for children, but some one of these anthems may help you.

CREATE IN ME A CLEAN HEART, 0 GOD by Paul Bouman (SA) Concordia 98-1143 250 Divided parts only in middle section, with D the lowest note for the seconds. Lovely flowing lines with good melodic rhythmic interest. I've used it with junior high girls; it should be effective with junior choir, too.

BEHOLD THE LAMB OF GOD by Paul Bouman (SA) Concordia I have it in Morningstar Choir Book, but think it is published separately also. (It is.) 98-1088 22¢ Relatively simple unison with good flowing accompaniment, ending on third page with two-part setting of the tune "Southwell" to the text "In perfect love he dies". We used it Maundy Thursday with girls of the same age as those joining the church and receiving their first Communion that night; profoundly moving.

LIKE AS A FATHER by Luigi Cherubine (3 equal voices) Summy-Birchard 5297 30¢ I consider this my all-time best find. My junior girls loved it so much that I wouldn't dare work on it until the end of the rehearsals. It's a three-part round, with voices entering 12 bars apart. Two or three times through the first 12 bars and they've got it memorized. You can do worlds of work on vowel color, consonants on pitch, shading and balancing of parts against each other, and on top of that, the effect is downright impressive! The connecting links at bars 24-25 and the release and attack where the melody starts its repeat must be learned cold, but once done, you've never seen the children more pleased. David W. McCormick, Organist-Choirmaster First Presbyterian Church, Tyler, Texas

From Carols for the Seasons, Healey Willan, Concordia 97-6319 $1.00 These two: NOW LET THE HEAVENS BE JOYFUL, a Provencal carol tune arranged for soprano descant above the majestic melody: THIS JOYFUL EASTERTIDE, a 17th century Dutch carol, arranged for two-part singing with a moving and interesting alto part. (Another good setting for this carol is by Katherine K. Davis, "Awake, Thou Wintry Earth", Schirmer, 943 (SA) 15¢ There are 22 carols from various countries, appropriate for the seasons of the year, in this, one of the best collections of songs for children I have found.

GLAD HOSANNAS by Mary E. Caldwell (Unison) Broadman Press No. JF021 25¢ I have heard several choirs sing this number in festivals. The children seem to love this hauntingly beautiful melody. The words of the text dramatically picture the story of Jesus' entry into Jerusalem. It is, I believe, one of the best examples of a composer's efforts to make the music support and enhance the message of the words.

WE SING TO GOD by Katherine J. Weller Augsburg, 1964 35¢ This is a helpful book for teaching great hymns to children. There are 28 hymns with short stories about how or why they came to be written. Those suitable for use during Lent are: "In the Cross of Christ I Glory", "0 Sacred Head Now Wounded", "Deck Thyself With Joy and Gladness", "Jesus, Name All Names Above", "0 Jesus, King Most Wonderful", and "Jesus Christ Is Risen Today, Alleluia". Evelyn Marney Phillips, Director of Children's Choirs First Baptist Church, Decatur, Georgia

WHEN CHILDREN PRAY by Beatrice Fenner (2 Part) Shattinger Piano & Music Co., St. Louis, Mo. No. 794-4 15¢ Anthem selected principally for words — close harmony. There are several difficult chords which make the anthem more interesting. 0 SAVIOUR SWEET by J. S. Bach, edited by Clarence Dickinson (Unison) H. W. Gray Co. No. 198 20¢ Anthem is an old one, but as all good things, has remained good through the years. SUPPLICATION by W. Glen Darst (2 Parts) H. W. Gray Co. No. 2305 16¢ A more difficult anthem — with good words. THE BIRD OF CHRIST by Ross (Use in unison) H. W. Gray Co. No. 1626 25¢ Our children particularly enjoyed singing it and we shall use it again this year. Omit soprano solo. Florence Rubner, Director of Music Bethany Lutheran Church, Erie, Pa.

I would like to call your attention to THE KNIGHT OF BETHLEHEM — Thompson, Novello & Co. (Obtainable flo,7 H. W. Gray, N.Y.), sheet music, D flat key — suggested, price $1.00. The text is referred to as "St. Francis Song from The Husband of Poverty". To me the text applies to Jesus, not St. Francis. It is highly picturesque, both in words and accompaniment. Also give careful consideration to the Lenten anthem with this issue, MARY'S WANDERING by Marian McLaughlin. I believe this has great possibilities for interpreting the message of this season to children. The republished Guild anthem A-7, BALLAD OF THE DOGWOOD TREE by Brookes M. Davis should also be considered for Lenten use. Its expressive text and folk song style melody, with suggested autoharp accompaniment, makes it particularly appealing. Feb. '66 — 98 — AS WITH GLADNESS MEN OF OLD Director's Page

TEXT: William Chatterton Dix, 1837-1898, was born in Bristol, England. Though Dix's father was a surgeon, Dix trained for a business career, becoming manager of a marine insurance company in Glasgow. "As With Gladness Men of Old", written in 1861 during a period of personal illness, is one of over 40 hymns written by Dix, including "Come Unto Me, Ye Weary".

TUNE: Conrad Kocher, 1786-1872, composed oratorios, operas and sonatas in addition to the hymn tune, "Dix", which is based on Kocher's German Chorale, "Treuer Heiland". Kocher's school of sacred music is said to have been the pattern for subsequent schools throughout Wurttemberg.

CHURCH YEAR-CURRICULUM CORRELATION: Based on the traditional account of the visit of the magi, Matthew 2:1-2, the hymn is generally used during Epiphany, which falls on the twelth day after Christmas, January 6.

THEOLOGICAL IMPLICATIONS: The text compares the coming of the magi with our own spiritual lives. In the first two stanzas, the wise men — who had been anticipating an unusual event — see the star and rush to discover its meaning even as we should anticipate, recognize and probe more deeply into the significance of the Christ event in our own life. In the third stanza, the wise men offer rare gifts in response to the discovery that their seeking reveals its mystery — the infant king — as we, too, offer our own treasures in response to the holy joy of God among us. A prayer of eternity climaxes the final stanza of the hymn. The anticipation — the star — point to a time of arrival into the constant fullness of God's glory.

TEACHING SUGGESTIONS: Plan a review of the Christian Year, including seasons, significance, symbols, colors and appropriate music. This could happen as a game, making the basic outline of the year on the blackboard and then letting choristers draw slips of paper on which the various portions are listed with the object of deciding where on the blackboard outline the portion fits best. These seasons include:

SEASON SIGNIFICANCE SYMBOL COLOR MUSIC Advent Preparation for Christ's coming Rose Violet "0 Come, 0 Come Emmanuel" Christmas Birth of Christ Star White "Joy To the World" Epiphany Revelation of God in Christ Star Green "As With Gladness" Lent Contemplation of our Lord's Cross Violet "When I Survey the Wondrous Passion Cross" Easter The Risen Christ Lily White "Christ the Lord Is Risen Today" Pentecost The Holy Spirit; The Dove Red "Spirit of God, Descend Upon Church's Beginning My Heart" Trinity God at work in our lives Circle Green "God of Grace and God of Glory" (Kingdomtide) In singing the hymn, pace the tempo to connect phrases logically. Let choristers discover identical melodic and rhythmic patterns. Explain how vocal parts are based on chord harmonies. Have the choristers sing each part in unison with the accompanist playing the corresponding chord. Work for the ability to hear the whole harmony first and the individual part second which helps eliminate tendencies to flat. If your choristers are more mature musically, I, V, IV, progressions might be located throughout the tune, reviewing how these triads and their inversions are built:

"-Q-119 17- r

Teach the choristers how to mark chord symbols over the melody line, giving additional opportunities to practice chord recognition, notation, and progression. Contrast music in which parts should be sung with equivalent intensity and compositions in which the harmony serves only as an accompaniment to the melody line.

Feb. '66 — 99 —

AS WITH GLADNESS MEN OF OLD Dix 77.77.77. Text by: Tune by: Wm. Chatterton Dix Conrad Kocher 1837-1898 1786-1872 How many kinds of insurance does your family have? There's insurance on cars, insurance on homes, insurance on jewelry, insurance on sickness, even insurance on our lives! William Chatterton Dix was manager of a marine insurance company in Glasgow; but his hymn, "As With Gladness Men of Old", reminds us of the most amazing insurance of all....our guarantee as children of God! The contract on this unique policy is described in Ephesians 1:3-14. The terms are non-cancelable and the premiums are our willingness to put God's purposes first in our lives. The dividends — an awareness of our Father's Presence and concern — are available at a momen't notice whenever we turn to Him in prayer.

\Li The actual season of the Christian Year in which this hymn is most used is Epiphany, falling on January 6 and celebrated today in remembrance of the Wise Men's visit, the first manifes- tation of Christ to the gentile world. Can you recall other major events of the Christian Year "R " 40 and their historical significance? Try to think of the colors, symbols and music that are appropriate to each season. If the Wise Men had not been watching the skies for the star, do you think they would

have seen it? If persons today are not seeking

for the meaning of Christ in their lives, do you think they will find Him? What rare gifts did the men of old offer Him?

Jet travel and mass production make such gifts available today in every town so that "rare gifts for us to offer" are of a different nature: Gifts of our time — Gifts of our talents — Gifts of our tithes.

Can you guess what nationality Conrad Kocher was by his name? When did he live? The German Chorale tune upon which "Dix" is based is called "Treuer Heiland" and another frequently sung hymn is used with this tune. Look in your Tune Index to discover what it is•

Circle this rhythmic pattern each time it appears in any part: afiltj Try a musical experiment by changing the two eighth notes to one quarter note and singing the tune. The results of the experiment should teach you something important about the relationship of movement and monotony — of even and uneven rhythms. Now scan the hymn quickly for intervals. Are you beginning to be able to recognize immediately — both by sound and by appearance — intervals of a second? a third? a fourth? a fifth? a sixth? an octave? To be good at part singing, hearing and tuning to the interval being sung is important — just as interval recognition helps in sightreading unfamiliar music. Let someone play an a b on the piano as you sing each interval above it. Not let the a b be the top note, singing the intervals below. Listen to each interval and decide if it is major or minor. By looking closely at the intervals that are sung simultaneously in all parts, we may discover what chord has been used as the basis for the harmonization. Since this tune is in the key of Ab Major, the chord built on the first note of the A b Major scale will be an A b Major chord, with A 12 c and E b . How many of these I Chords

do you find in the tune? The other two main chords used in every simple harmonization are chords built on the 4th note of the scale and on the 5th note of the scale. In this tune, the IV chord will be 1206 F A5 and the V chord will be Eb G Bb. One of the main waysof showing harmonization is to write the Roman Numeral, I, V, IV, representing the chord that is used, above the melody line, like this: I. I" I44P efi I Even after Epiphany is past, "As With Gladness" will remind me to keep anticipating and responding to God's Constant Presence and Purpose!

Your friend,

Charley the Choirboy H-22 Feb. '66 — 100 —

AS WITH GLADNESS MEN OF OLD

Dix 77.77.77.

Abridged from a chorale by WILLIAM C. Doc, 1837-1898 CONRAD KOCHER, 1786-1872 _I J, L(C2): 140 _4_t- 4 ir i. As with glad - ness men of old Did the guid - ing Z. As with joy - ous steps they sped To that low - ly 3. As they of - fered gifts most rare At that man - ger 4. Ho - ly Je - sus, ev - ery day Keep us in the

------: $- ----r ----1 -----!. 1 a --0 --i— —I— 1

-g- I--10 star be - hold; As with joy they hailed its light, man - ger bed, There to bend the knee be fore rude and bare, So may we with ho ly joy, nar - row way; And, when earth ly things are past,

Lead - ing on - ward, beam - ing bright; So, most gra - cious Him whom heaven and earth a - dore ; So may we with Pure, and free from sin's al boy, All our cost - liest Bring our ran - somed souls at last Where they need no • rl

I 1 •i ------g - - -1 ---• 4,--- 0 • Lord, may we Ev - er - more be led to : Thee. will - ing feet Ev - er seek Thy mer - cy seat. treas - ures bring, Christ, to Thee, our heaven - ly King. star to guide, Where no clouds Thy glo - ry hide. A -MEN. '9

Feb. '66 — 101 — A REQUEST FROM HELEN

ions Asked Most Frequently at Workshops: •

How to teach part singing? And should I? Ideas for keeping spirit constant, year-around. How to get the best musically out of the children while stressing the spiritual values. How much real music training can and should be taught in one choir hour? Difference in training boyschoir and mixed junior choir. How to work for cooperation with minister: How to overcome obstacles. How to present myself (a teacher) to the children in a more interesting manner. Without a trained voice, how does one teach a beautiful tone? Essentials for a good choir festival. How can I handle discipline in a large junior choir? As choir director, what is my responsibility as far as the Church School is concerned? Anyone who writes constantly on one general subject to the same group of people becomes concerned at times with the thoughts, "Am I being practical enough?" "Am I being too theoretical?" "Am I addressing only the lay- workers?" "Am I being advanced enough for the 'Old Pro's', sharp enough for the 'New Pro's'? "Am I giving enough detail — too much?" I believe that you might give me a better sense of direction if you would make some of your needs known. Enclosed in this LETTERS is one of our Three Choristers postcards. It's purpose is twofold, to let you see a sample of one of these attractive and useful cards, available to you through the Guild and to encourage you to use it to write down subjects concerning your childrens' choir work which you personally would like to have included in the LETTERS. This could be in the form of questions or subject titles. The list of questions above are to help you think of your own needs. Before I folded up my 1965 calendar, I made a quick review of the year for Festivals and Workshops for Directors. In 14 states, there were 18 events, large and small which involved 1700 directors of childrens' and youth choirs, public school teachers and church school workers; 3200 children either sang in Festival programs or served in demonstration choirs. You, as Guild members, are doing a great deal to foster this interest in providing leadership for fellow-workers in your communities. Please take a moment to jot down your suggestions on the card and send it on to me. One 4¢ stamp will carry it — or 6,:t airmail HELEN'S SCHEDULE FOR WORKSHOPS AND FESTIVALS Feb. 10, 11 Knoxville, Tenn. Holsten Conference NaFOMM Workshop Arthur Bayer Church St. Methodist Church Main Ave., Henley St. & Hill Ave. Feb. 12 Springfield, Ohio Wittenberg Conference on Worship Edward A. Bary Wittenberg University March 4, 5, 6 Milwaukee, Wisc. C.G. Junior Choir Workshop and Festival Mrs. Anthony Grunnert 4330 S. Austin St. March 12, 13 Denver, Colo. AGO Junior Choir Festival Austin C. Lovelace Montview Blvd. Pres. Church 1960 Dahlia St. March 25, 26, 27 Charleston, W. Va. District Methodist Junior Choir Festival Mrs. G. H. Overholt 633 June St. April 22, 23, 24 White Plains, N. Y. Junior Choir Workshop-Festival Mrs. James L. Winget Dogwood Drive, R.D. 1 Yorktown Heights, N. Y. 10598 * April 29, 30 Little Rock, Ark. State Junior Hi School Choral Festival Felix Thompson 705 Choctaw Circle May 13, 14 South Bend, Ind. Junior Choir Workshop and Festival Eugene Mogle First Methodist Church 333 N. Main St. * JULY 11-15 DENVER CHORISTERS GUILD SEMINAR * July 17-22 Waukesha, Wisc. Presbyterian Synod School — Carroll College Rev. Robert Raymond 326 N. Greenfield * July 25-30 Naramata, British Columbia Christian Leadership Training School Douglas Parnham 2819 12th Ave., N.W. Calgary, Alberta, Canada * Aug. 8-12 WINSTON-SALEM CHORISTERS GUILD SEMINAR * Aug. 14-19 W. Va. Conference Institute of Church Music Mrs. Richard P. Wellock 165 Broadway Ave. Peacock Par Fairmont, W. Va. 26554 * Stands for both Kemps, John and Helen Feb. '66 — 104 — ANTHEM SUPPLEMENT A-40

Some months ago when I was asking various members to select anthems for the Cream of the Crop pages, I asked certain directors to suggest their favorites for the Lenten season. One director wrote back: "When you find good Lenten anthems for children, let me know, I've been trying for years". This set me to thinking about the scarcity of suitable texts to express the message of the season for children.

In December, I received some manuscripts from Marian McLaughlin. One was a setting of the German folk-legend "Marias Wanderschafe". The translation is the one found in the Oxford Book of Carols. This anthem was apprais- ed by the manuscript committee of the Board of Directors and received hearty endorsement. We all consider that this is a distinctive addition to our anthem series and there is a real satisfaction in presentingit to our membership.

Here is a text (Mary's Wandering) which gives the significance of the Passion in an imaginative story, understand- able to children and meaningful to adults also. Read the text several times. What type of solo voices could best express the grief of Mary and the heartbreak of Peter? I personally believe expressive adult voices on the solo parts contrasting with the simplicity of children's voices would make the anthem poignant.

Marian McLaughlin (Mrs. Thomas Ostrom) is a sensitive, discriminating musician. I believe you will find this anthem to be a joy to develop, a delight to the singers, challenging to the organist and helpful to the congregation. Give it careful study.

Just a year ago (February-1965) we published Marian McLaughlin's "It Is A Good Thing to Give Thanks" (A-32). At that time we gave a biographical sketch of Miss McLaughlin and listed her compositions. Refer to that LETTERS to reacquaint yourself with this interesting lady and her works.

Next month there will be a detailed interpretive analysis of her new anthem, but don't wait. Study the anthem now and plan its use this Lenten season.

PRAYER FOR BOY SCOUT WEEK THE DAY'S NEWS IN 1809 February 7-13 With flint-locked guns and polished stocks, (or any and every other week) Knee breeches and long home-spun socks, Two hunters met in eighteen-nine, Almighty God, On the morning of St. Valentine, Across the line from Illinoi', heavenly Father, They stopped their mules and voiced their joy.

who bast blessed us "Why Ben, it's been quite a spell, Since I seed you; folks all well? with the joy Bring any news fram up near town?" "Why yes, you know John Ezry Brown, and care of children; They say that he's a-goin' down To Washington in all the din Give us light To see Jim Madison sworn in.

and strength so "And this yer feller Bonaparte That's fightin' cross the sea, to train them, that Is tearin' Europe all apart; That's what they're telling me." they may love "Wal', wal', nice day but kind o'breezy, This mule here's getting quite oneasy; whatsoever things are Wal', come and see us some time, do, And bring the gals, and Hepsy, too." true and pure "Yes, some fine day we'll be along; and lovely and of good Got any news to send along?" "No; nothin' worth a tinker's song — report, following There's nothin' happens here near me, Dog-gondest place you ever see. the example of their "Tom Lincoln lives right over there Saviour, Jesus Ehrist. In that log cabin bleak and bare; They say they have a little babe I understand the've named him Abe. Yes, Sally said judt t'other day (From the Book of Common Prayer) That nothin' happens down this way." --- Lulu E. Thompson

Feb. '66 — 105 — FROM THE EDITOR'S DESK

You will have noticed that the title page message this month is from Madeline Ingram. Each month a different member of our Board of Directors is preparing a message for you. Mrs. Ingram was a charter member of the Guild and has been on the Board since 1962. Many of you know her personally from her leadership in workshops and festivals. More of you know her as the author of two excellent books in the children's choir field: "Organizing and Directing Children's Choirs" and — (with William C. Rice) "Vocal Technique for Children and Youth" both published by Abingdon Press. We are all indebted to her for her inspiring life of service to children.

El ID gi Did you find the "Three Choristers" postcard in the envelope with the LETTERS? Use it as Mrs. Kemp requested (see page 104). If you wish more of these, or any other of our postcard series, we will be glad to send them to you when we receive your order. (See the Materials Order Blank sent with the October LETTERS). These make excellent reminder cards, "missed-you" cards and distinctive music department notes. Over 100,000 of our five cards have been used by our members in the last 2 years!!!

Are you planning to move? Do let us know — a month ahead, if possible. Do we have your Zip Code number? You can tell by looking at the address on the envelope that brought you the LETTERS. If not, drop us a card with your number clearly indicated, please.

Half of the Guild year is over. On page 91 we report to you on the distribution of our membership. How does your state stack up? The first number in each state or country is the number of members as of January 17. The number in parentheses is the number last year. Here are a few additional statistics: State with the largest membership — Texas — 246 States with no membership — Nevada, Wyoming —HELP State with the largest gain — Texas — 47 State with the largest loss — California — (11) States with over 100 members — 7 States with 50-100 members — 12 At this time last year we reported 2,453 members — this year the total is 2,737. When will we reach the 3,000 rung?

Have you had a Christmas card party with your children? There is a possibility here in doing good, both to the children at home who package and send the Christmas cards, and to the mission station and children to whom you send them. We've made these suggestions before, but here they are again. Here are five mailing addresses to choose from: Mrs. A. B. Singh, 140 Dharantalla St., Calcutta 13, India Mr. Ko Tjay Hie, 131 DJL. Djendr, Sudirman, Salatiga, Java, Indonesia Mrs. Lillian Dickson, P.O. Box 2131, Taipei, Taiwan (Formosa), Free China Mr. G. V. Suprijanto, c-o DJL Wuni-Benjo 2/3, Salatiga, Java, Indonesia Mr. R. Harjo Sceharto, Kantor Pos Besar I, Bandung, Indonesia The cards are used in Christian education work in the mountains, in small churches and Sunday Schools, and among leper patients.

SOME DO'S AND DON'TS: 1. Do sort your cards: birthday, Easter, get-well, Christmas 2. Don't send comic, suggestive, liquor-type, Santa Claus, etc. 3. Do cut off writing and send only pictures. 4. Do pack cards compactly in a box. 5. Wrap box in heavy paper and tie with twine. Do not seal with tape. 6. Print on package: "Printed matter — used greeting cards — no commercial value." 7. Package must not weigh over six pounds, nine ounces. HAPPY MAILINGS!

Recently we have had interesting communications from several of our various Guild Chapters. They seem to be having good meetings and anticipate thrilling festivals in the spring. If you live near any of these areas, associate yourself with your fellow directors for the mutual benefit of all. There are Guild Chapters in these areas: Amherst Co., Va. Enid, Okla. Appleton, Wisc. Essex Co., Mass. Blue Grass (Lexington), Ky. Lynchburg, Va. Central Iowa Michiana (South Bend), Ind. Channel (Santa Barbara), Calif. Milwaukee, Wisc. Dallas, Texas Newark, Ohio Denver, Colo. Feb. '66 — 108 — Saginaw Valley, Mich. Several times I have referred to the American Friends Service Committee's work among children in other lands. The book described at the left is well worth your 50 cents. It will interest your children and help answer their wondering as to what life would be like if they were children of some other race.

IF YOU WERE A CHILD IN HONG KONG One nice thing that happens to us in the office occasionally, is the visit of a Guild Member. Recently, Kathryn Hill Rawls This picture-story booklet portrays present- of Washington, D.C. paid us a visit. Surely you must know day childlife in Hong Kong: some of Mrs. Rawls' anthems for children and adults. She is just as charming as her music. • HOMES • HOLIDAYS She gave us, for our office file, a fine new anthem for children an S.A.T.B. — A Carol for Easter, published by J. Fischer • SCHOOLS No. 9600 30 cents. You may want to look at this as you be- • PLAY gin to think about your responsibilities on April 10. • STORIES If you are in the vicinity of Dallas in '66, do pay us a visit. • WISE SAYINGS, PROVERBS, It is your office — you ought to inspect your headquarters. AND RIDDLES • WORK • FOOD If you are having a church music conference in your area and would like to have some Guild material for distribution, we • MUSIC would be delighted to send you brochures, leaflets, etc. Just make your request and tell us how many directors are expected Printed in two colors; 32 pages. at the conference. "Fling out the Banner . . ." of the Guild's Single copy 500 service to directors! 10 or more 404

Many communities are planning children's choir spring CHILDREN'S PROGRAM festivals. It is encouraging to know how many such festivals American Friends Service Committee are using Guild anthems. We truly believe they are distinctive 160 North 15th Street, Philadelphia, Pa. 19102 and filling a need in the repertoire for children's voices. Many of the festivals will be using the Guild bulletin with the lovely picture of Mrs. Boyter's choir. A new supply of these is in stock, so you may "order with confidence".

It is getting on toward award time. At least you have probably given a passing thought to it. The picture and explanations on pages 106 and 107 are presented to show you what is available from the Guild office. You may not have seen the cross, or the two charms, or even the pins with pearls or a guard.

We thought you would like to see these pictured to help you plan. The new Award Order Blank will be in the April LETTERS.

Helen's spring and summer schedule is staggering. (How does she ever run a home as well! But she does!) She will be in ten states at least once. She will be within a day's drive of nearly half our membership sometime in this schedule. Plan now to take advantage of her inspiring leadership when she is near you. Write the local contact- person for details. 0 0 gi 0 0 By comparison with Helen's schedule, mine looks puny. I, too, will be delighted to see you if you can come to the conferences in which I'm participating.

March 4, 5, 6 Enid, Okla. Mrs. Gene Griffin 1705 Seneca April 23, 24 Seattle, Wash. Mrs. Eugene Collias 4318 First Ave., N.E. April 26-28 Calgary, Alberta Mrs. E. J. Baltrusaitis Grace Presbyterian Church Fifteenth Ave. & 9th St., S.W. April 29, 30 Billings, Montana Mrs. A. J. Movius 2601 Virginia Lane Of course, I'll be at both Choristers Guild Seminars also. We hope to see all of you somewhere in our travels. Happy Lincoln's Birthday, Valentine's Day, "Birthington's Washday", ad infinitum.

Feb. '66 — 109 — CHORISTERS GUILD JEWELRY AVAILABLE TO MEMBERS

Feb. '66 — 106 —

THE CROSS The cross, as all other pieces pictured on the reverse, is shown in exact size. It was especially designed for the exclusive use of the Guild members and their choirs. Its wearing can be a signal honor, and should be awarded or given, as should all the jewelry, on some clearly defined basis.

The cross has a bronze base, and is finished in antique shaded silvertone. The Choristers Guild emblem is engraved on the back. The cross is handsome; it can be purchased with confidence, and worn with pride. No picture can do justice to the beautiful finish.

The cross is priced at $2.00. Matching 24" chains are also available at $1.00 each.

0 01 0: rg] 0 0

CHORISTERS GUILD CHARM The Choristers Guild Charm is a shiny gold-filled disc with a Choristers Guild Pin implanted in the center. They are suitable for use on a charm bracelet, or a chain to be worn about the neck.

This charm makes a lovely remembrance to a much appreciated Choir Mother, or as a special gift of merit to an older chorister. (It could possibly be engraved on the back, if the purchaser so desires. This would have to be done by you locally, as we are not equipped for such a procedure.)

Pearls may be added to the pin on the charm in the same manner as pearls are added to the plain Choristers Guild Pins. This has been done in the past, and the result is truly striking. Addition of pearls is $1.00 each, as with the pins.

The charm as you see it, is $4.50 Matching 18 " gold-filled chains are also available at $1.00 each.

THREE CHORISTERS CHARM This charm is the same size as the Choristers Guild Charm, but is quite different in appearance. It is gold-filled, satin finished, with the 3 choristers outlined in black, with red vestments. Our Three Choristers Charm can also be used on a charm bracelet, or worn on a chain around the neck. The back is a shiny finish and could also be engraved. This charm would be a perfect gift for some tireless helper, choir friend, or particularly outstanding chorister. The Three Choristers Charm sells for $5.50. Matching 18 " gold-filled chains are also available at $1.00 each.

TIE TACK The new Tie Tack (not shown in the picture) is the same size as our Choristers Guild Pin and comes only in gold-filled. It is a pin with a tie tack back. It sells for $1.75.

Pearls may be added to the tack in the same manner as they are added to the pins (at $1.00 each) but we are unable to attach a guard to the Tie Tack. The Tie Tack may be used with your boys right from the beginning of your award program, and the pins with your girls. Boys can also wear these lovely tacks in a lapel buttonhole on a suit or jacket.

CHORISTERS GUILD PIN The Choristers Guild shield-pin has been used for a number of years, many thousands of these have been awarded to children for faithful service in choirs. The pin is available in two finishes: (1) gold-plated and (2) gold-filled. The face under the Old English letter C is finished in baked black enamel. The C stands for Christ and His Church, for Christian Character, for Children's Choirs and Choristers Guild. The pin is generally used as the first year award in the junior age choir. Each successive year, the pin may be returned to the Guild office for the setting of a pearl. (However, some directors prefer to add the guard the second year instead of the first pearl.) Upon graduation into the Junior High or High School Choir, the pin may be returned for the addition of the note guard and chain. The Guild does not recommend the use of the pin for choirs under the third grade. It may be used as far beyond the junior age as seems advisable. The gold-plated pins sell for $1.25 each; the gold-filled pins sell for $1.75 each. Each addition, a pearl, or note- guard, is $1.011 (Some directors prefer rubies at $1.00 each. Diamonds may be used; these cost $6.00 each.) gi 0 0 0 01 There is presently no Federal Excise Tax on any of the above items. State sales tax must be collected, however, from residents of Texas and Tennessee only, unless we have an exemption on file from the purchasing church. 0 0 0 0 0 0

A 10% discount is given on ALL NEW AWARDS ORDERED, if a check accompanies the order. In addition, the Guild will pay the postage whenever a check accompanies ANY order.

Feb. '66 — 107 — THE EASY WAY OUT

by Cecil E. Lapo

During the past few years I have had the remarkable opportunity to meet with many directors and organists in churches throughout the land. It has been a wonderful experience, rewarding in the fine people we have come to know, and informative in the questions asked and resources requested. It is about these persons and their questions I would make comment at this time. There are general questions from most individuals attending any kind of a church music workshop, which fall into a kind of pattern: "How do I build my choir membership?" "How do I get more persons interested?" "Can you give me some suggestions for music that I can use in my church?" "Why do I have so much trouble with my pastor wanting to use poor hymns and weak music?" "How do I get the leadership of the church school to use the hymnal?" These are some of the questions. It is answers to these questions that we would have you consider through the Choristers Guild LETTERS. There are certain techniques and suggestions of criteria that one can and must learn through outstanding teachers. These facets of education take time, background knowledge and adequate pi-aration. All this background would help to answer the questions listed above. However, for a person to expect a teacher to give a ready, glib, prepared answer to these questions is the "easy way out" of one's dilemma. Most of the answers depend on each individual situation and director and his own philosophy, background and approach to the ministry of music. How does one build choir membership? By examining the problem; finding out the potential in the church membership; by becoming acquainted with persons (not people) in the congregation; by having a meaningful philosophy of what music should mean to the church and "selling" that philosophy to the entire membership and community; and a host of other considerations. An "outsider" cannot do this for a director of music. The other questions have similar answers, but, all are answers which almost entirely must be discovered by the director himself. It is he who must learn to analyze his problems, who must search out the music he feels meets his church's needs, who builds within himself the inner strength to overcome problems, who finds ways to meet and work with people, who probes for the means of working creatively and understandingly through music with his pastor, who strives to learn the basis for strong, meaningful interpersonal relationships. It is a demanding task and may be self-revealing, but it is also a revolu- tionary and rewarding approach to one's vocation. It is not the "easy way out". Litititt CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 March Number 7 Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors RUTH KREHBIEL JACOBS, Founder of the Choristers Guild THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T. J. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynchburg, Virginia Denver, Colo. The Choristers Guild LETTERS are published monthly September through June for its members Regular membership $4.00 — Contributing membership $10.00 or more All correspondence should be directed to Choristers Guild Headquarters at 440 Northlake Center, Dallas, Texas 75238 Telephone: Area Code 214 — DIamond 8-0450

COPYRIGHT © 1966 CHORISTERS GUILD Mar. '66 — 110 — 0-11,5 issue SPECIAL ARTICLES The Easy Way Out — Cecil E. Lapo 110 A Festive Processional — Margaret Fisk Taylor 112 Choir Party Decorations (Part I) — Amy Page 116 REGULAR CONTRIBUTORS For Your Consideration — Norma Lowder 114 Hymn Study — "Hosanna, Loud Hosanna" — Christine Kallstrom 119 Tinntinabulations — Nancy Poore Tufts 122 From the Editor's Desk — F.L.W. 125 SHARING Palm Sunday Service of Processions — Henry Holloway 111 New Anthem Reviews — Roberta Bitgood 124 SUPPL EMENTS Choristers Guild Seminar Brochure New Anthem — "Great Father of Glory" — Margrethe Hokanson New Award Order Forms "Irving's Choir Stands and Sits Together" — Sally Lane

PALM SUNDAY SERVICE OF PROCESSIONS Sometime ago, Henry Holloway, Director of Music at Laurel Heights Methodist Church in San Antonio, Texas, sent a bulletin to me which showed their evening service for Palm Sunday in 1962. The service had the beguiling title given above. With the bulletin was the following:

Enclosed is an order of worship which we used three years ago on Palm Sunday evening. I plan to repeat this service next Palm Sunday. We called it Palm Sunday Service of Processions and utilized our several choirs. The procession progressed around the church as each choir entered singing their particular processional hymn. Each choir would proceed to another section of the church as an additional choir entered until the congregation was surrounded by choirs for the singing of "The Palms", then the choirs took their places in the congregation for the remainder of the service. It seemed to be a service of special meaning to both the choirs and the congregation. The various processional hymns (all from the Palm Sunday section of the Methodist Hymnal) were interspersed with printed prayers. The whole service looked interesting: I wrote Mr. Holloway for more details. The following is from his reply:

The prayers, calls to worship and scripture sentences may be found on pages 172-173 in the old Methodist Book of Worship. In the new Book of Worship they are on pages 98-100. The choirs and the people joined in the prayers. The grades of the choirs are: Caroler: Grades 2 and 3 Wesley Boy: Grades 4, 5 and 6 Wesley Girl: Grades 4, 5 and 6 Chapel: Grades 7 and 8 Youth: Grades 9, 10, 11 and 12 The people were asked to join in all hymns. (The bulletin says: Let the people remain seated and join in singing at the second stanza of each hymn.) Since the adult choir was not involved (as a choir) in the service, they rehearsed the hymns in advance and were seated (scattered) in the congregation. The idea for this service came ffom the realization that the several Palm Sunday hymns in the Hymnal were generally unfamiliar and that one Sunday a year does not give sufficient opportunity for using all of them. Hence, the idea for putting them to use in one Service of Processions. Printing the words of the hymns allowed for a selectivity in stanzas and made it simple to follow the service, but it did not allow the music "readers" in the congregation the added advantage of notes to follow. I think when I do it again (probably this year) I shall use the Hymnal and all stanzas of each hymn. If you need an idea to lift your Palm Sunday service to new heights of interest and helpfulness, you may find it in adapting this service to your use. If you would like to see the bulletin Mr. Holloway sent to me, I will be glad to share it with you. (Hope all 2,800 members don't ask at the same time!) Or you might write to him; his church address is 227 West Woodlawn.

Mar. '66 — 111 — A FESTIVAL PROCESSIONAL

By Margaret Fisk Taylor A festival processional adds meaning to the Thanksgiving service. Using dramatic movement to express the wonder of God's gifts, the wide scope of God's blessings and the gathering together to praise God in the sanctuary, boys and girls come down the center aisle to the choral accompaniment of Sing to the Lord of Harvest, by Jane M. Marshall (Broadman Press). The general thought content of the stanzas, the sweep of the melodic lines, the interludes and the changes of moods are interpreted through symbolic movement. During the preceding five weeks, the children work in small units to experiment creatively to find ways to interpret the ideas and moods. Then after several weeks, these units gather to rehearse as a whole processional group. The decision had been for units of three persons to form the processional, a tall one in the center and the two shorter ones on either side of the tall one. The center tall ones have their own movement designs; the side ones have their own designs that contrast or harmonize with the movements of the tall ones, as they all proceed down the aisle.

— The Mood of Praise —

"Sing to the Lord of harvest, Sing songs of love and praise; With joyful hearts and voices You alleluias raise." (.) There are upward thrusts and extended sweeping movements that come to a climax on the last phrase: "alleluias raise" during which everyone takes a running step forward with arms upraised. During the interlude, each unit of three circles and returns to the original position. The same movement pattern is repeated as the processional continues:

"By Him the rolling seasons In fruitful order move; Sing to the Lord of harvest A song of happy love."

