WINTER 2010, Volume 15, No. 2
Antiphon
Newsletter of the Arizona Chapter of the American Choral Directors Association
From the State President by Frank Sargent, State President, AzACDA
Dear People, Yes, I’m sticking with this salutation! I’m sure much has happened in your choral music side of life since our last issue. In November, we had a very successful Cantaremos festival at Gilbert High School. Big “thank yous” go to Andrea Rodgers and Riki Sloan for making this huge event another Cantaremos success. As she steps down this year, thanks to Andrea for her years of work keeping this a premier event on the AzACDA calendar. We look forward to more of the same as Riki takes over the Cantaremos reins. Most of us are past the first concerts of the season. We have prepared for performances and worship services for the holiday season. Why do we do this? When was the last time you attended a celebration where there was no music? Music elicits our emotion, and completes our celebrations. Music has been an integral part of celebration for thousands of years, with many developments to make it what it is today. School musicians face challenges in this ever-changing society. I believe the key word is sensitivity. Whether or not the school district actually has a policy that dictates the style and genre of music you may present, stay sensitive to your constituency and your responsibility. As
an educator, continue to offer students the highest quality choral music education, using the highest caliber choral music. At the same time, be sensitive to your community. Most educators do this spectacularly, so I am preaching to the choir, but I urge even the most experienced to keep quality, education, and sensitivity in mind when developing concert programs. If you are successful in this effort, hopefully your district will never establish a restrictive policy. I try to do two things when programming a concert. I include something for students, something for the audience, and something for me1, keeping the sensitivity word right up front. Five choirs performed fourteen pieces on our December concert. There were seven sacred and seven secular pieces in four languages: English, Latin, Hebrew, and Nigerian. There were pieces for all three “audiences.” Maybe not in every concert, but over time (and not too long), a choral director must include music that addresses different portions of the community. I wish you all the best in these upcoming concerts. Looking forward to 2010, I strongly urge you to attend the Western Division convention in Tucson. It has been years 1. See Antiphon, Fall 2009, “From the State President,” column 3, “new program year resolution.”
since we had an ACDA convention in Arizona. Let’s turn out in droves for this great event in our home state. The committee has planned an outstanding conference, one you will not want to miss (see page 5), so register and make hotel reservations right away. Come to the Arizona reception on Thursday evening. I’ll look forward to seeing you in Tucson. —Frank
IN THIS ISSUE From the State President ..................................... 1 AzACDA Leadership............................................. 2 Sight-Singing: Yes, You Can................................. 3 Perfect June Retreat: Four Corners...................... 4 2010 ACDA Western Division Convention............ 5 Cantaremos from Participants’ Mouths................. 7 Hark and Hallelujah: UA HS Honor Choir Festival....9 New Site: JH/MS Choral Festival........................ 10 Literature Review: King David............................. 10 Calendar..............................................................11 From the Editor....................................................11
AzACDA Leadership
president@azacda.org
Cantaremos Honor Choirs Chair Andrea Rodgers
cantaremos@ azacda.org
President Elect Greg Gentry
Cantaremos Honor Choirs Assistant Chair Riki Sloan
President Frank Sargent
presidentelect@azacda. org
Past President J. Edmund Hughes jedmund@cox.net
cantaremosa@ azacda.org
Boychoirs Heather Mitchell hmmm17@email.arizona.edu
Secretary Justine Farenga secretary@azacda.org
Treasurer Steve Hickman treasurer@azacda.org
2
craig.peterson@mcmail. maricopa.edu
Junior High/Middle School Choirs Ron Carpenter rdcarpen@mpsaz.org
Male Choirs Brook Larson brook.larson@asu.edu
Women’s Choirs Jordan Saul SaulJ@flowingwells. k12.az.us
Children’s Choirs Gloria Day gjeanned@aol.com
Music and Worship Warren Dennis chwhdaz@cox.net
College and University Choirs Bruce Chamberlain bbc@u.arizona,edu
Senior High School Choirs Paul Olson polson@brophyprep.org
Antiphon Editor Public Relations Lani Johnson
Community Choirs Dave Perry
antiphon@azacda.org
perry.pub@cox.net
Webmaster David Topping
Ethnic and Multicultural Choirs Sarah Ross
webmanager@azacda. org
Jazz Choirs Craig Peterson
meisense@gmail.com
Show Choirs Daniel Tenney danieltenney@ hotmail.com
