cal work
together thenceforth.

[Sidenote: NECESSITY OF PROVIDING THE MUSIC IN ADVANCE]

One of the best ways to save time at the rehearsal is to provide the
accompanist with the music in advance. Even a skilful reader will do
more intelligent work the first time a composition is taken up if he
has had an opportunity to go through it beforehand. This may involve
considerable trouble on the conductor's part, but his effort will be
well rewarded in the much more effective support that the accompanist
will be able to furnish if he has had an opportunity to look over the
music. When the accompanist is not a good reader, it is, of course,
absolutely imperative that he not only be given an opportunity to
study the score in advance, but that he be _required_ to do so. If in
such a case the conductor does not see to it that a copy of the music
is placed in the accompanist's hands several days before each
rehearsal, he will simply be digging his own grave, figuratively
speaking, and will have no one but himself to blame for the poor
results that are bound to follow.

[Sidenote: ORGAN ACCOMPANYING]

If the accompaniments are played on the organ, the conductor will need
to take into consideration the fact that preparing and manipulating
stops, pistons, and combination pedals takes time, and he will
therefore not expect the organist to be ready to begin to play the
instant he takes his place on the bench; neither will he be
unreasonable enough to assume that the organist ought to be ready to
pass from one number to another (_e.g._, from a solo accompaniment to
a chorus) without being given a reasonable amount of time for
arranging the organ. The fact that in such a case the accompanist has
been working continuously, whereas the director has had an opportunity
of resting during the solo number, ought also to be taken into
consideration; and it may not be unreasonable for the organist to wish
for a moment's pause in order that he may adjust his mental attitude
from that demanded by the preceding number to that which is
appropriate to the number to follow. All this is especially to be
noted in performances of sacred music, in which no time is taken
between the numbers for applause. In any case, the least the conductor
can do is to watch for the organist to look up after he has prepared
the organ, and then to signal him pleasantly with a nod and a smile
that he is ready to go on with the next number. This will not only
insure com