After the interlude, the mood of praise is expressed with wide circling arm swings by the side pairs, while the center tall ones use upward thrusts that come slicing down in front.

"By Him the clouds drop fatness, The deserts bloom and spring, The hills leap up in gladness, The valleys laugh and sing."

The same circling arm swings are repeated during the next lines:

"He filleth with His fullness All things with large increase, He crowns the year with goodness, With plenty and with peace."

Mar. '66 — 112 — — The Mood of Reverent Dedication — By now, the units have reached the foot of the chancel steps and everyone starts up the steps with uplifted hands (palms up):

"Bring to His sacred altar The gifts His goodness gave, The golden sheaves of harvest, The soul He died to save." During the phrase "He died to save" all are facing the altar and each tall one extends his arms horizontally to reflect the form of the cross, while the two side ones in each unit kneel with head bowed.

— The Mood of Awareness of Christ's Sacrifice For All —

"Your hearts lay down before Him When at His feet ye fall, And with your lives adore Him Who gave His life for all."

All move closer to the altar and then kneel during the singing of "ye fall." Hands in prayer position are lifted straight above while all are on their knees, but they all rise during "who gave His life" culminating with an upward stretch so that hands part. During the singing of "for" arms are drawn down close to diaphragm while all turn around to make a forward thrust on "all" toward the congregation so that the gesture may communicate that Christ's sacrifice was for all people.

This festival processional is offered as an act of worship involving the whole person — body, mind and soul. The children (1) study the meaning in the anthem, (2) experiment creatively to find ways to communicate the ideas through symbolic gestures and designs, (3) work to use clear strong movements and (4) present these with devotion.

The members of the congregation are able to grasp the meaning, feel themselves vicariously involved in the symbolic movements and so they worship with the participants.

NOTE TO LEADERS: See that the children know the music and grasp the general meaning of a line or stanza. Do not try to pantomime words, but emphasize a mood with a full gesture. If the tall, center ones have an upward thrust, let the side ones have a wide, outward movement. If the congregation is seated, wide, outward movements can be made above the heads of those seated. The members of the movement choir should not look at the congregation but look far off with the wide, sweeping movements or directly overhead when thrusting upward or toward the altar when approaching it. In other words, see that the group looks toward the emphasis — eyes are very important. Decide where a climax can be reached in each section; the rush forward on the "alleluias raise", the emergence of the cross symbolized during "He dies to save", and the turn and thrust toward the congregation on "for all" (this is the one time that the movement choir looks toward the congregation). This anthem seems ideal for movement with its variety of moods, the little interludes and its melody that the children can follow with ease. Get the anthem taped for the practice sessions because the children will need to go over and over the sections as they work out their interpretations. Keep movements simple and clear; good straight walking is better than uncertain gestures; so use gestures for emphasis. Start with a small group of six to experiment with the idea; then in the next rehearsal they will act like yeast for the larger group. This fall we had 24 children in our processional with ages from 10 to 16 years, boys and girls. We had all 24 together only twice at the very end, for we worked with two sections and the leader would share what the others had evolved so it was a mutual inching along done alternately. The children were truly thrilled with their work, for it was "theirs" to contribute to the service of worship. This anthem will be one of several used by Mrs. Taylor with her classes at our Summer Seminars at Denver and Winston-Salem. Mar. '66 — 113 — Norma's Lye and Ears have been a-roving again and she has come up with the following FOR YOUR CONSIDERATION by Norma Lowder

ANTHEMS

Little Wheel A-Turning. Brown. Oxford University Press. 1965 250 Two part. This arrangement of the well-known Negro spiritual may be sung in various ways: SB, SA, SAB, STAB, TB or STB; female, male, mixed voices; children or adult. Piano accompaniment is suggestive of the constant turning of the wheel, and is most unusual. I'm A-Rol I ing. Brown. Oxford University Press. 1965 25¢ Two Part. Like the anthem above, this spiritual may be sung in various combination of parts, female, male or mixed voices. Again one finds an unusual accompaniment. Alleluia! Hearts to Heaven. Butler. Broadman Press. 1965 25¢ Unison. Mr. Butler's most recently published anthem for children's voices appears in the music section of THE JUNIOR MUSICIAN, volume 4, number 1, and is also available on a 33 1/3 recording from the Church Literature Depart- ment of The Sunday School Board of the Southern Baptist Convention. While appropriate for general use, it seems especially significant for Easter. I Will Magnify Thee, 0 Lord. Clarke. Concordia No. 98-1796. 1965 20¢ Unison. Here is a recent edition by Mason Martens of a 1700 setting of Psalm 3:1-3. While it is not the easiest of anthems, a careful presentation will cover any thought of difficulty on the part of most youthful choristers. Certainly it is worthy of examination. Ding Dong! Merrily on High. Curry. Harold Flammer No. 86192. 1964 250 Unison. A familiar text is set to the tune "Branle de 1' Official" from Arbeau's "Orchesographie", 1559, with optional handbell accompaniment. It is not too early to consider this anthem for Christmas, 1966. Before the Break of Day. Fraser. Harold Flammer No. 86199. 1965 25¢ Youth and Treble Choir with Solo Voice, Organ and Handbells. The Easter anthem may be sung in unison by a children's choir, or with youth choir, usually in two parts. The melody is quickly learned and easily remembered, for it is tuneful and sung to a catchy rhythm. Jesus, Thanks to Thee We Offer. Frauenholtz. Concordia No. 98-1827. 1965 25¢ Unison. Robert E. Wunderlich has translated the text and reduced the organ score of the anthem from Frauenholtz' (1684-1754) cantata "The Lord Remembers Us". An excellent anthem. Let the People Praise Thee, 0 God. Hammerschmidt. Concordia No. 98-1826. 1965 35¢ Unison. Psalm 67, 4-7 is the setting for this most effective arrangement which includes accompaniment for cello and tw violins, flutes or recorders. It is neither easy nor short, but is an examination must for directors who are looking for a challenge and/or something a bit out of the ordinary. Christ, the Life of All the Living. Kuehnhausen. Concordia No. 98-1825. 1965 20¢ SA. Another 18th century melody, from the "Passion According to St. Matthew". God of All Lovely Sounds. Marshall. Broadman Press. 1965 250 Unison. Mrs. Marshall's anthem also appears in the recent issue of THE JUNIOR MUSICIAN and 33 1/3 recording mentioned earlier. Guild members may well consider this a prayer anthem to be sung much in the manner of a response or act of dedication. A Song of Christ. Lovelace. Canyon Press No. 6507. 1965 26¢ Unison. Dr. Lovelace has written a most effective anthem, suitable for general use but perhaps most useable at Easter. Another examination must. 0 My Dearest Jesus. Rogers. Lorenz. 1966 $1.25 SA. Recent months have seen the publication of several cantatas written for junior singers. This one is appropriate any time during Lent and as a finale to Easter. Arrangements offer unison, two-part, antiphonal and two-melody parts. Two Part Canons on Classic Hymns and Chorales, Set 111. Schalk. Concordia No. 98-1764. 1965 45¢ Praise to the Lord, the Almighty (Lobe den Herren); Lord, Keep Us Steadfast in Thy Word (Erhalt uns , Herr) Awake, Awake, for Night Is Flying (Wachet Auf); NowSing We, Now Rejoice (In dulci jubilo); When I Survey the Wondrous Cross (Rockingham Old); We Now Implore God the Holy Ghost (Nun bitten wir) Almighty God, Thy Word Is Cast (Dundee); 0 Gladsome Light, 0 Grace (Nunc dimittis) It is suggested that these canons be performed by two groups of singers, by two instruments or groups of instruments, or by a combination of voices and instruments; and that they be sung in service as alternate stanzas or as an anthem, in schools as an additional resource of sight reading and an introduction to polyphonic music, and in the home as a part of family devotions. Awake, My Soul, and with the Sun. Weinhorst. Concordia No. 98-1791 1965 25¢ Congregation and Choir. An arrangement of the Tallis Canon is provided for various choir groupings and congregation. Alternate words are given (All Praise to Thee, My God, This Night) so make the setting suitable for matins and vespers. Agnus Dei — 0 Christ, Thou Lamb of God. Willan. Concordia No. 98-1824. 1965 20¢ Unison. A short Lenten anthem on a familiar text.

Mar. '66 — 114 — COLLECTIONS

The Chapel Choir. Couper. J. Fischer No. 9098. 1963 $1.50 SA. Dearest Immanuel. Fritzsch-Bach; Deck, Thyself, My Soul, with Gladness. Bach; For the Beauty of the Earth. Kocher; Glory Be to David's Son. Dencke; He Is Risen, Allelujah. Highland Melody; In the Cross of Christ I Glory. Conkey; Jesus, Our Saviour, Thou Joy of Our Hearts. Lully; A Mighty Fortress Is Our God. Luther; Now Thank We All Our God. Cruger; 0 Sacred Head, Now Wounded. Hassler; Praise My Soul, The King of Heaven. Beethoven; Responses. Couper; Song of Praise in Spring. Rolle; To Thee, 0 Lord, My Heart Rises. Goudimel; What Child Is This? English Carol The church calendar could be filled with arrangements included: Christmas, Pentecost, Lent, Easter, Children's Day, Reformation, and Thanksgiving. 0 Worship the King. Sellew. J. Fischer No. 9664. 1966 $1.00 Unison The eleven numbers in this collection are anthems never before published, all original works, written for the primary-age child. Psalm 100; A Child's Prayer; My Gift; The Lamb; He Prayeth Best Who Loveth Best; Sing, 0 Sing, to the Lord of Love; Psalm 23; A Song for Children's Day; A Thanksgiving Day Hymn; 0 Star of Love; On Easter Day Songs of Worship. Sanders. J. Fischer No. 9687. 1966 $1.25 SA. Hear This Child — a prayer for grace; Christmas in My Heart — A Christmas wish; 0 God, Whose Love Is Over All — a song of praise; Sing Joy! — sing to the Lord and magnify Him; The Lord Is My Shepherd — a quiet song of trust and hope; On Our Way Rejoicing — a processional of praise; Christmas Message — a pastoral scene; Courage, Christian — lift your hearts and spirits high; A Star Is Born — the glow of the Christmas star; I Thank My God — the worship of God in nature; 0 God, Our Help in Ages Past — an old prayer in a modern setting; All Things Bright and Beautiful — to God, who made all things beautiful; Easter Time — a song to life and spring, with speaking chorus; Prayer Responses A Second Morning Star Choir Book. Thomas. Concordia 97-4702. 1965 $1.50 Unison and two-part for treble or male voices. "Most of the 25 works in this collection are technically easy or only of medium difficulty for young people and children. Several more difficult numbers are included to challenge better groups." "The compositions were all written by master composers . . . Only through first hand acquaintance with the music of the great composers can children learn to appreciate the creative gifts of genius." "There are unison selections, two-part numbers, one three-part composition, and several canons. Most of them have an accompaniment for a keyboard instrument . . . two selections require one and two string or wind instruments respectively. In several others the use of a flute, recorder, oboe or violin would enhance the performance. Works by 22 composers represent various schools of composition from the 16th to the 20th centuries and from eight countries . . . The texts are taken from the Bible, the great hymnody of the church, or the Christian liturgy." An unusually good collection! Rejoicing with Music. Bampton. Lorenz. 1965 Book, $3.00. Recording, $3.95. Book and Recording, $6.50. "A new idea in music for pre-school children, the book makes fun out of the child's first introduction to group singing . . . promotes participation in music and appreciation of music . . . shows the child how music can be a part of his life in church, in school, at home and at play." Teaching hints are included. Chord symbols encourage instrumental accompaniment. Many illustrations aid visualizing the song. Within Thy Hand. Adler. Jewish Teacher, April, 1965. 350 Unison. Mr. Adler, whose work is familiar to Guild members, has set to music a group of twelve texts by Ilo Orleans. Several are equally suitable for use in Christian Church Schools and/or choirs. All are appropriate to a study of the Jewish faith and are worthy of examination. BOOKS 0 Sing unto the Lord. Horn. Fortress Press. $2.00 1966 "This book is aimed at the average man in the pew as it attempts to explain the music of the Lutheran Church." "Information included should be useful to all congregations, large or small, urban or rural. Good music must be the concern of everyone . . . Included are chapters about the basic structure of, and interrelation between worship and music; chanting the liturgy; singing the hymns; organization and rehearsals; accompanying services, voluntaries; and the need for musical training in every age group." Music for the Handicapped Child. Alvin. Oxford University Press. 1966 $3.40 A general survey of this important subject and outlines for the particular uses of music are useful to choir directors as well as to those who work more specifically with the handicapped. Up the Down Staircase. Kaufman. Prentice-Hall. 1964 $4.95 I cannot resist the temptation to recommend to Guild members this book which has to do with the teaching profession in secondary schools. While not directly related to churches or choirs, this best-seller is one that I could not put down until it was completed. Perhaps you will enjoy it as much as I. RECORDS Select Songs for Children, # 3. Two 7 " records. 452-071 $1.98 Songs for Primaries, #2. Three 7 " records. 452-073 $2.98 Directors who are enjoying the Broadman Press books of the same titles will be interested in the recordings compiled by Nettie Lou Jones and William J. Reynolds.

Mar. '66 — 115 — CHOIR PARTY DECORATIONS by Amy Page With the approach of spring and the end of the choir year, plans are being made for choir parties, banquets or award ceremonies, and suddenly you're confronted with the problem of decorating for these events. Unless your situation is most unusual, little or no money is available for decorations and whatever is done will have to be done by you, or at least under your supervision, and as inexpensively as possible. Here are a few ideas you might like to try: Having done quite a bit of this sort of thing, I've learned my most effective method is to feature one real smashing display and then echo it around the room. For instance, at a banquet (at the speaker's table or on a small centrally located table) have a really big boquet and then have a corresponding single flower corsage or boutonniere at each place setting. But we're not going to be so mundane as to use mere flowers. That was just to get your thinking pointed in the right direction. At last spring's choir banquet my central display was a choir girl about 11/2 feet tall. Actually she was a Christmas angel from my home decorations. I carefully removed her wings and halo and made her a black fabric skirt and white top (surplice) trimmed with a bit of lace (all scraps). Her beautiful song book was fashioned from an old Christmas card. Standing her on a gold colored hexagonal corsage box gave added height. The whole thing went atop a small round table which had stood in someone's garage for a couple of years. However, the table was hid by a circular covering made from a discarded bedsheet. To make this, I measured from the center of the table to the floor. Using a piece of string this length tied to a ball point pen and holding the other end of the cord in the center of the sheet, I drew a great circle. Cut out (allowing one inch for a hem) and machine hem- med, there was the masking cover for the beatup old table. Then using a black felt tipped marker, I drew musical symbols at random all over the skirt of the table cover. It was quite effective (See Figure 1). The secret of the felt marker is to work rapidly with broad strokes. It's quite easy. My art lessons ended with the fourth grade -- so if I can do it, anyone can do it. Just make some half notes, quarter notes, sharps, flats, clef signs, etc. And don't try for perfection. Using the black marker to make your musical symbols would also be effective on a white paper table covering. You might even put a staff down the center of the table by using five black markers in one of those chalk staff drawers. Just don't be afraid to try it. To echo my choir girl, I made little individual choristers for each place setting, which the children took home with them. (And may I digress for just one moment here -- be sure each child has something -- some little thing -- to take home. This seems to be a prime requisite of a successful children's party.) Directions for making your small choristers (Figure 2): For every four figures, you'll need a 12 by 18 inch sheet of black or red construction paper, four 8 inch round paper doilies, a bottle of white glue, four small plastic foam balls (the ones about 11/2 to 2 inches in diameter), yellow, brown and black yarn (to be cut up for hair), white tissue paper, round toothpicks, straight pins or paper clips, and black and red ball-point pens. First, measure from the center of each of the four edges of the construction paper, cut out four half circles with a 51/2 inch radius. Then measuring from the same radius point, cut out a half circle with a 1/2 inch radius. This makes the bodies. Then cut the doilies in half, using four of the halves for blouses. From these blouse halves, cut out a half-circle one inch in radius at the neckline. Put the remaining four half circle doilies aside for the moment. Make individual cones of each construction paper and doilie half circle by holding the straight edges together and gluing them, using straight pins or paper clips to hold until dry. Place doilie blouses atop red or black construction paper bodies. Now cut the remaining four half circle doilies in half again, and make cones of the resulting quarter circles for the sleeves. Glue in place to the body. To create the heads, insert a toothpick into each foam ball, cover with tissue paper and twist paper around toothpick. Cut one inch pieces of yarn for choir boys. (Use longer pieces of yarn if you wish your chorister to be a girl.) Apply glue to top of head and attach as many pieces of yarn as you think looks good, making it go in various directions. Trim as needed. Draw on faces as shown in Figure 3. (Note: These faces are suggestions for your use -- they are not drawn to scale.) Use red pen for mouth, black for eyes. Insert toothpick into neck hole and there you are.

Once for a Halloween choir party, I made the choir boys, but for heads I used the little plastic pumpkin heads you can buy for 5¢ each at the dime store. I had them all standing together to form a regular choir and allowed each child to take one home at the end of the party. They were very popular.

If you don't have a Christmas angel available to convert to a choir girl for your central display, you might like to try the following idea. It's a choir girl again, but you start from scratch, and instead of using construction paper or such, you use sheet music -- three pages of it (Figure 4). I'm sure we all have some music mistakes around of which we'd like very gracefully to dispose. I do.

Mar. '66 — 116 — Besides your sheet music you'll need the articles for the head which are the same as for the choir boy: white tissue paper, white glue, plastic foam ball (large enough in diameter to be in scale with your finished figure), yarn in your color choice for hair, a round toothpick or even an orange stick, and black and red ball-point pens.

To make your figure, wrap and glue one sheet of music around a slender juice glass to form a cylinder. Trim it down if it's too tall. This is the base of the figure. Then form the second sheet of music into a cone. Unlike the cutout ones, this will have a pointed "tail". Fasten with glue (using pins or paper clips to hold until dry). Place atop cylinder.

For the arms, cut the third sheet of music in two and roll into cones. Fasten with glue. When dry, glue these arms in place to the figure. You may need the help of some transparent tape here. Make the head by inserting toothpick or orange stick into foam ball, covering with white tissue paper and twisting paper around stick. For hair, glue short pieces of yarn to head and trim as needed. Draw on face with red pen for mouth and black for eyes, using one of the designs in Figure 3 as guide. Insert toothpick into neck- hole and voila! A conversation piece.

One particularly successful decoration I've used was small bouquets on each table, but rather than being bouquets of actual flowers, they were bouquets of various colored construction paper musical notes -- in the shape of Figure 5.

For stems I cut thin strips of green poster board, but perhaps you can think of a better stem than this, although this worked quite well. Bend down about one inch at end of stem and glue flower note to it. Instead of vases, I used small natural colored (brick colored) flower pots. Crushed chicken wire was used for the frogs and the vari-colored notes made a very springlike setting.

Dream up your own creations. Once you've turned your mind in this direction, you'll be surprised at what will take shape.

For instance, you might try making mobiles to hang all around the room using bent coathangers, string and musical symbols cut from black posterboard.

Have you ever ventured to try paper sculpture? This could open up a whole new world for you. The ideas just come tumbling at you. If you're interested, I suggest you visit your local library and get the small book called "Paper Shapes and Sculpture for School Use" by Mary Grace Johnston, (Davis Publications, Inc., Worcester, Mass., 1958). It's written to be used by children from fifth grade to junior high school, so it is more easily understood than some of these books can be. And this particular book has the directions for making the most terrific carolers — really impressive looking, but not difficult to create.

Also the most interesting musical symbols that really have shape and contour to them. Look into this.

Meanwhile, put on the ole thinking cap and come up with something really original! You'll be surprised how you'll begin to "see" things for use in decorating that you never noticed before.

Besides, it gives you such an artistic feeling!!!!

We'll bring you some more ideas next issue.

Mar. '66 — 117 —

FIGURE 1

FIGURE 2

ITT\ irr< e 0 0 FIGURE 3

FIGURE 5

FIGURE 4

Mar. '66 — 118 — DIRECTOR'S PAGE

Hosanna, Loud Hosanna

TEXT: Hosanna, Loud Hosanna was written by Jeanette Threlfall, 1821-1880, one of the better English writers of children's songs during the nineteenth century. For more about the author see Our Hymnody by McCutchan.

TUNE: Songs of Praise attributes "Ellacombe" to the Mainz Gesangbuch, 1833; but other equally creditable sources date the German tune from 1784. The composer is unknown.

CHURCH YEAR-CURRICULUM CORRELATION: The text relates specifically to the Palm Sunday event in the life of Christ, with particular emphasis upon the concern that Jesus felt for the children gathered to praise Him.

THEOLOGICAL IMPLICATIONS: For centuries, generations of pilgrims had thronged the roads leading to Jerusalem to celebrate the Passover, as did Jesus and his disciples from Bethany when He was recognized by some in the crowd as "The Messiah". The children, having heard their parents tell of the great Teacher, were among the first to break off Palm branches and share in the exclamations of "Hosanna". Perhaps the most important "theological implication" in the biblical narration is that it is dependent on each of us as directors, teachers, or parents to teach our own children "to know Him as our Redeemer" as we too sing the ancient song of "Hosanna".

TEACHING SUGGESTIONS: Sing the tune by scale steps, noticing how frequently step-wise intervals are used. Follow the suggestions in the hymn study for teaching "doubling". Clap the rhythm with particular attention to the recurring eighth note patterns in soprano and alto. With more mature choristers, experiment to demonstrate how much more interesting the eighth note patterns are when they do not occur simultaneously, as in the following excerpt:

To teach the text, let the children begin by listing as many of the biblical expressions of praise as they can recall, such as "Hosanna", "Alleluia", "Gloria", etc. If there is time, think of hymns in which these expressions are used.

Since the events of Holy Week form the most significant period in both the life of Christ and in all subsequent Christian history, you may feel it worthwhile to help the children formulate an overall picture of these busy days in the ministry of Christ.

You may wish to assign different groups of children to read about, to act out, and/or to draw an interpretation of the events of each day. If this is done, take the time yourself — beforehand — to reread all references and plan a way of picturing to your children the appropriate time and place concepts of Jerusalem. Check with the education director to see if slides, pictures, or other audio-visuals are available to illustrate the meaning of such words in the text as "pillared court", "palm-branch waving", "rode in lowly state", etc.

If there is to be special Holy Week music in your church, help the children place the historical events with the specific music being used, attempting to bring out the different types of music appropriate to the festive mood of Palm Sunday, the quiet moments of prayer at Gethsemane, the sorrow of Good Friday, and the exultant feeling of Easter Sunday.

This hymn is in the Choristers Little Hymnal, Number 28.

Mar. '66 — 119 —

HOSANNA, LOUD HOSANNA Ellacombe Words by: Tune: Jeannette Threlfall German c. 1784 18214880 What is the happiest memory of your life thus far? A party? .... A ball game? .... Winning a contest? .... A surprise? .... Your first special friend? These were all happy times for me, but nothing can compare with the moment of discovering that the God I had been brought up to know, really existed — and in a way beyond my understanding, knew of my existence and loved me from my beginnings. For the children of Jerusalem, Palm Sunday must have been a happy memory — waving palm branches, shouting, "Hosanna", and crowding the rough streets for the only recorded time that Jesus was given public recognition for His ministry on earth. The grownups were exultant too, but many of the persons who cheered, stood without saying a word — a week later — at the foot of His cross. Notice how often hymns and anthems use phrases such as "close folded to His breast". This symbol of God's love reminds us of the warmth and security we felt snuggled as infants in the arms of our mothers. There will be times as we grow up that we would like to be "little again" — protected and dependent — but we must have the courage to face decisions and problems with the certainty that God's love will comfort and re- assure us through the most difficult of times. Jesus knew He faced hard moments because of His words recorded in Mark 9:30-32, but He used every bit of His remaining time and energy teaching God's purposes wherever He went. Read in your own Bibles to see how full were His last days on earth and how revealing were His actions and discussions with those around Him: The Arrival at Bethany John 11:55-12:11 The Triumphal Entry Matt. 21:1-11 Mark 11:1-11 Luke 19:28-40 John 12:12-16 The Cleansing of the Temple Matt. 21:12-17 Mark 11:12-18 Luke 19:45-48 The Day of Teaching Matt. 21:18-26:5 Mark 11:19-14:2 Luke 20:37-22:2 The Day of Quiet Matt. 26:6-16 Mark 14:12-16 Luke 22:3-6 The Last Supper and Gethsemane Matt. 26:17-56 Mark 14:17-52 Luke 22:7-20; 39-53 John 13:1-17; 18:1-12 The Trials Matt. 26:57-27:32 Mark 14:53-16:19 Luke 22:54-23:25 John 18:13-40 How many times do you find the phrase in the melody which is built on these scale steps: 5 8 7 6 5 8 3 4 5? What do you notice about the alto, tenor and bass each time the phrase appears in the soprano? Does this "doubling" strengthen or weaken the tune? Now, clap the rhythm to see if the movement released by the eighth note patterns is appropriate to a hymn of praise? "Hosanna" — an ancient word! "Jerusalem" — an ancient place! But memories of the events which happened centuries ago to God's Son, evoke a new and present response from each of us who today sing "Hosanna, with heart and life and voice". Charley the Choirboy

H-7 Mar. '66 — 120 —

HOSANNA, LOUD HOSANNA Ellacombe 76.76.D.

JEANNETTE THRELPALL. 0321-288o GESANGBUCH DER HERZOGL 1784 I --

r. Ho - san - na, loud ho - san - , na The lit - tle chil -dren sang; 2. From 01 - i - vet they fol - lowed 'Mid an ex - ult - ant crowd, 3. " Ho - san - na in the high - est r That an - cient song we sing,

•

Through pil - lared court and tern - ple The love - ly an - them rang; The vic - tor palm-branch wav - ing, And chant - ing clear and loud; For Christ is our Re - deem - er, The Lord of heaven our King.

• r•

12 rs"' —1— • To—. • •

To Je - sus, who had blessed them Close fold - ed to His breast, The Lord of men and an - gels Rode on in low - ly state, 0 may we ev - er praise Him With heart and life and voice, -t-

The chil - dren sang their prais - es, The sim - plest and the best. Nor scorned that lit - tle chil - dren Should on His bid - ding wait. And in His bliss - ful pres - ence E - ter - nal - ly re - joice1 A - MEN. -o- -a-. -0- •

Mar. '66 — 121 — )1 ' INTINNABULATIONS Do hurry in, Good Friends!

And batten down the hatches. Please leave your dripping brollies and rainboots in the catch-all. This freakish weather is surely winter's angry last gasp. The days of the wild trumpets of March are numbered. We know with certainty that winter will give way, however reluc- tantly, and usher in the loveliest of seasons — when we and the world around us are made new again. There is no season like the budding year, none so wonder-full, none so conducive to the stirrings of hope in the human heart, none so indicative of the goodness and artistry of God. "For lo, the winter is past; the rain is over and gone; the flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land."

Anyway, it's almost official. A robin just landed and blew on its frosty claws. Let's ring in — SPRING.

TO WHOM DOES THE CHOIR SING? Although it is accepted practice in some churches, "performing" Children's Choirs will ever offend the propriety of many worshippers. During a Service of Worship, the Sanctuary is not a school auditorium or assembly room, or a convention hall, or a theater, or a concert hall. What impression do young Choristers gain of the dignity and sanctity of the Service when they are marched up front to sing "their" number, or are instructed to turn around and "sing so the audience — er — congregation can see and hear you", or are trained to "interpret" songs with motions ("Aren't they darling!"), and from other distractions and/or entertainment? Rehearsals held in the Sanctuary, with loud talking by the Director and assistants, shifting around, and repetition, are also confusing to children who have been taught to respect God's House. Without seeming unctuous or prissy, can we not sincerely help youngsters to love, honor and reverence their Churches and its Services, to value and even treasure their Choir Experience? I believe we can. The spirit of worship is not controlled by a faucet. It is evoked by atmosphere, attitude and precept. Shinichi Suzuki, the great Japanese teacher of the violin whose exceptional work with children and teachers has won world acclaim, emphasizes the importance of influencing students by what we do and by helping them develop "a good heart, a good attitude". He once sent a student to play the Bach Chaconne in an empty Church . . . . "To God".

BELL POURRI: Delight to the Mind and Body. Ellen J. Lorenz Porter is generous with her Handbells and in- genius in the various ways she uses them. "Recreation" magazine, December, 1965, features an article "Parties that ring Bells' by Mrs. Porter in which she tells of many informal uses of handbells and the pleasure and relaxation they bring to family gatherings, neighborhood get-togethers, as well as to students from 10 to 84!

Delight to the Spirit. Reston, the new cluster city built in N. Virginia near Dulles Airport, which has had widespread coverage in recent national publications, was "officially" opened on December 4, 1965 with a day- long Salute to the Arts. The dedication concluded with a concert by the Potomac English Handbell Ringers and an address by August Hecksher, Director of the 20th Century Fund and former White House Adviser on the Arts. Mr. Hecksher's speech was entitled "To the Sound of Bells". The first sentences: —

"It seems wonderfully fitting that this opening of the first Village Center of Reston should be accompanied by the sound of bells and take place amid music, plays and poetry readings. What we have been celebrating today is the beginning of a community. And the true community cannot exist without experiences which give delight to the spirit."

DOVER PUBL ICATIONS, a "Musicological Society" of merit: Musicians and scholars unfamiliar with Dover Publications, Inc. might be interested in receiving their adverts. Write Dover Publications, Inc., 180 Varick St., New York 10014. Dover is making a valuable contribution to the music world by publishing re-prints of classic texts on various aspects of music, as well as complete works of composers. Many of these have been out of print for some time and almost impossible to obtain except through special libraries. Responsible musicologists and critics have commended Dover's endeavors in current press reviews. Most of the books are cloth bound. Prices are reasonable. Mar. '66 — 122 — Titles include: "Franz Schubert's Complete Works" (Breitkopf & Hartel ed. of 1884-97); Dr. Burney's "A General History of Music" (ed. 1785); "Practicing the Piano" by Frank Merrick; "The Fitzwilliam Virginal Book" (1894 ed.); "Johann Sebastian Bach" by Philipp Spitta; Audsley's "The Art of Organ Building" (1905); "Antonio Stradivari" by Hill (1902); "The Art of Accompanying from a Thorough-Bass" Franck Arnold (1931) and others.

STAINED GLASS BELLS. We have seen very few bells depicted in stained glass art in America. Occasion- ally (if you know where to look) one is discovered abroad. The famous Bellfounders' Windows of Yorkminster come to mind, also the Bell Ringers' Chapel windows of Lincoln Cathedral, and windows in several countries honoring the Patron Saints of bells or Saints associated with music or bells such as St. Catherine, St. Patrick, St. Teilo, and so on. This subject would be an interesting matter for research and for publicizing a list. Bell Ringers and other musicians would be interested in knowing in what countries, cities, churches, schools to visit these windows . . . . In Birmingham, Alabama, the Independent Presbyterian Church recently dedicated a new chapel that has an "Alcove of Music". Above the organ console is a beautiful window representing St. Cecilia, Patroness of Church Music, with a traditional organ in her arms. The window shows also Shepherd Pipes, a Harp, and two "Bells of Joy". The Alcove suggests "the worshipful devotion and the rejoicing praise of all those who have entered the service of Christ through the centuries; a devotion and praise into which His followers enter today as we form the present link of the historic chain of the Everlasting Church".

ONCE OVER LIGHTLY: "Project Hymnbook" Thank heaven, Good Shepherd has ordered more hymnals. With choirs bursting at the seams, it has been necessary that several groups share one set of books, though at separate services. Mr. Schmitt (#19, Senior Choir) was amused to find a note in #19 hymnal from Bonnie S. (#19, Junior Choir): "Dear Mr. Schmitt: If you don't stop throwing away my bulletins and valentines and things, I am going to tell Mrs. T. Now what do you think of that?" (signed) Bonnie SS. . . . Risible tickler: Last Sunday after losing the weekly Organ-Postlude vs. Congregational-Hullaballoo Contest, our favorite Choir Director descended from the Choir Loft to find a somewhat belligerent 4-year old waiting. He demanded: "Are you one of the guys who sings in the Choir?" She shook her head gravely and said no, she was the lady who pumped the organ and waved her arms. "Well, I just wanted you to know that when I am six years old, I am going to sing in the Choir." "Well, bully for youse," murmured she as he went galumphing down the aisle to join the clishmaclaver . . . . Scandalous! Oops, we've done it again and of course it popped up in the Church Paper. Mrs. T. (to young man waiting in the Parish Hall) "Are you the father of one of my children?" . . . . Joannie Can't Spell, Either. The Junior Choir President's "agenda" for the February Business Meeting — found in #1 Hymnal:

1. The meeting will now come to order. 2. We will now here the reports from the oficcers. Secretairy Librararian Tresuarer Chapland 3. Anyone have any suggestions or complants to make. 4. Dues onec a month. 5. The meeting is now agumed.

P.S. Pupel Refreshmints

Happy KITING!

All youse choirs guys

Nancy Poore Tufts

"0 Lord, if it be possible, please justify our opinion of ourselves."

Mar. '66 — 123 — MEET THE COMPOSER

It is a great joy to add another highly respected name to our list of Guild anthem composers. Margrethe Hokanson is new to our series, but in no way new to most of our members. Her excellent compositions have been known and used by most Choristers Guilders for many years. Her choral and organ works appear in the catalogues of Summy-Birchard, J. Fischer, H. W. Gray, Abingdon, FitzSimons, Kjos, Concordia, Augsburg, Hope, Broadman, Canyon, Fortress, Flammer and now — The Choristers Guild!! Believing that you would like to have some of Mrs. Hokanson's background, I asked her for a sketch of her musical training and professional activities. The following is from her letter.

"Relative to a resume for a biographical sketch, I am at a loss, more or less, to 'pinpoint my story'. My fundamental work and study began at American Conservatory (Chicago, Ill.) where I had four years of un- interrupted study with Heniot Levy in piano, organ with Wilhelm Middelschulte, and composition (counterpoint, fugue, orchestration) with Arthur Olaf Andersen. Later, I was privileged to work with a number of outstanding artists and pedagogues. Among them Josef Lhevinne (summer sessions), Marcel Dupre in Paris, 1948, and Darius Milhaud, 1962.

"It has been an interesting life to be sure — but the acme of my professional joy and inspiration was the 32 voiced Nordic Choral Ensemble. Unfortunately, this organization was forced to disband during World War II on the threshold of a future which seemed to hold every promise of success. (At least, critics expressed this thought.) My husband's sudden passing (heart attack) occurred that same year, and it became necessary for me to resume teaching to earn a livelihood for my 11 year old son and myself."

Mrs. Hokanson now lives in Alexandria, Virginia. (Last month's composer also lives in Alexandria.) I asked Roberta Bitgood to give us an appraisal of Great Father of Glory — Mrs. Hokanson's new arrangement, also Marian McLaughlin's Mary's Wandering which you received with the LETTERS last month. Dr. Bitgood's comments are as follows:

GREAT FATHER OF GLORY — Margrethe Hokanson Here is a fine, straightforward arrangement of a wonderful hymn "Immortal, Invisible" which uses the tune Joanna that we associate with these words. Directors who lament that this hymn does not appear in their Hymnals will be glad to have this anthem arrangement for their children. Those of us who did not know this hymn as children find our young people just love it. Perhaps we have used the Thiman anthem with our adults. Margrethe Hokanson here given us a fine hymn-anthem with an interesting, independent, but not too involved, accompaniment. Those of us that have used her anthems for adults and juniors know the excellent workman- ship and proper grading to expect. She has treated 3 verses, all in the key of B flat, all of which could be done in unison, if necessary. However, we have a small amount of 2 part singing indicated in each verse, and an "Amen" that goes into 3 parts. So if you have the voices to do this, it can be even more interesting. Here is a marvelous opportunity for our children to learn and sing a great old Welsh melody.