Youth and Student Activities Ryan Holder ryan.holder@nau.edu
Sight-Singing: Yes, You Can by Gloria Day
“Choral directors seem to agree on the importance of music reading in the curriculum, yet are not always successful at finding the time to teach it.” - SM Demorest
W
e all agree that we need better sight-singing and sight-reading.1 Annually we resolve to incorporate techniques into daily rehearsals, but we still wonder how to get started. We ponder what, exactly, a choir director should do. AzACDA and AMEA, among other event hosts, increasingly require individual and ensemble sight-singing skill demonstration. Their goal is to create better and better singers by encouraging the inclusion of sight-singing in the music classroom. For best success, training should begin in elementary music programs. Just the Facts
are cornerstones of many sight-reading and sight-singing programs. Students both hear and sing the patterns, developing aural acuity. Masterworks Press is one of several publishing houses selling graded series. Use Curwen hand signals Be judicious when selecting music, and incorporate verbatim passages into warm-ups, in order to build a tonal vocabulary and provide a hook to the melody. Find vocalise material in music from all genres, scanning for scale passages, parts that diverge from unison, and independent melodies that stack to make partner songs. Write sight-singing passages on the board and insist on heads-up attention. Technical Steps Establish do (or la), the tonal center or pitch anchor, in the inner ear. Students should outline the tonic triad aloud (do-mi-so-mi-do). For la-based minor, the minor tonic is la-do-mi-do-la. Relate subsequent notes to these “notes I already know.” Establish both the meter and the pulse of the passage. In the beginning, pulse is more important than meter, because it makes rhythmic patterns work. Ask students to mentally “sing” through the exercise.2 Now sight-sing as a choir
Sight-singing experts devote from five to twenty minutes per rehearsal to sightsinging. For major keys, most utilize moveable do solfège. Others use numbers, neutral syllables, or fixed do. For minor keys, they use solfège that begins either on the first (minor do) or the sixth (minor la) degree of the scale. Similarly, those employing numbers use the scale degree one or six as tonal center. Counting was the most frequent rhythm reading approach, although directors also use neutral syllables, ta-ti-ta, or systems such as Gordon Rhythm Solfège. Be confident, concentrate, and stay If you are just getting started, look on top of the rhythm. Keep the eye movto your own district’s music teachers, ing ahead of the notes. including elementary teachers. Check From Jean Ashworth Bartle, Sound Advice: Becoming out internet sites, join forum discussions, a2.Better Children’s Choir Conductor (New York: Oxford ask questions online, and borrow books. Press, 2003). Bartle suggests five minutes of silent score study time before attempting to sing. Let students discover You are not alone. as much as they can, including: • Instances of do (or la). This requires paying attention to the Resources and Tips key signature as well as the notes’ positions on the staff. Perhaps Ed Gordon’s Music Learning Theory ask students to draw a box around all instances of do and a circle around all instances of so on the first page of the score. and its accompanying learning sequences 1. Sight-singing is the skill to sing a score without having previously seen or heard its contents. Sight-reading is the skill of performing a new score. The difference may be subtle but centers on the lack of an instrument. Sight-singing is a uniquely vocal skill.
• Melodic or rhythmic patterns • Repeated sections • Key changes • Tessitura of their part • Dynamics, phrase markings, articulations • Visibly tricky places
Afterward, sing the music correctly and ask singers to point out where the ensemble made mistakes. Fine You and each student will be impressed with the results of consistent sight-singing practice. For a jump-start, take in Christopher Borges’ interest session at the ACDA Western Regional Convention, “Start With What They Know: Suggestions for Successful Sight Reading.”
Sight-Reading Tips Courtesy of ACDA Chapter at the University of Wisconsin—Green Bay
Put these on a poster or in students’ folders. Before sight-singing, take a moment and look for: Road hazards. Glance through the whole piece Repeat signs, endings, coda, and special instructions Key and time signatures Dynamic markings Changes in rhythm and articulation Melodic challenges Differences: Locate accidentals, key changes, and unusual melodic patterns Similarities. Search for sections that will sound about the same or that use similar melodic patterns. The second time the material appears will be easy! While sight-singing: Keep up. Always read ahead. Sing. Don’t sit there and listen. Don’t give up. Keep trying.
