JANUARY 2011 $5.00
Choral Directors 6th Annual
Note of
Performance: Teaching Vocal Technique Survey: Summer Camps & Workshops
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Contents
January 2011
Features
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GUEST EDITORIAL: FESTIVAL RATINGS Temple University’s Arthur Chodoroff presents four ways to improve an ensemble’s performance – and ratings – during a festival or competition.
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REPORT: CHORAL DIRECTORS OF NOTE Choral Director’s sixth annual “Choral Directors of Note” report presents 11 outstanding vocal music educators, who represent a wide spectrum of programs.
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SURVEY: CAMPS AND WORKSHOPS Do your students spend their summers singing? Check out the results of this survey, which tracks trends of what educators and students are looking for in choral summer camps and workshops.
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PERFORMANCE: VOCAL TECHNIQUE CD contributor Kyle Weary examines the elements of teaching the physical aspects of singing, in terms of technique and pedagogy.
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REP FORUM: NEW MUSIC – AMERICAN HERITAGE Drew Collins highlights recent choral arrangements of various “American” genres.
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Opening Notes Headlines Vocal Tip Classifieds Ad Index
Cover design: Andrew Ross. Choral Director® is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781)453-9310, publisher of School Band and Orchestra, Musical Merchandise Review, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: $20 one year; $30 two years. Rates outside U.S.A. available upon request. Singles issues $5 each. Resource Guide $15 Standard Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to Choral Director, 21 Highland Circle, Suite 1, Needham MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher.Copyright © 2011 by Symphony Publishing, LLC, all rights reserved. Printed in USA.
2 Choral Director, January 2011
10
Opening Notes
The Power of Public Performance The power of music is not exclusive to the concert hall or dedicated music lover. At approximately 8:00am on March 23, 2009, Antwerp, Belgium’s bustling Central Station was overrun by what might be described as a “flash mob.” For those who are unfamiliar, a flash mob is defined by Wikipedia as “a group of people who assemble suddenly in a public place, perform an unusual and pointless act for a brief time, then disperse.” However, what occurred in the Antwerp train station, though quite unusual, was not exactly pointless. With the song “Do Re Mi,” the classic track from The Sound of Music, piping in through the train station’s public address system, two dancers in casual attire suddenly started performing a routine in the middle of the station’s main lobby. They were quickly joined by several others, and then more and more, until over 200 “One by one, people were performing a choreographed song and dance routine members of Chorus in front of astonished – and quite visibly delighted – commuters. Niagara pop up and To date, the YouTube clip of this event has been watched almost 22 million times (go to www.youtube.com and search: “Sound of add their voices Music Antwerp”). to the song, as On Saturday, October 30th, 2010, a flash mob hit the City shoppers and passCenter Philadelphia Macy’s department store. The Opera Comers-by stop dead in pany of Philadelphia coordinated the gathering of over 650 singers, both from the Opera and a number of community choral groups, their tracks.” who infiltrated the store dressed as customers and, at 12:00 noon, dropped their bags and began a rendition of the Hallelujah Chorus from Handel’s “Messiah,” as stunned shoppers looked on. That YouTube video has amassed almost 7 million hits in the few months since it occurred. Another seemingly spontaneous version of the Hallelujah Chorus is my own personal favorite, this one taking place in the food court of the Welland Seaway Mall in Ontario, Canada. After a brief organ intro, one man stands up and begins singing the first verse, “Hallelujah,” to the surprise of those around him. After a moment, he is joined by another singer. One by one, members of Chorus Niagara pop up and add their voices to the song, as shoppers and passers-by stop dead in their tracks with smiles on their faces and wonder in their eyes. The YouTube video for this event, which took place on November 17th, 2010, has been seen a whopping 29 million times. The song and dance in the Antwerp train station was put on by a local theatre company as a promotional stunt for an upcoming run of The Sound of Music. The event at the Philadelphia Macy’s was a part of the John S. and James L. Knight Foundation’s goal of putting on 1,000 “Random Acts of Culture” over the next three years. And, according to the description on YouTube of the performance in the Ontario food court, that event was organized simply to “wish everyone a very Merry Christmas.” In all three of these instances, the venue was given advance notice, as there is musical accompaniment playing through a P.A. However, the effect produced on the unsuspecting audience is incredible. Between the visible wonder, awe, delight, and excitement, these videos are a tangible demonstration of the power of music. While perhaps only a few of the folks strolling through that Canadian mall would consider attending a community (or school!) choir concert, it’s a safe bet that everyone who witnessed that performance left with smiles on their faces and a memory they will not soon forget.
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January 2011 Volume 8, Number 1 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff
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Eliahu Sussman Editor • esussman@symphonypublishing.com Choral Director January 2011 3
HeadLines Music Careers Salary Study
B
erklee College’s Career Development Center has created a comprehensive resource for the music industry titled Salary Ranges for U.S. Music Positions in Performance, Writing, Business, Audio Technology, Education, and Music Therapy. The study covers a broad range of specific careers, including orchestral, Broadway, and stu-
dio musician; choir director; jingle, TV, and film score composer; arranger; conductor; instrument maker; A&R; manager; music attorney; video game audio engineer; live sound and sound recording; audiologist; and music teacher. Although Berklee’s collection of music career resources is exhaustive, this type of information wasn’t aggregated anywhere. Peter Spellman, director of the Career Development Center, had the idea to create a chart for advising purposes and to share with Berklee and the larger music community around the world. To create the document, Spellman and a team of staff members conducted research and revised the chart several times over a six-month span. The document will be updated every year to keep up with salary changes and emerging career paths. To view the study, go to www.berklee.edu.
Tulsa Schools Receive Boost for Music Ed
S
hane Jewell, executive director of Oklahoma’s OK Mozart International Festival, recently announced new developments in OK Mozart’s music education program called “No Child Clef Behind” and presented Tulsa Public School representatives with $15,000, which, according to Jewell, will be used to “purchase and repair musical instruments for students who are interested in music but do not have the means to purchase the necessary equipment.” Williams Companies Foundation, The George Kaiser Family Foundation and other generous private donors have provided startup funds for the Tulsa area schools that will provide growth opportunities for qualified “No Child Clef Behind” students. In addition to providing children the opportunity to purchase instru-
“The Sing-Off” Finale
N
BC’s “The Sing-Off,” an elimination competition among a cappella singing group, hosted by Nick Lachey, aired its finale on Monday, December 20, with phone-in voters awarding the top prize to the Alabama gospel group, Committed. Guest artists on the show included Sara Bareilles, Sheryl Crow, Neil Diamond, and Boyz II Men. For more information, visit www.nbc.com/sing-off.
