correct spirit of each one, having at his tongue's end the story of the song and other pointed remarks about it that will enliven the occasion and keep things from stagnating. He will, of course, frequently find it necessary to modify his plan as the "sing" progresses, for one of the most necessary qualifications in the leader is flexibility and quick wit. But if he has a definite program in mind and knows his material so well that he does not need to look at his book, he will be much more likely to succeed in holding the interest of his chorus throughout the "sing."
Let him be sure that a skilful accompanist is at hand to play the piano, perhaps even going to the trouble of meeting the accompanist beforehand and going through all material to be used so as to insure a mutual understanding upon such matters as tempo, et cetera. In out-of-door group singing a brass quartet (consisting of two cornets and two trombones, or two cornets, a trombone, and a baritone) is more effective than a piano, but if this is to be done be sure to find players who can transpose, or else write out the parts in the proper transposed keys. When such an accompaniment is to be used, the leader should have at least one rehearsal with the quartet in order that there may be no hitches.
THE MEETING PLACEIf possible, let the "sing" be held in some hall not connected with any particular group of people, so that all may feel equally at home (there are decided objections to using either a church or a lodge room); and, in giving the invitation for the first meeting, make sure that no group of people shall have any ground whatsoever for feeling slighted, even in the smallest degree.
Granting the various factors that we have been recommending, and, most important of all, having provided the right type of leader to take charge of the "sings," the enterprise cannot but have significant results along both musical and sociological lines.
