plete preparedness of the organ, but will help "oil the
machinery" and keep relations pleasant.

The conductor of a church choir should remember that the organist has
probably studied and is familiar with the dynamic resources of his
instrument to a much greater extent than the conductor; and that many
times the organist is not depending upon his _ear_ in deciding the
amount of organ needed, so much as upon his _knowledge_ of what the
total effect will be in the auditorium. It is frequently impossible to
tell from the choir loft how loud or how soft the sound of the organ
is in the body of the house. The conductor, not knowing the dynamic
values of the various stop combinations as well as the organist, must
not presume to criticize the latter for playing too loudly or too
softly unless he has gone down into the auditorium to judge the effect
there. Even this is not an absolute guide, for the balance is very
likely to be different when the auditorium is full of people from what
it was when empty. Moreover, the amount of choral tone frequently
increases greatly under the stimulus of public performance. All in
all, therefore, a good organist should be permitted to use his own
judgment in this matter. In any case, do not resort to conspicuous
gestures to let him know that there is too much or too little organ.
He has probably discovered it as soon as you have, and will add or
subtract as soon as it can be done without making an inartistic break
in the dynamic continuity of the accompaniment. If a signal becomes
absolutely necessary, make it as inconspicuously as possible.

[Sidenote: ACCOMPANIST MUST SEE DIRECTOR]

We have previously stressed the fact that the conductor must stand so
that his beat may be easily seen by all performers; and this matter is
of the utmost importance in connection with the accompanist. He must
be able to see you _easily_ if he is to follow your beat accurately;
further, he should be able to see your face as well as your baton, if
a really sympathetic musical relationship is to exist. This may appear
to be a small point, but its non-observance is responsible for many
poor attacks and for much "dragging" and "running away" on the part of
accompanists.

The sum and substance of the whole matter may be epitomized in the
advice, "Be courteous, considerate, and sensible in dealing with your
accompanist and verily thou shalt receive thy reward!"

CHAPTER XVI

EFFICIENCY IN THE REHEARSAL