4 Choral Director, January 2011
ments, “No Child Clef Behind” will use some of the funds to purchase discounted tickets for the OK Mozart Festival so children may attend perfor-
HeadLines mances and enjoy a part of the quality of life that many take for granted. “No Child Clef Behind� is also testing a new year round mentoring program with elementary students and classical musicians in New York City via Webcam. For more information, visit www.okmozart.com.
John Jacobson Video Goes Viral
Walt Disney World
Travel to
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omeone recently downloaded one of educator John Jacobson’s videos from the Web site of Hal Leonard’s Music Express magazine. They renamed the instructional choreography clip for “Planet Rock� as “Double Dream Hands� – one of Jacobson’s dance moves – and posted it on YouTube, where it spread like wild fire, with nearly 750,000 views and scores of response videos and mash-ups. The song “Planet Rock� was written by Jacobson and Mac Huff. The tune debuted in the August/September 2010 issue of Music Express, and since then, Jacobson’s choreography video for it has been available for download at the educational music magazine’s Web site. Hal Leonard has since launched www.doubledreamhandsdance.com.
Online Survey Results Relative to last year, how many students do you have in your vocal music ensembles?
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Choral Director, January 2011 5
CDGuest Editorial: Festival Preparation
Ways to Improve Your Ensemble’s Sound ... and improve your festival rating along the way BY
F
or many years, at the conclusion of the spring festival season, I have thought that I should write an article about the performances that I have heard. The impetus for this is the fact that
while many groups bring outstanding performances to adjudicated music festivals, others frequently receive lower ratings for reasons that are often relatively easy to improve. While they have rehearsed, learned the music, and prepared diligently for the event, their ratings fall short. This might happen even though they have performed their pieces somewhat accurately. So, for those directors who are unhappy with festival scores of their vocal groups, here, in that proverbial nutshell, are four ways to help those performances sound better.
6 Choral Director, January 2011
ARTHUR D. CHODOROFF
1. Study the score carefully and observe the markings. It always disappoints me to see an ensemble not perform as well as it should simply because the conductor has not followed what is written in the score. Frankly, when things like fermatas, accelerandos, and ritardandos are totally ignored, the fault lies with the conductor, not the students. Students will perform as they are taught. Metronome and tempo markings are also often a similar problem. While we know that these are not absolute, playing a piece at a speed that significantly deviates from what is indicated is again the fault of the conductor. Some aspects of musical interpretation are more personal, while others are more clearly defined. For example, if a new section of a piece is marked “faster” or “slower,” the composer is indicating that it needs to be different from what preceded it. How much faster or slower will be more of a personal decision if there is no new metronome marking. But, if a conductor simply makes no change in tempo in the new
section, that is incorrect. An adjudicator might opine that more should be made of an accelerando or ritardando. That can always be subject to discussion. But if there is no change at all, it is incorrect. Similarly, the length of a fermata is a personal decision. But, if the director simply beats time through it for the written duration of the note with no cessation of the pulse, again, that is incorrect. As an adjudicator, I may not agree with some or all of one’s personal musical interpretation. But at the same time, it would not be fair for me to lower a score if that performance is still a valid interpretation of what is written in the score.
2. Teach the musical style as well as the notes. Style is often an area that does not receive enough attention. For example, the title of a piece frequently gives important information about how it should be played. If the title includes words like “dance” or “song,” then the composer is providing important stylistic information. Knowing what type of dance it is will provide additional information about the style that needs to be achieved. Similarly, if the title or the composer’s notes indicate that a piece is programmatic, try to bring out the parts of the piece that represent those ideas. If the piece is a transcription or adaptation of a well-known work, be sure that your group has had a chance to hear a recording of it in its full original version. Even though it will be different from the arrangement that the students are performing, there is no more efficient and effective way for them to learn about the idiomatic aspects of music than to listen. Listening goes to the very core of what we do as musicians. Yet, it often plays one of the smallest roles in the way that we teach music. Emphasize the musical styles in your teaching and conducting, and stress to your students the importance of communicating these musical thoughts to the listener. The end result will be a performance that is not only more engaging for the performer and listener, but also one in which the students are better able to enjoy and personalize their music-making.
3 Choose appropriate music for your group and for festival performance.
be problematic. Strive for a balanced program. Other times the piece doesn’t fit the ensemble. If your numbers are low for a certain section or those singers are weak, why program a piece that has critical parts for that section? If you have singers who are not going on the trip to the festival and their parts are not covered in some way, how can a judge be expected to give a good score for something that he or she doesn’t even hear?
