26 minute read
A Tool for Rebuilding: The Independence Hierarchy for Developing Singers
A Tool for Rebuilding
The Independence Hierarchy for Developing Singers
by Sandy P. Hinkley, PhD
TThroughout the pandemic, choral educators have faced many challenges, including inconsistent attendance in the choral classroom. These gaps in face-to-face instruction have resulted in the need for much skill remediation, particularly in students’ ability to maintain part-singing independence. Part-singing independence is a fundamental skill in choral singing and one for which choirs are held accountable at formal music assessments. Consequently, teachers may find they need to shift more instructional time toward the rebuilding of this skill. This rebuilding will likely require different choices in repertoire, with a more carefully structured presentation of part-singing, particular with changing voices. The Independence Hierarchy for Developing Singers (Bowers, 2008) offers a pedagogical tool to aid in this process, as it incorporates Kodály’s sequential concepts for teaching harmony (Choksy, 1981), but with adaptations made for developing voices (see Figure 1). This hierarchy is also unique in that it provides a step-by-step method in which to deconstruct and teach choral repertoire for part-singing mastery. Following is a detailed discussion of each step, with choral repertoire examples and resources included.
Step 1: Sing a Melody
The first step of the Independence Hierarchy is a three-tiered stage, beginning with pitch-matching. Pitch-matching itself is a complex process that involves perception, discrimination recall, and adjustment (Joyner, 1969). To increase the likelihood of pitch-matching success, specific phrases within pieces may be assigned to changing voices and uncertain singers. Pieces that work well using this “phrase method” have short phrases (two to four measures) with limited ranges (a fifth or smaller). Singers in all developmental stages can then be assigned to the phrase(s) in which they successfully match. The second stage of this step is to begin building vocal tone. Pedagogical concepts such as breath management, vowel formation, diction, inner lift, and resonance should be introduced at this time. Repertoire with easily sung melodies and less complex rhythms will allow singers the opportunity to develop these concepts more readily. The third stage of this step is to teach the “rules” of music (see Figure 2). These rules are performance practice habits that can be transferred from piece to piece, thus increasing rehearsal efficiency Continued on page 24
Figure 1. Independence Hierarchy for Developing Singers
1) Sing a melody a. Matching pitch b. Build healthy tone c. Establish “rules” of singing 2) Add an ostinato 3) Sing partner songs 4) Add a descant 5) Harmonic chording a. Root chording b. Vocal chording 6) Sing parts of rounds and canons 7) Sing rounds and canons 8) Transitional pieces 9) Sing two- to four-part songs
Figure 2. Examples of “Rules” of Music
Rule of the Steady Beat: Crescendo on any note value longer than the designated beat. Rule of Punctuation: Breathe only where there is punctuation in the text. Rule of the Diphthong: Sustain the primary vowel of the diphthong for as long as possible. Rule of the Slur: Lean into the first note of a slur; back off on all remaining pitches. Rule of Syllabic Stress: Sing stressed syllables within words with more weight and other syllables with less.
A Tool for Rebuilding
Continued from page 22
and making learning experiences more meaningful. Further, these rules develop musical independence, promote critical thinking, and embed expressivity into the learning process. Although the first step of the Independence Hierarchy can be a lengthy endeavor, it is well worth the time invested.
Step 2: Add an Ostinato
The second step of the Independence Hierarchy is to add a melodic ostinato. Adding ostinati to melodies is the one of the simplest ways to create harmony within a choral setting. This step is especially important for uncertain singers and those with special needs, as pitch-matching is typically easier with repetitive patterns. Changing voices usually find success with melodic ostinatos, as these patterns have fewer pitches (e.g., do-sol-do). Although there is a limited amount of choral music with ostinati, repetitive melodic patterns can easily be extracted from part of an existing piece. Ostinati can be creatively improvised as well, particularly with rounds or even with sight-reading exercises. This step of the hierarchy can easily be embedded during warm-up and/or music literacy development time.
