hom?
I. "The Son of Man.
See Him!
II. "How?
I. "So like a lamb.
See it!
II. "What?
I. "His love untold.
Look!
II. "Look where?
I. "Our guilt behold."

[Sidenote: _Antiphony in a motet._]

Another most striking instance is in the same master's motet, "Sing ye
to the Lord," which is written for two choirs of four parts each. (In
the example from the "St. Matthew Passion" there is a third choir of
soprano voices which sings a chorale while the dramatic choirs are
conversing.) In the motet the first choir begins a fugue, in the midst
of which the second choir is heard shouting jubilantly, "Sing ye! Sing
ye! Sing ye!" Then the choirs change roles, the first delivering the
injunction, the second singing the fugue. In modern music, composers
frequently consort a quartet of solo voices, soprano, contralto,
tenor, and bass, with a four-part chorus, and thus achieve fine
effects of contrast in dynamics and color, as well as antiphonal.

[Sidenote: _Excellence in choral singing._]

[Sidenote: _Community of action._]

[Sidenote: _Individualism._]

[Sidenote: _Dynamics._]

[Sidenote: _Beauty of tone._]

[Sidenote: _Contralto voices._]

The question is near: What constitutes excellence in a choral
performance? To answer: The same qualities that constitute excellence
in an orchestral performance, will scarcely suffice, except as a
generalization. A higher degree of harmonious action is exacted of a
body of singers than of a body of instrumentalists. Many of the parts
in a symphony are played by a single instrument. Community of voice
belongs only to each of the five bodies of string-players. In a chorus
there are from twelve to one hundred and fifty voices, or even more,
united in each part. This demands the effacement of individuality in a
chorus, upon the assertion of which, in a band, under the judicious
guidance of the conductor, many of the effects of color and expression
depend. Each group in a choir must strive for homogeneity of voice
quality; each singer must sink the _ego_ in the aggregation, yet
employ it in its highest potency so far as the mastery of the technics
of singing is concerned. In cultivating precision of attack (_i.e._,
promptness in beginning a tone and leaving it off), purity of
intonation (_i.e._, accuracy or justness of pitch--"singing in tune"
according to the popular phrase), clearness of enunciation, and
careful attention to all the dynamic gradations of tone, from very