MARY'S WANDERING — Marian McLaughlin

It is a credit to the Choristers Guild to have among its publications new works of composers who have already distinguished themselves in works of larger scope than anthems. We are especially fortunate to be adding numbers which are original and unhackneyed, that remain within the performing ability of the choirs made up of average children, which most of us have. "Mary's Wandering" captures a mood which can bring any child close to the Lenten message. Marian McLaughlin has created a wistful tune which can be sung in unison. Yet the alto part in the first eight measures of singing might be just the vehicle to strengthen part singing. The intervals are logical and in proper range for children. And these same measures appear twice more in the song as the only 2 part passages. The rest is written in unison.

It is the accompaniment in this song that creates special interest for this writer, yet the voice parts are sufficiently incorporated in it that the average chorister can hear them. Enharmonic changes that are logical sounding seldom bother our young singers. It is the weak accompanist that has to sweat out a few accidental& Those of us who use our young choirs at various of our Lenten services should welcome this as an addition to our libraries. It might well become a part of Festival Programs for juniors, being a rather welcome contrast to the bright, rhythmic numbers we expect on such occasions.

If you like such pieces as "Legend" by Tschaikowski and "Magdalena" by Brahms, you will like "Mary's Wandering" by Marian McLaughlin. And I am sure your children will love it (at least by the third rehearsal).

Mar. '66 — 124 — FROM THE EDITOR'S DESK In the November LETTERS, I told you of a request from the Library of Congress for certain back issues of the LETTERS which were needed to complete the files in Washington. Mrs. John S. Preston of Berkeley Heights, New Jersey — bless her — came up with all but one month's issue of the missing LETTERS. These have been sent on to find their permanent place in the justly revered Library. Now to complete their file. The one still missing is —

WANTED No. 1, September, Vol. 10, 1958-59 Look through your back LETTERS and if you have this particular issue and would like to give it to Uncle Sam's Library, send it to me and I'll see that it gets to the proper department. Thank you. 0 0 0 0 0 0 Have you looked at the Seminar announcement? Of course, we hope the message of the announcement will interest you, but right now we want to call your attention to the sticker which dresses up the front. With the help of a few volunteers, the office staff affixed 6,000 stickers on 6,000 brochures in two days! We did it partly to make the brochures attractive, and partly so you would see the newest addition to the list of materials we have for your use. There have been many requests for a Guild sticker for covers of notebooks, bulletins, name tags, place cards and numerous uses which you ingeniously will devise. 50 Guild stickers can be yours for only $1.00. We have 50,000 of them ready for your use. Let the orders come in! Also available are small 1" x 11/4" seals of the same design and colors. We believe you will find many uses for these also. These could brighten up correspondence, choir book attendance pages, be used anywhere that seals are needed. 100 seals can be yours for $1.00. We believe these stickers and seals will find many uses in your choir program. O 0 0 0 0 gi

Mrs. Hattie W. Schatzman, one in the news of 119 original members of the Guild, is being honored in her church, First Christian Church of Covington, Kentucky, on March 6. The occasion is her 50th anniversary as Organist, Choir Director and Church School Teacher. Can anyone estimate the good that has been done by this "faithful servant unto God, Church and Community"? We congratulate Mrs. Schatzman on her life of service and congratulate the church on its good fortune to have such a musical leader.

Many have commented appreciatively on the "Peanuts" drawing in last month's LETTERS. As we knew he would, Mr. Schulz has caught the "Why and How" of children's singing in choirs. I asked him for permission to have this drawing reproduced on promotional postcards for your use. His answer was: "I do not feel that it is a wise idea to use it on the promotional postcards you sell." I'm sorry, but of course, we will abide by his wishes.

It is getting closer to award time. Last month we gave you a picture and description of the jewelry available for members use. (We were not too happy with the picture. The pins, crosses and charms are much more attractive than in the picture.) This month you will find a new order blank. Please use this new blank. A few changes have been made in figuring costs and discounts. (Not incidentally, the basic costs to your church of pins, crosses, guards and pearls are the same as when these items were first introduced to the Guild family 16 years ago! Do you know of anything else that costs the same as it did 16 years ago? Did I hear a murmur about sal- aries?!) Please read the order blank carefully and give us all the information to fill your order completely. Note that there is a savings to you if your check accompanies the order. We believe the new order form will make it easier to figure your costs accurately and thus send a check for the correct amount. All billing for pins, etc., after March 1 will be figured on the basis outlined on the new Award Order Form. PLEASE USE THE NEW FORM O 0 0 0 0 0 "One of the busiest, and most highly respected church musicians in America." Who? Dr. Cecil Lapo, member of the Board of Directors of the Choristers Guild and Executive Secretary of the National Fellowship of Methodist Musicians, among other things. Still he found time to write the challenging thoughts you found on the title page of this issue. O 0 0 0 0 0 It's a "two-in-one" Irving you will find as a supplement. If you follow Mrs. Lane's directions, you will see that the choir of Irvings will stand and sit on indication from the director. The children will be interested in this, and, as with all other Irvings, will learn a valuable choir-procedure lesson. Because the two sheets must be used together, outside of a three-ring binder, there are no holes punched in these sheets. Hope you and your children will enjoy this movable Irving. Copies of the two sheets are available, as are all other Irvings, from the Guild office at five cents a sheet. gi 01 0 0 0 You will be looking for articles by Helen Kemp in this issue. Due to the pressures of schedules and deadlines, we do not have one for you. Maybe there will be two next month.

Mar. '66 — 125 —

FOR OFFICE USE ONLY ORDER BLANK FOR CHORISTERS GUILD AWARDS Guild Member '65—'66 Yes O No CHORISTERS GUILD, 440 Northlake Center, Dallas, Texas 75238 Phone — AC 214 DIamond 8-0450 Texas Exemption Yes ED No O No O Available for Use by Members Only Tennessee Exemption Yes Please state Guild member's name if different from that below

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NEW PINS & TIE TACKS Please indicate the quality of pin desired: Gold-plated ❑ Gold-filled •

Plain pins $1.25 $1.75 Pins with 1 pearl 2.25 2.75 Pins with 2 pearls 3.25 3.75 Pins with pearls (Add $1 for Pins with pearls each addition) Pins with guard 2.25 2.75 Pins with guard and 1 pearl 3.25 3.75 Pins with guard and pearls (Add $1 for Pins with guard and pearls each Pins with addition Tie Tacks XXXX 1.75 Tie Tacks with pearls (Add $1 for each addition)

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Crosses @ $2 Matching Chains (24") @ $1 (Do you want the chains attached to the crosses? Yes I I No I 1)

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Choristers Guild Charm @ $4.50 Three Choristers Charm @ $5.50 Matching Chains (18") @ $1 (usable with either charm)

GUILD PATCHES @ 65ct each Si, CERTIFICATE OF MEMBERSHIP @ 6ct each

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A pin awarded in any previous year may be returned to the Guild Office each successive year for the addition of a pearl and/or note guard. Rubies and diamonds may also be added. Rubies — $1 each, Diamonds — $6 each RETURN PIN ORDER FORM, OVER Total of New Awards Ordered (balance brought forward)

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ADDITIONAL AWARD SUGGESTIONS

Choristers Little Hymnals, complete Psalm Series, an anthem that has meant a great deal to your children, etc., might also be considered. (See the Materials Order Blank for prices.)

WHEN RETURNING PINS FOR PROCESSING, please observe the following: (accuracy cannot be guaranteed when pins are returned otherwise). (a) Put each pin in a separate small envelope. (Weekly offering envelopes are ideal.) (b) Write on each envelope: 1. Your name. 2. Instructions for work to be done. 3. Name of child to whom the pin belongs. 4. Name of church. (c) Send by first class mail; it costs no more than insured parcel post, and gets faster service. (d) Allow two weeks for processing of the pins in Dallas. (e) Please consider the time interval necessary for your pins to reach the Guild Office as a portion of the processing period needed.

TENNESSEE SALES TAX All Tennessee residents please send us your Tennessee Sales Tax Exemption Number, or the 3% sales tax. If your Exemption Number is on file in our office, you do not need to send it again.

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Date pins received Order mailed EXPECTANS EXPECTAVI

by Roberta Bitgood The beautiful anthem by Charles Wood which begins with the words "This sanctuary of my soul" has inspired many a chorister and director as it has been in rehearsal. The original copyright was dated 1919 in England. While this is an adult anthem for mixed voices, it was not until recently that I realized that the C. H. Sorley whose name appears on the anthem as author of the text was actually a very young man. Charles Hamilton Sorley was killed in action at the age of 19 in World War I. The story that reached me was that the following complete poem was found on his body after his death. The reading of the full text by our choirs and congregations might give special meaning to this well loved anthem. Here are profound thoughts from a young writer. From morn to midnight, all day through, I laugh and play as others do, I sin and chatter, just the same As others with a different name. And all year long upon the stage I dance and tumble and do rage 90 vehemently, I scarcely see The inner and eternal me. I have a temple I do not Visit, a heart I have forgot, A self that I have never met, A secret shrine -- and yet, and yet This sanctuary of my soul Unwitting I keep white and whole; Unlatched and lit, if Thou should st care To enter or to tarry there. With parted lips and outstretched hands And listening ears Thy servant stands, Call Thou early, call Thou late, To Thy great service dedicate. My soul, keep white and whole. Litt LEt ELZZL CHORISTERS GUILD LETTERS VOLUME. XVII 1965-66 April Number 8 Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors RUTH KREHBIEL JACOBS, Founder of the Choristers Guild THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A. Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Philadelphia, Pa. Dr. Cecil Lapo Memphis, Tenn. Nashville, Tenn. Dr. F. L Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T. J. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynchburg, Virginia Denver, Colo. The Choristers Guild LETTERS are published monthly September through June for its members Regular membership $4.00 — Contributing membership $10.00 or more All correspondence should be directed to Choristers Guild Headquarters at 440 Northlake Center, Dallas, Texas 75238 Telephone: Area Code 214 — DIamond 8-0450 COPYRIGHT 1966 CHORISTERS GUILD April '66 — 126 — 2,7V 0-115 155118 SPECIAL ARTICLES Expectans Expectavi — Roberta Bitgood 126 Choir Party Decorations (Part 2) — Amy Page 130 REGULAR CONTRIBUTORS Sixth Printing — The Successful Children's Choir — F.L.W. 127 What Happens With Junior High Girls — Helen Kemp 128 Hymn Study — "Christ, We Do All Adore Thee" — Christine Kallstrom 133 Tintinnabulations — Nancy Poore Tufts 136 Seminars — F.L.W. 139 A Letter from Helen (Festivals) — Helen Kemp 140 What's New at 440 — F.L.W. 141 From the Editor's Desk — F.L.W. 142 .SHARING What Do We Use on Mothers' Day? — F.L.W. 129 Sharing — Various 138 SUPPLEMENTS Choir Prayers — M-1 (New Printing) Psalm 23 (Illuminated art and text) — Mary Elizabeth Montgomery Indian Version of 23rd Psalm and 3 Musical Settings — M-12 Order Form for Available Materials (2 sheets)

0 0 [0 0 0 0 SIXTH PRINTING THE SUCCESSFUL CHILDREN'S CHOIR THE SUCCESSFUL In 1948, H. T. FitzSimons Co. of Chicago first published Ruth Krehbiel Jacobs' man- CHILDREN'S ual of her techniques and ideas — The Successful Children's Choir. This book has had wide use and a salutary influence on the whole field of children's choir activities. CHOIR Since the time of its first printing, numerous books dealing with the same general subject matter have come into the market. None have matched the clarity, soundness and conciseness of Mrs. Jacobs' book. This book has just been given its sixth printing. When the publisher was preparing for this printing, the Guild was consulted about several matters. It was recognized that a change in the Foreword was necessary and that by Ruth Itrehhiel Jacobs the repertoire which formed the last seven pages, was "dated", that is, it necessarily did not have any music or books listed from the last eighteen years. It was agreed by all that no change in the body of the book was necessary for Mrs. Jacobs' methods are as relevant today as when she wrote the material. The publisher has given the cover of the book a "new look", and has made a minor change in the wording of the Foreword. Proposed changes in the repertoire brought certain production problems. After considerable correspondence, it was agreed to continue the older repertoire, but to insert as a supplement, a listing of newer materials. Helen Kemp was asked to "comb the field" in a number of categories and form a more contemporary listing. This the Guild has published. It has been added to the book as an insert. Thus, the book will have both Mrs. Jacobs' list and Mrs. Kemp's list. We are sure that many Guild members who previously purchased The Successful Children's Choir would like to have this new list. It contains more than 150 items for children's choirs, divided into 9 categories. It gives titles, composers, parts (with indication of descants, flutes, bells, etc.), publishers and anthem numbers. Here is a fine list, by one whose extensive knowledge and discriminating tastes we all admire. It will help you in repertoire selection. The list will be in the book when it is sent out from headquarters. The publisher has set a new price for the book, $1.95, and there is no additional charge for the list. If you already have the book, and would like Mrs. Kemp's new repertoire, send us fifteen cents, and we'll mail it to you. Add this item to your next materials order, if you wish. Incidentally, if you haven't read this book recently, do so without delay. Check your methods against those of a proven master — the greatest of them all — Ruth Krehbiel Jacobs.

April '66 — 127 —

WHAT HAPPENS WITH JUNIOR HIGH GIRLS — — — — As persons .1' 41.1 As singers by Helen Kemp When I said, "Yes, I would like to take the Junior High girls' choir this year", I was thinking of those lovely, eager, well-behaved sixth-grade girls from my junior choir. What a stimulating experience it would be to continue with those clear voices to see how far they could progress as Junior High-ers. This was the year to take the girls and the boys of this age group separately because of the number involved. The girls' choir would include only the seventh and eighth graders. For six months now, we have been working together — and teacher has learned, unlearned and relearned at every rehearsal! For several years I had not worked with Junior High girls except in small Saturday morning voice classes, made up of 4 girls in each class. (A most satisfying way to deal with them!) My first realization of the change that had occurred between sixth and seventh grades, came to me during the first rehearsal in the fall as I was hearing each girl sing several five-tone scales or one stanza of a hymn. Girls who the year before as sixth graders would sing alone unselfconsciously and gladly, now acted embarrassed, giggled, blushed, got tears in their eyes, and sang less clearly than they had in the Junior Choir. They were quick to criticize their own efforts with such comments as, "Oh — that was terrible!" I noticed that as soon as they had sung, they were quick to get back to the security of their own small group and were immediately involved in buzzing conversation. Several exceptions were the quiet, more serious girls who seemed to be more mature, and a little annoyed at the gigglers. Now, none of these actions were discipline problems. They were simply normal Junior High girls at various stages of their invididual development. I tried to observe this group of thirty-three girls carefully as individuals. First I noticed that posture was a problem for most of them, both sitting and standing. Sunken chests and resultant long necks, lax stomach muscles, curved spinal columns were obvious as group tendencies. In speaking with the girls individually, I noticed that a number of them were wearing corrective braces on their teeth, with rubber bands creating tension between upper and lower jaws. Diction was a problem for them and tongues were lazy (not, I observed, from lack of the experience of talking!) Many of them were experimenting with new hair styles and clothing fads. A few were quite under-sized, still like Juniors, while three of them could have passed for High School-ers. Several had retained their pudgy waistlines, while several others had spurted into the tall and gangly stage. Of the 33 girls whose voices I checked, only 6 could be classed as young altos. Ten were high sopranos and the rest were trebles of medium range. The characteristic tone of the girls as they sang alone, was breathy and a little weak. As soon as they sang together as a group, their courage increased, the pitch was pleasantly secure, though tone was devoid of focus, clarity or vitality.

By the end of the first hour, I had several things well in mind for planning my approach for the next rehearsal. 1. Approach posture problem by accenting "charm and attractiveness" rather than only the usual vocal language. 2. Start with melody and descant anthems, using medium voices and altos on melody — high voices on descant. Wait for a month or two to use three-part music. 3. Set a date for them to sing at a Vesper Service in the small chapel, since the acoustics there enhance and magnify sound. The girls need something to boost their choir "image". 4. Treat them vocally as I do the small voice class. Though I cannot review each rehearsal, I can tell you what ideas seemed to work especially well. We worked on posture a little like preparing a fashion show. This really captured their interest. (Note to men directors! I'm sorry — this one is really a woman-director's approach. You had better stick to the exercises!) The girls lined up, their backs flat against the rehearsal room walls. They exercised to try to straighten back; they lifted and expanded rib cages; they pulled in stomach muscles; they relaxed shoulders and neck muscles. While they were still lined up against the walls, we did vocalises. (Junior High girls love them!) One of their favorites is this: 17; J • • • grn • 1 3 l3 3 3 1. la la la 2. po po po 3. Many times we try singing a vocalise as we do some form of body movement — for instance — do do do swinging arms pendulum fashion, or walking around the room. All of this is to get a certain freedom from tension, especially as we strive for body firmness. After such a workout, the girls are usually ready to take their seats and proceed with rehearsal. A well planned, fast moving rehearsal is essential, but it should not be so rushed that time cannot be taken to hear and work with individuals. Personal interest in their development means much to 7th and 8th graders, though some may not seem to appreciate your efforts. Many young teen-age girls experience a sort of voice change, not so dramatic as boys, since girls do not drop the octave. The dominant characteristic is breathiness.

April '66 — 128 — Here must be the center of a director's consideration. The real value and purpose of a girls' choir in this age group is to create the basis for future singing as young adults. It is not difficult to lay foundations for good vocal habits. The approach must be both physical and mental. It takes both to develop a firm body and a free and open throat.

To eliminate breath in the singing tone, the girls must be encouraged to maintain the posture which we work on so consistently at the beginning of rehearsals. To help them be able to keep expanded rib cages while singing, I often have them extend arms forward, bend arms inward at the elbows, cross arms Indian- style, and push outward, palms of hands against inside elbows. This also helps them to keep chests from collapsing at each phrase ending. The mental trick of eliminating breathiness is to constantly think "drinking in" sounds instead of blowing them out. It means pulling tones instead of pushing tones. It means concentrating on projection rather than forcing volume. If you have had your Junior High girls in a children's choir previously, they usually are capable of reading music quite well. You can encourage the slow readers by seating them next to secure readers. It is especially important for these girls to have music in hand. They learn amazingly fast and have a tendency to come up to what is expected by a confident leader. Junior High girls should be very well prepared for every detail of the entire service in which they sing. Insecurity or lack of sufficient preparation can completely subdue and undo their singing voices. "Nothing succeeds like success is a good motto to remember. Although you must continue to challenge your girls with literature that makes them reach and stretch beyond their usual level, it is wise to keep them singing some repertoire that is easy to learn and rewarding to sing.

WHAT DO WE USE MOTHER'S DAY? It is that time of year again when directors are trying to decide how to observe Mother's Day in their music. As usual, a few have written to Headquarters for suggestions. These few reflect the quandary which many share. In some churches, the emphasis has been shifting from "Mother" to "Family". The second Sunday in May is being called "Christian Home and Family Day". Let us be sure that our singers still think of a service held that day as a "Service of Divine Worship" not human worship. It is, however, entirely appropriate to voice our thanksgiving to God for Mother, Father, Home and Family. In an attempt to bow to the popular idea of the day and still have divine worship values in services, the following are some of the procedures I have used. It seems entirely fitting that at least once a year, even in the Protestant churches, the choir and the minister should express our respect for the Mother of our Lord. An "Ave Maria" might be used, but always appropriate, would be a setting of Mary's words, "My soul doth magnify the Lord" — the "Magnificat". A choir of ladies only, or a choir of mothers and their daughters would reflect the spirit of the day. It is a good time for the women of the adult choir to be joined by the girls from the high school choir and/or children's choir to have a choirloft full of soaring treble sound. It always seems that "Mother's Day" or "Family Day" is a particularly appropriate time to have children sing. They should not sing any sentimental Mother song, just suitable music for the worship of God. Last year on a Mother's Day bulletin that came to me from Mrs. Gerald 0. Schoonover of Waynesville, N.C., I saw this line in the printed order of service — Prayer for my Parents Treble and Youth Choirs This intrigued me, so I wrote for more information. Mrs. Schoonover wrote that this prayer was spoken by the children in choric speaking form. She sent me a copy of it which is printed here for your consideration. It was used in their service immediately before the Pastoral Prayer. PRAYER FOR MY PARENTS L-Light (Coptic Orthodox Church, Egypt) , D-Dark A-All L 0 God my Father and maker of the world, ask you to keep my parents from all harm. D Give them health of body and soul. Give them the patience they need to bring me up in ways of goodness and guide me to understand your way. A Give them the things they want, if it is your will. L Help me to do as they wish, so that I may please both them and you; For you have said, Honor your Father and Mother". D Look upon my parents and lead them with your kindness. L Surround them with your loving care. D Give them your protection. L Hear and accept my prayer, for the sake of your dear sorts, J esus, A For yours is the glory and power and blessing forever. Amen Here is a fine way to observe the day. You might want to write your own prayer. If you have developed ideas for they observance of this day and would like to share them with Guild members, send me a bulletin and explanation — Mother's Day will come again in about a year. April '66 — 129 — CHOIR PARTY DECORATIONS, Part 2 by Amy Page Director of Music Episcopal Church of The Redeemer Irving, Texas Hi! Still trying to get some inspiration for decorations for your choir party? Well, if we failed you last month, maybe you can use some of this month's ideas -- or maybe they will get you started on something wildly original of your own. Anyway, we're still aiming to give you ideas that are interesting, but easy and inexpensive to execute at the same time. FLASH! Did you take a good look at the Choristers Guild sticker on the Seminar announcement which came with last month's LETTERS? Now here's a real boon to dressing up your party decorations. The large sticker shown is perfect for the front of any program or announcement folder you might use. Or as a place-setting present to each chorister -- a sort of party favor for each to use as he wishes. And remember that small seals 1" x 11/2" of the same design and colors are available which would be perfect for use on place cards, invitations, name cards -- or maybe your group is goofy as mine and would like to paste them in the middle of their foreheads like they do the Chiquita banana stickers!!! And while my fancy seems to be in a far-out mood, here's another idea. Do you ever have costume parties? How about coming to the party as a Choristers Guild sticker? No kidding. Wear dark blue leotards and a dark blue long sleeved sweater and some of those gold pointy-toe ankle-high boots. Get a GREAT BIG paper bag, turn it upside down and cut a hole for head and two for arms and then just plaster it with Choristers Guild stickers. Should be good for a lot of giggles. And Dr. Whittlesey will LOVE this!! To get serious again: perhaps you can use the little choir boy outlined in Figure 6 at each place setting. Use him as is, color him with watercolors or crayon, or make him of contrasting colors of construction paper. With the straw holes indicated he can be "strung" on a drinking straw and sit upright in each cold drink glass. With him, the table will hardly need other decoration. Another suggestion for use of him is to omit the straw holes, and paste him instead to a pipe cleaner. Insert the cleaner into a large gumdrop and affix to a placecard. They'll disappear after the party, I promise. Would you like to make your own invitations? Figure 7 is a pattern for your use. BUT HEAR THIS! The exterior view of the church must actually be drawn on the reverse side of the paper instead of as shown here. We had to draw it this way for purposes of reproduction. However, you will quickly note that this way it makes no sense. But by putting the church exterior on the exact back of the sheet from which it appears here, the invitation will work out correctly when folded. The choirboy and lines (for your use in writing the invitation) should be on page as shown. See small illustration below Figure 7. After cutting out the outlines, make the church doors open by cutting on the dark line in the center and across the top. Fold the doors open. Especially shaped cookies go over big with small choristers. Figure 8 can be traced on heavy cardboard for your use. Use your own recipe for shaped cookies. Spread white icing on surplice, hair and candle. Sprinkle hair immediately with yellow sugar. Place one dot of white icing for eye and press blue decorette into this. And don't forget the cello shaped cookie design from Helen Kemp in the December, '65, issue of the LETTERS on page 62. Be sure to make plenty! One party favor you might like to try is a miniature "pipe organ." For as many as you wish, collect or make small boxes about the size of a kitchen match box. Cover with brown or tan construction paper. On white bond paper draw a small keyboard like Figure 9. Then draw some pipes on the construction paper (or on gold paper if you want it fancy) as shown in Figure 10. These patterns are necessarily not to scale, but give you ideas of the proper shapes. Paste keyboard on your organ box and paste pipes to back. Primitive, but effective. And this is a starting place to get as complicated as you want — making a large centerpeice organ and then lots of smaller ones. Use your imagination. Get some of the stained glass paper on sale at art stores and at gift wrap counters and design something exciting as a background for your center of attention.

Feature the portraits of composers whose work you've learned this year -- and if games are desired at the party, concentrate on composers' games.

Anyone good at puppets? Plant the idea of chorister puppets -- and write a comedy playlet to be given at the big event. Perhaps one puppet could even be made to resemble the leader???

Ever try working with stencils? If so, make a frieze to go all around the room using musical symbols -- or some other motif more to your liking. Or start collecting Christmas cards with pictures of choir singers to use in making your frieze.

And I urge you, always be on the lookout for ideas or items you can use. One of the most obvious is the little shaped choir boy and girl candles which are on sale at Christmas time, but which can be used all year round for choir decorations. This past Christmas I found some regular shaped candles which had been painted to resemble choristers -- which I somehow liked even better. Also at Christmas time, at my local supermarket, I found several boxes of package seals showing choir boys that are ideal for pasting on place cards any time of year. So keep an eye out. April '66 — 130 — My most unusual find was at Christmas, 1962, and it came from LIFE Magazine. I discovered that when you gave someone a subscription to LIFE that year, the magazine sent the recipient a beautiful announcement card with a transparency of the stained glass window "Nuit de Noel" by Henri Matisse, the original of which is now in the Museum of Modern Art, New York. So I had the nerve to write to LIFE and ask for one for each of my children's choir members, explaining who I was and the purpose of my request. And they actually sent them to me! They made beautiful placemarkers and keepsakes for the children and augmented their stained glass window studies.

Another wonderful source of materials and ideas is a shop called "The Christian Teacher", Box 4704, Dallas, Texas, 75206. They've just put out a brand new catalog and when I asked, they said they would be most happy to send it to any of you requesting one. There are all sorts of ideas and crafts -- stained glass patterns, cut-outs, favors and invitations -- and even a book of 21 hymn dramatizations. Some are stories of how hymns came to be written and others interpret hymns. So drop them a line.

I never think of a choir party that I don't remember the letter written by Sally Lease, of Boulder, Colorado, which appeared in the Choristers Guild LETTERS of April, 1960, telling about their Beethoven Birthday Party. You don't remember it? Here it is. It still makes me laugh. "I have been meaning for some time to write you about last semester's Junior Choir party. It was a Beethoven's Birthday Party. Anticipation piled high as we studied about Beethoven and his music, sang his Ode to Joy, planned the supper menu, and planned to bring 'birthday presents' for small German refugee children. The roof blew right off when I announced that Beethoven would be present in person. One of the children drew a remarkable portrait which I posted under the sign telling how many more days until Beethoven's Birthday. "The choir has a party every semester. The choice was a Halloween, a Christmas or a Beethoven's Birthday Party. The choice was practically unanimous for the latter, which was held after our regular Tuesday rehearsal. We started off with a game which divided the choir into small groups of 5 or 6. I than called out a letter present in Beethoven's name, and each group tried to be the first to form the letter. The second game was 'Symphony Upset', alias Fruit Basket Upset. Instead of fruit names, each child was assigned a note name, staff part, or music symbol. The symphony 'upset' when I hollered 'Beethoven'.

"After games, the children placed their chairs at the long U shaped table and stood waiting for our guest of honor. Pretty spry for his 189 years, Herr Beethoven (recognized with some difficulty as our minister of music. E. J. Hilty) was ushered to the head of the table amid cheering and lusty singing of 'Happy Birthday, dear Ludwig'. The gifts were then presented and we sat down to supper which cost about 35¢ per child. When Beethoven had blown out the candles on his birthday cake, each child received a piece with a candle and the number 189 on it.

"The tables were covered with white paper tacked down at the edges. Across the lengthwise middle of each table were stretched five strips of dark blue crepe paper forming a staff, with paper clef signs and bar lines. The notation of the table symphony was concocted from three pounds of that awful candy assortment you find in dime stores before Christmas, colored toothpicks forming the stems and leger lines. After dessert, the Choir devoured the symphony.

"Mr. Hilty's costume consisted of a cane, a straw cornucopia ear trumpet, his son's tuxedo, his wife's lacy blouse, and a mop wig which he starched, curled and sewed to part of a nylon stocking to fit his head. After several phone calls from incredulous mothers who, from the reports of their youngsters, could only be sure that 'Beethoven is going to be there', I prepared the parents with a note of clarification."

Isn't that just great?

Well, the whole moral of these two articles is USE YOUR IMAGINATION -- don't be afraid to try things.

And one last happy thought -- the larger decorations are cumulative. Once you've made them, they can be used from year to year.

So — go to it and have fun.

April '66 — 131 — of 111 11 11 111 it Il 111 II !I FIGURE 9

FIGURE 10 FIGURE 6

FIGURE 8

YOU ARE INVITED

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I TT 4.1 aarK Exterior view of church to be drawn on FIGURE 7 opposite side of paper for correct effect." April '66 — 132 — CHRIST, WE DO ALL ADORE THEE

Director's Page

TEXT: "Christ, We Do All Adore Thee" is from THE SEVEN LAST WORDS OF CHRIST by Theodore Dubois, 1837-1924, with the English adaptation by Dr. Theodore Baker.

TUNE: The tune is from the same source as the text.

CHURCH YEAR — CURRICULUM CORRELATION: Although THE SEVEN LAST WORDS OF CHRIST is specifically for the Passion Week events, this response, "Christ, We Do All Adore Thee', may be used as an appropriate service response throughout the church year.

THEOLOGICAL IMPLICATIONS: Three general atonement theories are given to explain the meaning of the Pas- sion Event in terms of the reconciliation of man with God through the suffering and sacrifice of Christ; the Substitution theory whereby Christ repays man's debt of sin; the Classical theory in which the crucifixion and resurrection is viewed as God's ultimate victory over all evil; and the theory that by seeing the perfect obedience of Christ, we are called into faithfulness and obedience. Most passion music emphasizes the Classical theory but for choir children, the explanation in John 3:16 is adequate and meaningful without laborious theoretical explanations.

TEACHING SUGGESTIONS: Since Passion Music and the Passion Events themselves occupy a central point in Christian worship, you may wish to devote portions of a series of rehearsals to a study of the development of Passion Music, beginning with the Gospel recitations that were a part of the Mass of Holy Week from as early as the 5th century, and following the Plainsong Chants of the 12th century, the Polyphonic settings of the 15th century, and the Oratorio and Chorale Passion settings of the 17th century. Some of these settings are published now, such as the Schutz' THE SEVEN WORDS OF CHRIST ON THE CROSS, 1645, available from Concordia Publishing House, St. Louis, Missouri. You may be able to borrow from adult choir sources settings of the other important Bach and Handel Passions. A recording of a portion of one of these settings might add to the interest of the study.

Parallel work might be done to show how art and drama portrayed the Passion Events using paintings by da Vinci, Ciseri, Rubens, Clementz and others. The indirect relationship of the dramatized passion to the Florentine movement that led to the development of Opera as it evolved along with the Oratorio might be studied. Emphasize that the Italian Opera composers turned to myths for their libretti while Oratorio sources used Biblical events, avoiding direct stage action.

As a prelude to the musical preparation of this simple response, assign different choir youngsters to read the seven last sayings of Christ. The scale step progression of this melody should make it easily sight-read, using either the Solfeggi or the scale steps numerically, as "8-88-7-7-6-5".

The sustained, legato singing of the simple melody actually demands excellent posture and voice control in order to keep the long, legato phrases and to build the gradual crescendos and decrescen- dos, Singing at piano or pianissimo also necessitates careful control as do the attacks on such voice- less, stop-plosive consonants as the "ch" in Christ.

If this response is used with a Girls Choir, let one experienced chorister develop a third part so that the chorale may be sung SSA, drawing most of the added part from the tenor an octave higher.

"Christ, We Do All Adore Thee" may be found on page 53 of the Choristers Little Hymnal.

April '66 — 133 — CHRIST, WE DO ALL ADORE THEE English Adaptation by from The Seven Last Words Of Dr. Theodore Baker Christ by Theodore Dubois 1837-1924

"Passion" was a word I never quite understood until I read the dictionary definition: "Any kind of feeling or emotion, as hope, fear, Greek joy, grief, anger, love, desire, etc., when of compelling force." Calvary

"Passion Music" is a musical setting of the Gospel narratives telling the hope, fear, joy, grief, anger, love and desire that was felt by Christ and those sharing with Him in the events of His last week on earth. The "compelling force" of their experiences has shaped all history since and is felt even in our own lives today!

As far back as the 5th century, the Mass included plainsong settings of the four Gospel accounts of the Passion during the liturgy of Holy Week, with St. Matthew's version given on Palm Sunday, St. Mark's and St. Luke's on Tuesday and Wednesday, and St. John's Maltese on Good Friday. The voice range of the priest would distinguish between the sayings of the Evangelist in tenor register, the crowd or Turba in alto register, and Christ in bass register. Later, directions for voice quality were added, with the words of Christ to be sung with sweetness, those of the Evangelist in a formal Gospel tone, and the crowd parts in a loud, harsh manner.

The Passion Week events continued to be at the center of Christian worship during the Middle Ages with the church encouraging the use of other art forms, such as the miracle and mystery plays and the beautiful paintings, which helped persons re-experience the meaning of Holy Week. Composers began to use polyphonic settings for the crowd St. Andrew's parts of Passion Music so that the independently woven melodies could better express the individual responses of those in the crowd scenes of the narratives. Perhaps the most loved addition to the Passion Music of the 17th century was the use of chorales, which gave the congregation a chance to share in reflective responses, such as "0 Sacred Head Now Wounded" and "0 Blessed Jesus, How Hast Thou Offended".

"Christ, We Do All Adore Thee" is a chorale-type response from a much more recent Passion Music composition, Theodore Dubois' THE SEVEN LAST WORDS OF CHRIST. If you have forgotten the last sayings of Christ, reread from your own Bible the Gospel records. Then, say aloud the words of this response, "Christ, We Do All Adore Thee" to see how simple and yet, how forceful and compelling their meaning is. Do you think that Latin the simplicity of the tune and harmony are appropriate? Did you notice that the rhythmic pattern of eighth notes fits almost exactly with the way you said the words aloud? It is important to keep sustained, legato phrases — and if the whole choir is singing, to pronounce the beginning and ending consonants precisely together. Can you find the phrase in which the words are most important? Notice how the melody emphasizes the importance of the text both by the pitch and by the intensity of the crescendo and decrescendo.

The colors of the Passion are Purple and Black; the symbols include The Suffer- ing Lamb, the Cross, the Crown of Thorns; but the meaning of the Passion event is fulfilled only when you and I bring all our hopes and fears and joy and anger and grief and love with the response, "Christ, We Do All Adore Thee!" St. Anthony's

Your friend,

Charley the Choirboy

H-67 April '66 — 134 — Patriarchal

Christ, We Do All Adore Thee From The Seven Last Words of Christ` A by Theodore .Dubois 1837-1924

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April '66 - 135 -

• ajp, TINTINNABULATIONS — by Nancy Poore Tufts ••• • • "Now birth and death,reminding bells ring clear, Loud under 'planes and ever changing gear."