Step 3: Sing Partner Songs
The third step of the Independence Hierarchy involves the singing of partner songs or two concurrent melodies. Ideally, the entire choir will learn both songs, although the range of one song is typically a better fit for developing tenor-bass voices. In this case, the phrase method can be used with one or both songs to accommodate singers with a limited pitch-matching range. Before partnering songs together, singers should be able to sing accurate pitches and rhythms, as well as demonstrate evidence of healthy tone and expressivity. Partner songs provide an excellent opportunity to teach “rules” of music (step 1) and, like ostinati, can easily be incorporated into vocal warm-up or music literacy time.
Step 4: Add a Descant
The fourth step of the Independence Hierarchy involves adding a descant to a unison line. Although the descant may be similar to the unison line, it is not intended to stand alone as a melody as in a partner song. The descant serves as a harmonic embellishment, therefore making it a more complex task than singing an ostinato. Simple and limited range descants provide opportunities for changing voices and uncertain singers to be successful. Conversely, descants can challenge even the advanced singer, particularly when the melody is complex or when voice-crossing occurs. The rhythmic complexity and range of the descant are additional factors to be considered when assigning singers to the main melody versus the descant. During the teaching phase, descants should be sung on solfège and analyzed using the following questions: Is the descant always above the primary melody? Are there places where the melody and the descant are in unison? Does voice-crossing occur? If so, where? As with ostinati, descants can be improvised, although a considerable amount of repertoire with descants can be found.
Step 2 Examples of repertoire with
ostinati or ostinato-like parts: « (Two-Part) Drunken Sailor – arr. Crocker, Jenson « Publications, 423-04012 (Three-Part) Shannon Castle Reel – Theron Kirk, Alliance Music, « AMP0168 (Four-Part) Sansa Kroma (Songs for Tenor-Bass Chorus) –
Arr. Crocker, Hal Leonard,
HL 47123077
Step 1 Examples of unison repertoire to pitch-match, build tone, and teach “rules” of music:
« « « « Ching-a-Ring Chaw* – Copland, Boosey & Hawkes, OCTB6609 First Songs for the Emerging Tenor-Bass Choir – Mark Patterson, Brilee, BL 1017 The Path to the Moon – Eric Thiman, Boosey & Hawkes, 48003957 Where Go the Boats? (from Three Rhymes–Set I) – Paul Bouman,
Earthsongs W-13 *Piece in which the “phrase method” can be used
Step 3
Examples of repertoire with partner songs: « (Two-Part) Al Shlosha d’Varim – Allen E. « Naplan, Boosey & Hawkes, OCTB6783 (Two-Part) Seasoned Spirituals – Set I,
Arr. Wagner, Shawnee Press Inc., EA0014 Partner song books: « All Together, Sing! – Lon Beery, Brilee « Music, MLB012 Folk Song Partners – Donnelly & Strid, « Hal Leonard, HL123570 Partners in Spirit – Jill Gallina, Shawnee « Press, 35016669 Patriotic Partners – Jacobson & Anderson, « Hal Leonard, HL9971405 World Partners – Cheryl Lavender,
Hal Leonard, HL9971448
Step 4
Examples of repertoire with descants: « (Two-Part) Dodi Li* – Nira Chen/Arr. Rao, Boosey & Hawkes « (Two-Part) To Music – Arr. Betty Bertaux, Boosey & Hawkes « (TB) Down in the Valley – D. Shawn Berry, Santa Barbara, SBMP510 *Could be used with tenor-bass voices singing down the octave
Step 5: Harmonic Chording
The fifth step of the Independence Hierarchy involves harmonic chording, a two-stage process that establishes a connection between melody and chord function and promotes singers’ awareness of other voice parts.
