The Sabbath School by Mrs. W. F. Crafts

Seventh-day Adventist Missionary Society · Oakland, California · Oct 28, 1880

The Sabbath School.

By Mrs. W. F. Crafts

TEACHING LITTLE CHILDREN TO SING.

BY MRS. W. F. CRAFTS.

The opportunity for learning new pieces in the Sabbath-school, which, in primary classes, must always be done by rote, is very limited. The mothers in the homes might greatly facilitate the work if they would undertake to teach their little ones the sentiments and words of songs indicated by the teacher. By this means the children would be better prepared to understand what they sing than by the usual way. It is to be feared that parents and teachers do not sufficiently realize the confusion of ideas in the minds of children, resulting from a failure to understand what they sing.

A little child was heard singing about his home, "He taught me how to wash and pray." Must he not have had a very singular idea of Christ's relation to him?

In direct contrast to this is the following incident from a revival in England:—

"A milk-boy on his rounds was heard by a lady (herself converted through one of Mr. Moody's addresses) singing one of Mr. Sankey's hymns. The lady said to the boy, 'Those are very solemn words you have been singing; do you think of them as you sing, and do you understand them?' Then such a great change came over the boy's face, and he said, 'That I do, ma'am, and I sing them as I go my rounds, hoping that just a word or two may fall into some one's ears.' Surely the missionary spirit in this lad will be blessed. That is, indeed, 'sowing seed in the morning and in the evening not withholding the hand.' Shall it not prosper? Shall not even this little child of God win jewels for the Redeemer's crown?"

Children should be taught "to sing with the spirit and with the understanding." In accomplishing this some simple illustration, an object, perhaps, or a rough sketch on the blackboard, will frequently assist. By this means the sentiment of the hymn to be learned will be impressed. For example, in teaching the song— "When children give their hearts to God 'Tis pleasing in his eyes: A flower when offered in the bud Is no vain sacrifice." Let the teacher provide herself with a full-blown rose and a rosebud. By questioning, the children may be led to tell that the rose will soon fall to pieces, but that the bud will last some time, so that we can enjoy its sweetness much longer. Then the heart of childhood may be compared to the bud, and the heart in old age to the rose. God wants us to give him our hearts. When shall we do it—when they are like the bud or like the rose? Surely while we are young, so that he may long have our love and service.

In teaching "Jewels," we may ask, "What do we call persons who wear crowns?" Let us see what a crown looks like. [The teacher draws one or shows a picture.] What are set in the crown to sparkle? [Show rings containing jewels.] I know of a King who wants different jewels for his crown:— "Little children, little children Who love their Redeemer Are the jewels," etc. Who is this King? Jewels shine, so shall those whom Jesus gathers for his crown. "Like the stars of the morning, His bright crown adorning, They shall shine in their beauty, Bright gems for his crown." When will Jesus gather his jewels? "When he cometh, when he cometh." Yes, Jesus is coming again some day. May you all be his, dear children, "in that day when he comes to make up his jewels!"

In this connection it might not be inappropriate to give a few thoughts about the character of the songs or hymns which children should sing, and the manner of singing them. You probably think as we do, that a good primary-class song should contain gospel truth instead of pretty jingle. Simple and silly are two qualities which get strangely confused in the minds of those who write for little children. The compass should not be high; Dr. Tourjee says "never above E flat." A strain upon young voices renders singing anything but a pleasure, also destroying all musical effect. Dr. T. suggests also that a lady should lead children in singing, because her tones will give the proper pitch; a gentleman's voice, when singing soprano, usually being pitched one octave lower than the children should sing.

The song should be cheerful both in the spirit of the words and in the music. I cannot soon forget the doleful impression made upon me by hearing a large class of happy-hearted little children singing in Sabbath-school, "I'm a child of sin and woe." It was like a whip-poor-will's note in the throat of a chirping wren.

Whenever it is possible, the primary-class song should be accompanied by motions. The change of position which children require is thus provided for, and the consequent stirring is in order, rather than a matter inviting reproof. And then, you know, it is an old established rule, that "the more senses employed, the clearer will be the child's idea." So when the children are permitted to exercise in motions what they are singing, they will feel and know more deeply what they sing; for example, if they sing about the breath, which God sends them, let them place their hands where they can feel that breath; if they sing about their hearts, which God keeps in motion, let them place their hands where they can feel the beating of their hearts; if they sing about the snow, let their hands represent the snowflakes, and teach them to imitate the falling of the snow; if they sing of the rain, teach them to imitate its pattering, by tapping with their finger tips upon a hard surface.

And now as to the manner of singing. A good order to observe in teaching a new song is, 1. To gain the children's interest in it by singing it yourself, or getting some one to sing it for you. 2. To hold a conversation with the children about its sentiments. 3. To sing one line alone, then repeat it immediately with the children accompanying, and after a few lines have been thus learned, to sing them through together. 4. To encourage the children to sing without the teacher's help.

Teach them to sing conscientiously, since only the best of anything is fit to be offered to God. Many times this worshipful element is entirely left out; and if children think at all why they sing they conclude that it is to please either the teacher or themselves. It would be well to keep the idea of praise to God continually before them by such reminders as the following, when the music is not going well: God likes you to think about what you are singing; I believe that God likes gentle, sweet sounds, rather than such loud, harsh ones; God does not like a lazy way of doing things for him, so you must sing a little quicker; God's little birds make more music than you do; certainly you can sing as well as they. Sometimes this worshipful element is lost sight of in the endeavor to please visitors and friends, who always delight to hear the children sing; or the purpose may be forgotten in too frequent singing. We are told to "pray without ceasing," but a primary class cannot sing without ceasing, as is sometimes the case, without degenerating into an exhibition singing-school.

Children should sit or stand well when they sing. They should be told that their lungs are somewhat like sponges, and that when they sit or stand bent up, their lungs are so crushed together that they cannot "sing best for God." They should sing with a quick utterance, thus avoiding the miserable habit of dragging. Tell them to make their voices skip when they sing; by this a jerky manner is not meant. They should be in a cheerful mood. "I'm saddest when I sing," is not a desirable condition for children, at least; neither have we much sympathy with the sentiment, "Birds that wont sing must be made to sing." It is promotive of the cheerful mood to give the children a choice of what they will sing. This could not be recommended as an invariable rule, for while they may be happiest in singing what they like best, the selections might not be best adapted to the occasion.—Open Letters to Primary Teachers.