I have always found the selection of a program for any of my groups to be extremely challenging. It often takes me quite a bit of time to decide on pieces that fit the players, have musical merit, can be learned in the time available, and will balance with the other pieces on the program. Selecting pieces for a festival can be even more difficult. The bottom line 4. Listen to your group. is that any time a group performs, we In order to help achieve the goal want the students to sound their best. of having your ensembles sound I have never been able to understand good, an important thing to do is to why directors program pieces that step away from the stage and listen. simply don’t sound good. There can Try to listen as if you are an outsider be many reasons why a piece doesn’t and this is the first time that you are present the group in the best manhearing this group. Remember to put ner possible. It may just be too adthis activity on your calendar so that vanced. I appreciate the thought that you do it far enough in advance of is sometimes expressed that “at least the performance to allow for they had a chance to try it.” corrective measures. Be your I would let them try it in “Style own judge. Do you really the rehearsal room and is often an hear the dynamics? Do bring something else area that does you hear good ensemble? to the stage. Why not let students show off not receive enough Do you hear the soloists? Do you hear wrong their finest playing attention.” notes? Do you hear good instead of struggling tone quality? Do you hear with something that is good phrasing? What about beyond their abilities? the style? On the opposite Listen objectively side of the specto everything, trum, performing take notes, and a piece that is far don’t make extoo easy for the cuses. Then get ensemble – no back on the stage matter how well and teach what it is done – will your listening to also usually be the ensemble has inreflected in a lowdicated still needs to ered score. I knew a be taught. While you’re college football coach at it, make a recording who said that to him a and then play it back for the good schedule for a team would students. Let them be their own adhave some games that are sure wins, judicators. You might find that they some that would be a good game but are the ones who are most critical. probable wins, and some that would Discerning listeners will become be a stretch, but winnable. A similar more astute performers. Rememview can be taken of programming. ber that if something doesn’t sound Every piece doesn’t have to be easy. good in rehearsal, it won’t suddenly But, depending on the capabilities of sound good under the stress of peryour singers, a concert that stretches a formance. group too far on each piece may also Choral Director, January 2011 7
Listening to the group should also include looking at the physical arrangement of the ensemble. The standard stage arrangements and the ones that we remember from the advanced groups in which we have performed might not allow for the best ensemble tone quality and balance with younger groups and with ones having less than optimum balance. Let your ears and common sense be your guide to seating. If you have a lot of one voice type and only a few of another, arrange them so that they all have the best chance of being heard. Don’t worry if it’s not traditional. Many music teachers will arrive at this point in this article and realize that much, if not most, of what is being discussed here is not new to them. Whether for a school concert or a festival, there are no special secrets that will suddenly improve the performance of your musi-
cal groups. What is often said, but very often forgotten, is that we, as conductors – and more importantly as teachers – must go beyond the teaching of notes. Most students, especially at the high school level, are able to read and learn the notes and rhythms. They understand the dynamics and the tempo markings. That is their part. While we need to be sure that they are singing their parts correctly, our duties also include the conception of the ensemble and perception of a work. We are the ones with the full score and therefore able to make comprehensive decisions about every musical aspect of the piece. We are the ones who select the pieces and determine their styles. We are the only ones who are in front of the ensemble and therefore able to hear the composite sound from a vantage point closer to that of the listeners. With more careful attention to these
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four areas, your groups will sound better whenever they perform – and that’s the best rating of all. Arthur D. Chodoroff is professor of music, director of Bands, and area coordinator for Woodwinds and Brass in the Boyer College of Music and Dance at Temple University in Philadelphia, Pa. Currently in his 42nd year as a music educator, he is conductor of the Wind Symphony with which he has recordings released under the Toshiba-EMI and Albany labels. In addition, he teaches courses in undergraduate and graduate instrumental conducting, woodwinds methods, and has conducted concerts with the Temple Sinfonia Chamber Orchestra, Wind Ensemble, and chamber groups.
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CDAnnual Report
Choral Directors 6th Annual
Note of
W
hile some try to quantify or predict the success of an educational program by analyzing
funding, class size, demographics and other statistics, the simple fact is that great classes, great departments, and great schools do not happen without great teachers. Through attributes like determination and passion, educators have the final authority to foster among students social skills, a sense of curiosity and inquisitiveness, and the rewards that follow hard work and concentration.
In this sixth annual Directors of Note report, Choral Director is proud to salute the following eleven educators, who have been nominated by their peers, students, and administration as exemplary models in the field of vocal music education. Ranging from California to Vermont, these educators are a few of the many who are deserving of special recognition for their efforts and achievements. 10 Choral Director, Janury 2011
CALIFORNIA
What is your proudest moment as an educator? When my former students become music teachers How do you hope to make a difference in your students’ lives? I hope to instill in them that the best things in life take hard work over time... not everything takes four hours staring at a TV screen learning how to push four colored buttons just to “master” the “guitar.” Jewel Panelli Rosedale Union School District Bakersfield Total years teaching: 17 Years at current school: 17 Students in vocal music program: 229
What is the key to a successful career in music education? Understanding that it’s okay to program music that is age and ability appropriate so the students are successful and you aren’t frustrated. Never forget that for some kids, the only reason they come to school is choir class.
ILLINOIS What is your proudest moment as an educator? Having had the dream to someday expand my students’ global imaginations. In 2002, the CHS Chorale traveled to Germany, Switzerland, and Austria. We had the opportunity to perform and foster many relationships throughout that experience. Since that initial voyage, we have made it a priority to travel overseas every two years. I love to see the excitement and joy in my students’ eyes. Jeffrey D. Nesseth Central High School Burlington Total years teaching: 15 Years at current school: 15 Students in vocal music program: 200
How do you hope to make a difference in your students’ lives? I believe that everyone should be passionate about something. I try to live a truly authentic life providing the best example for my students. Through passion and pride, the CHS music department continues to motivate and inspire its students. The power of music transcends boundaries! What is the key to a successful career in music education? Do we ever really know the answer to this question? Is it the amount of trophies on the wall? Successful trips? Professional development opportunities? Surely, it is a combination of all of those, but I believe you need to surround yourself with outstanding colleagues and friends who continually inspire and challenge you to be your very best.
Choral Director, January 2011 11
MARYLAND
Terry N. Eberhardt Marriotts Ridge High School Marriottsville Total years teaching: 10 Years at current school: 6 Students in vocal music program: 130 What is your proudest moment as an educator? I have proud moments each year at Marriotts Ridge High School. Each year my students achieve something new, something that makes them stand out from years past, and this makes me proud as a director and a mentor. One of the most amazing aspects of teaching the arts is being able to create something out of nothing over and over again. Each year we start with a new batch of students who come from every walk of school life, from jocks to scholars, and we all come together to produce shows, concerts, and just have a magical experience with performance. I use the word “magical” because being a performer is “magical.” Our students have the opportunity to experience something special each time they step out on stage to play an instrument, speak a line or sing a song. Many students say that their time in Marriotts Ridge High School Fine Arts department were some of the best experiences they had in high school. The students get infused with the performance and it’s that feeling that motivates
12 Choral Director, January 2011
MASSACHUSETTS
them in and out of the classroom. I had the distinct honor of representing Howard County as the 2008-2009 Teacher of the Year. It was thanks to all the wonderful moments that I shared with my students that this honor meant more to me than just a plaque or award. It was special because I knew that my students were the driving factor in me winning the award. After winning I was able to look at the letters that my students wrote to help me win that honor and I was greatly moved. Just knowing that they thought that highly of the job that I had done to nominate me was wonderful. There appear to be too many moments to narrow it down to just one. How do you hope to make a difference in your students’ lives? I hope that my students are infused with music making. I want my teaching to inspire them to be the best that they can be in every aspect of life. I hope that the discipline, focus and excitement that I try to bring to everyday class will transfer into every aspect of their lives. What is the key to a successful career in music education? The key to a successful career in music education or any profession is passion. I try to make sure that my students understand that with the right attitude and work ethic anything is possible. I want my students to feel as though anything less than their best is unacceptable. This is the founding principle for our music program at Marriotts Ridge High School.