Sight-Singing Tips Courtesy of ACDA Chapter at the University of Wisconsin—Green Bay Books and materials Choral sight-singing practices, a research survey Curwen hand signs Favorite sight-singing tips FixedDo.com General sight-reading suggestions Interval songs Is it worth it to teach Kodaly to a church choir? Should you use La-based minor? Learning to Sight-Sing: The Mental Mechanics of Aural Imagery Fixed Do vs. Moveable Do Music reading in community choir Online Chord Recognition, Pitch Awareness, Just Intonation exercises Accidentals with Scale-degree numbers Solfège for church choirs Sight-singing Suggestions/Philosophy Transition from sight-reading exercises to real music
www.azacda.org
3
Perfect June Retreat: Four Corners by Gregory Gentry, AzACDA President-elect
A
rizona’s Four Corners Choral Workshop—hosted since its inception by Northern Arizona University—has presented a slate of outstanding clinicians in recent years, including Geoffrey Boers, Rollo Dillworth, Rodney Eichenberger, Craig Jessup, James Jordon, and Weston Noble. However, the Choral Workshop—featuring these consistently acclaimed headliners— remains one of the relatively untapped learning forums for Arizona choral music educators. For summer 2010, guest headliners Eph Ehly (University of MissouriKansas City, retired) and Susan McMane (San Francisco Girls Chorus, Artistic Director) will help sharpen your choir directing skills, programming to rehearsal to performance. Eph Ehly is renowned for his ability to inspire an ensemble, instigate creative programming, and reenergize teachers. Did you know he began his career as a high school teacher in Nebraska? Dr Ehly has conducted over 80 All-State Choirs, and continues to lecture and conduct in Canada, Brazil, Mexico, various European countries and throughout the world. As an author, Ehly’s Hogey’s Journey (2005) offers his philosophical tenets of learning through a fictitious character named after one of his colleagues at UMKC. As the recipient of multiple teaching awards, Ehly was selected for the prestigious “Faculty Fellowship Award” by the UMKC Board of Trustees. However, he is proudest of being husband to Jan for more than four decades, father to son Christopher and daughter Heidi Jane, and a practicing grandfather to five. In her ninth season as the Artistic Director of the San Francisco Girls Chorus, Susan McMane is sought out for her command of repertoire and her ability to create an exciting, pure, and thrilling sound with young voices. Dr McMane has prepared the SFGC for performances with Michael Tilson Thomas, Helmut Rilling, Kurt Masur, and Robert Spano. She is the editor of the San Francisco Girls Chorus Music Series with Alliance Music Publishers and is highly regarded as a choral clinician, having conducted All-State choirs and Divisional Honor Choirs with ACDA. With these two fine summer 2010 clinicians, participants will enjoy a creative growth experience they will never forget. Please consider taking advantage of this annual opportunity to network and gain knowledge, with the additional benefit that a summer visit to Flagstaff offers a distinct contrast of temperature—the comfort of 75-degree days—to much of the rest of Arizona. Spread the word, mark your calendars, and watch for details and online registration at the Arizona ACDA website. Dr Gregory Gentry is the Director of Choral Performance at Arizona State University, where he administers both the graduate and undergraduate choral conducting programs. Dr Gentry is also Chorus Master with the Phoenix Symphony.
www.azacda.org/FourCorners.html 4
2010 ACDA Western Division Convention There are all sorts of reasons to attend the ACDA Western Regional Convention 4 to 7 March 2010 in Tucson, Arizona. There are concerts, readings sessions, casual coffee klatches, receptions, interest sessions, exhibits, CEUs, and the Tucson atmosphere. Take a look. Register online, by fax, mail, and even on-site. Hotel Arizona, (800) 845-4596, is the headquarters. Earn continuing education credit (CEU). Want to get together with likeminded folks? Now is the time to get in touch with Ryan Holder, ryan.holder@ nau.edu, to schedule your reception and list it in the program book. To advertise in the program book, invest in sponsorship, or find out about exhibiting a service or product, contact Heidi Harmon, hharmon@acda.org.
