- Insist upon soft singing until correct habits are established. There is a vast difference of opinion as to what soft singing means, and we have no means of making the point clear except to say that at the outset of his career the boy can scarcely sing too softly. Later on, after correct habits are formed, the singing may, of course, be louder, but it should at no time be so loud as to sound strained.
- Train the voice downward for some time before attempting upward vocalization.
- Dismiss the boy from the choir when his voice begins to change, even if you need him and if he needs the money which he receives for singing.
THE BOY HIMSELFThe second special problem mentioned at the beginning of this chapter is the management of the boys owning the voices which we have just been discussing; and this part of the choirmaster's task is considerably more complex, less amenable to codification, and requires infinitely more art for its successful prosecution. One may predict with reasonable certainty what a typical boy-voice will do as the result of certain treatment; but the wisest person can not foresee what the result will be when the boy himself is subjected to any specified kind of handling. As a matter of fact, there is no such thing as a typical boy, and even if there were, our knowledge of boy nature in general has been, at least up to comparatively recent times, so slight that it has been impossible to give directions as to his management.
HOW TO HANDLE BOYSIn general, that choir director will succeed best in keeping his boys in the choir and in getting them to do good work, who, other things being equal, keeps on the best terms with them personally. Our advice is, therefore, that the prospective director of a choir of boys find out just as much as possible about the likes and dislikes, the predilections and the prejudices of pre-adolescent boys, and especially that he investigate ways and means of getting on good terms with them. He will find that most boys are intensely active at this stage, for their