David Ranen Amherst Regional Middle School Amherst Total years teaching: 32 Years at current school: 31 Students in vocal program: 205 What is your proudest moment as an educator? I feel most grateful and privileged to have had the many opportunities to share with students in their joys and struggles in learning music over the past 30+ years. Because of this, it seems impossible to capture this in one moment of time. How do you hope to make a difference in your students’ lives? I always strive to treat each student with the respect that they deserve while maintaining an environment of trust in the classroom. By establishing clear boundaries and classroom expectations, students are equipped to take risks knowing that the environment is safe, caring, and encouraging. What is the key to a successful career in music education? The key is having a passion for students, with an earnest desire to see each student reach their own potential. There must also be a passion for teaching, for making music come alive to students regardless of their age and ability.
MISSOURI
NEBRASKA
Mark Lawley Willard High School Willard Total years teaching: 26 Years at current school: 17 Students in vocal music program: 236
David Sackschewsky Grand Island Northwest High School Grand Island Total years teaching: 14 Years at current school: 14 Students in vocal music program: 310
What is your proudest moment as an educator? Every Christmas the choirs adopt a family. Our goal is to bless the family, full to overflowing. It is inspiring to see the gifts roll in over and above what was requested. It is heart-warming to see my students giving to others, and this bears out one of our core values as choir: “If you want to be happy, do something for someone else!” How do you hope to make a difference in your students’ lives? I hope to be a good role model. I continually look for the best literature that will develop a fit technique in my singers. Finding repertoire with a meaningful text is important in training young adults. I also share books with my students that reflect living a purposeful life. The book I am currently reading and sharing with them is My Personal Best by John Wooden. What is the key to a successful career in music education? Keep your focus on teaching music while loving the students. Some think of love as a Tiara and a Tutu. However love is often a helmet and shoulder pads. Loving students means encouraging them, but it also requires expecting the best from them. Select quality literature with a meaningful text and love the students while you are teaching them. In the front of my folder I keep the following quote by C.S. Lewis, which keeps me charging forward when I occasionally tire from caring: “To love at all is to be vulnerable. Love anything, and your heart will certainly be wrung and possibly be broken. If you want to make sure of keeping it intact, you must give your heart to no one, nor even to an animal. Wrap it carefully round with hobbies and little luxuries; avoid all entanglements; lock it up safe in the casket or coffin of your selfishness. But in that casket – safe, dark, motionless, airless – it will change. It will not be broken; it will become unbreakable, impenetrable, irredeemable… The only place outside Heaven where you can be perfectly safe from all the dangers… of love is Hell.” – From The Four Loves by C.S. Lewis
What is your proudest moment as an educator? There have been many “moments,” most of which have little to do with music and everything to do with teaching. Helping youths find their hidden talents is something I have most enjoyed. I feel we have yet to uncover the potential of our youth. How do you hope to make a difference in your students’ lives? By making them not only better musicians but better contributors to society: kind, well-mannered, and responsible young adults that care for themselves and others. To help achieve this goal, the vocal music department has
“Helping youths find their hidden talents is something I have most enjoyed.” implemented a character education program. Everyday a student is met and greeted by me with a hug, handshake, or high five, with the students being expected to meet and greet back. Each class then begins with a story that is either read or a song (with lyrics printed and passed out) being played and discussed. This has helped to create an environment of trust, which certainly is a must when you ask them to explore their hidden talents. What is the key to a successful career in music education? Be curious! Always go to clinics, seminars, workshops, and anything that will increase your knowledge base. You must learn all you can so you can then give it all away. Your students and the profession deserve it!
Choral Director, January 2011 13
NEVADA in the lives of their students. I am also very proud when I see my current students reach beyond what is expected and insist on musicality and sensitivity first and foremost in every piece we discover together. It is at that point that I know I am doing my job.
Kimberly Barclay Drusedum Green Valley High School Henderson Total years teaching: 21 years Years at current school: 20 years Students in vocal music program: 295 What is your proudest moment as an educator? My groups have performed at two national ACDA conventions (2005, 2009) and one regional convention (1998). Those were certainly proud and exhilarating moments for me, but I have to say that the proudest moments of my career so far are quite different. I am most proud when my former students choose to pursue a career in music education. I currently have 10 students who are teaching in public schools and making a difference
How do you hope to make a difference in your students’ lives? The motto that I follow is a quote from Eph Ehly: “Don’t teach music to people, teach people through music.” Students today are taking on more and more responsibilities at home and at school. They are bombarded by technology and often seek a “quick fix” with everything they do. I hope that my classroom can be a place where they discover the power of music, experience the true beauty of a phrase, celebrate and embrace differences, cherish sensitivity, have the opportunity to express themselves and learn how to work as a community with one common goal: to be a loving and responsible human being. When students can relate with the text and communicate it in rehearsal and performance, a whole new world opens up to them. What is the key to a successful career in music education? First and foremost, you must love what you do. At the end of the day, no matter how tired you are or how rough the day was, you still need to love what you do. You will be a “Pied Piper” for your students and they will love singing for you. Be a lifelong learner, attend conventions, festivals and workshops, and never stop learning from your colleagues and your students. Relate with what your students are going through and share your life experiences with them – let them know that you are a “real” person. Always follow through with the expectations you have for your students, as life lessons are learned in these situations. Have the patience of Job, the stamina of a teenager and the drive to keep your students on their toes. Always be prepared for rehearsal, and never waste your students’ time. Finally, have high (but reachable) expectations for yourself and your students and have a detailed plan on how to reach those goals.
