ent of the baton for
each syllable; others depend upon a down-beat at the beginning of each
measure together with the lip movements made by the conductor himself
and followed minutely by the chorus.

The beginning of the second part of the chant is indicated by printing
its first syllable in italics, by placing an accent mark over it, or
by some other similar device. This syllable is then regarded as the
first accented tone of the metrical division of the chant, and,
beginning with it, the conductor beats time as in ordinary measured
music. If no other syllable follows the accented one before a bar
occurs, it is understood that the accented syllable is to be held for
two beats, _i.e._, a measure's duration. Final _ed_ is always
pronounced as a separate syllable.

The most important thing for an amateur to learn about conducting the
Anglican chant is that before he can successfully direct others in
singing this type of choral music, he must himself practically
memorize each chant. The amateur should perhaps also be warned not to
have the words of the first part of the chant recited too rapidly. All
too frequently there is so much hurrying that only a few of the most
prominent words are distinguishable, most of the connecting words
being entirely lost. A more deliberate style of chanting than that in
ordinary use would be much more in keeping with the idea of dignified
worship. Before asking the choir to sing a new chant, it is often well
to have the members _recite_ it, thus emphasizing the fact that the
meaning of the text must be brought out in the singing. In
inaugurating chanting in churches where this form of music has not
previously formed a part of the service, it will be well to have both
choir and congregation sing the melody in unison for a considerable
period before attempting to chant in parts.

[Sidenote: THE NECESSITY OF PRACTICE IN HANDLING THE BATON]

Now that we have laid down the principles upon the basis of which our
prospective conductor is to beat time, let us warn him once more that
here, as in other things, it is intelligent practice that makes
perfect, and that if he is to learn to handle the baton successfully,
and particularly if he is to learn to do it so well that he need never
give the slightest thought to his baton while actually conducting,
hours of practice in beating time will be necessary. This practising
should sometimes take place before a mirror, or better still, in the
presence