Invited Guest Choir Chanticleer
International Ensemble Incheon City Chorale Hak Won Yoon, conductor
Auditioned Choirs American River College Vocal Jazz Ensemble, Sacramento, CA Arthur Lapierre, director Crystal Children’s Choir—Concert Choir, Cupertino, CA Jenny Chiang and Karl Chang, conductors Harvard-Westlake High School Chamber Singers, North Hollywood, CA Rodger Guerrero Mountain View High School A Cappella Choir, Orem, UT Rosemary Mathews, conductor Mount San Antonio College Chamber Singers, Walnut, CA Bruce Rogers, conductor Murrieta Valley High School Chamber Singers, Murrieta, CA Jaclyn Johnson, conductor Northern Arizona University “High Altitude”, Flagstaff, AZ Ryan Holder, director
Register online at www.acda.org/conferences/2010/we Hotel Arizona–www.thehotelarizona.com (800) 845-4596
Phoenix Boys Choir—Tour Choir, Phoenix, AZ Georg Stangelberger, conductor Riverside City College Chamber Singers, Riverside, CA John Byun, conductor San Ramon Valley High School Treble Clef, Danville, CA Ken Abrams, conductor Schofield Middle School Madrigal Singers, Las Vegas, NV Deborah Muhlenbruck-Fleischer, conductor The Choral Project, San José, CA Daniel Hughes, conductor Tucson Chamber Artists, Tucson, AZ Eric Holtan, conductor University of Arizona Symphonic Choir, Tucson, AZ Elizabeth Schauer, conductor University of Utah Singers, Salt Lake City, UT Brady Allred, conductor Division Honor Choirs Treble Choir Honor Choir Cheryl Dupont, conductor High School Honor Choir Jeffery L Ames, conductor Collegiate Honor Choir Weston Noble, conductor Arizona Honor Choir Arthur Honegger’s “King David” ASU Chamber Choir, NAU Shrine of the Ages Choir, and The Arizona Choir, with guest chamber orchestra William Hatcher, conductor
Interest Sessions Keynote Address Weston Noble, Professor Emeritus, Luther College
Special Interest Sessions Chanticleer and Incheon Chorale The A cappella Passion of Early Mexico M Grey Brothers, clinician, Westmont College, Santa Barbara, CA Boy Singers—Matters That Matter Julian Ackerley (http://www.boyschorus org/about_director.php), clinician, with the Tucson Boys Choir Conducting Master Class Charlene Archibeque, clinician, with the Mt. San Antonio College Chamber Singers Contemporary A Cappella: From the Radio to the Classroom Kimberly Barkeley Drusedum and Brad Pierson, clinicians, Henderson, NV Developing a Vocal Color Palette for Various Choral Works Peggy Dettwiler, clinician, Mansfield University, PA Engaging Their Minds and Welcoming Their Hearts: Imaginative Ways to Begin a Children’s Choir Rehearsal Shane Troll, clinician, San José, CA How to Grow a Man Choir Harold Clousing, clinician, with the Azusa Pacific University Men’s Choir The Text as a Means to Compelling Performance David Schildkret, clinician, Arizona State University, with the Murrieta Valley HS Chamber Singers Locomotion: the Use of Eurhythmics in the Choral Rehearsal David P DeVenney, clinician, West Chester State University, PA Start With What They Know: Suggestions for Successful Sight Reading Christopher Borges, clinician, Bakersfield, CA What’s on the Page? Determining Authentic Versus Editorial Information in the Choral Score Elizabeth Schauer, clinician, from the University of Arizona, Tucson, AZ
www.azacda.org
5
6
Cantaremos from Participants’ Mouths Sarah Ross, Director of Choral Activities and Marana High School students “I liked having a guy director who helped me with my voice.” “I really liked the clinician. I had fun and I learned a lot about singing and my voice.” I first took freshmen to Cantaremos two years ago. Those students now are juniors, auditioning into regional and all-state festivals, serving as choir officers, starring in school musicals, and passionately pursuing music. One Cantaremos veteran just earned a place in the ACDA Western Division Convention’s High School Honor Choir. I use both the festival and the audition process as a testing ground for incoming freshmen. These processes demonstrate which students are serious about
“The music was fun and challenging.” their involvement in choir, have enough initiative to sign up for this experience, and are dedicated enough to follow through‑all information beyond vocal and musiclearning abilities.
