xceedingly stupid about following the
beat, especially in the attacks. The real reason for sluggish rhythmic
response and poor attacks is, however, more often to be laid at the
door of a poorly executed beat by the conductor than to the stupidity
of the chorus or orchestra.[7]

[Footnote 7: It is but a step from the conclusions arrived at above to
a corollary relating to conducting from the organ bench. How does it
happen that most choirs directed by an organist-conductor do not
attack promptly, do not follow tempo changes readily, and do not in
general present examples of good ensemble performance? Is it not
because the organist is using his hands and feet for other purposes,
and cannot therefore indicate to his singers the "continuous flow of
rhythm" above referred to? When a conductor directing with a baton
wishes to indicate a _ritardando_, he does so not merely by making the
beats follow one another at longer intervals, but even more by making
a more elaborate and more extensive movement between the beat
culminations; and the musicians have no difficulty in following the
baton, because it is kept continuously in motion, the points where the
muscular contractions come being easily felt by the performers,
because they can thus follow the rhythm in their own muscles by
instinctive imitation. But when the organist-conductor wishes a
_ritardando_, he merely plays more slowly, and the singers must get
their idea of the slower tempo entirely through the ear. Since rhythm
is a matter of muscle rather than of ear, it will be readily
understood that conducting and organ-playing will never go hand in
hand to any very great extent. There is, of course, another reason for
the failure of many organists who try to play and conduct
simultaneously, _viz._, that they are not able to do two things
successfully at the same time, so that the chorus is often left to
work out its own salvation as best it may; while, if the conducting is
done by using the left hand, the organ end of the combination is not
usually managed with any degree of distinction. Because of this and
certain other well-known reasons, the writer believes that choral
music in general, and church music in particular, would be greatly
benefited by a widespread return to the mixed chorus, led by a
conductor with baton in hand, and accompanied by an organist.]

[Sidenote: HOW TO SECURE A FIRM ATTACK]

Coordinate with the discussion of continuous movement and back-stroke