— John Betjeman

Dear All: —

The attention of Directors who are weary of the palm-waving-and- ride-on! Palm Sunday anthems is called to a new anthem, "Thy Saviour Comes, Jerusalem" by David H. Williams, H. W. Gray, CMR 2883 (6). An effective setting of John Moment's poem: "Thy glory dawns, • Jerusalem, awake thy bells to ring!" This rather straightforward SATB (partly unison) anthem builds to a stunning cacophonic r climax. We suggest scoring in handbells for the repeated bell figure, and add unison octaves for a grand finale. r

100 MOST WANTED? Random thoughts as National Library Week, April 17-23, rolls around again: Our Pastor says about 100 Church Hymnals disappear every year. He also remarked that when visiting in the parish, he frequently notices Church Hymnals on tables and pianos. This is good and bad. We have found that when the clergy and choir directors encourage church people to purchase their own Hymnals and make them readily available in the church office or through a choir committee, many will purchase books for themselves and as gifts. It is helpful and a psychological plus for choristers to have a Hymnal at home, and a number will buy them if it is convenient to do so. Some choir directors are able to give or loan old Hymnals to their singers. Choristers who miss services and rehearsals because of illness or other unavoidable reasons appreciate being notified of the hymns and anthems for "next Sunday". However, neither the man in the comfortable pew nor the singer in the loft has the moral right to carry off Hymnals or other church property without permission. Our Pastor wonders why the FBI has never included a book thief in its periodical listing America's 10 Most Wanted Criminals. While the FBI is fully occupied with protecting our freedoms and our other properties, and until it gets around to the book thieves, we choir directors had better put a plain cover over our special friend — the director's muchly-marked and dog-eared copy of the Hymnal which disappears occasionally and re-appears mysteriously as our cries of pain and dis- tress reverberate around the Church. Label the jacket "Biographical Notes on Members of Bedleian Library", and no one will come near it.

BELL POURRI: — "Orchestral Bells" — An opera-loving bellringer reports the spectacular success of the North American premiere of"Don Rodrigo", the first opera by the Argentinian composer, Alberto Ginastero, presented by the New York City Opera Company in Lincoln Center's handsome New York State Theater on February 22 and again in March. Our critic mentioned startling orchestral effects such as 18 French horns playing simultaneously and an "awe-inspiring tintinnabulation of bells unparalleled in the literature". This we must hear! Unconfirmed rumor saith that Ginastero has been commissioned to write an opera for the opening of the John F. Kennedy Center for the Performing Arts next year. Any bells, Senor?...... PAIN IN SPAIN: Our neighbor, who has recently returned from Spain and the search for missing missiles — not castles, is in a bad humor and blames all his troubles on "Bells (ugh!)". He was billeted in a village where he was waked every hour of the night by the Watchman calling out the hour when the Church bell clanged: — "Ave Maria Purissima. Son los quartre" PAUL REVERE RIDES AGAIN: The night of April 18-19, Bostonians will commemorate the 191st anniversary of the famous ride of Paul Revere, patriot, coopersmith and bell- founder. We are reminded of a visit to Old North Church and a conversation with the Sexton, one of those salty characters often found around elderly churches. He claimed, with some justice, that lanterns were not used for the signal, the British would have been suspicious of lights, lantern light could not have been seen at the necessary distance, and that the story was a figment of Long- fellow's romantic imagination. Moreoever, where were the lanterns? Then, what was used for the signal? Why, the bells, of course! What else could convey the message and not excite suspicion? We would like to believe that the bells of Old North Church pealed forth a pre-arranged pattern of ringing on April 18, 1775, and that the bells may be heard ringing faintly as the echoing sound of horse's hooves disappears in the distance — on any April 18 — by those who know how to tune in.

April '66 — 136 — FREDDY FANS TO THE FORE! Dr. Whittlesey is to be congratulated on acquiring the Schulz ("Peanuts") cartoon for CGL. Now, fans of "Freddy", the comic strip drawn by Rupe, may picket the CG office! One of the characters roaming through "Freddy" is "Ernest", who attends the "Chicken Little" kindergarten. One day Ernest comes home weeping: "Mommy, Miss Bunn didn't pick me as the best singer — And I sang the loudest — I even finished ahead of every body".

NO SECOND FIDDLES EITHER

Choristers Guild Seminarian: "Is that the second bell?" Room Maid: "No, Sir, that's the second ringing of the first. We have no second bell in this hotel."

A MESSAGE FOR APRIL: A ringer has kindly pointed out a reference to Bells in the notes of a Bible Reading Fellowship:

"If you have ever been in a belfry when the bells are being rung you will know that in the confined space the sound of the bells is too much for your ears, and you only hear noise. Similarly, in this life we are so near to conflict that we see only the struggle; in the spiritual sphere, which we call heaven, the music is heard and the conflict is seen in its triumphant sense."

"When blinded I deny A The highest good I know BLESSED Loudly, bravely, Lord, CHOIRING Let some cock crow. AND RINGING EASTER But when I face a truth And grasp that holy thing Pent Softly, clearly, Lord, Let some bell ring." ?naumAtaLia --- Ruth H. King

)4 Are You Tired? Bun Down? (CONTRIBUTED TO THE LETTERS BY) Do You Feel Awful? Overworked? (A MEMBER IN THE MARCH SLUMP) Perhaps there's a reason why? We have run across some absolutely irrefutable statistics that show exactly why you are tired. And brother, it's no wonder you're tired either. There aren't as many people actually working as you may have thought, at least—not according to this survey recently completed. The population of this country is 160 million, but there are 62 million over 60 years of age, which leaves 98 million to do the work. People under the age of 21 years total 54 million which leaves 44 million to do the work. Then there are 21 million who are employed by the government and that leaves 23 million to do the work. Ten million are in the armed forces, which leaves 13 million to do the work. Deduct 12,800,000—the number in the state and city offices—and that leaves 200,000 to do the work. There are 126,000 in hospitals, insane asylums, etc., so that leaves 74,000 to do the work. But 62,000 of these are bums or vagrants, who refuse to work, so that leaves 12,000 to do the work. Now, it may interest you to know that there are 11,998 people in jail—that leaves just two people to carry the load. That's you and me—and brother, I'm getting tired of doing everything myself. April '66 — 137 — SHARING

Mrs. John D. Young of Sturgis, Michigan, recently wrote: In the December issue of LETTERS, you ask for robe patterns. I send to C. M. Almy & Son, Inc., 562 Fifth Ave., New York 36, New York, for choir robes. These robes are already cut, and can be secured in small, medium and large sizes. It saves a lot of work, and it is good material and not too expensive. In fact, for 24"-26" length and 26"-30" chest — $3.30. You can also buy skirts on a drawstring. Maybe this will help you if you have a robe-money problem. 10 0 0 0 El 0 Contributed by a fellow editor: The typographical eror is a slippery thing and sly; You can hunt until you're dizzy but somehow it gets by, Till the forms are off the presses; but strange how still it keeps, It shrinks into a corner and never stirs or peeps. The typographical error is too small for human eyes, Till the ink is on the paper — then it grows to mountain size! The boss, he stares with horror and tears his hair and groans; The reader who okayed the proofs just drops his head and moans, For all the other printing may be clean as clean can be — But that typographical error is the only thing you see. Ah, so true! O 0 0 0 0 0 In a letter from Mrs. Dorothy Epp of Freeman, South Dakota, she wrote: During the choir year we have been using the Spinney benediction, "The Light of God", as our rehearsal closing and as the choral benediction in worship services for which the junior choir sings. The words express such a beautiful thought. This is exactly what we hoped would happen when we published Walter Spinney's tender benediction (A-29). One church in Orlando, Florida, uses it often as a benediction response by the adult choir. (It is arranged in regular four part harmony.) A number of children's choir festivals this spring are using it as the closing number. I'm directing it in three such festivals. I trust that it will become the recognized Choristers Guild "signature" and prayer. O El El 0 0 This will be of interest to directors who have presented or anticipate presenting "Noye's Fludde" by Benjamin Britten. An attractive 24-page coloring book was prepared by Mrs. Wm. R. Crawford of St. Michael and All Angels Episcopal Church, Dallas, Texas. This book contains various drawings of the ark and other scenery, all the animals in detail and main characters of the church's presentation of `Noye's Fludde" last spring. It is available at $1 each at St. Michael's Woman's Exchange, 5 Highland Park Shopping Village, Dallas, 75205. O 0 0 0 0 0 Mrs. Robert F. Merritt of Rome, N. Y., must have her rehearsals next door to an ice cream store. My choir began in the fall with 41, and is down to 36 due to families moving away and a drop out. Three times during the year we've had perfect attendance and generally only 2, possibly 3, are out. We celebrate with ice cream when they're all there. • 0 0 0 0 0 Are you contemplating a vacation choir school this summer? Bill Holby of First Presbyterian Church, Mt. Vernon, Ohio, wrote some months ago about what he did last summer. Here is a part of what he wrote: With the memory of a very fine CG Workshop at Augustana College last June, I set about work back home preparing for our Vacation Choir School for juniors. My idea came from the school put on by John B. Homer and written up in CG LETTERS Vol. XIV, No. 9, and Vol. XV, No. 6. With the help of Mrs. Karl Hackney, a long time subscriber to CG LETTERS, we had a two week school from August 16 to 27. 31 children from many churches in town attended after publicity was made through circulars in church offices and through the newspaper. All children registered on a blank provided and paid a $1 fee.

The school ran from 9 to 11:30 a.m. and even then we felt ourselves pinched for time and with juniors who were eager to get more. The first 40 minutes of each morning were devoted to theoretical work. We started from the beginning with basic signs, then the reading of rhythms using Mabel Boyter's charts, and ear training. Our approach to intervals was through recalling the first two notes of a certain song. Thus a major third was the distance between the first two notes of our hymn, "Sing Praise to God Who Reigns Above."

The children then divided in two fixed groups for singing and handbell ringing. Mrs. Hackney rehearsed one group with the bells while I rehearsed the others on our hymns and anthems. If you want more details of what he did, write directly to him. The church's address is 106 North Gay Street. 0 0 0 0 Recently two bulletins came which might give you ideas for special services next year. Mrs. Robert Murtha of First Community Church, 1320 Cambridge Blvd., Columbus, Ohio, sent me their 8-choirs-festival program. It was titled Expression of Christianity Around the World. The hymns and anthems were indicated as coming from eleven different countries. Write to her for a bulletin.

An Evening With the Psalms was the title of a service Walter Davis of Central Methodist Church, Fayetteville, Arkansas, conducted February 27. 16 psalms are listed as being the sources of various hymns, anthems and organ numbers. The pastor spoke on "Psalms for Life". If interested, write to Mr. Davis for a copy of the bulletin. 0 0 0 0 0 0 Our good friend, William Grime (15 Sunset Dr., St. Johnsbury, Vermont) has offered to share some of his new anthems for young children with Guilders who request them.Send stamps as well as requests directly to him. April '66 — 138 — 2 IN '66 Which one are you attending?

In Colorful Colorado In Picturesque Old Salem July 11-15 August 8-12 at Colorado Woman's College at Salem College Denver, Colorado Winston-Salem, North Carolina

Last month• with your LETTERS you found a brochure describing the Choristers Guild Seminars for this summer. Registrations have started to come in. People are inquiring about details. Committees in each city are laying their plans. The faculty has submitted its music for the packet and demonstration choirs. All this is done to help you be a better director of children's choirs.

At each Seminar, there will be some special features. This month we will tell you about one that will be a part of the Denver week. (Next month it will be Winston-Salem's turn.) On the Tuesday evening of the Denver Seminar, we will have an early dinner and all journey by bus to the Air Force Academy near Colorado Springs. Mr. James Roger Boyd, Director of Cadet Choral Activities and Academy Organist will play a recital for us. Mr. Boyd has been on the Academy staff almost since its inception. Over the years, he has developed a fine music program there. He is a native of New York state with a B.A. degree from Columbia College and a Masters in Sacred Music from Union Theologi- cal Seminary. A brief description of each of the organs in the Academy was sent to me by Mr. Boyd. The following is taken from this information. "The Pipe Organs in the Academy Chapel are considered to be two of the most outstanding instruments of our age. Tonally, as well as visual- ly, they are extremely exciting and unique. They were designed by the late Walter Holtkamp of Cleveland, Ohio, and were manufactured and installed by the M. P. Moller Organ Company of Hagerstown, Maryland. "These organs are excellent examples of the rebirth in the concept of classical organ building in the past ten to twenty years. Both instruments are designed along the tonal line of the 17th and 18th Century Organ and are characterized by an abundance of mixtures and upperwork which give brilliance and clarity to the ensemble in addition to the richness of single stops. "Both organs have three manuals and a Pedal Division. Three fourths of the pipes are exposed, presenting a very interesting display of pipes. The Protestant Chapel organ has 79 ranks, 67 stops controlling the 4,334 pipes, and the Catholic Chapel organ has 36 ranks, 29 stops controlling its 1,950 pipes. The pipes are made of wood, various alloys of tin and lead, and a few ranks of highly polished copper. The largest pipes, nearly 32 feet long, dwarf the smallest which are pencil-like in shape. "The Protestant Chapel organ, perched high in the choir loft and reaching to the uppermost heights of the Chapel, presents one of the most magnificent displays of pipework in our country. Looking at the structure from the sanctuary floor one sees to the right and left, two levels of floating chests — the right being the Positive division, and the pipes of the Pedal at the left. Located in the center lower area is the Great pipework. Above it are two chambers housing the Swell division which is under controlled expression. Crowning the structure are the large Trumpetas which will usher in many civil and religious dignitaries over the years." This trip and recital will be just one of several exciting extras at the Denver Seminar.

Get your reservation in early! April '66 — 139 — A LETTER FROM HELEN

Dear Guilders:

Our mail-man has certainly earned his salary on our block during the last month! I am still receiving daily messages from Guild members on the cards with the three choristers. Thank you for your ideas, your requests, your concern and your enthusiasm. You have given me much to think about regarding your particular needs and hopes. I have read every word of every card and am in the process of planning a series of articles based on your requests.

My suitcase has hardly found a resting place for the past month. March has been a great Workshop and Festival month. The first weekend was spent in Milwaukee, Wisconsin. This was the 11th Annual Choristers Guild Festi- val with a workshop for some 60 directors. The second weekend took me to Denver, Colorado, for their 15th Festival. Since a number of you wanted information about festivals, I am going to include here schedules and services for the two exciting events from which I have just returned. These may help you to begin planning for another year.

WORKSHOP AND FESTIVAL MILWAUKEE CHAPTER OF THE CHORISTERS GUILD HOW CAN MUSIC BECOME ONE OF THE MOST POWERFUL

EDUCATIONAL FACTORS IN THE CHURCH?

March 4 — 4:15 p.m. Festival Choir Rehearsal 6:00 p.m. DINNER & INSPIRATIONAL ADDRESS by HELEN KEMP March 5 — 9:15 to 11:30 a.m. Festival Choir Rehearsal 12:00 Noon Luncheon 1:00 to 4:00 WORKSHOP with demonstration Choir conducted by Helen Kemp March 6 — 4:00 p.m. JUNIOR CHOIR FESTIVAL

REGISTRATION for WORKSHOP at the church — Fee $2.00 Dinner Fee $2.50 Luncheon Fee $1.25 Dinner and Luncheon Reservations deadline — March 1 Reservation Chairman: Mrs. Anthony Grunert, 4330 S. Austin St. (744-6769) Milwaukee, 53207

THE LIFE OF CHRIST IN SONG PRELUDE; Fantasy in G Major J. S. Bach PROCESSIONAL: Jubilate Deo Richard Purvis INVOCATION (please rise) INTROIT: Be Filled With the Spirit Ronald Nelson LESSON I: The Nativity Hush, My Dear, Lie Still and Slumber arr. A. E. Floyd Love Came Down at Christmas Carlton Young Christmas Song arr. Gustav Holst 15 choirs HYMN: Brightest and Best (See words on program insert.) participated LESSON II: Teaching and Ministry with a total Father, Teach Us How to Pray Florence Jolley of 350 children. God Is Always Near arr. Helen Kemp The Sanctuary From All That Dwell Gordon Young was filled. OFFERING: Noel in D minor Louis Claude Daquin (1,200 capacity) LESSON III: The Passion String trio, organ, Lamb of God arr. Marie Pooler bells, trumpet and The Lord My Shepherd Is Austin Lovelace piano accompanied. Give Ear Unto Me Benedetto Marcello HYMN: In the Cross of Christ I Glory (See insert.) Guild bulletins LESSON IV: The Resurrection were used and one Polish Easter Carol arr. Mary Caldwell Guild anthem was Easter Bell Carol Lloyd Pfautsch included. I Know That My Redeemer Lives arr. Paul Bunjes The congregation will rise to sing stanzas 1 and 4 BENEDICTION: Please remain standing RECESSIONAL Trumpet Voluntary Henry Purcell The congregation will be seated until the children have recessed POSTLUDE: Look Up, My Soul, to Christ Thy Joy Elmore

April '66 — 140 — The A.G.O. sponsored the event in Denver, with 39 churches participating. Because of the number involved, there were two identical festival programs with two sets of children. (Also 2 Saturday rehearsals.) Austin Lovelace was festival chairman and organist. The schedule for the weekend was this: Friday evening, Workshop at St. John's Cathedral, 7:30 to 9:30 (with coffee break) Saturday morning, Rehearsal from 10-11:30 at St. John's of choirs north of Cofax Ave. — 400 children Saturday afternoon, Rehearsal from 2-3:30 same church for choirs south of Cofax Ave. — 400 children FESTIVAL Sunday Afternoon 3:00 (choirs north) 5:00 (choirs south)

PROCESSIONAL: Marche Triomphale Sigfrid Karg-Elert CALL TO PRAISE: "Let all the world in every corner sing" Robert G. McCutchan INVOCATION (the people standing) HYMN OF PRAISE (the people standing) All creatures of our God and King (text printed) Lasst uns erfreuen OLD TESTAMENT LESSON: II Chronicles 5:13-14 PRAISE THE LORD WITH SONG AND INSTRUMENT (1) "All praise to God who reigns above" Ludwig Lenel (2) Towertone Bell Choir — Trinity Methodist (3:00 P.M.) Robert J. Paul, Director Hebrew Cantillation arr. Ed Johe Bell Passacaglia Ellen Jane Lorenz Carillon Fantasy Alinda Couper Covenant Bell Choir — First Presbyterian, Littleton (5:00 P.M.) Phyllis F. Anschicks, Director Praise Ye the Lord arr. Adams-York Meditation for Handbells Gladics The heavens are telling the glory of God Beethoven-Whittlesey THE NEW TESTAMENT LESSON: Luke 2:1-20 THREE SONGS OF JESUS (1) "In the Bleak Midwinter" Gustav Hoist (2) "Jesus, Joy of Man's Desiring" J. S. Bach (3) "Come, Jesus, Holy Child" Healey Willan TWO PRAYERS OF THE SPIRIT (1) "A Prayer of St. Richard" L. J. White (2) "My faith, it is an oaken staff' arr. H. Vigeland OFFERTORY: Organ Solo "Up, Up, My Heart with Gladness' Flor Peeters OFFERTORY RESPONSE (Choirs) "All Praise to Thee, My God, This Night" Thomas Tallis PSALTER READING: Psalm 95:1-7 THREE PSALMS (1) Hymn "All People That on Earth Do Dwell" (2) "The Lord My Shepherd Is" Austin C. Lovelace (3) Psalm 100 Robert Roth BENEDICTION RECESSIONAL Choral Joseph Jongen

The cathedral was filled to capacity (1,200) for each Festival Service — and the whole experience was a thrilling and beautiful one.

WHAT'S NEW AT 440

"Spring's a bustin' out all over" is a common thought and expressed sentiment everywhere this time of year. It is true at your Headquarters, also. The pick-up in pin business, the preparations for the Seminars, and new materials for your use, all have us hoppin'. A glance at the new Order Form for Available Materials will reveal several new things ready for you and several more coming soon. Let me point up the new things that are ready now: — Repertoire List by Helen Kemp (1966) — "Processing Choir Boys" Writing Paper — M-1 Choir Prayers — M-12 Indian Version — 23rd Psalm and Music — Psalm in Art Form — Boy & Girl (2 color) Promotion Postcard — and the CG Seals! Everyone who has commented on the seals to me, has been extremely pleased. The seals are copies of the Guild Patch. The seals have many uses and values we believe. The large seal (21/2 x 3) was on the front of the Seminar folder you received last month. One of the small seals is here for you to see. 440 is busy — but we want to be busier. Send in your requests. April '66 — 141 — FROM THE EDITOR'S DESK Madeline Ingram, who gave us the children's comments regarding vestments in the Feb- ruary LETTERS, was a visitor at Guild headquarters recently. She was in Dallas speaking at a church music conference at Southern Methodist University. I learn that she has a new book coming out soon. It will be titled "Organizing and Directing Youth Choirs". This will be companion book to "Organizing and Directing Children's Choirs". We'll all be watching for it. Abingdon Press will be the publisher. 0 0 0 0 0 0 -\ This comment accompanied an order for "30 copies each of Psalm 96 and 121" which came to us recently: Although we are not forcing our junior choir children to memorize these psalms, at least a dozen have already memorized Psalms 1 and 8 and will probably add these that are being ordered to their "repertoire". I feel that the colorful and symbolic designs contribute a great deal toward the appeal of the presentations of the psalms. A large "thank you" to the Choristers Guild! This experience of a Choristers Guild member in Baltimore has been shared by many who have written us. We are delighted that the illustrated Psalm Series is proving helpful. O 0 gi 01 0 cg With this LETTERS you will find another in the Psalm Series. This one — the 23rd — continues the colorful illuminations. Mary Elizabeth Montgomery perceives and illustrates depths in the psalms which may have escaped us or our children. We believe they have great teaching values. Some directors have asked for the psalm sheets without the 3 hole punch. We cannot supply these on earlier psalms, but we can on the 23rd. When you order copies, be sure to indicate not punched if you wish them that way. We are pleased to have a companion sheet for this psalm in this month's issue also. M-12 has the Indian Version of the 23rd Psalm on the obverse. The reverse has three other paraphrases of the psalm in musical versions. Dr. Lee H. Bristol, Jr., President of Westminster Choir College was in the Guild office recently and saw the original art work by Mrs. Montgomery. I was speaking about trying to find a round setting of words from the psalm for this edition. He offered to write one. The excellent results are to be found on the reverse of the Indian Version. Again we are indebted to Dr. Bristol. (He is the composer of our anthem A-33 "God's Requirements — New Testament".) With this round are two hymn settings of versions of the psalm. We believe this sheet — M-12 — will be useable to you in various teaching situations. It is available at five cents a copy. 0 0 0 0 0 0 M-1 "Choir Prayers" has been re-issued. A copy of it is included. Several Guild members responded to a request in a recent LETTERS for choir prayers that have been meaningful to the children. Some of these will be found in M-1. There is a wide thought-content in these prayers; some should be discussed with the children so that they are clear. We believe that they all will be helpful. Copies of M-1 are available for your children's notebooks. See the new Materials List. 0 0 0 0 A few months ago I told you of a communication from the Library of Congress requesting certain back copies of the LETTERS to complete their files. Last month I told you that Mrs. John S. Preston of Berkeley Heights, N.J. sent to us all that was missing in the big Library except one month, September 1958. I called again for this issue. David V. Williams of First Christian Church, Tulsa, Oklahoma responded as follows: Enclosed is the Guild LETTERS which you said was needed for the Library of Congress. As it happens at the time this series came out we had two memberships to the Guild; one for me and one for the Church. I made a practice of giving away the extra set of LETTERS to prospective members of the Guild. By chance this one was retained so I am able to send it to you without breaking up my own complete set. You are certainly welcome to it. • 0 0 0 0 0 Any children's choir director in the north-of-New York area who would like to be an assistant to a fine director in a fine church, contact Alinda B. Couper, 191 Broadway, Apt. 4K, Dobbs Ferry, New York. O 0 0 0 0 0 In one of my trips recently, I came on the old puzzler about your age and the money in your pocket. Here it is with a new twist — try it on your older children:

Take your age, multiply by 2, add 5, multiply by 50, subtract 365, add the amount you put in the offering last Sunday (if it was under $1), add 115. The first 2 figures are your age, the last two is the amount you put in the offering. Don't you think one your age should give more? O 0 0 0 0 0 With this issue you will find a new Available Materials list. Really it is an order blank. Please destroy the old blanks you have and use this new one for all orders. When we send an order to you, we always enclose a new order form for your use next time. We have listed all the new materials which we expect to have available through June. Some of the items are not available now, but the dates they will be ready are indicated. If the list says "Ready June 1" don't plan for it in May. If you order items that are not ready, we will "back-order" and send them when available. April '66 — 142 — The Choristers Guild is a service organization. We want to make available to you what you need to do better work. Because we can produce in quantities which the individual church could not, we can keep our prices reasonable. Many of the ideas for new materials came from you — writing paper, seals, attendance chart, psalm studies, Irving calendar are among them. If you have ideas of other materials which would help you, do write me about them. Use the new purple order form, please, and send your check with the order, if possible. Everyone gains when you can do this.

One more word: Award time is nearing. Please read and use the new order blank for awards which was with the March LETTERS. There are some changes in figuring prices. We will do everything possible to expedite your order and serve you accurately and promptly. 0 0 gi 0 0 All who knew him or his music will be grieved to learn of the death of W. Lawrence Curry. He will be remembered by those who attended the Seminar in Indianapolis in '65 as the attentive companion of his wife, Louise, who was one of our instructors. Dr. Curry was musical editor for Westminster Press. In this capacity, he edited numerous collections such as Songs and Hymns for Primary Worship, Anthems for Junior Choir, several volumes, and many more. His compositions are in the catalogs of various publishers. His winsome personality will be missed on the American church music scene, but his influence will continue in the music he has left for our worship. I have felt particularly indebted to Lawrence for the encouragement he gave me when I was struggling to put my ideas into book form and for his recommending the publication of the manuscript by Westminster Press. God has removed one of His most faithful workers but He will carry on His work. gi 0 0 0 0 0 Recently I've had several happy experiences with groups of Guild members. On February 27 the Dallas Chapter sponsored four simultaneous children's choir festivals in four churches in the city. There were about 200 children singing in each church. Excellent congregations were in attendance. By fast driving, I attended the first part of one program and the last part of another, and spoke at each. I also directed the Guild Benediction, "The Light of God", at one of the programs. On March 4-6, I was with the Chapter at Enid, Oklahoma, for a workshop and festival. I was particularly pleased to have children from the local Catholic parish taking part. The Sunday afternoon service was sung in the St. Francis Xavier Catholic Church. For a majority of the Protestant children, this was the first time they were ever in a Catholic Church. Another pleasant occasion was to be with a fine group of directors, about 40, at Oklahoma City for the forming of a Choristers Guild Chapter. Officers were elected and a fine start was made. This was part of a two day workshop. We now have 17 Chapters formed, or forming. The end of April I will be in Seattle, Washington (22-24), Calgary, Alberta (26-28), Billings, Montana (29-30). I hope to meet many of our Guild members in these areas. O 0 gi 0 0 0 You, as Guild members, are on your second 25,000 Children's Choir Bulletins. This has the lovely picture of Mabel Boyter's choir and rose window. When you are planning for your spring program, consider using this bulletin. Don't forget the greeting cards with the same picture. These are not Christmas cards, but are useable the year around. • 0 0 0 0 gi At this writing, our membership stands at 2,930. Do you think we will reach 3,000 by June? Will you help by spreading the word of Guild values and services to directors in your area? O 0 0 0 ga If you are a new member of the Guild, you may wish you had joined years ago. Did you know that if you want all LETTERS and supplements from the '64-'65 year, we can still supply them? We have over a hundred complete sets on hand. Send us the regular $4 and indicate " '64 - '65 LETTERS". We'll do the rest. O 0 0 0 0 We can save you time on anthem orders if you order directly from us. All orders go out from this office the day we receive them, unless they come in on Saturday — and often we work Saturdays, too! "Better Service" — that's one reason you should order directly from 440 Northlake Center, Dallas. O 0 0 0 0 "This spring India will experience the worst famine of the century and it is anticipated that between 8 and 12 million people will die of starvation. "The amount of food being consumed by an individual in India at this moment will have to be shared with 4 persons a few months hence. "The net gain in world population every twenty-four hours is 100,000 babies, and 3 out of 4 of these will never know the joy of a full stomach." These statements startled me, gave me a sick feeling, and shamed me when I read them recently. Lord, let us begin to really care for Your children; and let this begin with me. April '66 — 143 — ORDER FORM FOR AVAILABLE MATERIALS CHORISTERS GUILD HEADQUARTERS

440 Northlake Center, Dallas, Texas 75238

Send to: Bill to•

City, State and Zip Code City, State and Zip Code

THE "A" SERIES (ANTHEMS)

CHORISTERS GUILD CHILDREN'S CHOIR ANTHEM SERIES QUANTITY ORDERED

A-3 Children of the Heavenly Father arr. by Legler ...... 10¢ A-4 Timothy's Christmas Song Gay 15¢ Carol for Three Kings Gay A-5 All Things Bright and Beautiful Burke 15¢ A-6 A Spring Carol Combs 30¢ __A-7 Ballad of the Dogwood Tree (Keyboard or autoharp acc.) Davis 20¢ A-8 The Three Kings Burke 20¢ A-9 God of All Lovely Sounds Burke 100 A-10 )A Japanese Carol (optional Handbell accompaniment) Whittlesey 15¢ /Jesus' Birthday Song Whittlesey A-12 Praise God for Wheat Burke 15¢ A-14 A Christmas Bell Song (with Handbells) Couper 15¢ A-15 For Flowers That Bloom Burke 15¢ A-20 Can You Count the Stars (with flute, or violin, autoharp) Burke. 15¢ A-21 The Little Child Upon the Straw Lovelace 15¢ A-22 Birds Are Singing Maesch 20ct A-23 God's Candles Stanton 20¢ A-24 0 Bells in the Steeple Burke 20¢ A-25 Lord, Guide Our Thoughts Bitgood 20¢ A-26 For Hard Things Marshall 15¢ A-27 A Child's Prayer (with Handbells) Pfautsch 15¢ A-28 God's Requirements (Old Testament) Adler 20¢ A-29 Shepherd's Rejoice Spinney .15¢ /The Light of God (A Choral Benediction) Spinney A-30 God, Who Touchest Earth With Beauty Lorenz 200 (optional violin or flute part) A-31 God Is Always Near (Indonesian Folk Song) arr. by Kemp 15¢ A-32 It Is a Good Thing to Give Thanks McLaughlin 20¢ A-33 God's Requirements (New Testament) Bristol.. 20¢ A-34 Wake Every Breath (Canon of Six in One) Billings 15¢ A-35 Thanks at Christmas Bitgood 20¢ A-36 Song of Seven (Recorder, autoharp) Brown 20¢ A-37 The Manger Mouse (Handbell accompaniment) Brown 15¢ A-38 Christmas Song (Keyboard or autoharp accompaniment) Brown. 20¢ A-39 Psalm 150 (optional rhythm instruments) Adler 20¢ A-40 Mary's Wandering McLaughlin 20¢ ____A-41 Great Father of Glory arr. by Hokanson 20¢

A 10% discount is allowed on 50 or more copies of one anthem or in combinations.

Total "A" Series Order ..

THE "H" SERIES (HYMN STUDIES) 50 each page

These studies are designed for use in children's choir work books. These will be useful to the director to glean fresh ideas for teaching the hymns. Those marked with an asterisk (*) have the hymn printed with the study; in some cases, melody alone; others, the full hymn. The tune used is indicated in italics.

QUANTITY QUANTITY ORDERED ORDERED

(*) H-1 All Creatures of Our God and King (*) H-39 Shepherd of Tender Youth Lasst Uns Erfreuen Kirby Bedon (*) H-2 All Things Bright and Beautiful Greystone (*) H-40 Our Father Who Art in Heaven H-3 Come Ye Thankful People, Come Gregorian Chant (*) H-4 Doxology Old Hundredth (*) H-41 Good Christian Men Rejoice (*) H-5 Faith of Our Fathers St. Catherine In Dulci Jubilo (*) H-6 For the Beauty of the Earth Dix (*) H-42 Now Thank We All Our God (*) H-7 Hosanna, Loud Hosanna Ellacombe Nun Danket (*) H-8 In Christ There Is No East or West (*) H-43 Jesus Shall Reign Duke Street St. Peter (*) H-44 Be Thou My Vision Slane (*) H-9 Joyful, Joyful, We Adore Thee (*) H-45 Life Is Good, For God Contrives Hymn to Joy It T re faenan H-10 Psalm 150 (to be used with H-9) (*) H-46 Sing Them Over Again To Me (*) H-11 Now the Day Is Over Merrial Words of Life (*) H-12 0 Come, 0 Come, Emmanuel (*) H-47 Just As I Am, Thine Own To Be Veni Emmanuel Just As I Am (*) H-13 0 Lord of Heaven and Earth Oldbridge (*) H-48 Our Church Proclaims God's (*) H-14 Rise Up, 0 Men of God Festal Song Love and Care Truro (*) H-15 The God of Abraham Praise Leoni (*) H-49 The Voice of God Is Calling (*) H-16 Ye Servants of God Hanover M eirionydd (*) H-17 Take My Life Messiah (*) H-50 Once to Every Man and Nation (*) H-18 0 God Our Help in Ages Past Ton-y-Botel St. Anne (*) H-51 Sing Praise to God Mit Frueden (*) H-19 Let Us With Gladsome Mind Zart Monk land (*) H-52 Lo, How a Rose E'er Blcoming (*) H-20 Gracious Spirit, Dwell With Me Praetorius Redhead No. 76 (*) H-53 Love Divine, All Loves Excelling (*) H-21 May the Grace of Christ Our Savior Love Divine Sardis (*) H-54 He Who Would Valiant Be (*) H-22 As With Gladness Men of Old Dix St. Dunstan's H-23 When Thy Heart with Joy O'erflowing (*) H-55 0 Spirit of the Living God H-24 God Be in My Head St. Leonard H-25 0 Sacred Head, Now Wounded (*) H-56 Onward Christian Soldiers H-26 Praise the Lord, Ye Heavens Adore Him St. Gertrude (*) H-27 God Who Touchest Earth With Beauty (*) H-57 A Mighty Fortress Ein' Feste Burg Bullinger (*) H-58 Come, Thou Long Expected Jesus (*) H-28 Praise to the Lord Hyfrydol Lobe Den Herren (*) H-59 Come, Thou Almighty King (*) H-29 Infant Holy, Infant Lowly Italian Hymn Polish Carol (*) H-60 How Firm A Foundation (*) H-30 0 Brother Man Intercessor Foundation (*) H-31 We, Thy People, Praise Thee (*) H-61 0 Morning Star, How Fair and Bright St. Anthony's Chorale Frankfort (*) H-32 Long Ago and Far Away (*) H-62 Christ the Lord Is Risen Today Resonet in Laudibus Easter Hymn (*) H-33 Thou Didst Leave Thy Throne Margaret (*) H-63 Built on A Rock Kirken (*) H-34 Holy, Holy, Holy Nicaea (*) H-64 For All the Saints (*) H-35 Into the Woods My Master Went Sine Nomine Lanier (*) H-65 Hope of the World Vicar (*) H-36 We Would See Jesus Cushman (*) H-66 The King of Love My Shepherd Is (*) H-37 Immortal, Invisible Joanna Dominus Regit Me (*) H-38 If Thou But Suffer God to Guide Thee (*) H-67 Christ, We Do All Adore Thee Bremen (Neumark) The Seven Last Words

Total "H" Series Order

NAME AND ADDRESS

QUANTITY DIRECTORS' BOOKS AND HYMNALS ORDERED

THE CHILDREN'S CHOIR, Vol. I by Ruth K. Jacobs $4.95 (A book acomplete organizational plans, tried and tested, compiled from the Choristers Guild LETTERS from their beginning in 1949 to 1957.) THE CHILDREN'S CHOIR Vol. II by Nancy Poore Tufts 5.95 (Compilation of the best material from the Choristers Guild LETTERS of 1958 to 1963.) (Vols. I and II, WHEN ORDERED TOGETHER — $10.00) THE SUCCESSFUL CHILDREN'S CHOIR by Ruth K. Jacobs 1.95 (A book of techniques for handling children's voices.) A new repertoire listing was compiled by Helen Kemp and has been inserted in the newest edition of this book. For those who already have THE SUCCESSFUL CHILDREN'S CHOIR, the repertoire list is available separately. See below. Repertoire List by Helen Kemp (1966) ...... 15 (Supplemental list of repertoire prepared for THE SUCCESSFUL CHILDREN'S CHOIR Sixth Edition — 1966) CHORISTERS LITTLE HYMNAL, edited and compiled by Ruth K. Jacobs, revised 1964 by A. Leslie Jacobs (Complete, accompaniments and words) 1-5 copies - 500 each 26-199 copies - 35¢ each 6-25 copies- 40¢ each 200-up copies - 30¢ each THE ABC'S OF THE DO RE MI'S (Teacher's Manual) by Ruth K. Jacobs 1.00 (A series of 74 lessons for teaching note reading to primaries and juniors.) A set of the "DO" series pages is included with this TEACHER'S MANUAL. See below.