Stage 1 – Sing chord
roots: This stage involves taking a melody and singing do, fa, or sol to harmonize as the “root” of the appropriate primary chord (I, IV, V, or V7). Initially, singers should take turns singing the melody or the chord roots (tenor-bass voices can sing up or down the octave as needed). Children’s songs, holiday songs, popular music, and lead sheets can be used to introduce this concept (see Figure 3), but this activity should be quickly transferred to choral repertoire.
Stage 2 – Add vocal chording: Once students can successfully sing chord roots, full chording on solfège should be introduced. This involves dividing the choir into groups and assigning each group to sing a pitch of the chord.
A Tool for Rebuilding
Continued from page 25
Step 5 Harmonic chording
resources: « Folk songs, holiday songs, children’s song « books Vocal lead sheets: music-for-music-teachers.com/free-lead« sheets.html The Complete Choral
Warm-up Book –
Robinson/Althouse (pp. 65-95 notated chord exercises)
Tenor-bass voices should be assigned to pitches most comfortable in their range, taking note that changing voices are typically more successful when placed on tonic or dominant pitches. Vocal chording can be integrated into warm-up or music literacy time, particularly in the singing of short chord progressions and cadences (see Figure 4). Chord inversions should be used whenever possible so that voice movement for changing voices is kept to a minimum. Once singers become comfortable with shorter examples of vocal chording, this process can be used with choral repertoire. Prior to teaching a section of a piece, the basic harmonic progression can be extracted and sung on solfège out of rhythm. This helps singers develop an aural “skeleton” of the section before the complexity of rhythm and text are added, thus increasing the likelihood of part-singing independence.
Step 6: Sing Parts of Rounds
The sixth step of the Independence Hierarchy is a preparatory activity before moving to the singing of full rounds. Voice-crossing is a typical occurrence with round-singing and will often pull students off their part if they are not ready. During this step, each group “loops” or repeats a phrase of the round, thus allowing them to hear how melodies interact in different ways. Phrases should be traded throughout the choir so that each group has an opportunity to sing each part of the round. Tenorbass voices and uncertain singers should be assigned the phrase that has limited movement and/or best fits their range. As singers become more confident, groups can loop two phrases, then three, etc. Once singers can maintain independence with multiple phrases, they are ready to move on to singing full rounds.
Step 7: Sing Rounds and Canons
The seventh step of the Independence Hierarchy is the singing of full rounds and canons. Rounds can be easily integrated into vocal warm-ups, during which time singers can be moved around to promote careful listening to other voices. (Changing voices and uncertain singers may still need to “loop” a phrase of the round for pitch-matching purposes.) Singing rounds is also an effective way to reinforce “rules” of music (step 1). More skilled singers can also explore imitative
Step 6 Round/canon books:
«150 Rounds – Bolkovac and Johnson, « Boosey & Hawkes, 48007805 Classic Canons – Arr. Patrick Liebergen, « Alfred Publishing, 4253 Round the World – Cheryl Lavender, « Hal Leonard 09971739 Warming Up With Rounds – Catherine Delanoy,
Shawnee Press, 35028168
Step 7 Examples of repertoire with rounds/canons
«(Two-Part) Haida – Gerber/
Arr. Leck, Plymouth Music Co., « HL 516 (Three-Part) Non, Nobis Domine – Byrd/Ed. Bartle, Hinshaw « Music, HMC1161 (Four-Part) Jubilate Deo –
Praetorius/Arr. Rao,
Boosey & Hawkes, OCTB6350
canon written in intervals other than unison. In addition to the round books listed in step six, the Choral Public Domain website (cpdl.org) is an excellent resource for more advanced rounds.