NEW MEXICO
Beth Borchert-Thomas Mayfield High School Las Cruces Total years teaching: 25 Years at current school: 23 Students in vocal music program: 120 14 Choral Director, January 2011
What is your proudest moment as an educator? My proudest moment as a music educator was when I conducted the MHS Madrigal Singers as the 2010 New Mexico All-State Honor Choir. I was proud because of the successful “journey” that we completed. The students took on the responsibility of this honor with discipline, focus, excitement and energy; but most of all a commitment to artistic musicality and singing. Their enthusiasm and dedication allowed us to grow together, which hopefully will be an experience that we will all carry with us for along time. How do you hope to make a difference in your students’ lives? I had a parent who recently wrote to me in a Christmas card, “The concerts you give with your students make us better people.” I hope that
is also what I do for students. I don’t want to just make the audience better people. I want that for my students as well. Through the hard work that takes place everyday in the classroom and in concerts, I want to make them better, happier, and more fulfilled young people. Not just better singers, but better and more productive citizens of society. I want them to love the art of singing because I truly believe that it will help them be happier and more fulfilled young people. I also want them to take the discipline of choral singing and transfer the experiences of hard work and commitment into other aspects of their lives. I want them to dare to dedicate themselves to the things they love, work hard, and then reap the rewards of their efforts.
What is the key to a successful career in music education? First and foremost, I think you have to love kids! To be successful in any classroom, the teacher must be absolutely passionate about what they are teaching! A music educator has to have a lot of energy and be willing to do many extra things in order to make their program successful. A music educator must also be a team player and a great multi-tasker! On any given day, a music educator might conduct the Faure Requiem, make enchiladas, wash cars, or go buy one of the kids a pair of concert black shoes. You have to really love it!
NEW YORK
Sunshine Miller Newfield Central School District Newfield Total years teaching: 12 Years at current school: 8 Students in vocal music program: 368 What is your proudest moment as an educator? I have had many proud moments as an educator. One that had a profound effect on me as an educator was shared with an extraordinary student, whose name was Ethan Lillard. Ethan was a third grader and a valiant warrior against his childhood cancer. That year, I was teaching his class a Russian dance. Ethan loved music and was always a willing and active participant, even though he was wheelchair bound by third
grade. As we learned the dance I could see how excited he was. He then indicated that he wouldn’t be able to participate due to the difficulty his wheelchair would bring. I laughed and said nonsense and spun him and ran with him and completed the dance with his classmates cheering us on. He looked at me when we were through and told me he loved me. Ethan’s sincerity touched me in a way that is indescribable and continues to profoundly affect me as a teacher. Ethan passed away in 2005, but his love of music lives on. Ethan’s spirit, determination, and love of music inspire me to this day and I couldn’t be more proud of my decision to be a music educator when I think of him. How do you hope to make a difference in your students’ lives? I think the most important difference a teacher can make is providing each student with a sense of pride and accomplishment. Any child that can walk away from my music room with a love and appreciation for music is a success story. I often tell my students that I will be happy if they sing to their children, or help their children learn to read music someday, or can interact within their communities in musically and culturally rich ways. I don’t expect my students to major in music, but I do want them to have exposure to the beautiful legacy that the arts provide. It is an inheritance that is greater than any other they can receive. Passing this love of music from generation to generation is a major goal for me as music and the arts make a fundamental difference in our quality of life. What is the key to a successful career in music education? The keys are tenacity and stamina. The work of music educators is joyful and fulfilling, but requires long hours, hard work, and a hearty spirit. Music educators face many challenges, especially in the face of educational reform, tight budgets, and a waning support for the arts. Now more than ever advocacy and voices from public music educators is needed to help keep the dream and promise of music in our schools alive.
Choral Director, January 2011 15
PENNSYLVANIA thought I had, would she please attempt to describe that difference. She responded with the comments below. Her words certainly express my hopes for making a difference in students’ lives.
Craig G. Cannon Fox Chapel Area High School Pittsburgh Total years teaching: 36 Years at current school: 32 Students in vocal music program: 145 What is your proudest moment as an educator? In the course of a 36-year career, “moments” can be significantly longer periods of time. My proudest moments as a choral director have been those in the last four years when an average 1015 students from each of my classes of graduating seniors chose have continued singing in college. Most of these kids are not music majors. I am excited and proud when I realize that experiences students have with me are creating, within them, a desire to continue making music as they begin their adult life, and hopefully for a long time to come. How do you hope to make a difference in your students’ lives? I asked one of my former students (now a graduate student preparing for a career as an English teacher) if I had made a difference in her life, and others like her. I also asked that if she
16 Choral Director, January 2011
The most significant gift that Mr. Cannon has given his students is teaching them that there is more to making beautiful music than getting the notes right. His teaching focuses on relating the story and the emotion of a piece of music to the audience. He inspires his students to express the music in a way that touches the souls of both the singers and the listeners. His obvious passion for his subject sets him apart from other teachers, and inspires his students to be passionate as well. He taught us that there is no point in adding lyrics to music unless they can add to the feelings and message of the composer. Likewise, there is no point in adding music to the text unless it enhances understanding of the author’s intended meaning for the poetry or prose. Singing for Mr. Cannon is about transcending the music and lyrics and creating something amazing. His students may forget the songs they sang in Concert Choir or the parts that they had in the Spring Musical, but they will never forget the feeling of ensemble that comes with creating a beautiful piece of song. When we came together in the choir room, we learned that together we could create something magnificent, our sum greater than our individual parts. Though high school students are a diverse bunch, Mr. Cannon managed to unite us behind the common goal of singing well. It was hard work – Mr. Cannon had high expectations and demanded our best effort – but the end result was that we had created art together. Our experiences with Mr. Cannon taught us the value of striving for something difficult, as well as the power of collaborating. Because of these lessons, his students, whether or not they ever sing again, will make beautiful music for the rest of their lives.
What is the key to a successful career in music education? Love your arts: music and teaching. Work to become the best musician and teacher you can be. Passionately pursue the highest level of achievement within both of those arts everyday. Care about kids – not just about their music making, but about their lives. Strive to improve their lives through making music together and the rest will take care of itself.
VERMONT What is your proudest moment as an educator? When my Select Choir performs an exquisite a cappella piece with great sensitivity as an ensemble, and then one of the singers lends a hand to a special needs student who needs help finding his place in the music. It is immensely gratifying to see the experienced musicians creating a culture within the large ensemble that makes the environment a safe and welcoming one for all.
