iefly by observation and
conversation, from various trainers of boys' voices at cathedrals and
collegiate churches.

CHAPEL ROYAL, ST. JAMES'S.

Some years ago I attended a practice of the boys, under the late Rev.
Thomas Helmore. It began with slow scales sung to a light pianoforte
accompaniment. These were followed by rapid runs, the key gradually
rising until the highest note touched was C above the treble staff. The
vocable used was "ah." After this came time exercises, solfeggios, the
pointing out of notes by the boys on and between the fingers of their
left hands, which represented the staff. Mr. Helmore declared that new
boys while singing nearly always (1) frown, or (2) hold their heads on
one side. He was strict about avoiding these faults. In going over the
psalms for the day, the boys sang mostly one by one, verse after verse.
This was a searching test for the boy who sang, while all the others
were actively criticising. The boys practised secular music by way of
change. Four of them were monitors, four fags, and two probationers. The
tone was refined and pure, Mr. Helmore himself being a good singer.

ST. PAUL'S CATHEDRAL.

Here, owing to the size of the building, a tremendous volume of shrill
tone has to be cultivated, which in the practice room is sometimes
overwhelming. The practice I heard began with slow scales sung to "ah"
(pianoforte accompaniment) ranging over two octaves, C to C2; each key
between C to C1 was taken, and the scale sung ascending and descending.
This was loud singing, but not shouting. Then came agility exercises in
the form of chords, rapid scales, &c., sung still to "ah." This daily
"tuning-up" lasted ten minutes. Then (incidentally affording rest to the
boys) came a short lesson on theory. Boys were called up in turn to
write notes, signs, &c., on the blackboard. Practice now began. The boys
sing a new piece to words at once, never sol-faing. They seldom try a
piece more than three times before it is heard at the cathedral. They
sit during rehearsal, standing at the Gloria Patri. The boys have a
daily practice of an hour-and-a-half.

WESTMINSTER ABBEY.

The refined style of the boys trained by Dr. Bridge is well known. The
abbey is small enough to allow the graces of singing to be cultivated.
In the music room there are two rows of desks facing the same way, so
that Dr. Bridge, sitting at his cottage piano, can cast a side glance
full upon the boys. Two practices are h