“I like singing with other people who are serious and dedicated.” “I wish it were more than one day, so we could spend more time perfecting our music and learning from the clinician.”
www.azacda.org
7
APPLICATION for MEMBERSHIP in the AMERICAN CHORAL DIRECTORS ASSOCIATION Please Fill Out Completely Please accept my application for membership in ACDA as indicated: ❑ NEW ❑ RENEWAL Active US/Canada $85.00 Life $2,000.00* FOREIGN ACTIVE Associate $85.00 Institutional $110.00 Airmail $110.00 Student $35.00 Industry $135.00 Surface mail $100.00 Retired $45.00 *Life membership payable in annual installments of $200.00 or more. To quallify To qualify for life membership, you must have been an active member of ACDA for a minimum of 10 years. Please remit in U.S. funds only. Make check or money order payable to: American Choral Directors Association
Name Mr. Ms. Mrs._ ____________________________________________ Send ACDA publications to: c/o____________________________________ Street _______________________________________________________ City, State, Zip_________________________________________________ Phone (
)_______________________________________________
____________________________________________________________
IMPORTANT—Please Complete This Section Please check areas of activity: 1 2 3 5 6
❑ ❑ ❑ ❑ ❑
Elementary School Junior H.S. Senior H.S. ACDA Student Chapter Jr./Community College
7 8 9 P S
❑ ❑ ❑ ❑ ❑
College/University Community Choir Church Choir Professional Choir Supervisor/Administrator
Please Check classification of choirs directed: ❑ Children ❑ Boy ❑ Girl ❑ Men ❑ Women ❑ SATB /Mixed ❑ Jazz/Showchoir ❑ Ethnic/Minority Place of Employment_____________________________ Title and/or Position______________________________ Mail to: ACDA National Office, ATTN: Membership
P.O. Box 2720, Oklahoma City, OK 73101-2720
As an ACDA member, I will comply with the copyright laws of the United States of America as they pertain to printed music or the downloading of music off the internet. (Compliance with these laws is also a condition of participation by clinicians and performing ensembles that appear on any ACDA-sponsored event or convention.) ACDA is a founding member of the International Federation for Choral Music (IFCM). If you need additional information about IFCM, please check box. ❑
Visit AzACDA.org to keep up with the latest in Arizona choral music
FOUR
CORNERS
CHORAL WORKSHOP June 17–19, 2010 Northern Arizona University, Flagstaff For school, community, collegiate, professional, and church choir directors Special interest sessions, music reading sessions, exhibits Clinicians include Dr. Eph Ehly (University of Missouri-Kansas City, retired) and Susan McMane (San Francisco Girls Chorus, Artistic Director) Information soon available on the Arizona ACDA website www.AzACDA.org
Dr. Eph Ehly
8
Susan McMane
Hark and Hallelujah: UA High School Honor Choir Festival by Chelsea Acree
T
he University of Arizona High School Honor Choir is a tremendous experience for students and directors alike. Honor choir singers have the opportunity to sing under a conductor who is an expert in her craft—Dr. Elizabeth Schauer, Associate Director of Choral Activities at the University of Arizona—and are exposed to quality, challenging literature. This year’s festival featured the Dies Irae movement from Mozart’s “Requiem” and Alice Parker’s “Hark, I Hear the Harps Eternal.” Students meet students from around the state who share their passion for music. They also gain experience and skills to bring back to their classrooms, perhaps the most significant benefit. In addition to rehearsing and performing in the final concert on Saturday, honor choir students select an interest session, this year “Conducting,” led by Dr. Bruce Chamberlain, “Vocal Techniques,” led by Dr. Elizabeth Schauer, or “Careers in Music,” led by Dr. Kelland Thomas. A social event on Friday evening breaks the ice. What a great opportunity for students to talk to singers from other high schools and members of the UA Symphonic Choir, who sing at the college level! My students had a blast playing games and singing karaoke; they stayed until the very end. Besides organizing this social event, the UA Symphonic Choir performs a piece in the final concert with the festival choir. The high school students absolutely loved singing with college students, admiring their musicianship. Basses were especially tickled when the collegiate basses busted out low notes that they can’t yet hit! The UA High School Honor Choir festival caters to directors, too. Directors’ several opportunities include a session led by Dr. Bruce Chamberlain and the chance to rehearse and perform with the Arizona Choir, UA’s premiere graduate ensemble. Not only do directors appreciate sitting on the other side of the podium, students get to hear their conductors sing. The annual October festival at the University of Arizona in Tucson is open to students in grades 9 to 12. Organizers mail letters to high schools in July, but those wishing to know the date earlier may contact Dr. Elizabeth Schauer, erschaue@email. arizona.edu. Students audition by tape or CD and submit a $5 application fee. The audition requires the student to sight-read melodic and rhythmic examples, sing a classical solo, sing a major and a minor scale, and sing back intervals using aural recall. Audition tapes are due in September. Teachers receive notification of results by the end of that month, along with information about music, lodging, and schedule details. There is a $30 fee to participate, which includes the student’s music and t-shirt. Don’t miss this invaluable experience for you and your students. Chelsea is a student at the University of Arizona. She is currently student teaching at Flowing Wells High School in Tucson, Arizona. She will graduate in December 2009 with her B.M. in Music Education. Chelsea hopes to find a choral teaching position in Arizona.