Anne K Hamilton North Country Union High School Newport Total years teaching: 27 Years at current school: 12 Students in vocal music program: 85
How do you hope to make a difference in your students’ lives? My students can see that I love my work, and I love them. I hope that they all may find a career that they still find exciting and fulfilling after 27 years. I also encourage them also to seek out opportunities to continue their musical experiences beyond high school, whether in college or in the community. What is the key to a successful career in music education? 1) Adaptability without compromising quality. Scheduling issues, budget cuts, societal changes and educational trends make our jobs more challenging, but in the end it is about you do in the classroom and your relationship with the students that define success. 2) Keeping connected with choral music through professional organizations and conferences has been very important to me as a teacher from a rural area. 3) Don’t underestimate what students can do, or what audiences will listen to. High quality literature is at the core of what we do. 4) A sense of humor!
Choral Director, January 2011 17
CDSurvey:
Summer Camps & Workshops
Finding the Right Fit How many of your students attend vocal camps and workshops? All
Most
2%
5% Some
10%
None
27% A few
56%
J
ust as school music programs come in all shapes in sizes, so too do the extracurricular offerings for students looking to spend their summers singing. Although there may be tremendous vari-
ety in summer camps and workshops for vocal music students, each with a great number of obvious benefits, this recent CD reader survey indicates that there are several important trends worth noting. The first is that, typically, only the most dedicated, enthusiastic, and fortunate students attend summer camps and workshops, as there are innumerable other ways in which young people can spend their summers, and many specialized vocal music summer programs may be expensive or hard to get to, particularly for students of limited means. The second point, which was made emphatically in the comments of responding choral directors, is that the key to a successful camp lies in the hands of the instructors. Regardless of the location, setting, performance opportunities, cost, or any other factors, the essential ingredient in any summer music camp or workshop is a dedicated and inspired staff that fosters an enthusiasm for singing among all attendees, regardless of skill level. 18 Choral Director, January 2011
“Students are very busy and the athletic camps seem to carry more influence at this time.” Jayne McDonald Blackhawk School District Beaver Falls, Pa. “About half of my students attend camps, but the camps they attend are mostly local and focused on Musical Theater.” Cristie Bates D.C. Everest Senior High School Schofield, Wis. “We have workshops at school every summer for all choral groups. Most students attend some other form of summer camp or workshop outside of the ones at school.” Joy Augustine Omaha Mercy High School Omaha, Neb. “We live in a rural location at great distance from most camps; this is also a low-income area (85 percent are on
federal free-reduced price lunch programs). Cost and travel make most camps prohibitive.” Ruth Lovelace East Minico Middle School Rupert, Idaho
Do you yourself work at a vocal music camp or workshop?
“Summer Music camps are great for students to get a different perspective on singing and being in different types and sizes of choral groups that may not be available at their school.” Stan Scott Central High School Grand Junction, Colo.
No
41%
“Summer music programs should be engaging and challenging. There is a fine balance between pushing too hard and not expecting enough. Summer camps should always foster two main ideals. First and foremost should be fostering the love and joy of music to all that participate. Second should be equipping students with new and necessary skills, techniques, and repertoire.” Stephen A. Holmes The Maryland State Boychoir Baltimore, Md.
Yes
59%
“I try to attend at least one thing each summer. Typically, I like to do a director’s retreat and the NCDA Conference if I’m able. I’ve also participated in Hal Leonard’s ‘The Conductor’s Craft.’” Martha Johnson Nebraska Lutheran High School Waco, Neb. “This summer will be my sixth at the USDAN Center for Creative and Performing Arts. USDAN has been the joy of my professional career. The atmosphere is the opposite of public school – I am expected only to conduct, not handle paperwork, attendance, discipline or parents. What a gift!” Eileen Benedict Oakdale-Bohemia Middle School Oakdale, N.Y.
Which elements of a camp or workshop are most important for your students?
21%
A fun musical experience in the summer
20%
Cost
16% 15%
How do you and your students typically find summer music camps or workshops to attend? Recommendation from friends/colleagues Advertisements/brochures (in print or online) Other Internet/Web search
47% 44%
6% 3%
Is there anything to be wary of when selecting a camp or workshop to attend? “Watch out for conductors who are more interested in their choir being ‘superb’ than in the musical experience. At one camp, I even had an instructor comment to me wondering why the parents would send their child who was not particularly talented. Maybe for the love of music and the opportunity to learn more?!” Linda Akins Maryville Middle School Maryville, Mo.
Meeting other like-minded vocal music enthusiasts Opportunities to learn advanced techniques Different instructors/literature Location Other
1%
14% 13%
“Always make sure the clinician/director is knowledgeable about good vocal technique for the specific age group. Many times clinicians are hired on reference and name but not experience.” Michael Lisi Learwood Middle School Avon Lake, Ohio
Choral Director, January 2011 19
“Some of these summer workshops are more about generating income for those that run them than providing a quality musical experience. Those that focus on providing a quality musical
experience are often very competitive and pricey.” Bruce C. Lengacher Acalanes High School Lafayette, Calif.
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“Reputation and quality of the instructors. The instructors can make or break the experience for the student. When they come back from camp, students should have the fire of motivation that carries into the next school year.” Ron Sayer Marshall High School Marshall, Mo. “I think the most important thing is that kids are being sent to music camps with qualified instructors. I do a lot of research and ask a lot of questions before recommending a summer program.” Michael Ehrlich W. T. Woodson High School Fairfax, Va. “Always, always, always try to get as much information as possible about the program – from someone who has participated in the program, from a colleague whose students may have attended, or from former and current instructors. First-hand perspective is helpful, although one needs to weigh opinion carefully.” Margaret Anne Butterfield Wilmington Friends School Wilmington, Del.
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20 Choral Director, January 2011
Additional thoughts on summer vocal music camps and workshops? “In a small district, students are involved in a lot of activities, all of which encourage summer camps. My students would be more likely to attend a short camp (2-5 days) because it would fit into their schedules better.” Alisa Brown Concordia R-II Concordia, Mo. “Summer camps are a great opportunity to grow in your skill and still have fun while meeting others who share your love of music!” Amy Gelsone Anthony Wayne High School Whitehouse, Ohio
CDPerformance: Vocal Technique
Vocal Pedagogy in the Choral Rehearsal: Becoming a Vocal Technician BY
KYLE J. WEARY
T
he goal: to develop healthy singers with healthy vocal technique. The problem: how to do this in the choral rehearsal, without losing those precious minutes of time needed for learning music.