Step 8: Sing Transitional Pieces
Transitional pieces are those that contain several of the preceding musical characteristics in combination; these pieces represent a large majority of choral repertoire. When teaching transitional pieces, the Independence Hierarchy can be used as an “order of operations” for part-singing development. For example, if a song contains unison, homophonic, round-like, and descant sections, it will be taught in the following sequence: « Unison section (step 1 – sing a melody, build tone, apply rules of « singing) Descant section (step 4 – learn descant on solfège, compare/contrast « to main melody) Imitative round section « (step 6 – “loop” phrases) Homophonic section (step 9 – learn parts separately on solfège, then combine)
One of the greatest benefits of singing repertoire at this stage is that it offers more options for changing voices to be successful. Multi-part treble music can be adapted to accommodate voices at various stages of vocal development; changing voices can be assigned the part that best matches their range, with voices given the option to sing down the octave (if needed, these singers can also be assigned specific phrases to sing). Whereas tenor-bass singers should be assigned parts based on pitch-matching range, treble singers should be evenly distributed on each part to offer additional security for part-singing independence.
Step 9: Sing Two- to Four-Part Pieces
Homophonic repertoire represents the greatest test of part-singing independence for singers. By the time singers reach this stage, solfège should be an integral part of the rehearsal process, as should singing with healthy tone and applying “rules” of music (step 1). Although homophonic pieces may “appear” to be easier since text and rhythms align, singers can be easily pulled off their part if part-singing skills are not solidly in place. Homophonic music should be first introduced in small sections within transitional pieces and rehearsed on solfège to promote pitch security. Once singers become comfortable, full homophonic pieces can be sung, with the ideal scenario that developing choirs are able to perform three- to four-part music.
Conclusion
Teaching students to maintain part-singing independence is an invaluable skill, as it creates the opportunity to perform music at a higher level. Quality choral repertoire is readily available at all levels to support part-singing development; however, readiness skills must be in place for proficiency and mastery to occur. Although the current situation continues to present challenges, it is possible to tailor instruction toward the rebuilding of these skills while maintaining rehearsal efficiency. The Independence Hierarchy for Developing Singers is believed to be a worthy pedagogical tool to help educators do just this, one step at a time.
Step 9
Examples of repertoire with homophonic writing: « (Two-Part) Einini – Arr. Cyndee Giebler, Ed. Leck, Colla Voce, 21-20541 « (Three-Part) Bonse Aba – Arr. Johnson, Heritage Music, 15/2830H « (Four-Part) Sweet and Low – Rentz, Colla Voce, 15-96600 « (TB) She Walks in Beauty – Farnell, Alliance Music, AMP 0547 « (TTB) Boatmen Stomp – Arr. Grey, G. Schirmer Inc., 12396 « (TTBB) Veni Jesu – Cherubini/Ed. March, Shawnee Press, 35024711 « (SATB) Keep Your Lamps – Thomas, Hinshaw Music, HMC 577
Sandy P. Hinkley, PhD, is the associate director of choral activities and coordinator of music education at Sam Houston State University, where she conducts the tenor-bass choir and teaches courses in music education.
Step 8
Examples of transitional repertoire: « (Two-Part) Laughing Song – Mark Patterson, Hal Leonard, 08744050 « (Three-Part) Sahayta – Allaway, Mark Foster, YS0510 « (Four-Part) La Violette – Arr. Susan Brumfield/Ed. Leck, Colla Voce, 21-20251 « (TB) Hand Me Down My Silver Trumpet – Arr. Moses, Brilee Music, BL 279 « (SATB) Zum Gali, Gali – Arr. Pisano, Plymouth Music, PCS-17
References
Bowers, J. (2008). The middle school choral program. In M. Holt & J. Jordan (Eds.), The school choral program: Philosophy, planning, organizing and teaching (pp. 367-370). GIA
Publications. Choksy, L. (1981). The Kodály context: Creating an environment for musical learning. Prentice Hall. Joyner, D. R. (1969). The monotone problem.
