of vocal forces. But
let us emphasize again the fact that these things cannot be learned
from a book, but must be acquired through self-activity, _i.e._, by
actual experience in singing; hence the importance of vocal study on
the part of the prospective choral conductor.

In conclusion, let us enumerate the main points involved in what is
called good singing--these points applying to choral music as directly
as to solo performance.

1. The intonation must be perfect; _i.e._, the tones
produced must be neither sharp nor flat, but exactly true to
pitch.

2. The tone must be attacked and released exactly at the
right pitch; _i.e._, the voice must not begin on some
indefinite lower tone and slide up, or on a higher tone and
slide down, but must begin on precisely the right pitch.

3. The tone must be absolutely steady, and there must be no
wavering, no _tremolo_, no uncertainty. This means absolute
breath control.

4. The tones must follow one another without break, unless
the character of the music demands detached effects; in
other words, there must be a perfect _legato_. The tones
must also follow each other cleanly, unless the character of
the music makes the use of _portamento_ desirable.

5. The singer must feel the mood of each song, and must sing
as he feels, if he is to perform with real expression. This
is a much more vital matter in song interpretation than the
mere mechanical observation of _tempo_ and _dynamic_
indications.

6. The text must be enunciated with sufficient clarity to
enable the audience to catch at least the most important
ideas presented. This involves not only the _complete_
pronunciation of each syllable instead of the slovenly
half-pronunciation so commonly heard; but implies as well
that the sounds be formed well forward in the mouth instead
of back in the throat.

If the singing of a soloist or a chorus can meet the test of these
requirements, the singing may be called good.

CHAPTER XIV

THE ART OF PROGRAM MAKING

[Sidenote: THE PROBLEM STATED]

In constructing a concert program for either a solo or an ensemble
performance, and in the case of both vocal and instrumental music, at
least five important points must be taken into consideration:

1. Variety.
2. Unity.
3. Effective arrangement.
4. Appropriate len