Total Books Order $ (Choir Workbook Pages) THE "DO" SERIES So each page Intended to be used by the children in connection with THE ABC'S OF THE DO RE MI'S. (A set of the "DO" series pages is included with the TEACHER'S MANUAL.) See above.

Chart I Review Sheet 2 Review Sheet 6 —Letter Names Review Chart II Review Sheet 3 Review Sheet 7 __Keyboard Chart Chart III __Review Sheet 4 Review Sheet 8 My Heart Ever Faithful Review Sheet 1 Review Sheet 5 Notes and Rests __Work Page

Total "DO" Series Order $

(Cartoons for bulletin boards or THE "C" SERIES 50 each page choir work books) IRVING (23 in series) (To be continued) 22A. j Irving's Choir. . .Together 22B must be used with 22A 1. Irving — himself 93 Attend to the End (Ready May 1) Keeps an eye on director Which one is you? WHICH IS THE WAY? (8 in series) 4 About pronounciation 1. to start the year? Irving is proud of his CG pin 2 to learn our songs? 6 Sing We Nowell 3 to act in church? 7 Irving holds music correctly 4 to be on time? 8 Surrexit Christus hodie, Alleluia! 5 to help the choir? 9. Asks about voice quality Finding a good excuse? 10 Are you a good learner? 6 My attendance chart? 11 Treating new choir members Making the director mad? 12 Irving misses only when ill 13. Irving and mother mark calendar MEM (5 in series) (To be continued) 14 Eager for choir to start 1 Who put the hearse in rehearsal? 15 Singing in the bathtub Who's the pest in the vestment? 16 Irving thinks about the words 3 Be the emBODYment of music. 17 Paying attention is the best way 4 18 A singer with a stiff neck — — Choir-attitudes 5 Join the Dots 19 Irving sings to express his joy 90 Organist-Director 21 Irving gets to choir — somehow Total "C" Series Order $ "XTRA" SERIES —Children's Choir Greeting Cards (packed 20 to the box, with envelopes) Children's Choir Bulletins 100 for .$ 92.21050 500 for 1000 for 17.00 CG Small Seals (11/4" x 1") 100 for 1.00 CG Large Seals (21/2" x 3") 0 for 1.00 "Processing Choir Boys" Writing Paper, for your use, similar to Guild 1005 for 1.50 letterhead, 81/2" x 11" 500 for 7.00 1000 for...... 13.00 Irving '66—'67 Choir Year Calendar 35¢ each (13 Irving drawings — 10 months) Intended for the child's use at home. (Ready May 1) Total "XTRA" Series Order $

(Miscellaneous choir work book pages) THE "M" SERIES 5* each page QUANTITY ORDERED

Twenty-one Choir Prayers (New Printing) M-9 The Ten Commandments (Children's version) -----M-2 My Vestment (poem) by Dr. Elton Trueblood Psalm 100 M-10 Birthplace of Familiar Carols Christmas Alphabet "0 Little Town of Bethlehem" M-5 Head of Christ (cutout shadow picture) "It Came Upon the Midnight Clear" M-6 Choir Boys on Stairs (scale study) "What Child Is This?" M-7 High-low Musical Game (New Printing) M 11 Birthplace of Familiar Carols (Ready June 1) "Angels we have heard" M-8 Choristers Prayers (in art drawing) "Silent Night" M 12 Indian Version 23rd Psalm and 3 Musical Settings Total "M" Series Order $

(Special Pages) THE "S" SERIES .5* each page S-1 CERTIFICATE OF MEMBERSHIP (Printed on parchment paper and signed by the President of the Choristers Guild, Dr. Nita Akin. Suitable for framing.) S-2 CHORISTERS PLEDGE AND PRAYER (Printed on parchment paper. Suitable for choir work book or framing.) S-3 ONE SOLITARY LIFE (Printed on parchment paper with beautiful art lettering. Suitable for choir work book or framing.) S-4 I AM MUSIC (impressive statement on the value of music, printed on heavy buff paper. Intended for work books.) S-5 THE OLD WOMAN WHO LIVED IN THE SHOE (A publicity folder especially for Primaries.) S-7 WINDOW ATTENDANCE CHART (Printed on heavy paper for coloring by the child.) S-8 ORGAN PIPES ATTENDANCE CHART (Printed on heavy paper for coloring by the child.) (Ready June 1) Total "S" Series Order $

THE "PS" SERIES Sit each page Interpretations of various Psalms with the texts (King James' Translation). Colorful art pages by Mary Elizabeth Montgomery. May be used in choir work books for general interest or as a memorizing project. Ideal for a summer camp study unit or Daily-Vacation-Bible-School activity. Psalm 1 Psalm 19 Psalm 24 Psalm 96 Psalm 121 Psalm 8 Psalm 23 Psalm 46 Psalm 100 Psalm 150 (Ready June 1) Total "PS" Series Order $

(Order by hundreds, please) "POSTCARD" SERIES 100 for $1.00

THE SPOTTED PUPPY (A "missed you" card especially for Primaries) THREE CHORISTERS (There is no writing on this — intended for your message) _THERE IS A PLACE FOR YOU (Promotion card for all ages) MISSING "E" (A "missed you" message written on a typewriter which has no "e") IRVING MISSED YOU (An attendance reminder card) BOY & GIRL (2 color promotion card for children' s choirs) Total "Postcard" Series Order $

REGARDING TAXES Tennesseeans — Because the Guild is a Tennessee-Chartered Corporation, the 3% Sales Tax must be collected on the sale of all materials to residents of Tennessee OR your church's Tennessee Exemption number must be on file in the Guild office. Texans — 2% Sales Tax due on materials purchased by residents of Texas, or send the Guild a statement from your church that the materials purchased are for church use only. This statement will be kept on file for future orders. NOTE: New order form for available materials will be enclosed when your order is filled. Total Order $ Discount NET ORDER $

Order all music and materials from: CHORISTERS GUILD, 440 Northlake Center, Dallas, Texas 75238

CHOIR PRAYERS

****God of all lovely sounds, grant us a share in Thy great harmonies of earth and air. Make us Thy choristers that we may be worthy to offer music unto Thee. Amen

********Dear God we come before Thy throne To sing thy praise today. Renew our minds, our spirits fill, That we may know Thy perfect will. cleanse Thou our hearts from sin, that we Acceptable to Thee may be. Now offer we our prayer. Dear God, bless all Thy children here, Their hearts and minds inspire, That they may do Thy perfect will, With sacred fire Thy church to fill. We pray that Thou wilt close our eyes To all that is to Thee unwise, And then may we more clearly see The thins that will be pleasing Thee. Thus offer we our prayer. Amen — Barbara Jenkinson

***Help us, Father, to remember ***May we be quick to learn, What You'd like to have us do; And eager to be taught, Help us to be strong and loving; And may Thy spirit read us Help us to be true. Amen into all truth. Amen

***************************Lord, take our lips, and speak through them, Take our minds, and think through tlem, Take our hands, and serve through them, Take our hearts, and live in them. Amen

**********Dear God, help children everywhere to be friends of one another, And help us to be friendly to the children of all lands. May we remember that they are Thy children, as we are, and so with us a part of God's far m!., nn Parrh. Teach us ways in which we may share our best with them, and in knowing them better learn to love them more. This we ask in the spirit of Jesus, who came a little child on earth to show Thy love to all people. Amen

***For singers in the ************Open our eyes, Lord! church of old That we may see that Thou art always near. Who of Thy love Open our ears, Lord! and grace have told: That we may hear Thy word. For songs and hymns Open our Hearts, Lord! and anthems too, That you may always dwell therein. Which we may sing Open our lips, Lord! to show anew That wemay sing Thy praise! Amen Our love to Thee we thank Thee Lord. — Alice Odenkirk

********************0 God, our Father give us clean hands, clean words clean thoughts; Help us to stand for the hard right against the easy wrong; Save us from habits that harm; Teach us to work as hard, and play as fair in Thy sight alone as if all the world saw; Forgive us when we are unkind; and help us to forgive others who are unkind; Keep us ready to help others even at some cost to ourselves; Send us some chances to do a little good every day, and thus to grow more like Christ. Amen — William DeWitt Hyde ********************Bless, 0 Lord, us Thy servants who minister in Thy temple. Grant that what we sing with our lips we may believe in our hearts, and that what we believe in our hearts we may show forth in our lives; through Jesus Quist, our Lord. Amen

***************************Great spirit help me ****0 Lord, reform Thy world never to judge another ..- beginning with me. until I have walked in his moccasins for two weeks. — A Chinese Christian's Prayer

— Sioux Indian Prayer *****Let Not that happen which I wish, but **************0 God, help us that which is right. not to despise or oppose what we do not understand. — Menander — William Penn ******0 God, Thou hast iven so much to us give on e- thing more **********Lord, we pray not for a grateful heart. tranquility; we pray that Thou grant us strength and grace — George Herbert to overcome adversity. ***0 Lord, never suffer us to — Savonarola think that we can stand by ourselves and not need Thee. ******0 God, help us to be masters of ourselves that we — John Donne may be servants of others. — Sir Alec Paterson **********PRAYER FOR PERSONAL INTEGRITY (For Older Youth)

0 God cultivate within us the spirit of righteousness, and build Thy Kingdom there. We would manifest the spirit of our Lord in every act and thought, and bring Thy message unto our fellow men. Make us pure within, where no one can see. Help us not to develop virtues merely that they may be seen of men, and help us to remain faithful to our own testimony of Thee, and not try to take over the experience of others which is not ours.

Inspire us to acquire purity of mind, strength of will, and beauty of spirit, that our inmost souls may be temples in which Thou wouldst dwell.

Help us to seek character and spiritual power without thought of reward or praise.

Keep us from the error of thinking that we have done our best when we have merely refrained from breaking the laws and have n ever been publicly condemned for unworthiness.

Help us to keep faith with ourselves, and to respect the value of our own personalities.

May we live as if Thy Son lived every minute of every day within us, and may the radiance of our faces be the indication of the fires of hope and faith and love within us.

In Jesus' name we pray. /Amen — Richard K. Morton

**********cHORISTUS GUILD MORAL UKDIQTION The Light of God surround you, The Love of God enfold you, The Pow'r of God protect you, T,he Presence of God watch over you, Where er you are. **********Father, as we leave Thy house may we continue to "make melody unto the Lord" with our voices, or spirits and through the deeds of our lives. We pray in Jesus name. Amen

ANk An Indian Version ru,!! of the Twenty-Third •

^-11:46L-1,,Pe Psalm 4•"A,- . The Great Father above a Shepherd Chief is. I am His and with Him I want not. He throws out to me a rope and the name of the rope is love; and He draws me to where the grass is green and the water not dangerous, and I eat and lie down and am satisfied. Sometimes my heart is very weak and falls down, but He lifts me up again and draws me into a good road. "His Name Is Wonderful." Sometime, it may be very soon, it may be a long, long time, He will draw me into a valley. It is dark there, but I'll draw back not. I'll be afraid not for it is in between those mountains that the Shepherd Chief will meet me and the hunger that I have in my heart all through this life will be satisfied. Sometimes He makes the love rope into a whip, but afterwards He gives me a staff to lean upon. He spreads a table before me with all kinds of foods. He puts His hand upon my head and all the 'tired' is gone. My cup He fills till it runs over. What I tell is true. I lie not. These roads that are "away ahead" will stay with me through this life and after; and afterwards I will go to live in the Big Tepee and "01 sit down with the Shepherd Chief forever.

Printed with permission of Cook Christian Training School 708 S. Lindon Lane, Tempe, Arizona 85281 M-12 The Lorcl Is My SkeptiereA (A raursd) ,e #1,74,1 25 Les HAITIN BRISTOL., Jr.. 1.•'°,415* kfro C • J cu J r r tr -The Lori ) is my step—),erd, My guard and my 11...ide,Wkal-saa.v e. ,10 j il i cl j. : j liA I 1"4.1. He will stne •••••17 ft* ukle. Ev-er yince I was aaesser— T4 is etua L P- / f'Fif 1 *ILL II Ns_ Pick km01 crvv0.44 1:Ce -Olaf- lie gave n,e w h Isleorls al) 'round.

MARTYRDOM (AVON). C. M. PSALM XXIII SCOTTISH PSALTER. x65o HUGH WILSON, 1764-1824 .••

I. The Lord's my Shep - herd, I'll not want; He makes me down to lie 2. My soul He doth re - store a - gain; And me to walk doth make 3. Yea, though I walk in death's dark vale, Yet will I fear no ill; 4. My to - ble Thou hast fur - nish - ed In pres - ence of my foes; 5. Good-ness and mer - cy all my life Shall sure - ly fol - low me;

1110.---67

Mir slrh'f -A

In pas-tures green; He lead-eth me The qui - et wa - ters by. With - in the paths of right-eous-ness, Ev'n for His own name's sake. For Thou art with me, and Thy rod And staff me corn-fort still. My head Thou dost with oil a-noint, And my cup o - ver - flows. And in God's house for ev-er-more My dwell - ing place shall be. A-MEN.

rJ r 2 • P

DOMINUS REGIT ME. 8. 7. 8. 7. HENRY W BAKER, 1.821-0377 JoHN B. Drees, :823-1876

I. The King of love my Shep-herd is, Whose goodness fail - eth nev - er; z. Where streams of liv - ing wa - ter flow, My ran - soured soul He lead - eth, 3. Per - verse and fool - ish oft I strayed, But yet in love He sought me, I% a -0- 40 -a- - • I.

I noth - ing lack if I am His And He is mine for CV - er. And, where the ver-dant pastures grow, With food ce - les -tial feed- eth. And on His shoul-der gen - tly laid, And home,re- joic-ing, brought me A-MEN. r••• 311- -6- p •-•

4 In death's dark vale I fear no i11 5 And so through all the length of days With Thee, dear Lord, beside me; Thy goodness faileth never: Thy rod and staff my comfort still, Good Shepherd, may I sing Thy praise Thy cross before to guide me. Within Thy house for ever...... 4,4%0, •s

he Lord is my shepherd; I shall not want.

2 He maketh me to lie down in green pastures: he leadeth me beside the still waters.

3 He restoreth my soul: he leadeth me in the paths of righteousness for his name's sake.

4 Yea, though I walk through the valley of the shad, ow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.

5 Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.

6 Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the LORD for ever. PSALM 23 Mil, OR NOT AT ALL By Ruth K. Jacobs

"I wonder how many of us are totally committed. committed to what? I wish I knew. When I hear of music directors at odds with the christian education director it is difficult to doubt their commitment to anything beyond their own program. The director who binds his choirs to himself with a blind loyalty that makes progress impossible for his successor, what is HIS commitment? The director who gets by with as little prepara' tion as possible, the director who makes no effort to improve, the one who sees only the flaws in his associates, what would happen if they should experience an unmistakable sense of commitment? What would happen to you and to me if our eyes were suddenly opened to the meager quality of our service and our dedication? And if we had the courage to pledge ourselves to a life of total commitment?

"You have known perhaps two or three people, and so have 1, whose very presence made one feel nobler and more worthy, people who, without a word, made you conscious of depths in your own self that you seldom sounded and of which you were hardly even aware. That is the power of total commitment, and it is a power that is available to everyone of us if we are willing to pay the price.

-And the price? The price is a different one for every person. The price is the relinquishing of those very habits, desires, ambitions that stand between us and total commitment. I know very well what the price is for me; and you probably know equally as well. Most of us spend our lives making small token payments, and never coming into possession of the treasure. And how we envy the courageous few who ventured everything . . . and gained everything.

—Christianity needs that kind of leadership. Nothing else is good enough. The church needs it in every area of its efforts. church music needs it. 'christian character through children's choirs' becomes something more than a slogan when it is the field in which a 'total commitment' directs us to work. It is said that every great achievement is the lengthened shadow of one man. But only when he becomes the shadow of agreater Being does his own shadow fall clearly and beneficently upon humanity. —

CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 May Number 9 Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors RUTH KREHBIEL JACOBS, Founder of the Choristers Guild THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A. Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T. J. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynch urg, Virginia Denver, Colo. The Choristers Guild LETTERS are published monthly September through June for its members Regular membership $4.00 — Contributing membership $10.00 or more All correspondence should be directed to Choristers Guild Headquarters at 440 Northlake Center, Dallas, Texas 75238 Telephone: Area Code 214 — Diamond 8-0450

COPYRIGHT © 1966 CHORISTERS GUILD May '66 — 144 — IN MIS 1SSUS SPECIAL ARTICLES All or Not At All — Ruth K. Jacobs 144 Yes, There Are High School Tenors — John S C. Kemp 146 Mother Truth's Melodies — Nancy Poore Tufts.... 158 REGULAR CONTRIBUTORS Cream of the Crop 145 A Psalm, An Anthem, and a Tapestry — F.L.W. 148 What's New at "440" 149 Dear Guilders — Helen Kemp 150 Tintinnabulations — Nancy Poore Tufts 152 Seminars in '66 — F.L.W. 154 Hymn Study — "God, Who Touchest Earth With Beauty" — Christine Kallstrom 155 From the Editor's Desk — F.L.W. 160 SUPPLEMENT Irving Says "Attend to the End" — #23 — Sally Lane 0 0 0 0 0 CREAM OF THE CROP Here are some anthem suggestions by fellow members for you to consider when you are making plans for next season. Yes, there will be a "next season", and you will want to be ready with challenging new-to-your-choir anthems. Go back over the ones that have been recommended in the CREAM OF THE CROP pages in the LETTERS this year, by Norma Lowder and by others. Select ones that sound the most interesting to you, get copies for study. Please remember that the Guild office handles only its own publications. Order all others from your usual music dealer or music supply source. SING TO THE LORD OF HARVEST by Jane M. Marshall (unison with obbligato for recorder, flute, violin or bells) Broadman Press 453-570 MF570 220 Excellent for junior boys and girls. May be used for Thanksgiving or general. This anthem requires work note-wise. The accompaniment does not always follow the voice parts and at times has some unusual harmonic progressions along with the lilting obbligato melody. It is a very pleasing and rewarding anthem for juniors. EASTER BELL CAROL by Lloyd Pfautsch (unison with handbells) Abingdon Press APM-168 220 Voice range is excellent for juniors with a melody arranged from a 12th c. German melody. The anthem is rhythmi- cally exciting to juniors and is a rewarding piece to perform. Catherine Mallatis, Boston Avenue Methodist Tulsa, Oklahoma CAN YOU COUNT THE STARS by John Burke (unison with flute and autoharp) Choristers Guild A-20 150 The Carol Choir, which consists of first, second and third graders, liked this anthem very much. We used it with an autoharp, which was just lovely. The text is so meaningful to children. I can hardly wait to use it again! MAKE A JOYFUL NOISE by Jane M. Marshall (Sacred Two-Part Children's Chorus with piano) Carl Fischer CM7322 200 This was the first anthem our Carol Choir learned. We divided the choir into two parts and each group learned its part separately. This is a good anthem to learn after teaching the first basic leassons from "The ABC's of the Do Re Mi's" to show different note values. The text is very good and the children sang it joyfully and beautifully. Mrs. Keith Potadle, Emmanuel Lutheran Tekamah, Nebraska SING TO THE LORD by Rowley (unison) Novello MT 1217 Those who appreciate the lyric quality of Alec Rowley's music will find this one a must. It is a beautiful unison anthem for harvest and Thanksgiving time. Again this piece would make a dandy multiple choir anthem. The text is from the Psalms. The piece is usable by juniors, youth or adults, or in combination. Have a look at it! 0 GOD, I THANK THEE HEARTILY by Bouman (unison) Concordia 98-1089 20¢ A very lovely unison anthem especially suitable for Mothers or Fathers Day. The text emphasizes thankfulness for parents and obedience and duty to their will (always needed in any century!) The melody line is lyrical and the organ part is flowing with harmonic interest. Voice range lies within an e flat to e flat octave. This one is a must for all children's choir libraries Gene Butler, First Methodist Church Wichita, Kansas

FORTH HE CAME AT EASTER from FIVE CAROLS FOR EASTER arr by Williams (unison) H. W. Gray Co. No. 2523 20¢ The simplicity of this anthem especially in the accompaniment and yet the variety contained within it combine to make a beautiful anthem. I like the gradual intensification that builds through the three sections and at the last section just seems to unfold itself with the glorious resurrection. GOD IS ALWAYS NEAR by Helen Kemp (unison with optional second part) Choristers Guild A-31 15¢ I guess that this one just clicked with me the first time I heard it at the NaFOMM meeting last summer. Especially do I like the smooth flow of the melody throughout. Robert Fraumann, First Methodist Church East Point, Georgia

May '66 — 145 — YES, THERE ARE HIGH SCHOOL TENORS!

(An article concerning teen age boy singers)

By John S. C. Kemp

Last week when 22 tenors showed up for our high school age choir rehearsal, we were shocked into analyzing why this change from the many lean years. We used to have the customary 4 or 5 tenors; the choir had only one tenor when it was organized; we remember occasions when the director sang a light tenor to fill in while the available boys all sang bass. Could it be that our congregation has more boys now than in the past? Could it be that a larger percentage of these boys have high voices? Haven't we all wondered what is the secret of getting boys and using them well? Facts seem to show that boys are available in like numbers to girls and facts also show that boys respond to social pressure to be part of the "in" group just as girls do. We, as directors of young singers, must make sure that "in" means "in choir".

(1) Choir singing is a team response. It is an active participation in the church ---- a doing instead of just listening. It is a manly expression of Christian conviction. Courage is required to declare you are a Christian and singing in a church choir; it is this sort of declaration every time the choir appears in public. Good singing requires good physical co-ordination. A certain virility is a characteristic of boys' singing, for both changed and un-changed voices. All of these characteristics are appealing to boys and it is natural for them to sing. Many of these characteristics are less usual in girls, who must work hard to acquire what comes naturally for these boys. How many directors approach their choirs of young singers the other way ---- making their boys sing "pretty" like the girls? There are centuries of tradition behind boy choirs and all male choirs that leaders can refer to in building an "in choir" concept for boys.

(2) One player can spark a ball team to become great instead of good. A few leaders in the boys' section can create the "in" concept. Winning the leaders takes effort, patience, your interest in them, and your time to train them. These must be boys respected by others. They are usually fellows who could be leaders in many activities, not the narrow, "music- only" boys who need to be encouraged to be better rounded in their interests. Special summer choir schools for high school singers will often add a security in singing and an enthusiasm for choir which is infectious. Use these boys as pace-setters in the organization as well as examples in singing. Good boy singers are usually better to use than adult singers in modeling tone for the younger boys.

(3) A blessing which comes from working a number of years in one church is the background of training your prospective youth choir members have. The obvious suggestion is to keep the boys active in the children's choirs, if you expect to have boys in the high school choir. Many of us now believe that boys should sing through the voice change. Voices are less fragile than we sometimes have thought. As a voice becomes too low for a treble choir, or as the voice is too far changed, move the boy into the youth group as a "trainee'. Let the boy flounder a bit, getting used to the different sound and getting used to the octave lower transposition. These trainees come only to rehearsals until you judge that they are able to sing with the group in regular worship and finally in special events. Many a useless 8th or 9th grade trainee becomes a 10th grade wonder-boy with a vocal security and capacity you can only hope for in a competent 12th grade singer.

(4) Select music which appeals to boys and challenges them. You can generally be sure that music the boys like will also appeal to the girls, but not always vice-versa. Feature the boys sections on the melody with the girls quietly on soprano and alto above it or on a descant. Try antiphonal music with boys and girls on opposite sides. Canons or rounds are very usable. Texts with meaning for boys are important (not too sweet or too flowery). In general biblical texts get a good response from boys, as well as texts with certain dramatic elements, quoting different characters, etc.

May '66 — 146 — (5) Confront boys bluntly with the fact that the voice change is normal, not peculiar. Insist that the choir have respect and not ridicule for this natural process. We have experienced spontaneous applause for a young singer who has demonstrated unusual development in choir. You can imagine the effort the young singers put into their choir work after this.

(6) In rehearsals boys respond to a direct approach, even more than girls. This can include everything from "Joe, sit up!" to "Joe, sing the next tenor note". When you ask a young singer to sing alone, be sure he can demonstrate well in order to build his confidence. Recognize mistakes and correct them in individuals ---- young singers are not kind about a neighbor's mistake, even if the director ignores it.

(7) A skilled director needs a choral sound to work with, so you might find it wise to allow a bit of ruggedness in tone before you refine it to your desire. With boys, it is often difficult to start with a gentle tone and slowly allow the voice to grow, the way it is usually done with girls. Boys lose interest in gentleness, but can be encouraged to support tone and use energy in singing. For men directors, note this caution ---- choirs need "lift" or "spring" ---- not just drive. It appears to be equally difficult for men to get good tone from girl singers, as it does for women directors to get good tone from boys. The secret for both is to know what you want to hear. The method of getting the results is easy.

(8) In a full ministry of music, there are many positive influences upon the boy singers. Vital men in the adult choir encourage the boys to sing well. The direct interest of the senior minister in these boys makes them feel important. Youth rise to the responsibility of a complete worship service more than they do to singing a "special number" in church. Tenor sections in high school age choirs are composed of the alto-tenors just coming into the voice change; beefy 2nd tenors who had descended to baritone before bouncing back up to tenor, where they belong, but who still sound thick; those lucky young fellows who never experienced the voice break, but slid directly into tenor from boy soprano; and last, those blessed, honest-to-goodness first tenors that are better than your adult singers.

This mixture of voices can be taught the same pronounciation, support for tone, projection, diction, shading, interpretation, phrasing, etc. Somehow they can blend and develop into an exciting unit of the choir. Yes, as long as you have boys in choirs, you will find a good percentage of tenors in your youth ensembles.

God made boys that way.

HOLD THE PRESSES! Our 3,000th membership for the '65—'66 Guild year came in on April 16. the person is James A. Matz of Gilbertsville, Pennsylvania He is a senior at Westminster Choir College and serves the Messiah Lutheran Church of Newton Square, Pa. A special recognition of this 3,000th membership has been sent to Mr. Matz. Last year at this time, we had 2,675 members. What should a realistic goal be for '66—'67? May '66 — 147 — A PSALM, AN ANTHEM AND A TAPESTRY A "Happening" of interest took place recently at Temple Emanuel-El, Dallas. But the story should start several months ago. Last fall when we were considering the psalms to be used as supplements to the LETTERS, the 150th was one selected. To give it a musical companion, I asked Samuel Adler, Director of Music of Temple Emanu-El to compose an anthem based on the same psalm. The art form of the psalm and the anthem form both were included as supplements to the January '66 LETTERS. Soon after the music was in print, Mr. Adler called me to tell of an interesting coincidence. Sometime before the Temple had commissioned Ben Shahn of New York, one of america's greatest artists, to design a large tapestry. The subject matter had been left to the artist. It had just been revealed that he had used Psalm 150 as his theme. Mr. Adler said that he was proposing that the anthem be sung at the first formal showing of the tapestry on March 31. Rabbi Levi A. Olan has given us permission to reproduce the tapestry design.

The following is from The Dallas Morning News: "The tapestry measures 9 by 19 feet. The work pictures ancient musical instruments (mentioned in the psalm) woven around Hebrew letters. Its colors are soft muted tones, with brilliant accents of purple and gold. Nearly a year was required to complete the weaving from yarns especially dyed to match the color of the original Shahn painting." At the formal presentation, children from the choirs of Highland Park Methodist Church (Phil Baker, director) and First Community Church (Don Hermonat, director) joined Mr. Adler's children's choir to sing the hymn "0 Worship the King" and the new anthem, "Psalm 150". Mr. Adler had written a special accompaniment for woodwinds which was used instead of the piano and rhythm instruments. (This accompaniment is available on loan from the Guild office to any member who might like to use it.) The following is from the descriptive folder: The one hundred fiftieth psalm calls upon the worshippers in the sanctuary and upon all the hosts of the heavens to praise God together. A symphony of instrumental music builds up with tones blending in praise of God. The entire psalm can be considered the doxology for the whole Book of Psalms. After all the suffering and sorrow, after all the despair and heartbreak which come into human life, the essence of these varied experiences, personal and social, as recorded in the Psalter is: "Let everything that hath breath praise the Lord." Let everything that hath breath praise the Lord. Samuel Frances Smith used this line in the hymn "America": "Let mortal tongues awake Let all that breathe partake." "Let everything that hath breath praise the Lord," is a fitting close for the Psalm Book. It sounds a noble universal tone: not only the Levites in the Temple but all of Israel; not only Israel but all of mankind; all that breathe are asked to join in the final "Hallelujah," "Praise ye the Lord." This tapestry was designed by Ben Shahn in 1965 and was woven by Pinton Freres at the Aubusson Factory in France. The acquisition was made possible by The Significant Books Series Committee of the Sisterhood of Temple Emanu-El, Dallas, Texas. This was an auspicious presentation for our A-39. May '66 — 148 — )

CHRISTIAN CHARACTER THROUGH CHILDREN'S CHOIRS WHAT'S NEW AT 440

In addition to the "Irving" #23 which is with this issue, there are two other new items for your use. Reproduced on this page is the new Writing Paper and the Boy and Girl Promotion Postcard. The Writing Paper is printed in "Choristers Guild" blue with the processing children and phrases as you see them here. It is intended for your messages and correspondence. You will find this listed on your Order Form for Available Materials in the "XTRA' Series. The price is - 100 sheets for $ 1.50 500 ft It 7.00 1000 " " 13.00 We are ready to supply you.

The Boy and Girl Promotion Card is printed with the robes in red. It is on regular postcard stock. The reverse has room for your children's choir schedule, as well as address for mailing. We believe this card has appealing promotional value. You may want to plan for its use in the fall. This is listed in the "POSTCARD" Series. The price is 100 for S1.00, as are all our postcards. We are ready to supply you.

WHAT'S NEARLY NEW AT 440 Anthem - A-41 - Great Father of Glory - arr. by Hokanson Hymn Study - H-67 - Christ, We do All Adore Thee Book - Reprint of THE SUCCESSFUL CHILDREN'S CHOIR - Jacobs Repertoire - Prepared by Helen Kemp Seals - CG Seals - two sizes Prayer Page - M-1 - Twenty-one Choir Prayers 23rd Psalm - M-12 - Indian Version and Music 23rd Psalm - M.E.M. - Illuminated Psalm Series See your Order Form for Available Materials for all the above and the 189 other publications we have for your use.

WE ARE MEMBERS OF THE CHORISTERS GUILD 144 -JEW 1.1.1.1 iiIIIIIIIM. Nam, 16Z: -

Dear Guilders: ig902ANDIAT ALITEEIGAT

Please pardon my salutation... You see, it happens to be the day after Easter... and the Alleluias are still ringing around inside me. One can hardly expect to "get over" the celebration of this great Festival Day in one brief 24 hour period. No... I am not speaking of the physical exhaustion which hits choir directors as they lock up the church on Easter night. That is to be expected... but the Alleluias longer on! Inside and outside and all around the Alle- luias echo and re-echo, and we hope that other hearts have been stirred and lifted by these bursts of rejoicing. We hope that congregations didn't "get over" Easter by Monday morning either. It is a wonderful experience to have ALLELUIAS singing and ringing and echoing inside you and all around!

But now to face reality — workshop preparations — article deadlines, and just plain everyday schedules. March and April have been particularly busy for several reasons. After much thought and delay, I have taken on a temporary music teaching position on educational television for the remainder of the school year. This is proving to be quite an experience — a brand new medium for me — one which is providing many new ideas which I shall be sharing with you.

Since instant communication is an absolute must in a television teaching situation, I am learning a great deal about the use of visual aids. I am getting many inspiring ideas, too, by working with a team of creative artists whose full-time work is illustrating charts, developing new ways for getting through to the class rooms in a more effective way. I should have quite a "portfolio of ideas" for you by the time of our

"2 in '66" Have YOU signed up for one of the 2?

My grade levels are 3rd and 4th. Luckily, Kathy is a 4th grader and has been my most valued critic. (Alarmingly honest!) Every lesson is taught 'live", four lessons a week, each lesson reaching some 6000 children. (I believe we have several T. V. teachers among our Guild members. Mrs. Harry Hook, of Albuquerque, N.M., is one well- known teacher. Are there others?)

The workshop and festival in Charleston, W.Va. proved to be a busy and very fruitful one. Both Junior and Youth choirs participated. Charleston would be a fine area for the organization of a Choristers Guild Chapter.

This weekend, John and I will take off for Dallas with our Youth Choir -- two bus loads of high-schoolers. 33 girls and 30 boys from the choir will make the trip. The Youth Choir of the Highland Park Presbyterian Church will be the host group. The two choirs will combine to sing a Vesper Concert on Sunday afternoon, and will also lead in the worship services on Sunday morning. (Six Flags on Saturday!) This has been planned as an "exchange" program — with the Highland Park Choir visiting Oklahoma City in June.

Thank you for your fine response in returning the cards and for the suggestions of most-wanted information. Among the questions most frequently asked was this:

How can I teach part-singing ---- and should I?

May '66 — 150 — We have an advantage over the children's choir directors in America 15 or .0 y gars ago, in that more good music is being published especially for children, vocally, musically and poetically. Instead of the straight, droning type of alto part, the best anthems are using imitative form, rounds, ons, or an alto part which is introduced first as a melodic line. Descants also provide the opportunity to introduce part-singing. The canonic form (or round) is the easiest and quickest way to start part-singing because the melody ccl be learned in unison until it can be confidently sung, then the group can be divided with both sections already knowing the music. This of course, is the best utilization of our limited rehearsal time.

To get children used to hearing another part, try preparing a small group of descant singers before: the rehearsal hour. Keep the melody group dominant until children feel sure about singing independent'i. Regard the descant as the icing on the cake — (melody).

Now for the second part of the question --- "and should I?" ---- let me say that to my ears, clecr, floating, unison children's singing is a heavenly listening experience. Quality is definitely not established because a choir sings in parts. Even when our children's choir is able to sing fine two-part anthems, we still like to use a good proportion of unison singing.

There are very few real altos among children (8 through 12). That is perhaps the most important fact to remember in choosing your two-part anthems. Choose and use part-music for interest, variety, challenge and a widening musical experience, but not as an end in itself.... or as a status symbol.

Do you need good suggestions for anthems which introduce part-singing? There will be browsing tables piled high with such materials at Denver and Winston-Salem. We would love to see you browsing there!

ANTHEMS FROM OUR A-SERIES

With Some Optional Part-Singing Opportunities

A-6 A Spring Carol by Combs

A-25 Lord, Guide Our Thoughts by Bitgood

A-28 God's Requirements (Old Testament) by Adler

A-31 God Is Always Near (Indonesian Folk Song) arr. by Kemp

A-32 It Is a Good Thing to Give Thanks by McLaughlin

A-33 God's Requirements (New Testament) by Bristol

A-34 Wake Every Breath (Canon of Six in One) by Billings

A-38 Christmas Song by Brown

A-39 Psalm 150 by Adler

A-40 Mary's Wandering by McLaughlin

A-41 Great Father of Glory arr. by Hokanson Do you have a ladies chorus in your church or community? Many of these anthems would be usable and appreciated by adults. Look them over with this in mind. May '66 — 151 — INTINNABULATIONS

Now with the bells through the apple blossoms 9unday,ly sounding. --- John Betjeman

Oh Ringers, that Ring in the Spring, Tra-La!