Journal of Research in Music Education, 17(1), 115-124. https://doi.org/10.2307/3344198
ComponentNews
FLORIDA BANDMASTERS ASSOCIATION Bernard (Bernie) Hendricks, Jr., President
Greetings, FBA and FMEA family! We have once again come to the end of summer and are ready to dive into yet another school year. For many, the 2022-23 school year brings many feelings and emotions. The continuation of rebuilding music programs and classroom culture and further developing the fundamental skills of our students form just the tip of the iceberg, and as we plan and prepare for our students’ arrival, the possibilities should seem endless!
I’m sure there are many of us who, for various reasons, may be having some fearful, anxious, and nervous emotions as we approach the start of school. Those reasons might include a new teaching situation, the unknown of who and how many will show up, or perhaps being in that first year of teaching. These situations can and probably should bring up some mixed emotions. In my book, all of these feelings and emotions are just fine and perfectly normal. We feel this way because we care so deeply about the experiences we provide our students, the relationships we build for them, and the many areas of growth they can and will achieve as participants in our programs. With all of that in mind, I’d like to introduce the theme for FBA for the next two years: Building Better Bands, Through Camaraderie, Community, and Creativity!
Here is a little elaboration on why I believe this theme/mission is fitting for the state of where we are as bands in Florida: « My first thought was to be in line with the FMEA vision brought forth by Dr. Shelby Chipman: Unity in
Music Education, Building Communities
One Note at a Time. Ultimately, the goal is to provide the best possible musical experience for ALL students in Florida while supporting our music educators in whatever ways « we can. I started simply by going with
Building Better Bands … always the goal, right? How can we do what we do better? It’s the never-ending grind and continuous analysis of what’s going well, and how can we do more of that; and what’s not going well, and how can we do less of that. It should « never really end! Camaraderie – My intention for this element is to focus on how we as band directors and music educators interact with each other. Do we actually have true, real friendships with any other music educators? Do we make any time to connect with or check on directors outside of our immediate friend group? I’m pretty sure there is some factual evidence on this somewhere. From my personal experience, I know that WE are way more
Go FORTH
FLORIDA VOCAL ASSOCIATION Jeannine Stemmer, President
Ihave always been quite impulsive. For example, many years ago I walked out to my car early one Saturday morning and realized my car had been egged. Instead of cleaning it off, I went to the dealership and bought a new car. Another time, my friend had just become a real estate agent, so I decided to let him sell my completely renovated home and start over in a new one. Also, there is the time I gutted the bathroom while my husband was on a trip. I decided to stop the do-it-yourself remodel when I realized I did not know how to shut off the water. The plumber laughed at me, which just made me want to gut something else.
Over the years I have learned to be less impulsive. I know that good things come to those who wait, but I have also realized there is value in being fearless. Here is a little guide for all of us to help keep the balance as we go FORTH this year.
Fight for what you want. You know what your students need and what you need in order to do the job well. Be Organized. Organization improves productivity. There are always enough hours in the day if you use them wisely.
Recharge through community. Do not try to ride this train alone. It is not healthy, and it is not fun. Be Thankful. Gratitude will help you count your joys so that you always remember to find …
Happiness in this journey. Charles Spurgeon said, “It is not how much we have, but how much we enjoy, that makes happiness.”
FVA had a wonderful summer conference. Our reservoirs were refilled by an oasis of music and community. I am personally grateful to all who poured into the experience.
So, let us all go FORTH and do great things this year.
effective when others are involved rather than doing everything on our own. That’s the case with anything! My encouragement for ALL directors is to make sure you are connected to someone else. We need each other to bounce various ideas, to listen to our groups, and to just talk life with other « band people. Community – How is my band program viewed in my immediate community, not on a statewide or national stage, but simply in my own community? This is where the real stakeholders exist. What am I doing to make sure my band has a positive presence in the immediate community? Why should I even be concerned with our community? These are just a few things to think about. The communities in which our students live and grow deserve the opportunity to see just how wonderful these young people actually are. Don’t be afraid to invite the community in to see and hear all of the excellent things your students are doing. Someone other than a few adjudicators or guest clinicians need to experience the growth and development of your students and your program. Going back to camaraderie, use the experiences of your fellow band directors to guide how you can « engage your community. Creativity – This isn’t just about being creative as far as music is concerned, but more importantly, how are we delivering positive information to our students that will allow them to grow? The question is this: How do I know that what I’m doing is actually working, and if it is not, how can I get better? I’m going to leave this one at that and just relate this back to camaraderie because if other directors are my real friends, I know there is always the opportunity for input, information, discussion, and cross-referencing of ideas, which allows for a better teaching experience for me and a better learning experience for my students.