Creating a unified, healthysounding choir is something that all choral directors strive to accomplish, but all conductors’ training isn’t the same. Sometimes there are gaps that need to be filled in the education of the conductor. The process of creating a healthy sounding choir is much like a doctor meeting a sick patient for the first time: first, one must listen to the choir before trying to determine what the problem might be. After listening, a diagnosis of the problem must be made, and this may include multiple hypotheses. Finally, the conductor must prescribe a plan of action for their students to correct whatever issues are found. Adding the fundamentals of vocal pedagogy into the rehearsal may seem like a daunting task, but starting with the basics is a good beginning. For me, these include: • • • •
posture or body position, respiration, phonation, and resonance.
Teaching your choir these four basics can solve most problems that we find in a given choral rehearsal. For instance, if your choir constantly goes flat during a capella pieces, what reasons can you think of that would cause this to occur? Faulty breath support can be one cause. If the piece is in C major or F major, those pieces typically lie right in the first passagio of tenors and sopranos, making it very easy to go flat. This problem might be addressed by simply having the students use better breath support, or by singing in C sharp major or F sharp major.
Posture Although teaching posture is a great way to begin the year, it’s not too late to start teaching it now! Improper posture can cause flat-
ting and poor breath support. Posture is the root of everything when it comes to singing. If you aren’t standing properly, you can’t breathe properly. If you can’t breathe properly, you can’t phonate properly – you get the point. One common issue with a singer’s posture can be directly related to the director’s Choral Director, January 2011 21
own posture. If the conductor fails to have proper posture, the students will mirror often what they are seeing. There are a few ways to teach students posture and for students to check their posture within the rehearsal setting. Having students routinely check both their own and a “buddy’s” posture may be enough to drill the idea of the importance of good posture into your students. If that doesn’t work, try placing mirrors in the front of the classroom (where your students will be able to see themselves) so they can check their own posture. Be aware that this may cause distraction for some students at first, but eventually they will be used to seeing themselves in the mirrors. Body position can refer to posture, but it also takes into account the entire body. Body position is how we stand: feet flat on the floor with the body weight evenly distributed between both feet; feet roughly shoulder-length apart; knees relaxed (and not locked); the chest should be high before inhalation; and the head should be in line with the spine. It is important to recognize that because singing is an athletic activity, the body must have an alertness and intensity present. I also teach my singers that body positioning is the direction that our body takes when singing. For instance, when singing,
our lower abdomen expands out like a balloon, but it doesn’t fill up. Since the larynx is fully capable of moving in six different ways – side to side, up and down, and forwards and back – improper posture will cause muscular tension. If there is muscular tension because of poor posture, that can translate to tension in the vocal folds, which will affect sound quality.
Respiration Teaching respiration is harder than most people think. We naturally breathe in and out all day,
“Posture is the root of everything when it comes to singing.” every day. Yet, continuously thinking about breathing habits while completing another task – such as singing – can be quite a challenge. Improper breath support can cause many issues, including flatting and faulty intonation. A quick fix for breathing is that the director must be the one to lead the group by example in good breathing habits. You might consider showing the students (and, when appropriate, telling them) where you would like them to breathe in a song. Generally speaking, when teaching a new singer how to breathe, you must
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Choral Director, January 2011
first teach them how you will indicate breathing to them. Some of my favorite exercises to teach involve deep breathing. One such activity involves having students lie down on the floor and place a book on their stomach, and then asking them to breathe so they move the book up and down. This is a great exercise to teach our singers early on for a few reasons. First, our singers aren’t having to fight gravity when they are lying down on the floor, so they are quite successful when they are first learning this. Second, they are learning how to independently control their stomach muscles. Finally, they can visually see the difference in the type of breath they are taking with the book placed upon their stomach. Differentiating between abdominal breathing and chest breathing is something that is imperative to choral singing. Typically, we advocate for abdominal breathing, but every so often there is a piece of choral music (or solo vocal music) that necessitates a chest breath from our singers. Another easy way to show students how to take a deep breath is by having them pretend that they are breathing through their belly button with a straw. This will give them the sensation that they are breathing from the bottom up and will hopefully help them take a proper abdominal breath, rather than a chest breath. Getting students to breathe abdominally without thinking is something that not only takes practice, but also takes time.
Phonation Teaching phonation to students is often problematic, especially if the teacher isn’t a native of the area or completely familiar with the subtle dialect of the students. Improper phonation can cause a poor focus in the tone, and overly bright vowels can cause the choir to sing sharp. Teaching phonation to students must include the basic anatomy for the student to be a successful singer. Singers should understand the multiple components needed for good
phonation, which include: the power source (the vocal folds); oscillator (the breath); and the resonator (the cavities within the head). Along with this knowledge, students should know that the lips, the jaw, and tongue are what determine the vowel sound. Opening the mouth and having a relaxed jaw that is dropped will help singers’ phonation. Teaching the “inner yawn” feeling typically results in a good jaw position for singing.
Resonance Teaching resonance to students is the most difficult task in group vocal pedagogy. A poor sound or lack of projection may be caused by poorly adjusted resonators. Fortunately, we can teach our students about this. The resonator is a secondary vibrator, not capable of initiating pitch. But it is capable of altering the amplitude and timbre of a pitch, for better or worse. The main objective of resonance is for space to be created, which allows the sound to be amplified through the cavities within the head. There are three main cavities that help amplify the sound: the mouth, the throat, and the nasopharynx. While most voice teachers will say that resonance should be felt, not all students have the same sensation when feeling resonance. Therefore, generalizing in the rehearsal will most likely confuse those students who are feeling resonance differently than other singers. For students to comprehend resonance, they must experience it over and over again. Some students might feel it, which makes it easy to remember, but for those who don’t, it can be hard to remember the experience, which is why repetition is important. Also, teaching our students one term and using it, rather than using multiple terms (for example, “placement,” “focus,” “ping,” “ring,” “singing in the mask,” “nasal resonance,” and so on) can help decrease confusion about this somewhat complicated
topic. Humming is a basic starting point for most resonance exercises. Sighing and yawning are also ways of teaching resonance. A good choral sound is one that is rich in resonance and is also characterized by a uniform vowel color, depth and fullness of tone, and projection. Developing our students’ voice is a task that won’t be complete in one week, one semester, or even one year. We must continuously create new warm-ups and choose new repertoire to broaden the technique that our students use in choir and to keep their voice at the top of its game. Choral directors and educators who take the extra time to incorporate vocal technique into their rehearsals aren’t just teaching music to be sung, they are teaching singers how to sing.