-- Have plenty to do with the Case. Here's a bell's-eye-view as the Church Music Season rolls toward the final weeks. A LETTER FROM A HANDBELL Dear Folks: My name is HARRY, and I'm a HANDBELL. The 19th of a set in a certain church (though I daren't tell you where, in case the Bell Choir sees this letter and turns me in for scrap!) I get so fed up with CGL, OVERTONES, THE BELL TOWER and other mags pontificating on what ringers think and do that I decided it's time the bells, themselves, tell you about things (such as ringers) that keep them all shook up.

FIRST, there's Frank, our steeple-keeper (Maintenance Chairman). I don't know why they call him a "keeper" because he doesn't "keep" anything, not even quiet. In fact, I've hardly seen him for weeks, though I can always visualize that smirk on his face when he crashes in, late as usual, with that big bass bell. He and the ringers expect us to rehearse weeks on end, ring on Sundays and for concerts — but they don't care about our: clapper bearings needing a drop of oil now and then, nor our handles being cleaned or reinforced, our strikers wanting adjustment, nor are they much concerned with regular inspection of our waists and shoulders and under- sides for tarnish, fingerprints, dampness and dust. We have pride in appearance, you know. It isn't our fault if we look tatty and moldy. Tom and Sally (my neighbor-bells) can tell hair-raising tales about subversive elements found inside handbells such as spider-webs, chewing gum, dust-balls, rubber bands, paper clips — and unspeakable greasy-kid stuff on caps and lips. (Oh, the horror of it all!)

NEXT — the racket we have to endure at rehearsals. Bell ringers yammering and whooping all at the same time, like a flock of starlings. Nobody listens to anybody. And then there's the clashing and banging of bells — in full cry — month after month. We poor bells can hardly ever hear ourselves individually. And though we do all the work, those ringers get all the credit and praise Then sometimes those careless ringers pack us in the wrong containers or go away and leave us out for days. How would you like to spend a week upside down on the edge of a table? Besides, I'm always afraid those silly choirboys will come by and knock us galley west.

AND THAT'S NOT ALL. The ringers leave a shocking mess in the practice room. Candy, gum and band- aid wrappers, music, programs, notes and personal belongings — all over. Chairs and furniture disarranged. How would they like their homes to look like that?

ALL IN ALL, it's a rotten life for a beautiful bell like me, and I even wish sometimes I belonged to the Change Ringing team at the Cathedral or spent my life playing "Abide With Me" on the clock chimes, like my Uncle Paul.

Yours, resignedly,

HARRY HANDBELL

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NEW MUSICAND BELL NOTES — Go tell it on the mountains and elsewhere the Good News that after hesitating for nearly a decade ABINGDON PRESS has finally come out with a 1966 collection of Handbell Arrangenients. It is "Ten Spirituals for the Handbell Choir" by Eugene S. Butler, who is Choir Director, First Methodist Church, Wichita, Kansas. Range, G to G. Price 75(p. Octavo size, handsome cover, large black notes. (Did y'know that FLW was the first to persuade publishers to print bell music in large type? Bless him!) Church musicians, especially, regret the untimely passing of Dr. Lawrence Curry. As an editor of West- minster Press, Choristers Guilders remember him particularly for the choral series booklets "Anthems for the Junior Choir" and "Anthems for the Youth Choir". Several of the selections in these books included parts for handbells, other instruments, and for choric speech. Dr. Curry's arrangements of the Christmas numbers "Ding Dong! Merrily on High" (Flammer, 86192, Unison) and "I Heard the Bells on Christmas Day" (Volkwein, U-SATB) both with handbells, are delightful. A gifted musician of great personal charm, whose influence in the field of church music will live after him, he will be sorely missed.

May '66 — 152 —

Important publications due soon: — Wendell Westcott reports that his latest J. Fischer collection of Handbell music was due for release in April. It contains his now famous arrangements of "Chopsticks", "The Stars and Stripes Forever", and those duets and trios for two and three octapus-type players, plus several original compositions. Mostly for advanced ringers. . . .Professor Westcott has also just completed a definitive book on bells of the world, to be published later in the year by Putnam. There is serious need for an accurate account, by a campanalogical expert, of bells — the carillon, the chime, the peal, rings of bells, handbells, and so on. Research shows many errors of fact and disagreements amongst writers concerning statistics and scientific descriptions of bells. There are even provable errors in the Encyclopedia Brittanica! Therefore, we are pleased and grateful that a musician and scientist of Professor Westcott's caliber has taken the time to research and write this book. We look forward to its publication with deep interest. That indefatigable British campanalogist, Frederick Sharpe (Mr. F#), has just published another of his valuable and authoritative studies of English tower bells, "The Bells of Cardiganshire". We believe Mr. F#'s project a touching and fitting tribute to his mentor, the late Dr. H. B. Walters, author of "Church Bells of England" (1912), who painstakingly made a study of the bells of a number of English shires (roughly equivalent to our States) and published a series. His notes were left to Mr. Sharpe with the request that he "carry on". Mr. Sharpe has now added the above mentioned book, "The Church Bells of Oxfordshire", of Radnorshire, and of the islands — Guern- sey, Alderney and Sark. A difficult, back-breaking mission, Mr. Sharpe has uncovered a number of medieval and foreign bells in remote churches. These books may be obtained through Mr. Sharpe, Launton, Oxfordshire, England. Hard covers, illustrated, reasonable. ("Herefordshire, next" writes Mr. F#). "RIBT1.15 SST VIA, VERITAS ET VITA" (Inscription on 16th century bell, Llangybi) FISHERMEN'S GUIDE: We've read of the ancient Greeks and the modern Japanese fishermen attaching bells to their fishnets to lure the fickle fish. We hear of fish in domestic ponds and goldfish bowls surfacing to feed when they recognize the reverberations of a bell rung over the water. This works in reverse, too. A bell dated 1787 that has not been in use for some time has been sent from the Church of the Ascension, Plymouth, England, to Plymouth, Tobago, West Indies, where the fishermen depend on a tolling bell to guide them at night. Tobago was ruined by Hurricane Flora in 1964, but has now rebuilt its church by the sea. LEST WE FORGET: This Memorial Day we again remember and honor Ruth Krehbiel Jacobs, who loved the music of the bells. Eleanor Thompson and Lawrence Curry have joined her company. I believe they all would have appreciated this poem: "IN MEMORIAM TO A BELL RINGER"

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May-time Greetings! from DECIBEL says — Two stubborn beaks Of equal strength Can stretch a worm Nancy Poore Tufts To any length.

May '66 — 153 — which one of 2 in '66

ARE YOU ATTENDING?

CHORISTERS GUILD SEMINARS July 11 — 15 August 8 — 12 Denver, Colorado Winston-Salem, N.C.

Summer is a time for recreation, but the best kind of "recreation" is "re-creation".

"With Thy Spirit recreate me Make my heart anew."

The Seminars are intended to inspire, enlighten, clarify, instruct; to re-create us for better service for God and His children next season.

The brochure describing the Seminars with the faculty, the classes, costs and other information was mailed to you with the March LETTERS. If you have mislaid it or would like another, just make your request known at "440".

In addition to the classes announced in the brochure, there will be special events at each Seminar. Last month I wrote about some of those at Denver. This month let me tell you about some of the extras at Winston-Salem.

On Tuesday evening, Robert Scoggin, Minister of Music of First Methodist Church, Rochester, Minnesota, will give an organ recital on two organs. Yes, there are two organs in the Fine Arts Center of Salem College where we will be meeting. The first part of the recital will be on the small Flenthrop organ in the recital hall. Later everyone, recitalist and audience will go across the hall to the auditorium where Mr. Scog- gin will play on the large Holtkamp organ.

"Bob", as he is known to his many friends, is a native of Lubbock, Texas. His early study was with his mother. He graduated from Midwestern University at Wichita Falls where his organ teacher was our Guild President, Dr. Nita Akin. He received a Bachelor of Div- inity degree from Perkins School of Theology, S.M.U., Dallas. He also did postgraduate work at Union in New York with Dr. Robert Baker. The year 1961-62 was spent in specialized study in London, Amsterdam, Vienna and Paris. Mr. Scoggin has been heard as a recitalist in the midwest and southwest, he has been a staff leader at numerous NaFOMM conferences. He will help you in his afternoon class on "Accompanying the Children's Choir" and inspire you as he plays the evening recital on two organs.

Is there a children's choir director anywhere who does not know the name of Rev. William Grime, and has not used his lovely songs for young children? Now you can meet him at the Seminar at Winston-Salem. The revered and respected gentleman has accepted the Guild's invitation to be our guest all week. We will have an opportunity to become acquainted with his rich personality and with more of his useful songs.

Salem College, in the center of picturesque Old Salem, is surrounded by Moravian tradition and artifacts. Music played a large part in the life of the Moravian Brethren. The Moravian Music Foundation is located in Old Salem. It has the responsibility of preserving approximately 10,000 musical documents dating from the 18th and 19th century. Ewald V. Nolte, director of the Foundation, is cooperating with us so that a display of Moravian music and information about the work of the Foundation will be available through the week.

And there will be much more. Better get your reservation in early. May '66 — 154 — DIRECTOR'S PAGE

God, Who Touchest Earth With Beauty

TEXT: The text was written originally as a portion of an initiation prayer for a private girls' camp, GLEN BERNARD, in Canada by its director, Mary S. Edgar. Later it was published in WORSHIP AND SONG, Winchester and Conant, Boston, Massachusetts; and it has been translated into many different languages.

TUNE: "Bullinger" by E. W. Bullinger is found in the CHORISTERS' LITTLE HYMNAL, but "Glen Bernard" written by James Edmund Jones and "Geneva" are also popular settings.

CHURCH YEAR-CURRICULUM CORRELATION: This type hymn is usually most appropriate in an outdoor camping setting or retreat, although it may be used as a vespers type prayer hymn throughout the year.

THEOLOGICAL IMPLICATIONS: Consult your pastor for his recommendation for use of this type hymn in formal worship services. In some instances, the usage of nature imagery is considered better for personal devotional type experiences than for corporate worship.

TEACHING SUGGESTIONS: Some emphasis should be given to the meaning of "recreate" both in its usual "recreation" sense and in the words of the hymn, "Making our hearts anew". Giving the youngsters an opportunity to discuss or define in their own words the meaning of the other desirable human qualities described in the hymn might be a valuable experience: What is purity? What is "strong and sure"? What does being "glad and free" mean?

The interpretative movement suggested in the study is another excellent way to get at the meaning of the text. Let the youth decide how to interpret the running water, the rocks, the waves, and the solo part. If necessary, choose a trio to read the text as it is interpreted.

Musically, this tune sings easily with a little special care needed in being accurate in pitch on interval drops of a 4th which occur on the third, sixth and eleventh measures. If your choir does not understand the meaning of slur and ties, do some blackboard work demonstrating which is which. This is another excellent hymn for "breaking in" new altos, letting the entire group sing alto as the soprano is sung or played by the director. Accustom your choristers to "hearing" the whole harmony first — and then, their own part within that harmony. Teach them how to keep in tune by the sound of the major triads. For example, as they sing the notes of the first measure in the alto, they should tune to the intervals of a third in the soprano. Drill should be needed only where there are acciden- tals or less common triads, such as on the sixth measure where there is a D flat against the 7th, C. Alert the choristers to "check spots", such as the octave in the ninth measure, where they may quickly confirm the accuracy of their pitch against the soprano. Unless such independence in part- singing is taught, it seldom develops in persons who have been drilled on their own part in isolation.

ANTHEM: If you wish an effective anthem setting of this text, we believe you can do no better than the one composed by Ellen Jane Lorenz and published by the Guild (A-30). The range is conservative (C-E), the melodic line is varied and interesting with a D minor to D major key change. There is an optional violin or flute obligato which is expressive with the unison children's voices.

May '66 — 155 —

GOD, WHO TOUCHEST EARTH WITH BEAUTY Words by: Bullinger Tune by: Mary S. Edgar 8.5.8.5. E. W. Bullinger

Have you ever camped under towering pine trees near a spring of running water and in a quiet moment been so touched by the beauty surrounding you that your thoughts turned toward God as the source of all beauty?

You could probably guess that the hymn, "God, Who Touchest Earth With Beauty", was written by someone who had experienced just this kind of moment. Her name was Mary S. Edgar and she was director of the Glen Bernard Camp in Canada. She wrote the hymn first as a portion of an initiation service for the campers; but now, the hymn is used not only in America but in Japan, France, Portugal, Spain, Great Britain, New Zealand — even by the Cree Indians.

How many of the "similes" or ways of comparing the beauties of nature with the beautiful qualities possible in human personality can you find in the stanzas: "Purity" like the "Strength" like the "Gladness and Free-Spirited" like "Upright" like "Thoughts high-lifted" like Our choir interpreted the words with movement for a youth retreat service. We used a soloist to interpret the first and last stanzas as a solo with the rest of us divided into smaller groups to represent the "springs and running water", the "rocks of towering grandeur", the "dancing waves in sunlight", the "pine trees" and so on. Our starting position was something like this:

Fge s 27i

Many tunes are used with Mary Edgar's text, including the one in our CHORISTERS' LITTLE HYMNAL, "Bullinger", by E. W. Bullinger. The harmonization of this tune makes for easy camp singing since only four different pitches are used in the alto part. Find all the slurs in the hymn — and if you have forgotten what a slur is, notice that each time one is used, it joins two different notes which are sung with a single word or syllable. Do you remember how a slur differs from a tie — both in appearance and in meaning?

The quiet moments of inspiration that can happen in the midst of a camping trip or vacation are important.... but even more essential is to act upon the prayer that God "makes our hearts anew" after we have returned to our busy everyday life. It is easy to want to be upright as a pine tree when we stand in its shadow; but the real courage is in being just as upright when the "pine" is only a memory of a wonderful summer experience!

Your friend,

Charley the Choirboy May '66 — 156 — H-27 God, Who Touchest Earth Mary 5. Edgar E. W. ?wain gar

• Cil 1 41- • p • 1- • • God,who touch-est cart!: with beau-ty, Make ma

*a fts, love - ly, too; With Thy Spir a, It re • ere r ri Ft

/IP -411P-* -ar-• ate me, Make my heart a - new. A - men. -• • Ebtjj • 0 ' 4 Ca ° r fr. t b 2 Like the springs and running waters Make me crystal pure. Like the rocks of towering grandeur Make me strong and sure.

3 Like Thy dancing waves in sunlight Make me glad and free; Like the straightness of the pine tree Let me upright be.

4 Like the arching of the heavens Lift my thoughts above; Turn my dreams to noble action— Ministries of love.

5 God who touchest earth with beauty Make me lovely, too. Keep me ever by Thy Spirit Pure and strong and true.

Words used by permission Mary S. Edgar May '66 — 157 — MOTH CR TRUTH'S

Common Sense for Children

A KINDERGARTEN

For years we have run across an occasional reference to "Mother Truth" in the realms of church and educational literature. It was usually a homily in couplet form attributed to an unidentified "Mother Truth". We stored the name in a pigion-hole of the mind marked ?? next to Pilgrim's Progress, Poor Richard and Mark Twain. "Time brings a' ". And so — recently, while poking through assortments of oddments at a Salvation Army Store, we emerged triumphantly with a handsome old volume ornamented with Victorian curlicues entitled "Mother Truth's Melodies". The author was a Mrs. E. P. Miller, and it was published in 1881 by Standard-Columbian of Chicago. It is not a music book but a book of poetry for children, with 450 illustrations! Mrs. Miller notes that poetry is the language of imagination while facts are stubborn things. Yet, if facts are presented pleasingly and melodiously, they will be easily impressed upon the minds of children. The author makes no claim that her simple rhymes are poetry, but hopes that their jingle may be music in the children's ears. "The Truths presented, even if not fully understood at first, will leave their impress will keep out falsehood and false ideas". Her "melodious lessons" include a wide variety of truths — facts about nature, the alphabet, anatomy, arithmetic, behavior, respect, manners, cleanliness, the family, reverence, temperance and charity. 0 Tempera! 0 Mores! Would that we might turn back the pages of time to a gentler, simpler age, an age of innocence and unsophistication, of strong family ties and love, of belief in moral values, in rectitude of principle, in pride of appearance and behavior, in respect of authority — church, school and state. Ah, Mother Truth, how far have we strayed from your precepts. Today's babes are too busy watching the late-late horror show to read your jingles — even if they could read.

N.P.T.

rE3

WHY FLY AWAY, MOTHER GOOSE?

"Mother Goose, Mother Goose, Why fly away?" "Because Mother Truth is A-coming today. She'll tell you funny things, But they'll be true; She'll bring you pictures So charming and new; She'll sing you Melodies, helping to show How, to true women and men, you may grow."

May '66 — 158 — Be gentle and loving, — Didn't-think is a heedless lad Be kind and polite; And never takes the prize; Be thoughtful for others; Remember-well wins every time. Be sure and do right. For he is quick and wise.

The fruits of the orchard and garden Are beautiful, luscious and good, Partake of them freely, dear children, But eat them at meals with your food.

"All is not gold that glitters;" Yet think not, children mine, That all that glitters is not gold; The true must ring and shine.

TRUTH

Do not let "Mother Truth" find a falsehood all over, — Amongst all her children, no, never a lie; Stand for Truth, ye wee babies, for Truth, ye who're older, For Truth while you live, and for Truth till you die.

You know God is Truth; — and as you are His children, You want to be like Him as near as you can; BBB R YYY Speak the Truth, live the Truth, be the Truth with Him, B U YY And Heaven will have come, as Christ taught in His plan. (Bees are wise; Be you wise.) Fear naught save that which slimes thee o'er With falsity or fraud:— Let thine own soul stand clean and white Before its maker, God. 1 4 •

In your work or your play, CHARMING 'Us to see When you read, talk, or write, Children who agree; Sit always, my child, Chaste, and choice, and cheery, With your back to the light. Chiming in so merry, Childlike, ever; 444411141 Churlish, never. Championing the good; A "Yes" and "No" are common, hard, Challenging the rude; But "yes'm", "no-sir", choice; — Chary as the dove; Let none but sweet and gentle words Chief in Jesus' love. Flow from your gift of voice.

ASK MOTHER

YES, MY DARLING, when you question, I will answer, simple, plain, Just the Truth: — and when playmate Tells you anything again, Come to Mother, she will tell you, Yes, and tell you always true, For she knows what's low and sinful, US And what's right and wrong for you. * The great watchful I is over US through TIME and ETERNITY. May '66 — 159 — FROM THE EDITOR'S DESK

In this month of her birth and death, let the thoughts of all Choristers Guild members turn to the founder of our Guild, our beloved mentor and first President —

Ruth Krehbiel Jacobs Re-read her words which illuminate the title page of this issue. Let her heart speak to your heart. Let her "total commitment" call you to the same high dedication. Let us give thanks to God, for her inspiring life and work.

In several issues I have told of the request from the Library of Congress for certain LETTERS that were missing from their files. Through the generosity of members, the files are now complete, in fact they could have been over-complete! Eight members sent in "Vol. 10, No. 1". (One was sent to Washington, the others returned.) This shows at least two things: C.G.'s are generous and they read the LETTERS!

— you are going to move this Spring! Be sure to let us have your new address. The post office will not forward the LETTERS to your new address even if they have it. Third class matter is returned to the sender and postage charged. If your LETTERS come back, we have to start hunting you. SO let us know before you move.

g 0 0 0

And while we are thinking about the mail, let me explain a bit about the little man at the right. Starting January 1, 1967, our LETTERS, which are sent to you "Third Class — Bulk Mail", must be prepared for mailing by ZIP CODE numbers only. In a sense, your city name is unimportant — your ZIP CODE number is all-important. We must have your number to send U.S. the monthly LETTERS to you. Please use that number every time you write to us. This MAIL summer we will have to change our entire addressing-plate system and file by ZIP!

We have the ZIP numbers of about half of our membership. Some of you have given us VP 1,, your number and still it does not appear on your LETTERS envelope. The reason is that Z M 4.449( NUM8US the number cannot be added to the old plate, but will be put on the new one before fall. BELONG If you have given us your number, we have added it to your address in our permanent card IN ALL ADDRESSES file. If you have not given us yours, please do so, pronto!

0 0 0 0 0 0

"Irving says: Attend to the End". What a timely suggestion to all of our children. A child's good intentions harassed by the call of spring remind me of a poem by Richard LeGallienne which I used to sing: I meant to do my work today, But a bird sang in the apple tree, And a butterfly flitted across the field And all the leaves were calling me.

And the wind went sighing over the land, Tossing the grasses to and fro, And a rainbow held out its shining hand So what could I do, but laugh and go.

The call of spring, with its baseball, fishing, camping and all, is loud and strong. A special place in heaven, or at least in our hearts, is reserved for choristers who "Attend to the End" of the choir season. Sally Lane's "Irving" supplement may help the children to faithfulness. Copies are available for you.

aql 0 0 0 If you are using the "Psalm Series" with your choirs, or intend to use it this summer in choir camp or daily vacation school, (as many of you do) you will be interested in an article in the April "Readers Digest" titled The Psalms — Hymnbook of Humanity. This is a condensation from an article in "Christianity Today". You should not let this article slip by. Get a copy, file it for future use.

May '66 — 160 — It is award time in your choirs and a busy time in our office. In addition to Seminar activities, we are processing pin orders every day. Do's & Don'ts DO use the new award order form which was with the March LETTERS. Some changes in figuring prices have been made — these are indicated on this order form. DON'T wait too long to return pins for additions. We can usually send new pins the day we receive the order. If the jeweler cooperates, we can return the processed pins in two weeks. An order for both new and processed pins will be mailed together when the processed pins are ready. DO indicate the kind of pins you want and fill in all the pertinent blanks. Figure the prices correctly, and include the check, if possible. This is a saving to all. DON'T overlook the appropriateness of giving a special award of appreciation to your assistants and choir mothers. The Guild cross and charms were designed for this use. DO phone us (Area Code 214 — DIamond 8-0450) if you get in a jam and need awards immediately — we are very understanding and will do our best, but DON'T reverse the charges! O 0 0 0 I've been rather surprised to see the condition some of the pins are in which have been sent to us for additions of pearls or note-guards. Many look as if they never have been cleaned. If the pin is worth earning and wearing, it is worth taking care of. At least once a year, each pin should be cleaned, as any good jewelry should be. Get a good silver polish, an old toothbrush, a soft cloth and go at it. If needed, straighten and oil the pin and clasp. Would it not be well to have your choir mothers' group be responsible for cleaning the pins after the new pearl or guard has been added, before they are returned to the children? In its way, the pin is a part of the robe and is worn to reflect the high priestly office which the chorister has assumed. The best possible care should be taken of both. If a cross is worn, it too should be cleaned occasionally. When we return processed pins to you, we always enclose new cards to put the pins on. If the pins are well cleaned, put on new cards with their shiny new pearl or guard addition, it will show the child that someone cares. rEl 0 0 0 0

"Charley, the Choir Boy" has come up with an intriguing suggestion. He says: "Ask each one of the 200,000 or more choristers who are directed by C.G. members to put one of the new 21/2 " x 3 " seals on his Dad's car window. What fun it would be to watch for blue and gold stickers as you ride around the city or the country". Good idea — let's try it! The stickers are made of a high grade of paper with a strong adhesive so they would last sometime on the outside of a window. How many do you suppose I'll spot as I travel to the Seminars this summer? O 0 0 0 0 0 "Do you know who from my area will be attending the Seminar? Just thought it would be nice to have company on the trip". Such a question or "a reasonable facsimile thereof" comes to me often this time of year. In the June LETTERS we will list all who have registered for either Seminar, as far as we have them at press time. This will help those who may be looking for a traveling companion and it will let all know who the lucky ones are. Get your registration in, we want your name on this list. O 0 0 01 Why do we urge you to order your Guild anthems directly from headquarters? There are several good reasons — several reasons which benefit you.

It saves you time — "440" is just as near as your out-going mail box. We keep all Guild-published anthems in stock and mail your order the day we get it. (No music store stocks our anthems, so they have to write to us, we mail to them, they mail to you. This takes unnecessary time — time you need for rehearsing.)

It saves you money — If your order is for 50 or more Guild anthems, we give you a 10% discount. (No music store does that.) If your check accompanies the order, we pay the postage. (Most music stores charge you postage.)

Consider these points when you need Guild-published anthems. (We do not sell any anthems but our own. All other music should be ordered from your dealer.) Happy May pi

May '66 — 161 — =FIV I 149 scuis

by Mabel Boyter

A book by this title caused me to THINK! We choir directors realize a need for improvement, but do we manage it as we should?

June is a good month to EVALUATE. Nine months of regular routine, marked by many successes but probably matched by an equal number of frustrations and failures is as good a guarantee for artistic erosion as one can imagine. Each of us feels the effect of the steady grind and is no doubt experiencing the feeling of complete depletion. How can we "Manage" to improve this situation to re-create our enthusiasm and inspire others?

1. Create something! Nothing so restores ones' confidence as a new creation. This may take the form of a special project, course of study, choir festival, new age groupings, a new composition or new service responsibilities, etc.

2. Share Yourself! Change pace; instead of giving of yourself to children, choose some adult leaders who need help and teach them the "how to" of children's choirs. You will feel encouraged when you see others, who are perhaps less facile than yourself, but inspiration and challenge for your own improvement is born thru this experience.

3. Read — Read and Read some more! Nothing can take the place of this! A list of helpful books will be found on the next page.

4. Turn on your own Imagination! Your ideas are probably better than most you have observed — they probably have not been used sufficiently.

5. Experiment! Attend at least one seminar, but do not try to copy someone else — develop your own techniques. Come up with some NEW ideas to share with us. "Our doubts are traitors and make us lose the good we oft might win by fearing to attempt." (William Shakespeare)

6. Review all the new music possible. Fresh materials are always a challenge to choristers.

7. Take some private lessons — even the best blades need sharpening occasionally!!

8. Plan on Paper! Nothing can take the place of a carefully planned program.

9. Finally — ''very morning, lean thine arm awhile upon the window sill of heaven and gaze upon thy Lord; then with the vision in thine heart, turn strong to meet the day.

CHORISTERS GUILD LETTERS VOLUME XVII 1965-66 June Number 10 Federal Lee Whittlesey, Editor Helen Kemp, Norma Lowder, Nancy Poore Tufts, Associate Editors Sally Lane, Christine Kallstrom, Contributing Editors RUTH KREHBIEL JACOBS, Founder of the Choristers Guild THE BOARD OF DIRECTORS Dr. Nita Akin, President Mrs. Haskell (Mabel) Boyter Mr. A. Leslie Jacobs Wichita Falls, Texas Atlanta, Georgia Santa Barbara, Calif. Mr. A. Leonard Lilyers, Vice-Pres. Dr. Shelby Collier Dr. Cecil Lapo Philadelphia, Pa. Memphis, Tenn. Nashville, Tenn. Dr. F. L. Whittlesey Sec.-Treas. & Exec. Dir. Mrs. Lauretta Cotton Mrs. Earle (Norma) Lowder Dallas, Texas Milwaukee, Wisconsin Bellaire, Texas Dr. Roberta Bitgood Mrs. T. J. (Madeline) Ingram Mr. David Pew Bay City, Michigan Lynchburg, Virginia Denver, Colo. The Choristers Guild LETTERS are published monthly September through June for its members Regular membership $4.00 — Contributing membership $10.00 or more All correspondence should be directed to Choristers Guild Headquarters at 440 Northlake Center, Dallas, Texas 75238 Telephone: Area Code 214 — DIamond 8-0450 COPYRIGHT © 1966 CHORISTERS GUILD June '66 — 162 —

Vti MIS issue

SPECIAL ARTICLES

"The Management of Improvement" — Mabel Boyter 162 Resource Material — Mabel Boyter 163 REGULAR CONTRIBUTORS

Last Call for Seminars — F.L.W. 164 Did You Find the Special Envelope? — F.L.W. 165 Regarding the Supplements — F.L.W. 166 Hymn Study — "0 Lord of Heaven and Earth and Sea" — Christine Kallstrom 167 Some Summertime Suggestions — Helen Kemp 170 Tintinnabulations — Nancy Poore Tufts 172 A Distinctive New Collections of Songs — Norma Lowder 174 Sharing — Various 175 Contributing Members 1965-1966 176 From theEditor's Desk — F.L.W. 180

INDEX TO VOLUME XVII 181

SUPPLEMENTS

Renewal Envelope M-7 — High-Low Musical Game — re-issue S-8 — Organ Pipes Attendance Page Psalm 100 (illuminated art and text) Mary Elizabeth Montgomery

vH3 tgi tgi

RESOURCE MATERIAL Suggested by Mabel Boyter Reading from the following list of resource materials will be a profitable experience for directors of children's choirs: "The Successful Children's Choir", Ruth Jacobs — obtainable at "440" "The Children's Choir", Volumes I and II, Jacobs-Tufts — obtainable at "440" "Organizing and Directing Choirs", Madeline Ingram — Abingdon Press "Helen Kemp on Junior Choirs", Helen Kemp — Lorenz Publishing Company "Choristers Guild LETTERS", — Choristers Guild, (You know where!) "The Junior Musician" and "The Primary Musician" (to be released in June '66) both periodicals published quarterly by Church Music Department (the Baptist Sunday School Board, 127 9th Ave., North, Nashville, Tennessee). The information available from these sources will enable us to: Plan our 1966-1967 Choir Year. This planning should be in writing! Even though not always followed, it gives us a sense of security to have a guide line to follow. Plan Your Work Work Your Plan Love your Choristers and their parents Attend at least one choir seminar and get Freedom from: Frustration Fussing Futile effort by Preparing ourselves Planning our program Providing materials Promoting our plans

June '66 — 163 — LAST CALL FOR SEMINARS

In Picturesque Old Salem In Colorful Colorado August 8-12 July 11-15 ....tawektillgteg4vam....1 a * at Salem College at Colorado Woman's College a **- Aats i { Winston-Salem, North Carolina Denver, Colorado n. i iration and instructio A BETTER DIRECTOR OF These will be high days of insp designed to help you to be CHILDREN'S CHOIRS In recent weeks, I've met with the local committees in both cities. They are enthusiastically preparing for us. The music for the demonstration choirs, the children's programs, the packets, and the display tables are all selected and ordered. I believe that our faculty can not be matched in ability, integrity and as teachers. The "extra events" will add joys to the weeks. The associations and friendships will enrich life. For a never-to-be-forgotten week, join the C.G. members listed below. These have registered up to May 22nd. DENVER