Western Division Convention website: acda.org/Western/Convention.html www.azacda.org
9
Festival Moves to Phoenix, Adopts New Format Junior High/Middle School Choral Festival
Literature review: King David (Le Roi David), 1923 Arthur Honegger
by Ron Carpenter, R&S Chair Junior High/Middle School Choirs
H
ey, all you junior high and middle school choral directors: Are you wondering whether you should take your choir to a festival this spring? I hope to persuade you that this year’s AzACDA Junior High/Middle School Choral Festival on May 8 at the Brophy Chapel on the campus of Brophy College Preparatory will be well worth your time and effort. Now, I know we all ask ourselves a number of questions while deciding to attend a festival: What will my students gain from the experience? What will we get for the money we commit—and probably have to raise? Will the stress balance the benefit? Here are some great reasons to decide “yes.” • This year’s AzACDA Junior High/ Middle School Choral Festival will be held at the gorgeous Brophy Chapel on the Brophy College Preparatory campus. Your choir will sound amazing in this fantastic facility. • Your choir will work with a skilled clinician, who will reinforce what you teach and give helpful ideas toward improvement. • This year’s clinicians are Greg Gentry, Arizona State University; Ryan Holder, Northern Arizona University; and Brett Robison, Scottsdale Musical Arts, Shadow Rock United Church of Christ, and the Tucson Arizona Boys Chorus • Each group may opt to be rated or simply to receive comments.
• Your students will see and listen to other junior high/middle school choir performances. • Your choir will receive a digital recording of its full 15-minute program. • After the performance, your choir will have a 25-minute private session with a festival clinician, also recorded. • Each director will receive a complimentary copy of a professional ensemble photograph. Students may purchase a photo. • Each choir will take home a beautiful, engraved plaque. Bring your choirs to this festival, and you will go home with a few new, focused ensemble goals. Students universally find such events motivating, both because of the varied performances they experience and as a result of clinicians’ work with their ensembles. Even better, we’re offering the new recession-buster low price of $150 per choir! You may easily register online, beginning in January. If you contemplate attending an agespecific festival this year, and even more if you think you will not do so, I hope you will consider participating on Saturday, May 8. The new format, combined with the new festival site and exciting new judges, promise to make this year’s AzACDA Junior High/Middle School Choral Festival a winner. I hope to see you there.
