soft up to very loud, and all shades of expression between, in the
development of that gradual augmentation of tone called _crescendo_,
and the gradual diminution called _diminuendo_, the highest order of
individual skill is exacted from every chorister; for upon individual
perfection in these things depends the collective effect which it is
the purpose of the conductor to achieve. Sensuous beauty of tone, even
in large aggregations, is also dependent to a great degree upon
careful and proper emission of voice by each individual, and it is
because the contralto part in most choral music, being a middle part,
lies so easily in the voices of the singers that the contralto
contingent in American choirs, especially, so often attracts attention
by the charm of its tone. Contralto voices are seldom forced into the
regions which compel so great a physical strain that beauty and
character must be sacrificed to mere accomplishment of utterance, as
is frequently the case with the soprano part.

[Sidenote: _Selfishness fatal to success._]

[Sidenote: _Tonal balance._]

Yet back of all this exercise of individual skill there must be a
spirit of self-sacrifice which can only exist in effective potency if
prompted by universal sympathy and love for the art. A selfish
chorister is not a chorister, though possessed of the voice of a Melba
or Mario. Balance between the parts, not only in the fundamental
constitution of the choir but also in all stages of a performance, is
also a matter of the highest consideration. In urban communities,
especially, it is difficult to secure perfect tonal symmetry--the rule
is a poverty in tenor voices--but those who go to hear choral concerts
are entitled to hear a well-balanced choir, and the presence of an
army of sopranos will not condone a squad of tenors. Again, I say,
better a well-balanced small choir than an ill-balanced large one.

[Sidenote: _Declamation._]

[Sidenote: _Expression._]

[Sidenote: _The choruses in "The Messiah."_]

[Sidenote: _Variety of declamation in Handel's oratorio._]

I have not enumerated all the elements which enter into a meritorious
performance, nor shall I discuss them all; only in passing do I wish
to direct attention to one which shines by its absence in the choral
performances not only of America but also of Great Britain and
Germany. Proper pronunciation of the texts is an obvious requirement;
so ought also to be declamation. There is no reason why char