This is just a little something to get us all back in the groove of running our programs in a positive manner. I wish everyone a great start to the 2022-23 school year, and I look forward to making my way around the state and meeting as many of you face-to-face as possible. Be on the lookout for more information about the new “Hi-Five” Focus Group, which is for any band director in year 0-5 of teaching. More information on this will be posted on the FBA website.
Let’s have a great year of teaching our students, establishing meaningful relationships with other directors, and actually enjoying being a band director.
FLORIDA NAfME COLLEGIATE Mark A. Belfast, Jr., PhD, Advisor
Life never seems to slow down, does it? I can’t remember when last we had a summer that was quiet, uneventful, restful … you know, the way God intended! Like so many recent years, summer 2022 saw the headlines filled with significant, monumental, and at times heartbreaking events. As always, as each story broke, I thought of you. I wondered how each of you might be affected and what it meant for your future in this incredible profession of ours.
As I discussed current events with my colleagues around the country, I often shared the sense of hope I feel when I think of you. Your vision, creativity, resilience, and empathy remind me that despite being in an ever changing (and often tumultuous) world, the data show the good guys always triumph in the end. Good prevails over evil. Light eliminates darkness. Autobots take down Decepticons. Avengers defeat Thanos. Buzz beats Zurg. Perry always … ALWAYS … outsmarts Dr. Doofenshmirtz. The great adventurer and philosopher Mikey Walsh once said, “Goonies never say die!” So, my hope remains.
As you persevere, and the fall semester quickly approaches, I hope you are already making plans to participate in the many supportive and invigorating professional development opportunities Florida NAfME Collegiate and FMEA will provide this year. On October 23, we will gather once again at Southeastern University to participate in the Florida NAfME Collegiate Fall Conference. Your component leaders are working hard to organize an interactive event that will focus on making connections. Events will highlight the inclusive nature of music education, and we hope they will provide opportunities for you not only to learn about but to actively engage in making music … perhaps in unfamiliar contexts.
As always, please do not hesitate to contact me, or any member of the Florida NAfME Collegiate Executive Board, if we can assist you in any way. Enjoy your last few weeks before the fall semester begins. Be safe, be well, and be blessed.
ComponentNews
FLORIDA COLLEGE MUSIC EDUCATORS ASSOCIATION
Marc Decker, DMA, President
Ilove the start of a new school year. As a teacher, it’s an opportunity to set new goals as our students return from the summer recharged and eager to learn. At the start of every school year, I think back fondly to my first class as a music education student, many years ago. I took my seat in Introduction to Music Education slightly sunburned from band camp the week prior but excited to learn. Our professor entered the room at a brisk pace for an elderly man, put down his briefcase, and said to us, “Your students are waiting!” We all stared at him for a few seconds, and then he elaborated, “Your students are waiting for you to graduate!” We continued to stare, unsure where he was going with this. He went on to explain that the students we would teach were mostly already in school and that they would need us in a few short years. It sure feels good to be needed. Being needed provides purpose and makes us feel valued. So, I say to all the music teachers in Florida: Your students are waiting!