Dates and Data Junior High/Middle School Festival 8 May 2010 Brophy College Preparatory 701 North Central Avenue, Phoenix, Arizona 85012 $150 per choir Apply by 1 April — www.azacda.org, click Festivals and Junior High/Middle School Choral Festival (beginning January, 2010)
10
In this large work for chorus, soloists, narrator, actress, and orchestra, Honegger incorporates compositional styles from chant to Baroque to jazz. The French text is by René Morax, although performances in translation also are common. Honegger revised the 1921 28-movement, five part work two years later. 27 Movements, 1923 revision 1. Introduction 2. The Song of David, the Shepherd 3. Psalm: All Praise to Him 4. Song of Victory 5. March 6. Psalm: In the Lord I Put my Faith 7. Psalm: O Had I Wings Like a Dove 8. Song of the Prophets 9. Have Mercy on Me, My Lord 10. Saul’s Camp 11. Psalm: God, the Lord Shall Be My Light 12. Incantation 13. March of the Philistines 14. The Lamentations of Gilboa 15. Festival Song (Song of the Daughters of Israel) 16. The Dance before the Ark 17. Song, Now My Voice in Song Upsoaring 18. Song of the Handmaid 19. Psalm of Penitence 20. Psalm; Behold, in Evil I Was Born 21. Psalm: O Shall I Raise Mine Eyes unto the Mountains? 22. The Song of Ephraim 22. March of the Hebrews 24. Psalm: In My Distress 25. Psalm: In this Terror, the Gread God which I Adore 26. The Coronation of Solomon 27. The Death of David Forces
2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 1 contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, snare drum, bass drum, cymbals, tambourine, tam-tam, organ, celesta, harp, timpani, strings, chorus, soprano soloist, alto soloist, tenor soloist, narrator, and actress
Calendar UA Symphonic Choir 28 February, 3:00p, Tucson www.cfa.arizona.edu Western Division Convention 3-6 March, n/a, Tucson www.acda.org Arizona Spotlight 6 March, 8:25p, Tucson www.acda.org Vocal Jazz Ensemble 8 March, 7:30p, Tempe www.asu.edu Cathedral Classics 26 March, 7:30p, Scottsdale www.asu.edu All-State Choral Festival 26-27 March, n/a, Gilbert www.acda.org Collegium Musicum 28 March, 2:30p, Tucson www.cfa.arizona.edu Folk Songs from Around the World 18 April, 3:00p, Paradise Valley 23 April, 7:30p, Tempe www.orpheus.org Choral Union 19 April, 7:30p, Scottsdale www.asu.edu
Basically Baroque 25 April, 3:00p, Tucson www.cfa.arizona.edu Symphonic Chorale, Madrigals & V ocal Jazz 27 April, 7:30p, Scottsdale www.asu.edu Vive la France! 2 May, 3:00p, Tucson www.cfa.arizona.edu Men’s Chorus, Women’s Chorus 3 May, 7:30p, Paradise Valley www.asu.edu Junior High / Middle School Choral Festival 8 May, n/a, Phoenix www.azacda.org Four Corners Choral Workshop 17-19 June, n/a, Flagstaff www.azacda.org
Board Meetings Tutti Board 9 January, TBA TBA Executive Board 13 April, TBA TBA Tutti Board 19 June, 2:30p, Flagstaff
The Antiphon is the newsletter of the Arizona Chapter of ACDA (“AzACDA”). It is published three times a year, in Fall, Winter, and Spring, to communicate with AzACDA members and to heighten interest in joining AzACDA by nonmembers; to promote workshops, festivals, and other programs of AzACDA; to present educational articles for members and non-members; and to create a sense of community among choral directors and interested others across Arizona. Items for publication or advertisements can be submitted to the Editor at the address below. Advertising rates per issue are as follows: Full page 2/3 page 1/2 page 1/3 page 1/6 page
(7 1/2 x 10) $130 (5 x 10) $110 (7 1/2 x 5 or 5 x 7 1/2) $90 (2 1/2 x 10 or 5 x 5) $70 (2 1/2 x 5 or 5 x 2 1/2) $50
Deadline for advertising and for items for publication for the next issue is November 1. Antiphon Editor, Lani Johnson 7820 S Avenida de Piña Tucson, AZ 85747 (520) 647-7492 • lani@nysara.com AzACDA reserves the right to edit any application for appearance and to edit all materials proposed for distribution.
From The Editor Less Expense, Better Response by Lani Johnson antiphon@azacda.org What a lot there is to learn about moving from an all-print (including azacda.org/ antiphon/Newsletter.html) to an online newsletter. In the discovery process this week alone, I have established accounts on Flickr, Presspublisher, Bighugelabs, and Issuu. Over the next six months, AzACDA’s leadership have determined to take the national office’s advice to heart and consider converting Antiphon. Your advice will be welcome. You can find good explanation and a list of benefits in Howard Meharg’s article, “Convention Newsletter or Online Newsletter/Web site?” (Choral Journal, December 2009, pages 45-47). If you would like to preview our exploration, let the editor know.
An eager accompanist can make preparation so easy
www.azacda.org
11
Arizona Choral Directors Association (AzACDA) Arizona Music Educators Association, Inc. 6818 E. Kingston Pl Tucson, AZ 85710
010 2 TER ON N I W TIPH AN
Presort Standard U.S. Postage
PAID
Tucson AZ Permit No. 371