••••-•*" Nancy Lapo Mrs. Martha Randolph Mona Toombs Mrs. Kenneth 0. Johnson c/o First Meth. Church 110 1 West Entiat 333 E. Drachman 5818 El Monte Dr. 5510 N. Central Ave. Kennewick, Wash. 99336 Tuscon, Ariz. 85705 Mission, Kansas 66205 Phoenix, Ariz. 850 12 Mr. & Mrs. James L. Williams Miss Jean Nelson Mrs. Ethel L. Wehrle Judy Bowe 320 W. Seventh St. Box 24 3742 Newton St. c/o First Meth. Church Royal Oak, Mich. 48067 Daggett, Mich. 49821 Denver, Colo. 80211 5510 N. Central Ave. Phoenix, Ariz. 85012 Mr. & Mrs. William Thomas Mrs. Louise Farley Mrs. Margaret H. Pull 3208 N.W. 35th Place 460 S. Ingalls 2451 S. Ivanhoe Tricia Farris Okla. City, Okla. 73112 Denver, Colo. 80 226 Denver, Colo. 80222 c/o First Meth. Church 5510 N. Central 'Ave. Mr. & Mrs. S. Phil Wilson Mrs. David A. Durkop Mrs. Robert Anschicks Phoenix, Ariz. 850 12 2312 Gladstone Terrace 4757 S. Perry St. 2838 S. Patton Ct. Okla. City, Okla. 73120 Littleton, Colo. 80 120 Denver, Colo. 80236 Mrs. Keith Potadle Rt. 2 Sue Ellen & John Wilson Mrs. Kern Smith Charlotte Ruhl Tekamah, Nebraska 2312 Gladstone Terrace 702 Lakeside Drive 6564 Calle Mercurio Okla. City, Okla. 73120 Carlsbad, N.M. Tuscon, Ariz. Margaret C. Berry 720 Ohio Ave. Mr. Arthur F. Stokes Mr. Michael B. McBride Mrs. Beverly Gibson Leavenworth, Kan. 66048 1120 E. 34th St. 1112 Columbine Court #19 3679 E. Baker Place Tulsa, Okla. 74105 Fort Collins, Colo. 80521 Tuscon, Ariz. Mrs. Lauretta R. Cotton 2831 S. Ellen St. ••• Mr. Michael Edward Kemp Mrs. Susan Voth Mrs. Walter A. Clark Milwaukee, Wisc. 53207 North Hall, Westminster Rt. 2 330 S. Gaylord Choir College Newton, Kansas 67114 Denver, Colo. 80209 Mr. Bill F. Leach Princeton, N.J. 127 Ninth Ave., North Mrs. Barbara Saldine Mrs. Edwin Mitchell Nashville, Tenn. 37203 Mrs. Sibyl Goerner 4231 Winding Creek Way 3540 E. Arapahoe Pl. 1236 Collyer Sacramento, Calif. 95825 Littleton, Colo. 80 120 Mrs. Richard A. Knox Longmont, Colo. 80501 12619 Collins St. Mrs. Caral Raabe Andy Jeff Ingham North Hollywood, Cal. 91607 Mrs. Donald A. Brobst 10393 Ambassador Dr. 505 Tennessee 226 Saulsbury Rancho Cordova, Calif. 95670 Amarillo, Texas 79106 Mr. & Mrs. Valrey Early Denver, Colo. 80226 3604 Pleasant Valley Rd. Mr. Alex Gould Mr. & Mrs. Don Bogaards Mobile, Ala. 36609 Mr. & Mrs. David Pew 2919 Chestnut Hill Dr. 60 Acres St. 1074 S. Corona St. Sacramento, Calif. 95826 Burlington, Iowa 5260 1 Dr. & Mrs. E. A. Kammerling Denver, Colo. 80 209 915 Division St. Mrs. Alvin D. Havekost Mrs. John Holton Melrose Park, Ill. 60 160 Mr. & Mrs. G. R. Downer 1943 So. St. Paul St. 1616 El Paso 6401 Treadwell Blvd. Denver, Colo. 90210 Wellington, Tex. 79095 Mrs. Anita S. Herndon Austin, Texas 78731 3629 Folklore Trail, Apt. 261 Mrs. Harold E. Nelson Mrs. Lowell Wells Dallas, Texas 75224 Mrs. Margaret A. Palmer First Methodist Church 1616 El Paso 1813 N. Rd. 44 Third & G Sts. Wellington, Tex. 79095 Cleora Schrecongost Pasco, Wash. 99301 Phillipsburg, Kansas 58 Tinsel Court Wantagh, L.I., N.Y. 11794 Audrey Shuman Mr. Larry R. Parsons WINSTON-SALEM 3900 S. Grant St. Grace Methodist Church Mrs. Duane E. Marquis Englewood, Colo. 80110 Cottage Grove Ave. at 37th Mrs. Cecelia Frazier 4936 S.E. Amherst Des Moines, Iowa 50311 Rt. 2, Box 40B Bartlesville, Okla. Mrs. Robert L. Conner Charles Town, W. Va. 25414 49 19 Fordham Drive Mrs. Eugene A. Fuqua, Sr. Mrs. Ruth Horton Bartlesville, Okla. 74003 709 E. 95th St. Mr. Kenneth Moyers Rt. 1, Box 204 Cleveland, Ohio 44108 216 Glenridge Rd. Colorado Springs, Colo. 80907 Mrs. Esther Carlson Rome, Ga. 30161 414 Lebanon Manor Drive Phyllis Wroth Mrs. Shirley Ann Miller West Mifflin, Pa. 15122 925 Berkley Mrs. John W. Barr Rc. 1, Box 336 Pueblo, Colo. 81005 228 E. Tammany St. Kennewick, Wash. 99336 Mrs. Keith C. Hemphill Orwigsburg, Pa. 900 S. Oak Mrs. John P. Durdee Mrs. Joyce Edwards Creston, Iowa 5080 1 850 1 W. 55th Terrace (Coned. on 165) 1711 West 7th Place Merriam, Kansas Kennewick, Wash. 99336 June '66 — 164 (Coned from 164) WINSTON-SALEM Mrs. Robert E. Wysor Bernice M. Wissinger Mrs. Edith Auten Mrs. John C. Miller 303 Cedar St. Box 3017 (Rivermont Sta.) 701 E. Bowie Clinton, S. Car. 29325 525 E. Main St. Lynchburg, Va. 24503 Harlingen, Texas 78550 Plainfield, Ind. 46168 Edith M. Plemmons Mrs. W. G. Metz Helen E. Pfatteicher Mrs. W. M. Frampton St. Paul's Meth. Church 120 Greengate Lane 2900 Queen Lane Orangeburg, S. Car. 29115 155 Scoville Road Spartanburg, S. Car. 29302 Philadelphia, Pa. 19129 Orangeburg, S. Car. 29115 Mrs. Valerie Holmberg Mr. Charles H. Cassell Mrs. Arthur 0. Grossman Caracas, Venezuela 1105 Park Ave. 2701 64th Way, North Mrs. Lois Dodge Goldsboro, N. Car. 27530 St. Petersburg, Fla. 33710 2104 Golfview Mr. Richard Thomas son 2007 Acklen Ave. Kalamazoo, Mich. Mr. & Mrs. David L. Crouse Mr. Laurence B. Hedgpeth 49001 Nashville, Tenn. 37212 6 Fleetwood Drive P.O. Box 431 Greenville, S. Car. 29605 Miami Shores, Fla. 33153 Mrs. Roy Busch Mrs. Arthur L. Kemp 9 Circle Drive 717 Glenway Dr. Mr. Morris B. Kille Miss Helen M. Walker Windsor Locks Conn. Logansport, Ind. 46947 1005 Sunset Drive Cairo, U.A.R. 06096 Maryville, Tenn 37801 Mr. & Mrs. George T. Williams, Jr. Miss Sara Elizabeth Alvater Mrs. L. Eugene Daniel 6505 Mechanicsville Pike Peggy Jo Pridemore 30 the Green 2013 Rose Lane Mechanicsville, Va. 23111 23 Lake Shore Drive Woodstock, Vermont 05091 Lynchburg, Va. 24501 Charleston, W. Va. 25302 Mrs. Herbert W. Lind Mrs. John H. Crumpler Mrs. Richard Callaway 35 Englewood Ave. Mrs. Charles M. Brown 2007 S. William St. Calvary Bapt. Church Jamestown, N. Y. 604 N. George St. Goldsboro, N. Car. 120 W. Pennsy. Ave. Rome, N.Y. 13440 Towson, Md. 21204 Clarice Holmes Burrivardt Mr. Wm. J. Catherwood, Jr. 64 Greenmeadow Drive Mrs. Lewis C. Miller 2282 Cordova Ave. Miss Maradith Walker Orchard Park, N.Y. 14127 Turin Rd., Mtd. Rt. Youngstown, Ohio 44504 968 E. Main St. Rome, N.Y. 13440 West Point, Miss. Margaret Barlow Mr. Everette R. Watson 845 Clearmount Rd. Mrs. Robert S. Morrison Memorial Meth. Church Rev. James V. Salzwedel York, Pa. Trinity Pres. Church 9th & Floyd Sts. Box 10123, Salem Sta. Felder Ave. & Hull St. Lynchburg, Va. 24501 Winston-Salem, N. Car. Mr. W. Thomas Smith Montgomery, Ala. 36104 587 Springfield Ave. Rev. William Grime Mrs. Charles Davenport Summit, N.J. 07901 Mrs. James L. Winget 15 Sunset Drive 109 Whitehead Ave. Dogwood Drive, R.D. 1 St. Johnsbury, Vt. 05819 Wilson, N. Car. Mrs. Oliver L. Brandes Yorktown Heights, N.Y. 10598 5525 Lakeside Drive Mrs. Person Moore, Jr. Mr. Phillip G. Kahler Gibsonia, Pa. 15044 1309 Oliver Drive 7515 Forest Road Mrs. Anne L. Shifflet Pascagoula, Miss. Box 145 Cincinnati, Ohio Mr. & Mrs. Philip S. Miller 45230 927 Forest St. Buckeystown, Maryland 21717 Mrs. Diana L. Van Veld Greenville, Tenn, 37743 617 Horton Place Mr. Denny L. Turner Greenwood, Ind. Rt. 1, Beck's Church Rd. & ames St. Winston-Salem, N. Car. oo 27106 DID YOU FIND THE SPECIAL ENVELOPE? This issue of the LETTERS is the last for the '65-'66 season. It has been a fine year with the Guild membership reaching new heights each month. Many words of commendation have come to "440" - they are all deeply appreciated. Not only have more people joined the Guild but more of you have stepped up a rung in the ladder of membership from "regular" to "contributing" membership or from "contributing" to "subscribing" membership. This interest and confidence you have shown in your Guild and its officers gives us courage to spread our wings and venture more activities for the future. Now is the time to use that special envelope which came with the LETTERS. Fill in all the information requested including ZIP CODE, enclose your check and let the mailman and our membership secretary, Mrs. Harrington, get you recorded as a member well before the September issue of the LETTERS is out. Your early use of the Special Envelope is of great help in the office. Dues to a professional organization such as the Choristers Guild are deductible for income tax purposes. Special gifts made to the Guild are also legitimate deductions. An interesting trend in memberships has been noted this year. A goodly number of you have convinced your churches that it is to their advantage to have a church membership in addition to your personal membership. The reasoning being that the church should be building up a library of Guild LETTERS and supplements as a hedge against the day when you might leave and take your personal Guild material with you. Generally, when a church does this, it becomes a contributing member. We believe that this type of planning is sound and advantageous for all churches with children's choir programs. Show the '65-'66 LETTERS and supplements to your pastor and music committee, ask them to consider a church membership. Renew your membership before the summer let-down, and have that smug feeling of knowing that you are not only on time, but ahead of time. There is an additional use we would like to have made of the envelope. Each C.G. member knows children's choir directors in his area who are not members. Jot down a list of five or fifty, enclose it, and we will mail a folder about the advantages and services of the Guild to each one. Go one step further - give each person on your list your own testimony as to the value of Guild membership to you. We'll be looking for that "Special Envelope" to make its way back to us - soon. P.S. Thank you, to the 76 who have included your '66-'67 membership in a pin order or some other way. You are duly recorded in the new season file. June '66 - 165 - REGARDING THE SUPPLEMENTS

PSALM 100 The psalm which has been called "the gathering song of God's people everywhere" is presented for us this month in a colorful art interpretation. This psalm — the 100th — was originally given the title "A Psalm of Praise". (Only one other — PS-145 — bears this name.) It rises to the highest point of joy and grandeur among all the songs of praise and thanksgiving conceived by man. And yet, it is a demanding psalm. It leaves no choice to the worshipers of God — it demands and commands them with strong verbs. As you teach it to the children, let them find the verbs and consider their meaning:

make serve come know enter be thankful bless

One writer points out that the word "bless", when the Lord is the object, means to "adore on bended knee".

The last verse leaves no doubts as to why we are exorted to praise God. The three part reason could well be examined and discussed in terms that would have meaning to the children. Can you see a parallel here to the God-head: the Father of all that's good, The Son who exemplifies the mercy of God, the Spirit which leads us into all truth?

The hymn— "All people that on earth do dwell" should be examined in the light of the various phrases of the psalm. Explain what it means to "paraphrase" and to "versify". Possibly some child would like to try to emulate Wm. Keith.

We have had several notes of appreciation for our Psalm Series from Directors of Christian Education. They have indicated their intention to use these sheets in Daily Vacation Bible School this summer, or in special classes later. There are now 10 illuminated psalm pages in this series. (See your "Order Form for Available Materials" which was with your April LETTERS.) A suggestion — show this series to your D.R.E., it may be just what is needed. We are ready to supply quantities of the sheets.

ORGAN PIPES ATTENDANCE CHART S-8 In June of 1964 we included as a supplement a Window Attendance Chart (S-7) for children to use in their choirbooks. Each of the 43 spaces was to be colored by the child when he attended rehearsal or a service. The director pre-planned the colors to be used so that each child could "create a beautiful window" by his choir attendance. We have had many requests for another page which could be used in a similar way. S-8 is the result. We believe it will be usable and will interest the children. The organ pipes are not numbered. This gives the director more flexibility in suggesting the ones to be colored. Special programs of the year might be indicated by the larger pipes. Fewer colors might be used — possibly one color for each rank of pipes. Creative directors will find various ways to use this page. As you will note, it is printed on heavy paper; it will stand considerable use. In planning for next season, consider this method of interesting the children in striving for a good attendance record.

HIGH-LOW MUSICAL GAME M-7 (New Printing) For years, the "Kitty-Doggie" game has been used by directors of young children to help them identify high and low tones or clusters of notes. We have felt that the old M-7 needed up-dating. We believe that modern Johnny and Sally Chorister will be more interested in a giraffe and a mouse, a space ship and a girl on a skateboard than they will in an ordinary dog and cat. Thus M-7 has been given a new printing. We are indebted to our artist friend, Mary Elizabeth Montgomery for this whimsical page. Doubtless you recognize Mrs. Montgomery's handiwork in the Psalm Supplement and the Organ Pipes, also.

We are ready to supply you with quantities of these supplements. All three are listed on your purple-printed Order Form.

June '66 — 166 — DIRECTOR'S PAGE

0 Lord of Heaven and Earth and Sea

TEXT: The text was written by Christopher Wordsworth, 1807-1885, and bears the influence of 19 years service in a rural country village in England. Wordsworth felt that not only scripture, but the writings of Christian antiquity and the poetry of the Ancient Church were appropriate sources for hymn texts. He is attributed with 127 hymns himself, including "0 Day of Rest and Gladness" and "0 Lord of Heaven and Earth and Sea".

TUNE: "Oldbridge" was composed by Robert N. Quaile in 1903.

CHURCH YEAR-CURRICULUM CORRELATION: Thanksgiving is the classification generally given this hymn, although it is simple and appropriate for use throughout the Church Year with children.

THEOLOGICAL IMPLICATIONS: Wordsworth lists the gifts of God — including "our life, our gifts, our power to give" — with the implied covenant relationship between man and God which renders man living in gratitude to God for his steadfast love.

TEACHING SUGGESTIONS: Point out how the melody is built around the KEY-NOTE, "F", letting the children look for the "F", and then, listen for it as you sing or play the tune.

The next step in ear-training might be to play the chords built on each note of the F scale, with particular emphasis on the I (FAC), V (CEG) and IV (B b DF) chords. Now, replay the tune, giving the children an opportunity to listen for all the I chords. Next, the V chords, and so on throughout the hymn.

If your choristers are more advanced, have some real fun with free harmonizations — sub- stituting alternate chords each time a I chord is repeated. For example, on the second count of the first measure, ask the choristers what other chords also have an "A natural" to use instead of the repeated I chord. They may suggest a VI (DFA), a III (ACE), or even an augmented harmony (such as CEGA). Let interested youngsters work out their own harmonizations at home, and be prepared to play them the following week as the choir sings the melody. You may wish to arrange with the church organist to use a free harmonization on a familiar hymn during the Sunday Service, after working with your choristers on what to expect.

If your choir has not done much part singing, this is an excellent "starter". Let the entire choir sing the alto as you play the soprano melody. Then, play soprano and alto simultaneously, letting the children listen for the alto. The third time, play the entire hymn as they once again sing their alto part. Finally, alternate turns at singing alto and soprano a capella until the children become more confident of their ability.

Other teaching suggestions are given within the framework of the study, such as letting the choristers compose additional stanzas of the text, listing some of the gifts of their own time which they may have forgotten as being related to God's Plan of Creation — particularly the advances of science and technology of which our youth are so aware.

June '66 — 167 — 0 LORD OF HEAVEN AND EARTH AND SEA

Oldbridge 8.8.8.4. Tune by: Words by: Robert N. Quaile Christopher Wordsworth 1863 1903

Say! What style haircut are you wearing? Crew cut? Flat top? Bangs? And you girls what style dress is that you have on? A shift? A jumper? A granny style? Something pleated?

Music has styles too — styles expressing a feeling of the times in which the music was first composed. See if you and your choir friends can discover examples of styles of music, art, architecture and drama from these important periods of history: EARLY CIVILIZATION THE GREEKS THE EARLY CHURCH BYZANTINE GOTHIC-MEDIEVAL RENAISSANCE-BAROQUE ROMANTIC MODERN-CONTEMPORARY

"0 Lord of Heaven and Earth and Sea" was written in England during the Victorian Era when styles in music, art, politics, religion and social ethics were changing rapidly. Its author, Christopher Wordsworth, was an honor graduate of Trinity College, Cambridge, Headmaster of Harrow School, Canon of Westminster for 19 years, and Bishop of London for 15 years. He was a nephew to the famous poet Wordsworth, but Christopher achieved many literary honors of his own, including the writing of a commentary on the Bible, a hymnal collection for services of the church, and a total of over 127 hymns. Check your author index in your hymnal to see if other of Wordsworth's hymns are included.

With so many distinctive honors, you would think Wordsworth would have written quite elaborate hymn texts — but he chose instead to use the simplest of words as the most appropriate way to express our gratitude to God. Most important, for all the gifts of our existence — from the beauties of nature — to our homes and health and our very lives — Wordsworth acknowledges that all are derived from God.

Our choir experimented with additional stanzas to list even more of the gifts of God which we enjoy in our times. My words were: "For gifts of science, works of art, For love which flows from heart to heart, 0 may we never from Thee part, Who givest all."

Why don't you try adding a stanza too? There are so very many things known to us that Wordsworth would have been amazed at: computers, jet planes, nuclear power, biochemical miracles — all evolving from God's orderly plan of creation and here, awaiting our discovery!

While some styles of hair cuts and clothes look quite peculiar a few generations after their origina- tions, good styles in composition last and are appreciated for centuries. The simple melody and harmonization of this tune, "Oldbridge", by Robert N. Quaile, seems as fitting now as it did several generations ago when it was first composed. How quickly can you spot the rhythmic pattern which keeps recurring? Do you remember how to mark the I, V, IV harmonization? Don't be tricked by the fourth measure where a VI chord is used — or the sixth measure where there is a II chord.

And sometimes for a real thought-twister try to answer the question of the first stanza: "How shall we show our love to Thee Who givest all?"

Your friend,

Charley the Choirboy H-13 June '66 — 168 — 0 LORD OF HEAVEN AND EARTH AND SEA

OLDBRIDGE. 8. 8. 8. 4. CHRISTOPHER WORDSWORTH, /807-1885 ROBERT N. QuAn.E, 1867-

tl`111- i-g ,51 . -•- '-60- • I. 0 Lord of heaven and earth and sea, To Thee all praise and glo - ry be! z. The gold-en sun - shine, ver - nal air, Sweet flowers and fruit Thy love de - Clare; 3. For peace-ful homes,and health-ful days, For all the bless - ings earth dis - plays, • •-4 1 t 3 1.-YIP-V0 - - - - 42- • f-

•

How shall we show our love to Thee, Who giv est all? When har - vests rip - en, Thou art there, Who giv est all. We owe Thee thank - ful - ness and praise, Who giv est all. A - MEN.

1-- -1 _ ft J• ,42 •

zv • 4 For souls redeemed, for sins forgiven, 5 To Thee, from whom we all derive For means of grace and hopes of heaven: Our life, our gifts, our power to give: What can to Thee, 0 Lord, be given, O may we ever with Thee live, Who givest all? Who givest all!

June '66 — 169 — U I=J

a a a

liV$0 0,& !

Like glittering colors Now you color a pipe

Of varying tone, Each time you attend.

Each single pipe You'll make beautiful music

Makes a sound of its own. If you just pretend!

ATT E!INI!D ' ! ! ! A ! ! ! !mem S-8 SOME

SUGGESTIONS

From Helen

If you are a parent of elementary age children, you are familiar with the mixed emotion about the closing of school and — — — summertime! Having been through this "shifting of gears" for some 16 years (since our oldest was 6!) — — — and with still quite a few years to go, (our youngest is 10) — — we have become accustomed to the "pattern". Summer! — — — Glorious care-free summer! No schedules — — no homework to supervise! That Utopian state lasts for about 3 or 4 days. Then, it is a different story. "Mother, there's nothing to do". "What can I do, Mother?" We have discovered, as have many of you, that summertime can be a very difficult time for families who have not worked out together some basic plan of operation. This includes a reasonable time to get up in the morning, a flexible schedule for definite chores and home responsibilities, outdoor sports and activities for physical growth, and some time set aside for enrichment of the mind and spirit. All of these things can be accomplished at a more relaxed pace during the summer months — but they can't be accomplished without some basic plan. This is true for all of us, children, parents, teachers and even choir directors! It is to these last two categories that I am addressing this letter — (also my pep talk to me — school will be out in just a week, and I want to be ready!) Perhaps you have already volunteered your services as roving music teacher for Vacation Church School. If it is a well-planned and well-staffed school, it can be one of the finest summertime experiences for both children and adult leaders. As far as an enrichment program is concerned, the Vacation Church School rates high. Of course, the curriculum material itself has much to do with the quality of enrichment. I hope your curriculum makes good use of great hymns for children. If you are responsible for the choice of materials, why not make it a point right now to review the imaginative hymn study sheets that are available through the Guild? The Vacation Church School can also serve as a recruiting center for your choirs! Be aware of the children who are not members of your children's choirs. This is a good time to talk with them and their parents. As I look over the V.C.S. materials which our church is using this summer, I notice much stress on creativity. "Create words and music for this scripture" — "Create music for psalm passages" — "Illustrate hymn on mural". Since there is more time than is available during choir sessions, this accent on creativity offers many possibilities for children to enjoy a rewarding musical experience. It is also an opportunity for you to experiment with this phase of group work. V.C.S. is a wonderful time to make use of instruments such as the autoharp, song bells, drums. There are all sorts of possibilities for making such things as tambourines, a set of tuned glasses, rhythm sticks. Old Testament studies give many opportunities for children to make ancient percussion instruments and create music for verses of scripture.e

If you do not have a V.C.S., perhaps you could have some Summer Choir Activity, such as a "Choir Day- School". We have had the best results by having such a 3 or 4 day session toward the end of summer, when lively mornings are spent learning new music for the fall. Events which are planned as summer activities must include fun as well as work.

In both of these summer suggestions — you were still the leader, the one giving of yourself. As we all know so well by experience, there comes a time when the well gets mighty low, and there is very little left to give. That is the time for you to take your vacation week and become a student again. In selecting this place to study, remember that the association with others in your kind of work will do as much for you as the actual teachers who will guide the classes. In all sincerity, I am referring here to the stimulating co-workers you will meet at either of the 2/1.1 2 in '66 5 CHORISTERS GUILD SEMINARS r- June '66 — 170 — Here there will be a wonderful spirit of willingness and a desire to share ideas that have worked. We have been continually amazed during the seven years that we have been associated with the Summer Seminars at the wonderful family spirit which is evident at these sessions. I believe this spirit was one of the characteristics which Ruth Jacobs wanted to keep in the Guild, regardless of how large it would become. But please, don't confuse "family-spirit" with "satisfied-coziness"! These sessions are stimulating, imaginative and have a tremendous outward thrust. Why don't you include one of the two in your basic plan for the summer? If you react like many others, you will hardly be able to wait for September to come so you can get started again!

One of the things we have all come to take for granted is the thorough and consecrated work of Dr. Lee Whittlesey. I know that it takes him at least ten months of advance planning to make sure things go as efficiently and pleasantly as they do. Hats "off" to our HEAD MAN!!!!

Why not drop him that registration balnk right now?

For those of you who are not going to be able to be with us this summer, why not create your own custom-built reading plan? This might be just the time to invest in those books you have been intending to purchase. Is The Children's Choir, Vol. II, by Nancy Poore Tufts on your bookshelf yet? It is available from the Guild office. By reading it, you could give yourself the boost you need to start your choir in the fall. Is it repertoire suggestions you need? Review your LETTERS, or send 150 to the Guild office for the new repertoire list which is available.

And, as a last summer suggestion, how about spending some time each week making music? You organists, how long has it been since you have sung something for your own enjoyment? You singers or directors, how long has it been since you have actually worked on the accompaniments of some of the children's anthems? You church school teachers, have you lately tuned the autoharp which is sitting on the shelf? Have you really tried to learn to use it effectively? It can be a lovely simple chording instrument, if you practice. What about that recorder group which you intended to star t? Summer would be the perfect time. I really believe that to inspire others to sing or play, you must experience the joy of music- making yourself.

Will we be seeing you at one of these?

June 13 — 17 Texas Methodist Choir Clinic Lakeview, Texas

June 20 — 24 A.C.E. Workshop — Oklahoma City University Oklahoma City, Okla. "Creative Music with Children"

* July 11 — 15 Choristers Guild Seminar Denver, Colorado

* July 18 — 22 Presbyterian Synod School Waukesha, Wisconsin Carroll College

* July 25 — 30 "School of Music" Naramata, British (Christian Leadership Training School) Columbia

* August 8 — 12 Choristers Guild Seminar Winston-Salem, N.C.

* August 14 — 19 Wesleyan College — Methodist NAFOMM West Virginia

* BOTH JOHN AND HELEN

I have an odd sort of feeling that the Kemps have allowed the basic plan for summer to get a bit out of hand! Surely there will be golf courses and swimming pools along the way!

Have a Happy Summer!

rl June '66 — 171 — TINTINNABULATIONS

Dear Bell Friends: Another sign of the growing recognition of the Handbell as a music instrument and as an educational and recreational tool is the number of collegians writing term papers and theses on the subject or including information about the Handbell in connection with other subjects. We have corresponded with a half dozen students concerning their research. Questions have been searching and to the point. THE RINGING WORLD published a lengthy resume last fall of a 15,000 word thesis on "Bell Ringing in the Schools" prepared by a Mr. King in 1964, before graduation from a Normal School in Yorkshire. Although his main interest was Tower Bell Ringing, he discovered and recorded a number of Primary and Secon- dary Public Schools and Private Schools practicing the Art of Tune Ringing. How did he go about this? Firstly, he inquired of THE RINGING WORLD and other sources and wrote the Headmasters of over 50 schools known to have Handbells, and access to Tower Bells. Next, a questionnaire was sent to the Bell Masters with such questions as: 1. How old is your Society? 2. Does it hold regular Tower Bell practice? 3. Do you ring tunes on your Handbells? Most of these Directors replied and provided the names of more schools. A letter explaining his project sent to several periodicals brought replies. Visits to 6 Primary Schools found mostly Tune Ringers. Bishopsthorpe Primary had no shortage of volunteers. Tunes were rung on 18 bells from music notation in combination with singing and other instruments; Gnosall Primary, with 17 bells — one to a child, taught progressively from tonic sol-fa to complicated music notation harmony. These Ringers have appeared on TV; Carr Hill Primary taught both Tune Ringing and Change Ringing. Two others rang Handbells at Christmas only. Of some 21 Secondary Schools studied, 9 rang Changes only on Handbells but mainly the Tower Bells of the School, or of the nearby Parish Church. Three others had enthusiastic Ringers who rang both Changes and Tunes — the number of Handbells used were 28, 70 and 23. Two teams used 4-in-hand Tune Ringing. Six schools had Tune Ringing only with sets numbering 17, 15, 29 and 16 bells — some having more Ringers than Bells. Of 13 "bell-minded" Private Schools, 9 seemed to be interested in CR only. Three others, including Benenden — Princess Anne's school, rang both Tower Bells and Handbells (sets of 16 and 12), while the Buck- fast Abbey School Ringers (RC) practiced Tune Ringing only (31 bells). 14 other Private Schools covered were inactive, limited or weak that year. Mr. King drew no conclusions as to Tune Ringing, its influence and scope. The record he made is far from complete. He proved, however, than the growing School Ringing Societies (CR) have been and are of utmost importance to both the present and the future of Tower Bell Ringing; that some 3,000 Ringing Towers are able to function only because of school-age youngsters; and that the Art of Change Ringing owes a debt to those under 18 years of age. Although many youngsters do not carry on Bell Ringing beyond graduation, even so — while active they keep England's bells going. The writer failed to even generalize on the values of Bell Ringing to the individual youngster perse- verance, concentration, exercise, group responsibility, faithfulness, loyalty, service to the Church, Cathe- dral or School Chapel. EDITOR'S NOTE: Mr. King failed to mention the Irish Girls Grammar School (H.S.) whose girls have for years faithfully rung the famous bells of St. Drogheda every week during their term; other fine schools such as Norfolk and Grantham and so on; the Merit Badges offered by the Boy Scouts of Great Britain for both Tun e and Change Ringing. A more complete survey of the school situation would have been of ines- timable value to other ringers, churchmen, educators, and for the record. Admittedly, it is difficult to discover "Where the Bells Are" in the space age.

BELL NOTES: NEW MUSIC. Eugene Butler of First Methodist, Wichita, whose Bell Collection was mentioned in May CGL, has followed this up with a FLAMMER publication "Carols for the Four Seasons", No. 86215. 300. This is 4 Songs for Treble Voices (SA or SS) with Handbell accompaniment. Nothing startling, it is rather simple, flowing, useful BELOISE has a suggestion for Choirs which use gloves and wonder how to keep them neatly at the Church. Hang a shoe holder on the inside of the Robe Closet, then each Ringer will have his own little "pocket" into which he can drop his gloves. The gloves stay clean and the room stays neat. Another idea: attach spring-type clothes pins to hangers and clip gloves on. They might even be laundered at the Church and hung to dry MUSIC PAD STANDS: Helen and Gordon Betenbaugh of Govans Presbyterian Church, Baltimore, wrote in that a stand from which poster-size pads hang is available through Hackman's Bible Store, 808 St. John St., Allentown, Pa. The set costs around $10, extra pads, $2.50 each. June '66 — 172 — Mrs. B. said the beauty of this is that sheets can be assembled in the order of the program, mounted on the stand, and then just flipped over at the conclusion of the piece. A number of Bell Choirs are using these pads, rather than charts TABLE NOTE-BOOKS: A firm in Texas is now handling a ring-binder table easel Handbell music holder similar to the Economo product available through the Lutheran Supply Stores, 2900 Queen Lane, Philadelphia 29. It is called "Super-Bell Easel", black vinyl only, 12 "x 9 ", $4 each — less in quantity. Write SUPERCRAFTERS CO., 2908 Shorewood Drive, Dallas 75228.

BELL POURRI: ORGAN AND CARILLON — James R. Lawson, Carillonneur, sent in the program of a festival concert given Easter afternoon at The Riverside Church which included the organ solo "Carillon de Westminster" by Vierne — "with carillon". We assume a recording had previously been made of the Carillon, played by Mr. Lawson, then was replayed and fitted in with the live performance of the organ solo, by Dr. Swann at the concert. As far as we know, the first performance of Handbells and Carillon at the same time was by the Potomac Ringers and Charles Chapman at the Singing Tower of Luray, some years ago. The Handbells were amplified in the outdoor amphitheatre, the smaller bells of the Carillon were played, while the Bell Director and the Carillonneur were in constant communication, via a two-way telephone arrangement. This was a sort of stunt, of course, and of no great satisfaction, musically. However, the possibilities of Hand- bell-Carillon duos and massed choirs (choral) and Carillon might be worth further experimentation. THE FIRST CANADIAN HANDBELL FESTIVAL was held April 30, 1966 at the Yorkminster United Church in Toronto. Eight handbell groups participated. Congratulations were extended by a number of American Bell Ringers. BELLS ON INDEPENDENCE DAY. We welcomed a letter from the Eric Sloanes, who with Eric Hatch started the "Let Freedom Ring" project of encouraging Americans to ring Bells throughout the nation at 2:00 P.M., EDT, July 4 — every year. Write the Sloanes for info and suggestions about this observance, at Warren, Conn. 06754. Also NEWSWEEK, Att.: Norbert Hofman, 444 Madison Ave., N.Y., 10022, as a public service, will supply organizations promoting this Ringing Tradition 500 free flyers "The Message of the Bells", with an illustration of Old North Church and a message. SEMINARS AND FESTIVALS: Directors and others wishing information about membership in the American Guild of Handbell Ringers please write the Registrar, Dr. istvan Gladics, Village Church, P.O. Box 8050, Prairie Village, Kansas. Non-members are usually welcomed at all or part of Regional Festivals, but it is safer to check beforehand. Accommodations are sometimes limited. The list of Festivals below is not complete. Consult your denominational and music publications.

June 9-10 — — Area VII Regional Festival, AGEHR — St. John's College, Santa Fe, New Mexico June 14-16 — Area VII, etc. at Southern Methodist Univer. , Dallas, Texas Write Oran Nabors, 7200 Northwest Hwy., Dallas 75227 June 17-18 — Area IX, AGEHR, First Baptist Church, Van Nuys, Calif. Write John Gustafson, 14800 Sherman Way, Van Nuys 91405

June 22-23 — Area VI, AGEHR, Kansas State U., Manhattan, Kansas. Write Mrs. W. Wilcox, Collegiate Meth. Church, Ames, Iowa 50012 June 24-26 — Area III, Weslyan College, Buckhannon, West Va. Write Miss Emma Allen, RFD 1, Box 91, Martinsbur g ,West Va. June 28-30 — Area II, AGEHR, Alfred University, N. Y. Write Mrs. Lois Scholes, Box 752, Alfred, N.Y. 14802 July 6-8 — Area V, AGEHR, Lake Forest College, Illinois. Write Ronald Schink, Emanuel Lutheran, Napolean, Ohio 43545 July 10— 15 — 18th Church Music Institute, Alfred University, N.Y. Write Mrs. Scholes. The Flanagans, Handbells July 11-15 — Choristers Guild Seminar, Colorado Women's College, Denver. Norma Lowder, Hand bells August 8-10 — Choristers Guild Seminar, Salem College, Winston-Salem, N.C. August 26-28 — Area I, AGEHR and New England Guild, Ipswich, Mass. Write Elizabeth Bradford, Pudding Hill Lane, Marshfield, Mass. BEHOLD, A BASKET OF SUMMER FRUIT! At the end of the school and church music season, Directors are expected, and even exhorted, to attend festivals and seminars, to refill "empty" baskets and buckets. They are bedazzled and tempted by a thousand glowing articles and attractive pictures to visit a thousand fascinating vacation spots to recharge their jaded minds and weary bodies. Where shall we find the basket filled with these fruits? Must we go away? Must we rush toward it at 65 miles an hour? Perhaps the fruit is in our own backyard, or within reach of our doorstep. What we see, appreciate and understand far away depends upon what has been seen and felt at home. The soul who finds no beauty or wonder within a circle drawn by his own eyes will not have his eyes opened to glory by the mere widening of the circumference of his movements. It is a fallacy to assume that it requires distance to lend enchantment. Why feel apologetic if you prefer to fill your basket in your own backyard? Summer fruit is a combination of change of schedule, earned leisure to do what you want for awhile, closer companionship with family and friends, a chance to enjoy nature, an opportunity to read, to think and to be QUIET. Those who "cannot get away" might reflect that the ministry of the Great Galilean, who never left his small country, was filled with references to summer and nature — the flowers and birds, the good earth, the growing crops, the sowers in the field, sparkling waters, boats, fish, children playing. Perhaps the invitation of summer, if one really desires to find a basket of summer fruit, is not to hurry on to something else, but to lie down! He maketh me to lie down — the supine position is naturally restful to man and beast. He restoreth my soul — and by rest and relaxation, renewing, re-inv igorating, gathering power to approach the threshold of another successful year. Ringing off, cordially, June '66 — 173 — Nancy Poore Tufts A DISTINCTIVE NEW COLLECTION OF SONGS Reviewed by Norma Lowder Of special interest to all children's choir directors and church school workers is the recently released SINGING THROUGH THE YEAR by Broadman Press, with texts by William Tagg and music by Jane Marshall. "The idea," writes Mrs. Marshall, "was to come up with material for juniors that would supplement the Baptists' four-year program of hymn-teaching. Each month of the year has two hymns, and each month and hymn has a topic: May, home; July, country, etc. The songs, then, are each written on one of these topics, with an additional one on singing. The texts have arresting poetry, good theology, and are centered on the child's experience but without the usual cliches". The songs are recommended for a learning-worship situation, where the text is discussed first. As "performance" songs, Mrs. Marshall feels they would be effective either in groups or in series, but not so much as isolated numbers, with the possible exception of the title song. Here are 8 of the thirteen songs in the book. * THEN I CAN SING . . . A GROUP OF MEN . . . No drum or trumpet A group of men makes my voice built a church, as strong and clear small and plain, as when the year white and wooden, has changed very, very and I have grown ordinary. and know that I am growing yet. It was just Then I can sing — that: strong, happier, a wooden church, more jubilant songs; until it strangely built, much more in turn, jubilant songs! truer men. And then A strong and clear rhythm introduces the that wooden church title song, leading to a joyful unison became and two-part expression of the jubilation that another Bethlehem. comes through singing. This, the longest and perhaps most difficult in the collection, is a This venture into three-part harmony emphasizes most interesting anthem for a service of a truth well-remembered by adults as well as recognition or dedication as well as the children, for without the people, truly the general worship service. church is built in vain. DEDICATION . . . WE HAVE A VERY NOISY, BUSY HOME . . . Dedication is We have a very noisy to find Something busy home. that needs you But it calms and to want to give and slows everything you have at night for It, when prayers are said. no matter what your friends say. How true of most of us! And how busy sounds the rapid staccato accompaniment to an articulate How could one better define dedication to melody, both unison and two part . . . until the children? Again three-part harmony is used. calm of night brings peace and serenity. Basic chordal accompaniment would lend itself to a variety of instruments, including handbells. NIGHTTIME . . . THE BIBLE . . . Nighttime is the best time for thinking My little brother can hardly about serious things, lift it, especially outdoors and I don't always beyond the porch light, understand it, with all but it's just as of those our minister says: stars. when we read it together I throw my arms wide at night, and praise Him. it feels like we're all holding hands. A quiet unison song has some challenging rhythmic patterns and an accompaniment A delightful melody responds to the theme from the hymn tune "Munich" which appears designed to enrich the vocal line. in the accompaniment. FIRST HE WAITED . . . I'M QUITE BRAVE . . I'm quite brave First He waited at school and exploring, till His words were more than and bleed a lot youngsters' words. without tears; And then He spoke. and when our minister Oh, read what happened then! spoke about missions Somehow He gave His peace and the death and dangers, to those who had no peace, I was proud yet strangely stung the eyes until I remembered of those who had no tears. that I wasn't brave enough Lord, make us listen. to ask my favorite friend Lord, make us wonder. to come to church with me. Lord, make us like Him. Minor chords and two-part harmonies musically A gentle 6/8 melodic motion has a countermelody which describe bravery (and the occasional lack thereof). might be used on instruments other than keyboard (flute, recorder, string, etc.) This charming, educational and worshipful collection will be a part of the reading sessions at both Guild Seminars this summer. May I personally recommend that each Guild member avail himself of this publication, either there or through a local dealer? You will find it as useful in your planning for next year as any collection I have known. * The anthem texts are used with permission of Broadman Press June '66 — 174 — SHARING

A few months ago, Eleanor D. Fossick wrote to me about an interfaith hymn festival in which 16 children played the various piano accompaniments. I asked for more information. Her reply is as follows. Here is a worthy effort for next season. The Music and Arts Teachers Guild, Inc., of Nashville, Tennessee, held the second annual interfaith hymn- singing festival on Passion Sunday afternoon, March 27, 1966. Downtown Presbyterian Church was the scene of the event. Members of the guild are agreed that the beginning of the Holy Week season is an appropriate time to promote fellowship among Christians through the glorious experience of singing together. Our guild is the oldest organized musical group in Nashville. It was formed and chartered under the laws of Tenn- essee 36 years ago. The roster was made up of private teachers in various branches of music and the allied arts. Although our activities have been numerous throughout the years, the hymn festival came into being only last year and was hailed with enthusiasm by the large audience who attended and participated in the singing. In fact, our "debut" was so successful we voted to make the festival an annual affair at the onset of Holy Week. Our prime objective — as I stated earlier — is to promote fellowship through singing together. The secondary purpose is to train young musicians to serve as accompanists in their respective churches. The young pianists who played the hymns in excellent style, were between the ages of 12 and 18, and were members of many different denominations. Likewise, the audience consisted of Baptists, Methodists, Episcopalians, Roman Catholics, Lutherans and Presbyterians, who met as Christians, and sang God's praises with one voice. Our song leader was a Methodist Choir Director. The festival chairman is a Roman Catholic, and a young Methodist minister shared the pulpit with a recently-ordained Catholic priest. The two clergymen brought dignity to the festival and made it the solemn occasion it was meant to be. Furthermore, their words of sincere commendation encouraged the boys and girls who played the hymns to further prepare themselves to serve their churches.