The students need us this year to guide them in their musical development. To grow and love the art form. To develop technical and auditory skills they can use throughout their lifetime and then one day share their love of music with others. At its deepest core, music has value because of what it provides the creative imagination of children throughout the nation. But when we look at music education from the general education lens of student learning, it’s only a small portion of what they can gain through studying music. Academically, our music classes guide students to develop reasoning skills, teach methods for processing and memorizing information, and keep them engaged in school. Emotionally and socially, our music classes are an opportunity for students to develop friendships, gain a sense of self-confidence, and foster social skills necessary for future success. Have I listed enough reasons why students need us?
Every year, on the first week of school, I think back to what my professor said many years ago. Those words have stuck with me, and now I share them with you. You are needed, and what you do has value. Your students are waiting!
Good luck as you make your final preparations for the start of term. Thank you for sharing your love of music with the children of Florida.
Print. Digital. Direct.
FLORIDA ORCHESTRA ASSOCIATION Laurie Bitters, President
Greetings, everyone, and welcome back! I hope your summer was restful and rejuvenating as we prepare for the 2022-23 school year. As I enter my second year of service to you as president, I continue to be amazed at the incredible commitment of FOA to empowering our members and students statewide. This cannot be done without the outstanding work of our FOA board members. Thank you for your commitment to serve our association.
As you prepare for the new school year, please review the upcoming registration deadlines. FMEA/NAfME/FOA membership dues need to be postmarked or paid online by September 10. All-state registration/eligibility information can be found on the FMEA website (FMEA. org) or the FOA website (myfoa.org). The all-state recording window is September 26-October 1. Check with your district chairperson for the recording date in your district. In addition to your FOA/FMEA dues, please ensure your FSMA dues are paid so your students are eligible to participate in MPAs this year.
I would like to encourage each of you to get involved with our association. One way to participate is by attending the 2022 FOA/FLASTA Fall Conference to be held at the Hilton Orlando on October 6-7. Our keynote speaker will be David Eccles. Attending this conference is a wonderful way to obtain teaching ideas and to network with fellow educators in a relaxed atmosphere. Be sure to check out the exciting sessions being offered. Registration information can be found on the FOA website. Another way to get involved is to participate in the all-state adjudication on Saturday, October 22. Breakfast and lunch will be provided. Listening to the recordings will give you insight into the level of preparation invested in these auditions. The beginning of a new school year is always exciting. It is a time to start anew with an organized classroom, new lesson plans, and a smile on everyone’s face. I have to admit that I get excited about fresh school supplies and a new planner. The year is a clean slate. It is also a time to renew and build relationships with your students. Music is a natural way to connect with your students. What are their favorite songs or genres? Who is their favorite composer? What is their favorite instrument? I always like to find out if my students have pets, play sports, or share my corny sense of humor. Singing games and other musical activities also connect your students with each other. So, as you are teaching your rules and expectations and setting the groundwork for the year, remember this quote by John C. Maxwell: “Students don’t care how much you know until they know how much you care.”
Your FEMEA Board is continuing to work on bringing you and your students amazing opportunities. I am pleased to announce the conductors for our 2023 all-state ensembles. Karen Benson and Chris Judah-Lauder will conduct the AllState Orff Ensemble, and Sophia Papoulis will conduct the All-State Elementary Chorus. We know All-State will be an outstanding experience with these topnotch educators. We are also excited to be bringing back our regional ensembles. Please visit femeamember.org to get the most updated information about AllState and Regionals.
I look forward to continuing to serve as your president this year. I am truly honored to represent such a compassionate and dedicated group of individuals. You make a difference in children’s lives every day! As always please feel free to contact me at joani@femea.flmusiced.org if you have any questions or concerns.
Please contact your district chairperson if you are interested in participating in this activity. We look forward to seeing you in September!
Please stay involved and informed in your district by attending your district meetings, starting soon! If you do not know your district chairperson, visit our website (myfoa.org). I would like to welcome our new teachers to the profession and encourage you to reach out to your peers for insight and support. In the midst of the daily unforeseen challenges, I want to thank you, my fellow educators, for choosing the greatest profession in the world. Keep changing lives one note at a time. I hope to see you soon.
