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One of the distinctive aspects of
Sacred Harp singing is its egalitarianism; unlike many other forms
of music, there is no hierarchy of leaders who decide what pieces
should be sung or how. Anyone attending a singing is allowed, indeed
encouraged, to get up into the centre of the square to lead a song
of their choice, deciding on the tempo and the verses and any
repeats to be sung. Inexperienced singers are able to do this
because the whole class shares the responsibility for singing the
piece as the leader wishes. However, particular responsibilities
rest with those who are sitting in the front row of the tenors.
It is the tradition that the leader
standing in the square faces the tenors, unless they need to turn
around to bring in other parts in a fuging piece, and so the front
bench tenors have an important role in communication between the
leader and the rest of the class. When a leader gets into the square
and calls a piece, the front bench tenors can see if a large number
of singers in the other parts are not ready to start for some
reason, for example because they didn�t hear the number, and can
suggest that the leader pauses.
The pitcher may be someone on the
front bench of the tenors but, if not, the front bench tenors should
maintain good eye contact with them if there is a possibility a
piece needs to be halted after the notes have been sung to adjust
the pitch. The leader may give instructions about the verses to be
sung at the start, or they may indicate the number of the next verse
to be sung using their fingers, but in either case, the front bench
tenors can repeat this instruction just before the verse starts, by
holding the appropriate number of fingers up so the rest of the
class can see. Similarly with repeats � a leader may signal their
intentions just by nodding to the front bench tenors, who should
then signal this subtly to the other parts.
Everyone at a singing is encouraged
to beat time along with the leader, partly for their own benefit but
also to help others around them keep in time, especially those whose
view of the leader may be obstructed. This is particularly important
for the front bench tenors, who should watch the leader carefully
and ensure that they are beating the tempo the leader wants and not
one which the class thinks appropriate for the piece! By beating
time carefully and correctly, they can provide reassurance and
support to an inexperienced leader, who may forget if a piece starts
on an up-beat or get confused in the course of the piece. In seeking
to correct an error, the front bench tenors should do so discretely,
to avoid embarrassing the leader.
From the above, it should be clear
that the singers who occupy this key position need to be
experienced, aware of their responsibilities and of the pitfalls
which may befall novice leaders, and also able to sing confidently
without their noses stuck permanently in their books. That doesn�t
mean that less experienced singers should be discouraged from
sitting on the front bench of the tenors � the sound in the front
row of any of the parts is uniquely thrilling, the joy of which
should not be restricted to a chosen few.
However, it is important to maintain
a balance so that there at least some experienced singers in this
key position. It is also incumbent on everyone on the front benches
of all the parts to offer other singers the opportunity to sit on
the front, and not to occupy their prime seats for the whole singing
if others wish to take their place.
Ian West
Se also: Front-Bench Tenor At
Sacred Harp Conventions by Ginnie Ely (http://www.mcsr.olemiss.edu/~mudws/ely/frontbench.html) |
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