the semblance of congregational singing. There is a general outcry that congregational singing is falling into desuetude and the fault for such decadence is placed upon the public schools, upon the lack of interest in the congregation, everywhere but where it belongs, the impracticable selection of foreign tunes in the hymnal in use. Nor is this result confined to America. In a recent address Dr. Curwen publicly stated that the Established Church had lost its congregational singing. During a visit to this country, Dr. Samuel Chadwick of Leeds later gave a similar testimony.

In the selection of tunes it ought to be constantly kept in mind that you have the average singer to provide for. To allow a general congregation to attempt the singing of "I hear the voice of Jesus say," to Dykes' "Vox Dilecti," in spite of the fact that it was originally written for choir use, and that no ordinary congregation can possibly hope to sing its accidentals in an endurable way, is to ruin a beautiful tune, to absolutely defeat the purpose of the singing of the hymn, and to discourage the average singer in the congregation from ever attempting to sing anything in the future he does not thoroughly well know.

Dr. Binney of London whose pamphlet on "The Service of Song in the House of the Lord" has been widely recognized as one of the ablest discussions on this subject says, "If indeed it be the duty of the congregation to sing, it must be its right to be furnished with such music as it can sing!" As I have already elaborated in a preceding chapter, a tune should be simple, should be tuneful, should be within the compass of the average singer's voice, should present no startling intervals difficult for a great assembly to sing correctly and smoothly,

and above all should be native to the musical thought and impulse of the people who are to use it.

Where the exigencies of the service permit, it will be well to give the people an opportunity to sing their favourites. Why one tune is more attractive than another, who can say? The fact remains that two tunes of equal harmonic strength, of equal freshness of theme, will be like the two women at the mill, one will be saved for general helpfulness and delight, while the other will be passed by as unworthy of use. These more popular tunes ought, therefore, to be given an opportunity to accomplish the results they are somehow fitted to realize. How to draw the line between utilizing such a tune to its full extent and by excessive use wearing out its power and producing a reaction in the minds of the congregation, every minister must work out for himself by experiment.

It will be difficult to have general participation in song, if the congregation have no opportunity for learning the practical tunes in the hymnal. Such opportunities should be made either in a regular rehearsal, if an attendance can be secured for such a meeting, by using the freer evening service for introducing new hymns and tunes in an intelligent and interesting way, or by asking those interested in singing to remain after a regular service for a half hour's practice or informal song service. A strong chorus choir, which has been properly drilled in the singing of the desirable tunes in the hymnal, is the real key to the situation. With their help any tune, no matter how new, can be introduced and speedily taught to the general congregation. Where congregations are constantly adding to their stock of well-known tunes, there will be a freshness and an interest that cannot possibly

be had where the same old tunes are sung from one year's end to the other.

I hardly need to say that for general participation it is important that there should be plenty of hymnals in the pew racks. A minister who is careless as to the condition of the hymnals in the pews, as to their number or condition of serviceability after use, is like a general who is without care for the ammunition boxes of his soldiers. A good hymnal, not too heavy and cumbersome, plentifully distributed throughout the congregation, will be a very great help in inducing the people to take part.

IV

LEADERSHIP IN SINGING

HAT has been said of the importance of general participation in congregational singing leads to the practical consideration of the best methods of securing it. Here at once the question of leadership confronts us. In many churches it is solved by having a general precentor. Much may be said in favour of such a leader.

Of course, in small congregations, or where the musical resources are limited, it may be that the minister himself will prove to be the very best precentor that can be secured, even though he be not officially recognized as such. Under such conditions the musical minister shines out most brilliantly and effectively, combining the devotional, the didactic and the musical leadership; he can give a unity of spirit to his services that is frequently missed where the responsibility is divided. His leadership will react upon the other phases of his work and he will have greater power as a preacher and as a leader of the devotions. But such a union of offices is very exhausting, and it is not every minister who can bear the strain. In proportion as the work of the service is elaborate and taxing, the union of all these offices in the minister will become less and less possible.

It will, therefore, be important to secure some one who shall confine himself to this phase of the work. The ideal precentor is not easily found. He ought to be a

man of good presence, of attractive manners, and of easy carriage before the public. He should be somewhat of a general, with a masterful element in his composition, with a quick responsiveness to the moods of the congregation, and a keen insight into the different conditions. The iron hand, however, ought to be well clothed in velvet, for mere masterfulness_does not harmonize well with spiritual work.

Need I say that he ought to be a good man, with the respect and confidence of the community? If he is to accomplish the results that ought to be realized, he must needs be much more-a thoroughly devout and spiritual man. The people will not likely go further than they are led. If the precentor is a mere singing school master, teaching them the tunes and insisting on their singing them from a purely musical standpoint, there will be very little devoutness or spirituality in the service.

Perhaps you have noticed that I have said nothing regarding the precentor's voice. Usually that is supposed to be the most important part of the precentor's outfit; but, really, a very moderate voice in strength and attractiveness will be much more desirable combined with the qualities already noted than a phenomenal voice without them. It is the masterful, spiritual, devout, inspiring element that counts in the precentor rather than the mere quality of his voice.

The art of leading congregational singing is not so easy as some people imagine. It is something more than to simply stand before a congregation and sing the tune. The proper relations must be established between the leader and the congregation before the best results can be reached. The instinct for organization in an assembly of people is a mighty one. If the proper leader appears,