C. E. McMeans of First Methodist Church, Richardson, Texas, was in the office recently and told us how he intends to use the new Boy & Girl Promotion Card (see page 149 of the May LETTERS). When the children join the choirs in September, they will each be given one of these colorful cards. They will be expected to have it pinned on them at church school the following Sunday "As you can see, we have joined the choirs. I'll bet it will produce We would like to have you join also." results!

Mrs. Charles Childress, 217 Bond Street, Clarksburg, W. Va., sent me bulletins of special services her children had sung this year. One particularly appealed to me as something that should be shared. It was a Good Friday Service for Children. Of this she wrote: It was exceptionally meaningful. This is the second year our church has had it. I got the idea from a Guild LETTER several years ago. If anyone wants to know more about this, I'll be happy to give details, if they send me a stamped, addressed envelope.

My wife doesn't always take my advice either! From Peggy Reagan of Birmingham, Alabama —

I'm bursting with pride and just had to write you. Last February I wrote to you asking for pointers on teaching a Children's Choir to sing the Bridal Chorus. You wrote back advising that they not try to tackle such an adult song — and you gave several good alternate suggestions for using the children in the wedding. I showed the letter to the bride-elect and gave her every opportunity to change her plans but all to no avail. She especially wanted the children to march down the aisle preceding her singing the Bridal Chorus. Well, the wedding came off without a hitch and the children almost upstaged the lovely bride! They did beautifully and we were all so proud of them. We did make a few changes in the original plans, tho. The children sang the "Faithful and true — —" part, then the soloist took up the "Champion victorious —" part, then the children came in again with the "Faithful and true —" part. By then the children were in their pews. The children just couldn't handle the big words in the "Champion victorious —" part. 0 0 0 0 0 This note was with an order for a box of greeting cards from J. C. Farquhar of Edna, Texas — We are using these cards for memorial cards — when someone makes a memorial to the choir fund, I send one of these to the family. Everyone has really liked this idea.

June '66 — 175 — CONTRIBUTING MEMBERS 1965-1966

It is a pleasure to print the names of 324 persons or churches who are Contributing members of the Chorist- ers Guild for the year 1965-1966. A "Contributing" member is one who pays $10.00 a year for his membership.

The asterisk (*) indicates VOTING members. The Guild by-laws read: "Stockholders (or Voting members of the Corporation) shall be those persons who have been Contributing members of the Guild for a period of not less than 5 consecutive years." These people are "VIPS" in the legal structure of the Guild, for they are represented in the annual meeting of the Guild, either in person or by proxy.

The circle (`') indicates Contributing ORIGINAL members. When the Jacobs' organized the Guild in the season of 1949-1950 there were 119 original members. The people marked with the (°) were in this group. At the end of the listings there is an additional group of people who are Regular members this year who were also among the original members.

At a recent meeting of the Stockholders provisions were made for three additional types of memberships. These are: Subscribing Membership $ 25.00 Patron Membership $100.00 Life Membership $500.00 We now have one Life Member. There are ten Subscribing memberships indicated. There is also a list of Chapters, organizations and individuals who have made special gifts to the Guild during the 1965-1966 season.

To all who, in these special ways, have supported the Guild we give special recognition and thanks. There may be some errors in the lists, some omissions, some inaccuracies; if so, please write me (F.L.W.), for we want our records to be correct Aldersgate Methodist Church Brakebill, Don * Clopton, Maurice Butte, Montana Maryville, Tennessee Dallas, Texas Alexander, Mrs. J. G. Breece, Dan Collies, Mrs. Eugene E. Midland, Texas Huntington, West Virginia Seattle, Wash.

* Alford, Mr. and Mrs. Richard Brown, Donald E. * Collier, Dr. Shelby Glendale, California Barrington, Rhode Island Memphis, Tenn. * Allen, Norman K. Brown, Mrs. Gene M. Columbia Baptist Church Charlottesville, Virginia Concord, Mass. Malcolm H. Scott Falls Church, Virginia Anschicks, Mrs. R. D. * Burns, Rev. William K. Denver, Colorado Maplewood, New Jersey * Cook, Mr. Elza Ft. Worth, Texas Atherton, John J. Buss, Mrs. Lloyd Selma, Alabama Rochester, Michigan * Cooksey, Mrs. Evelyn B. Baton Rouge, La. Barnes, John A. Butler, Mrs. Kenneth A. Charleston, West Virginia Windom, Minnesota Cotter, Sam McAllen, Texas * Barto, Mrs. Homer D., Jr. * Buuck, Mrs. Marcus Reed City, Michigan Allen Park, Michigan Councill, George D. Roanoke, Virginia Baugher, Miss Eleanor D. * Byler, Mrs. Leland Dothan, Alabama Jackson, Mississippi * Country Club Christian Church Kansas City, Missouri * Baugher, Robert W. * Byrens, Mr. and Mrs. Danford M. Florence, Alabama Battle Creek, Michigan Cox, Mrs. Raymond Elbridge, New York Beaman, Miss Mary Lou Calkins, Mrs. Charles A., Jr. Charlotte, North Carolina Baltimore, Maryland Craw, Mrs. Chester J. Toledo, Ohio Bechtel, Mrs. J. David Callender, Mrs. E. D. Durango, Colorado Pearl River, New York * Davidson, Ray Wichita Falls, Texas Beckmeyer, Miss Dorothea * Camp, James R. Vallejo, California Indianapolis, Ind. * Davis, Brookes M. Santa Barbara, Calif. Belknap Lee M. Campbell, Douglas South Bend, Indiana Kitchener, Ontario, Canada * DeHart, George L. Midland, Texas Bell, Mrs. Janet * Carlson, Robert Minnetonka, Minnesota Collegeville, Pa. * deJaager, Alfred Morgantown, West Virginia Benjamin, Mrs. Delmar Cason, Mrs. Ewell Seattle, Washington Wichita Falls, Texas * Demming, Lanson F. Houston, Texas Benson Mrs. Thomas Cassell, Charles Olney,Illinois Goldsboro, N. Carolina * Dieckmann, Adele Atlanta, Georgia * Berger, William C. Houston, Texas Catherwood, William J. * Bertalan, Joseph Youngstown, Ohio * Dow, Margaret Princeton, West Virginia Honolulu, Hawaii * Cherry, Sherman D. Bethel Lutheran Church Moultrie, Georgia * Downer, G. Robert Madison, Wisconsin Austin, Texas Chidester, James * Bishop, Mrs. Roy Canton, Ohio Dunn, Mrs. Sue Denver, Colorado Randolph, Mass. Church Street Methodist Church * Bitgood, Dr. Roberta Mr. Arthur C. Bayer * Durham, Louise Bay City, Michigan Knoxville, Tennessee Memphis, Tenn. * Bliss Miss Elaine S. Clapper, Donald * Eaddy, Floyd New York, N. Y. Harrisburg, Pa. Orlando, Florida Boehm, Charles F. Clark, Mrs. E. T. * Eaddy, F. Conrad Westbury, L.I., N.Y. Winchester, Virginia Charleston, West Va. * Bo ter, Mrs. Haskell Clark, Janice A. Eames, Mrs. Kathleen Atlanta, Georgia Ann Arbor, Michigan Aloha, Oregon

Bradley, Mrs. Gloria * Clark, Mrs. Walter A. Eaton, Mrs. Richard W., Jr. Columbia, Missouri Denver, Colorado Deer Lodge, Montana June '66 — 176 — CONTRIBUTING MEMBERS 1965-1966 (Cont'd.)

Edwards, Aubrey * Grow, Rexford Nashville, Tenn. * Kendrick, Margaret Kansas City, Kansas Atlanta, Ga. * Elder, D. Frederick * Guthrie, William Tulsa, Oklahoma * Kersh, Mrs. John D. Dallas, Texas Gastonia, N. Car. Ellison, Milton A. Caldwell, New Jersey Haas, Rev. Alfred Kettring, Donald Madison, N. J. Pittsburgh, Pa. * Ellison Mrs. R. Y. Miami, Florida * Hall, Peter Kilpatrick, Miss Evelyn M. Ottawa, Ontario, Canada Nazareth, Pa. * Erler, Mrs. John F. Halvorsen, John A. Toledo, Ohio * Kintner, Robert J. Tulsa, Okla. Lexington, Kentucky * Evans, Mr. Ray Hammond, Mrs. Corniel Richardson, Texas Kiser, Mrs. R. E. Santa Fe, N. M. Welch, W. Va. Farnsworth Dorothy E. Hargrove, William R. Fitchburg, Mass. Koepke, Mrs. Winton F. New York, N.Y. Lorain, Ohio Farrell, Rev. Robert T. Silver Spring, Maryland * Harper_ J David E. Kolb, Aaron West Hartford, Conn. Richmond, Va. Farrow, Stephen Greenville, S. Carolina Harris, James Kreiner, Raymond F. Winchester, Tenn. Raleigh, N. Car. Fee, Mrs. Neal * Havekost, Mrs. Alvin D. Plattsburgh, New York * Kryder, Mrs. Wallace Denver, Colorado Northridge, Calif. Ferguson, Clyde L., Jr. Heacock, Amos M. LaBerge, Mrs. Robert L. Charleston, W. Va. Palmyra, N. J. Indianapolis, Ind. Ferguson, Mrs. Robert Hedges, Mr. & Mrs. Gerald E. Lain, Wildred F., Jr. Lake Charles, La. Oklahoma City, Okla. ' Topeka, Kansas First Baptist Church Hendershott, Mrs. B. R. Lake, Mrs. Richard D. K. D. Cochrane Aloha, Oregon Chattanooga, Tenn. East Lansing, Mich. Henderson Charles N. Lakewood Christian Church First Baptist Church New York, 'N. Y. Gastonia, N. Carolina Dallas, Texas * Herbst, Omar M. Lamberson, Jim First Baptist Church LaGrange, Georgia Indianapolis, Ind. Eddie Gray Lamesa, Texas Hermany, Daniel E. * Lapo, Dr. Cecil E. Allentown, Pa. Nashville, Tenn. First Baptist Church Harold L. Cartee * Hermonat, Donald D. * Lapo, Richard D. Valdosta, Georgia Dallas, Texas Phoenix, Arizona First Christian Church o * Hewlett, Mrs. Alice * Larrabee, E. Nelson Nancy Livingstone Glendale, Calif. Centralia, Illinois- Canton, Ohio * Higgins, Mrs. C. E. * Lauderdale, Mrs. W. C. First Congregational Church Chillicothe, Ohio Edward Johe Charlotte, N. Car. Columbus, Ohio Hills, Winifred Sloop * Laverty, Mrs. P. H. Oroville, Calif. First Methodist Church Midland, Texas Robert M. Wert * Hoffman, Herbert P. * Lee, Dr. T. Charles Hereford, Texas Cuyahoga Falls, Ohio New York, N. Y. * First Methodist Church * Hoffman, John D. Lehn, Benjamin Midland, Texas Towson, Maryland Grand Rapids, Mich. First Methodist Church Holdermiller, Lewis * Lilyers, A. Leonard James L. Williams Hamburg, N. Y. Royal Oak, Michigan Cherry Hill, N. J. * Holloway, Henry M. * Lindstrom, Mr. & Mrs. Arthur L. First Plymouth Congregational Church San Antonio, Texas Louisville, Ohio Englewood, Colorado Horn, Mrs. Percy J. Lorenz, Mrs. P. B. First Presby. Church of Bakerstown Louisville, Ohio Bartlesville, Okla. Pittsburgh, Pa. * Homer, John B. Lore y, Genett y, First Presbyterian Church Royal Oak, Mich. Oklahoma Okla. Wausau, Wisconsin Horton, Mrs. Clifford E. * Louis, Mrs. Jack * Flanagan, Andrew L. Colorado Springs, Colo. Sacramento, Calif. Erie, Pa. * Hotchkiss, Rev. E. Foster Love, Mrs. Ethel Fletcher, Delbert Speedway, Indiana Warren, Ohio New Castle, Pa. Howell, Miss Margaret * Lowder, Mrs. Earle * Floyd, Mrs. Eugene H. Indianapolis, Ind. Springfield, Mass. Bellaire, Texas * Hoyt, John R. * Lowe, Mrs. Louis M. * Frame, Mr. & Mrs. William Des Moines, Iowa Pasadena, Calif. Anderson, Indiana * Ingram, Mrs. T. J. * Lutz, Mrs. C. W. Frauman, Robert Lynchburg, Va. Roselle, N. J. East Point, Georgia James, Ted Macdonald John Frazier, Robert W. Big Spring, Texas Hinsdale,Ill. Pittsburgh, Pa. * Jerme, Mrs. Reidar MacKain, David S. * Gay, Mrs. William Brecksville, Ohio Fullerton, Calif. Pleasant Hill, Ohio Jerome, Mrs.johnnie * MacWhirter, Mrs. Bert * Gehrts, Mrs. Ernest Richardson, Texas Monrovia, Calif. Sandy, Oregon Johnson, Dr. Donald E. McBride, Michael B. Geisler, Lester W. Houston, Texas Ft. Collins, Colo. Kissimmee, Florida Johnson, Rev. James M. * McCormick, Dr. David * Gould, Alex Kinston, N. Car. Tyler, Texas Sacramento, Calif. Johnson, Louise H. McCoy, Larry * Grace Methodist Church * Columbus, Ohio Huntington, W. Va. Donald L. Sanford Atlanta, Georgia * Kammerling, Mrs. E. A. McDowell, Clifford W. Melrose Park, Illinois Howell, Michigan Graff, Louise Greensburg, Pa. * Karhu, Edwin T. McElrath, Hugh T. Oklahoma City, Okla. Louisville, Kentucky * Grant, Mrs. W. G. Tucker, Georgia * Keck, Mrs. L. R. McKnight, Miss Madeline Des Moines, Iowa Ozone Park, L.1., N. Y. Gregsomer, Louis M. Westchester, Illinois * Keith, Mrs. Alex, Jr. Mallatis, Catherine Eau Claire, Wisc. Tulsa,O kla. * Gross, Mrs. John E. W. Hyattsville, Maryland * Keith, Mrs. Isaac Mansfield, Mrs. A. R. Alexandria, Va. Denver, Colo. * Groves, James Ft. Smith, Arkansas Kendall, Mrs. Edgar R. Mathis, Donald R. Gatlinburg, Tenn. St. Petersburg, Florida * Groves, J. Harold Manhattan, Kansas June '66 — 177 — CONTRIBUTING MEMBERS 1965-1966 (Coned.) o * Maxwell, Jean * Rawls, Kathryn H. * Thomas son Richard Summit, N. J. Washington, D. C. Nashville, Tenn. * May, Edwin H. * Rennecker, W. T. Thompson, G. Felix, Jr. Knoxville, Tenn. Flint, Mich. Little Rock, Ark. * Reynolds, Ruth Turn Tiffin, Mrs. Walter * Meier, Mrs. Henry Trucksville, Pa. DeKalb, Illinois New Baltimore, Mich. Memorial Christian Church Richards Memorial Meth. Church Toro, Luis Angel, Jr. Robert Bedle Hickory, N. Car. Midland, Texas Pensacola, Florida Michel, Lillian F. Travis Ave. Baptist Church Cicero, Illinois Rickert, Mrs. Charles B. Bill Pearson Milwaukee, Wisc. Ft. Worth, Texas * Miles Memorial Methodist Church Harold G. Hawn * Rissmiller, Mrs. Paul Trinity Methodist Church Norfolk, Va. Laureldale, Pa. Merlin E. Johnson Robertson Mrs. Helen F. Huntsville, Ala. * Miller, Mrs. Elwyn * Tonawanda, N. Y. Roanoke, V a. Trithart,_Mrs. Albert H. Forest Hills, Nashville, Tenn. Robinson, Helen L. * Mitchell, Mrs. John Lee * Carrollton, Texas Lancaster, S. Car. * Tubbs, Ruth M. Canastota, N. Y. * Moore, Mrs. A. S. Rodgers, Mrs. James L. Pasadena, Calif. Bloomington, Indiana * Tufts, Nancy Poore Washington, D.C. * Morrison, Mrs. Robert S. Rohloff, Mrs. Vincent L. Montgomery, Alabama Dallas, Texas Turner, Mrs. Luther H. Mechanicsville, Va. Mt. Zion Presby. Church Rubner, Florence A. Rose Hill, N. Car. Erie, Pa. Turveyt Kenneth V. Huntsville, Ala. * St. John's Methodist Church * Movius, Mrs. Arthur J., Jr. Kansas City, Mo. Billings, Montana * Vinesville Baptist Church Claud Smith, Jr.r Moyer, J. Edward St. Luke's Meth. Church Birmingham, la. Washington, D.C. Oklahoma City, Okla. Wagner, Oliver H., Jr. Mullikin, Mrs. Robert D. o * Schatzman, Mrs. Hattie Livonia, Mich. Maywood, Ill. Covington, Kentucky * Wake, Mrs. Arthur N. Mullen, John W. Schell, Mrs. Helen S. Lexington, Kentucky Kingsport, Tenn. Cleona, Pa. Wattez, Henry * Schlegel, Floyd E. Mullins Methodist Church Pa. Passaic, N. J. Don Tate Bath, - Memphis, Tenn. * Weaver, Ward Arthur Schmidt, Mrs. Clarence Tullahoma, Tenn. Munson, Mrs. K. Everett Toledo, Ohio Maywood, Illinois * Wehr, David A. Schnable, Mildred I. Boise, Idaho o * Myers Park Baptist Church West Reading, Pa. James A. Berry Wertz, Mr. & Mrs. Don Schultz, Allen H. Bay City, Texas Charlotte, N. Car. Oshkosh, Wisc. Neal, Mrs. Dorene E. Scoggin, Rev. Robert Wessler, Mrs. Jack Indianapolis, Ind. Rochester, Minn. Arlington, Texas West End Methodist Church Near, H. Wells Scott, Perry L. Ridgewood, N. J. Maryville, Tenn. Nashville, Tenn. Nelson, Mr. & Mrs. David Westminster Church Second Baptist Church Detroit, Mich. Dubuque, Iowa Wesley S. Coffman Nelson, Mrs. Harold E. Houston, Texas * Wheeland, Vivian T. Attica, Mich. Phillipsburg, Kansas o * Shelton, Elizabeth Noble, David R. Bluefield, W. Va. * Whitman, Mrs. 0. L. Glendale, Calif. Cedar Rapids, Iowa Sheridan, Mrs. Earl C., Jr. Norman, Nina L. Lynchburg, Va. Wich, Mrs. Harold H. Arlington, Va. Shuman, Mrs. Audrey Louisville, Kentucky Orr, Freeman R., Jr. Englewood, Colo. * Wildman, Mrs. Lynn W. Greenville, S. Car. Skillen, Mrs. Agnes M. Mt. Kisco, N. Y. Durham, N. Car. * Ortlip, Stephen J. * Williams, Mrs. Carl P. Lookout Mountain, Tenn. Smith, Mrs. Dana P. Fairport Harbor, Ohio * Patterson, Mrs. Ralph E. Geneva, Ill. Williams, David V. Tulsa, Okla. Alexandria, Va. Smith, H. A. Peele, Mary Fond du Lac, Wisc. * Williams, Mrs. George T. Mechanicsville, Va. Detroit, Michigan Smith, W. Thomas Peiffer, R. Dale Summit, N. J. Wilson, Isabel Wethersfield, Conn. * Speidel, Mrs. Philip L. Fremont, Ohio o * Peters, Miss Frances Lake Forest, Ill. Wimpfheimer, L. Adele Alexandria, Va. o * Spencer, Mrs. Earl F. Glendale, Calif. Peterson, Rev. Marvin E. Poughkeepsie, N. Y. Wooley, Ralph C. York, Pa. Columbus, Ohio * Starkey, Posey Montgomery, Ala. * Grrtmerinon, Rodney Wooster, Alvin A. s gham Haverhill, Mass. * Stetter, Mrs. Albert * Pew, David Burbank, Calif. Worley, Charles H. Denver, Colo. Stiller, Raymond W. Dallas, Texas Phillips, Mrs. Jo Mary York, Pa. * Wortley, Robert Dearborn Heights, Mich. Stilwell, Frank Dallas, Texas Phillips, Mr. Sherman East Point, Ga. Wright, Mrs. David R., Jr. Huntington, W. Va. Strand, Mrs. C. M. Canton, N. Car. Pinkston, Sidney, Jr. Dubuque, Iowa Young, Carlton R. Dallas, Texas Winchester, Tenn. Stratten, Brent * Porter, Mrs. James B. Wichita Falls, Texas Dayton, Ohio Suitor, M. Lee The Presbyterian Church New York, N. Y. Mr. Stephen Kramer Sutter, W. J. Westfield, N.J. Jacksonville, Florida o * Preston, Mrs. John S. Berkeley Heights, N. J. Swearengln, Rev. Walter T. San Leandro, Calif. Preston, Karen L. Sweet, Roger D. Potsdam, N. Y. Battle Creek, Mich. Pryor, Mrs. E. E. Calhoun City, Miss. Taylor, Mrs. Charles C. Carbondale, Ill. Pryor, Mrs. Edward A. Calhoun City, Miss. o * Thomas, Edith Lovell Claremont, Calif. June '66 — 178 — LIFE MEMBERSHIP

A. Leslie Jacobs, Santa Barbara, California SUBSCRIBING MEMBERSHIPS

Mr. & Mrs. J. W. Akin Rev. William Grime Wichita Falls, Texas St. Johnsbury, Vermont Philip T. Blackwood Mrs. Philip R. Hampe Narberth, Pa. Honolulu, Hawaii Polk Street Methodist Church Dr. Lee H, Bristol, Jr. Mr. David Blackburn Princeton, New Jersey Amarillo, Texas Mrs. Howard A. Fohrhaltz Wayzata Community Church Pittsfield, Mass. Mr. Austin B. Caswell Wayzata, Minnesota Melvin Gallagher Kalaheo, Hawaii Dr. F. L. Whittlesey Dallas, Texas SPECIAL GIFTS

American Guild of Organists First Methodist Church Fort Lauderdale, Florida Big Spring, Texas Anonymous Green, Mrs. R. E. Hazelhurst, Miss. Billings Chapter Choristers Guild Billings, Montana Hodges, Jim Dallas, Texas Blue Grass Chapter Choristers Guild Hollinger, Raymond K. Lexington, Kentucky Hagerstown, Maryland Calgary, Alberta Choir Directors Kallstrom, Mrs. James W. Calgary, Alberta, Canada Grand Prairie, Texas Cook, Elza Oklahoma Chapter Choristers Guild Fort Worth, Texas Oklahoma City, Oklahoma Enid Chapter Choristers Guild Seattle Chapter Choristers Guild Enid, Oklahoma Seattle, Washington REGULAR MEMBERS 1965-1966

Who Were Original Members

Beans, Wesley P. Kritner, Mrs. Carl Palmdale, California Los Angeles, California Berry, Mrs. Miriam Kirk, Mrs. Harlan College Park, Georgia Okemos, Michigan Blasius, Nellie Gordon McDowell, Mrs. Roy R. Summit, New Jersey Richmond, Virginia Bliss, Mrs. Alice R. Kemp, Mrs. J. S. C. Waterville, New York Oklahoma City, Okla. Burggraf, C. Lural Monroe, Corrine Albany, Oregon Worcester, Mass. Cheesman, Virginia Meyer, Mrs. Lucile S. Philadelphia, Pa. Cincinnati, Ohio Holby, William G. Peebles, Mrs. Wm. F. Mt. Vernon, Ohio Delaware, Ohio Imbach, Mrs. John Quimby, John S., Jr. Carpinteria, California Scranton, Pa. Wiedower, Esther Los Angeles, California

June '66 — 179 — FROM THE EDITOR'S DESK The title page admonitions to summer study was written by another of our busy members of the Board of Directors, Mabel Boyter. (Each month a Board member writes to you.) This gracious lady is one of the most active people in the whole field of children's choir training and teaching. We are all indebted to her for her many contributions of herself and her talents to this field and to the Guild. Recently she sent me some most attractive bookmarks she had made from C.G. seals, colored ribbon and ingenuity. One is reproduced here.

We have been pleased with the reviews of, and the reception given our recent publication A-39, PSALM 150 by Psalm 150, Samuel Adler, A-59, 20c. Samuel Adler. This review appear- The famed Chorister's Guild has reed in the March-April CHORAL leased a Children's Choral Anthem Series. JOURNAL. For the first perfor- This is the first one to cross this writer's mance of this work, Mr. Adler wrote desk. It is very fresh and exciting, a "He is in the an accompaniment for two clarin- challenge to your Junior choirs, yet not Right PLACE too difficult! It calls for piano, triangle, ets in B flat, oboe and bassoon. cymbal, drum and tambourine. You could at the He has made these available to us. Right TIME use finger cymbals, too. The accompani- The first request for this orches- ment is most exciting and the choral With the tration came recently. An order part is interesting and the leading is ex- Right MUSIC for 800 copies of this anthem came cellent. This is one you should buy! Don't And the from one dealer; it was used by miss it! (M) Right ATTITUDE Helen in her White Plains, N.Y., festival in April; and in the Kemp's church Ready to at Easter, as it was at Highland Park Methodist Church, Dallas; it will be CONCENTRATE." used by the children's choir in both the Denver and Winston-Salem Seminars. Such recognition must be deserved!

On the Order Form for Available Materials which you received with your April LETTERS, reference was made to an Irving '66—'67 Choir Year Calender. Because of unforseen complications, this will not be printed at this time. Please do not order it now. You will be notified when it is available. "I will sing with the spirit and with the understanding also." --- In the last month, I've visited Guild members in Denver, Seattle, Calgary, I Cor. 14:15 Billings, Winston-Salem and Dallas. C.G. members have at least one thing in common beyond their interest in children's choirs — they are grand folks. Mrs. Eugene E. Collias, who had made the preliminary plans for the festival in Seattle, I could see only by visiting her hospital room. She is suffering from a severe burn following an automobile accident. We pray for her full recovery and return to her family and her choirs.

A. Leslie Jacobs is in Dallas at this writing for his semi-annual clinic tests and is helping in the Guild office in this busy season. As reported to you in the January LETTERS, he became our first Life Member. To commemorate this, the officers presented him with a duly inscribed plaque.

And speaking of "busy season in the Guild office", five of us; Leslie, Jessie W., our 2 regular secretaries and "retired" F.L.W., are working over-full time trying to get the pins, etc., to you day-before yesterday — and we love every moment of it, tho we do get tired.

As nearly as we can estimate, the pin business is about 50% above last year. We have had to re-order all items from our jewelry manufacturer. This may cause some delays, we're sorry.

Fall presentations of awards is becoming more frequent. Some directors find that it gives an incentive to the children to get back into the choir. If more of you could do this, it would give you all summer to get your pins to us and processed in time. I can feel the office force heave a sigh of relief in anticipation. In the meantime, we'll do our best and hope it is good enough. 0 0 it 0 0 Soon the Editor's desk will be closed up for a couple of months. It's been nice to talk with you. If you are near "440" this summer, do come to see your headquarters. We'll be looking for your "Special Envelope" any day now. Hope to see you at "one of two in '66". Have a re-creating summer. June '66 — 180 — INDEX TO VOLUME XVII 1965-1966 SPECIAL ARTICLES Two Years After - 2 1965 Seminar Report - 3 Graded Choirs on TV - 11 Services of Dedication and/or Presenting Awards - 19 Report of Absences - 36 Choristers Guild Annual Business Meeting Report - 42 A Musical Story - 55 A Yearly Question and the Heart's Response - 59 A Creative Ministry of Music - 102 Palm Sunday Service of Processions - 111 A Festival Processional - 112 Choir Party Decorations, Part I - 116 Choir Party Decorations, Part II - 130 All or Not at All - 144 Yes, There Are High School Tenors - 146 A Psalm, an Anthem and a Tapestry - 148 Mother Truth's Melodies - 158 REGULAR FEATURES Techniques - (Helen Kemp) - 25, 43, 84, 94, 128 Other Articles by Helen Kemp - 9, 60, 104, 140, 150, 170 Tintinnabulations (Handbells) - (Nancy Tufts) - 15, 33, 51, 70, 76, 96, 122, 136, 152, 172 Hymn Studies - (Christine Kallstrom) - 13, 31, 49, 66, 80, 100, 120, 134, 156, 168 Hymn Studies - Director's Page - 12, 30, 48, 65, 79, 99, 119, 133, 155, 167 Repertoire - (Norma Lowder) - 17 45, 114, 174 New Books - (Norma Lowder & F.L.W.) - 10, 46, 115 Cream of the Crop - 56, 64, 78, 98, 145 Sharing - 5, (songs 7 & 37), 38, 53, 68, 82, 138, 175 M, M & M and From the Editor's Desk - 21, 27, 57, 72, 88, 108 , 125, 142, 160, 180 ET CETERA Inspirational Material - 1, 23, 41, 58, 74, 90, 97, 110, 126, 162 One Day (Dallas) Workshop Announcement - 11 Post Cards for Your Use - 28 Repertoire Lists Used at '65 Seminar - 29 Repertoire Lists Used at One Day (Dallas) Seminar - 46 Materials Available List - October, April Choristers Guild Anthem Series Ad - December Where Guild Members Live (Map) - 91 "Peanuts" Cartoon - 92 Choristers Guild Jewelry (Photo) - 106 Choristers Guild Awards Order Blank - March Renewal of Membership - 165 Poems - 68, 71, 76, 89, 105 Seminar Announcements - 11, 29, 57, 69, 75, 93, 139, 154, 164 Seminar Brochure - March Sixth Printing - "The Successful Children's Choir" - 127 What's New at "440" - 141, 149 Contributing Membership List - 176 Index to Volume XVII 1965-1966 - (this is it!) SUPPLEMENTS Supplement Introductions - 18, 24, 47, 86, 105, 124, 166 Anthems September - "Thanks at Christmas" (Bitgood) - "Christmas Song " (Brown) October - "Song of Seven" (Brown) - "The Manger Mouse" (Brown) January - "Psalm 150" (Adler), February - "Mary's Wandering' ,(McLaughlin) March - "Great Father of Glory' (Hokanson) Irving Cartoons (Sally Lane) October - "Irving Always Gets to Choir - SOMEHOW!" March - "Irving's Choir Stands and Sits Together" May - Irving says "ATTEND to the END!" Illustrated Psalms (Mary Elizabeth Montgomery) November - Psalm 19 January - Psalm 150 April - Psalm 23 June - Psalm 100 M. E.M. Cartoons (Mary Elizabeth Montgomery) December - "Join the dots. . ." Miscellaneous September - Choristers Guild Bulletin February - Post Card for Helen Kemp April - M-1 22 Prayers (re-issued) - M-12 Indian Version of the 23rd Psalm June - M-7 High-Low Game (re-issued) - S-8 Organ Pipes Attendance Page June '66 - 181 - oyful

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3 now e than the I, 1rd he Is Go d: it s he hath m de us, and n it we is urselv . s; we are h s peon and the sheep if his pastur

4 nter t to hi gates with hanks ;tying his cou is wit prat- e: be t ankfu unto him, . his na

5 or th i Lord I; his mercy erlast and his truth • ndureu gene !bons •••••••.

to ti I '4 N

%VI Gill 4 M-7 INDEX TO VOLUME XVII 1965-1966

SPECIAL ARTICLES Two Years After - 2 1965 Seminar Report - 3 Graded Choirs on TV - 11 Services of Dedication and/or Presenting Awards - 19 Report of Absences - 36 Choristers Guild Annual Business Meeting Report - 42 A Musical Story - 55 A Yearly Question and the Heart's Response - 59 A Creative Ministry of Music - 102 Palm Sunday Service of Processions - 111 A Festival Processional - 112 Choir Party Decorations, Part I - 116 Choir Party Decorations, Part II - 130 All or Not at All - 144 Yes, There Are High School Tenors - 146 A Psalm, an Anthem and a Tapestry - 148 Mother Truth's Melodies - 158 REGULAR FEATURES Techniques - (Helen Kemp) - 25, 43, 84, 94, 128 Other Articles by Helen Kemp - 9, 60, 104, 140, 150, 170 Tintinnabulations (Handbells) - (Nancy Tufts) - 15, 33, 51, 70, 76, 96, 122, 136, 152, 172 Hymn Studies - (Christine Kallstrom) - 13, 31, 49, 66, 80, 100, 120, 134, 156, 168 Hymn Studies - Director's Page - 12, 30, 48, 65, 79, 99, 119, 133, 155, 167 Repertoire - (Norma Lowder) - 17 45, 114 174 New Books - (Norma Lowder & - 10, 46, 115 Cream of the Crop - 56, 64, 78, 98, 145 Sharing - 5, (songs 7 & 37), 38, 53, 68, 82, 138, 175 M, M & M and From the Editor's Desk - 21, 27, 57, 72, 88, 108 , 125, 142, 160, 180 ET CETERA Inspirational Material - 1, 23, 41, 58, 74, 90, 97, 110, 126, 162 One Day (Dallas) Workshop Announcement - 11 Post Cards for Your Use - 28 Repertoire Lists Used at '65 Seminar - 29 Repertoire Lists Used at One Day (Dallas) Seminar - 46 Materials Available List - October, April Choristers Guild Anthem Series Ad - December Where Guild Members Live (Map) - 91 "Peanuts" Cartoon - 92 Choristers Guild Jewelry (Photo) - 106 Choristers Guild Awards Order Blank - March Renewal of Membership - 165 Poems - 68, 71, 76, 89, 105 Seminar Announcements - 11, 29, 57, 69, 75, 93, 139, 154, 164 Seminar Brochure - March Sixth Printing - "The Successful Children's Choir" - 127 What's New at "440" - 141, 149 Contributing Membership List - 176 Index to Volume XVII 1965-1966 - (this is it!) SUPPLEMENTS Supplement Introductions - 18, 24, 47, 86, 105, 124, 166 Anthems September - "Thanks at Christmas" (Bitgood) - "Christmas Song " (Brown) October - "Song of Seven" (Brown) - "The Manger Mouse" (Brown) January - "Psalm 150" (Adler) February - "Mary's Wandering" (McLaughlin) March - "Great Father of Glory" (Hokanson) Irving Cartoons (Sally Lane) October - "Irving Always Gets to Choir - SOMEHOW!" March - "Irving's Choir Stands and Sits Together" May - Irving says "ATTEND to the END!" Illustrated Psalms (Mary Elizabeth Montgomery) November - Psalm 19 January - Psalm 150 April - Psalm 23 June - Psalm 100 M.E.M. Cartoons (Mary Elizabeth Montgomery) December - "Join the dots. . ." Miscellaneous September - Choristers Guild Bulletin February - Post Card for Helen Kemp April - M-1 22 Prayers (re-issued) - M-12 Indian Version of the 23rd Psalm June - M-7 High-Low Game (re-issued) - S-8 Organ Pipes Attendance Page June '66 - 181 -