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66 beings, the social, healthful, stimulating, intellectual, moral, and spiritual uplift of the choral society will be appreciated more than ever.

Before stating how to produce the laugh, the sob, the sigh, the snarl, the moan, bell effects, ejaculations and "trick-singing," all of which come under the head of characterization, I would say that if an ultra thing is undertaken it must be done boldly. The spirit of the old rhyme above quoted must be acted upon, or fear will paralyze the efforts put forth, and failure will be the result. In choral singing, as in other things, the masculinity of the doing, the boldness, the daring, the very audacity with which an extreme effect is produced, carries success with it. Therefore do not attempt a daring thing feebly or by halves.

In instrumental music, timbre is also a highly potent influence in arousing emotional states, and we are all familiar with the fact that an oboe passage is often associated with the simplicity of outdoor rural life; that a melody for English horn has somehow become connected with mournful thoughts; the sound of trumpets, with martial ideas; and the grunting of the lower register of the bassoon, with comic effects. It is well known, also, that the skilful violinist can cause his instrument to sound an infinite variety of shades of color. But these means of expression are almost wholly under the control of the individual players and of the composer (as orchestrator), and cannot therefore be profitably discussed in a work on conducting.

The phrase in music is very similar to the phrase in language. In both cases, it is a thought (usually incomplete and forming a part of some larger idea) which must be slightly separated from the preceding and following phrases, that it may be correctly