An active presenter and music educator, Kyle Weary is the vocal music department lead teacher for the Barbara Ingram School for the Arts in Hagerstown, Maryland. Kyle has a bachelor’s degree in Music Education and a master’s of music in Conducting from Shenandoah Conservatory of Music, as well as Level III Certification in Somatic Voicework – The LoVetri Method –from the Contemporary Commercial Musical Theatre Vocal Pedagogy Institute. Kyle is a member of the American Choral Directors Association, the Conductors Guild, the Educational Theatre Association, Music Educators National Conference, Phi Mu Alpha - Sinfonia, and National Association of Teachers of Singing.
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Choral Director, January 2011 23
CDRepertoire Forum: American Heritage
New Releases
American Heritage BY DREW COLLINS
T
his month, I highlight recent choral arrangements of various “American” genres. Our musical heritage is a broad one, and
includes many genres. These include, but are not limited to, Bluegrass, Native American, Shaker hymns, African American spirituals, Sea Island spirituals, Gospel, Jazz, Broadway, Stephen Foster, William Billings, early psalmody, Civil War songs, and more. The broad category that I call “American Heritage” is a favorite of arrangers, publishers, and educators. Space does not allow for all of the choral arrangements released recently, but the ones included below are among the best. Exposing our students to the broad musical heritage of the United States is an important part of their cultural education.
FOLK SONGS Cluck, Old Hen (North Carolina Folk Song, arr. D. Poole) – Alliance This is a fun arrangement for SA and piano. Though in minor, it is upbeat and fun to sing: lively, rhythmic, and syncopated with a jaunty melody, and funny lyrics. Great for elementary choirs, but would work for junior high treble groups as well. Visit www. AllianceMusic.com to view a score sample.
Skip! Skip! Shoo, Fly, Shoo! (arr. M. L. Lightfoot) – Heritage Your audience will love seeing how much fun your students will have singing this piece. Lightfoot weaves together three tunes into a composite
24 Choral Director, January 2011
that loosely resembles both a partner song and a medley. The three songs employed are Shoo, Fly, Don’t Bother Me, Skip To My Lou, and This Train Is Bound for Glory. They are combined in unexpected ways that charm the ear. The vocal parts are at times independent, and other times homophonic (almost entirely oblique motion), making this a good selection for beginning choirs. On top of all that fun, students get to clap, stomp and shout. For SA and piano. Visit www.Lorenz.com for score and audio samples.
The Fox (arr. M. V. Marsh) – Colla Voce The publisher classifies this as SAB, but the range of the male voice part is more in line with Three-Part Mixed
voicing. Accompaniment is piano only. The melody and words are both fun to sing. The melody gets traded about between parts. The text tells the story of a fox who raids a farm (it gets slightly gruesome, which your boys will likely enjoy!). The arrangement has moments of theatricality that middle schoolers will take to, including two verses in the parallel minor. If available, double the piano left hand with pizzicato upright bass for added effect.
Bright Morning Stars (Kentucky Folk Song, arr. J. Althouse) – Alfred A mesmerizing addition to any concert, and sure to be a favorite of your singers. There are several fine arrangements of this Appalachian tune available, but this is more than just the latest one: it is a truly fine choice. Simple, but not simplistic. Expressive, but not sappy. Available for SATB and SSAA; both are unaccompanied, and both are worth strong consideration. Good for any size group, including chamber choirs. Visit www.Alfred. com for score and audio samples.
Hey! Ho! Fiddle-Eye-O! (arr. E. Rentz) – BriLee Your girls will love to tell the story of a wife and husband who switch chores for a day. (of course, the wife “wins” the competition of who does more work in a day). The text is cute and humorous, and the audience won’t be able to keep from smiling. Scored for SSA and piano. The score as well as performance, accompaniment and part-predominant mp3’s available for free download at www.BriLeeMusic. com.
“Down Home” Gals (arr. E. Rentz) – BriLee This medley weaves together three American folk songs (plus another from Jamaica!), each about a different “gal.” It is scored for TTB and piano. As with all Earlene Rentz scores, this is full of rhythmic, melodic and harmonic interest. Dr. Rentz has provided one of her “Rehearsal Prep Sheets” on the inside front cover; these help the learning process go much more smoothly. View entire score and hear a beginning-to-end performance at
www.BriLeeMusic.com, where you will also find accompaniment and part-predominant mp3’s for free download.
HIGH SCHOOL CHORAL
AUDITIONS
Also strongly recommended: • “Montana Cowgirl (Coyote Song)” by Susan Brumfield, pub. Colla Voce. • “Old Paint” arr. Lon Beery, pub. BriLee.
BROADWAY AND JAZZ Pick Yourself Up (arr. S. Zegree) – Hal Leonard This Jerome Kern classic from the 1930’s Astaire-Rogers film “Swing Time” is a perfect fit for young singers. It is scored for 2-part chorus and piano accompaniment. Originally about having two left feet when dancing, it takes on a slightly different flavor when sung by kids. However, it may be appropriate for any age, fifth grade and higher. There is a simple scat section at one point, but it is written out and intended for the whole ensemble. In the scene from the movie, the song is heard twice: first sung by Ginger Rogers and Fred Astaire, and the next is instrumental as the duo dance. Both are available on YouTube, and could be played in class. To see a couple of pages from the score and hear a snippet, visit www.HalLeonard.com. A pain-free introduction to jazz by one of the masters, Steve Zegree.
The Way You Look Tonight (arr. M. Huff) – Hal Leonard Another Jerome Kern standard to introduce young singers to the jazz style. This one is from the same film as “Pick Yourself Up” (above), and is certainly the better known of the two. This clip is also available on YouTube, as are clips of many other performances of the song. Because Michael Bublé has a popular cover of the tune, your students likely will already be familiar with the melody. But Huff ’s approach is unique, not an “As recorded by…” arrangement. I recommend the ThreePart Mixed voicing, but it is also available for 2-part. Score and audio samples available online at www.HalLeonard.com.
W W W . O R E G O N B A C H F E S T I V A L . C O M / S F Y C A
e
Stangeland Family
Youth Choral Academy at the Oregon Bach Festival
ANTON ARMSTRONG conductor
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Choral Director, January 2011
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Also strongly recommended: • “Charleston Alley” (arr. D. Meader), pub. Shawnee for SATB • “Moonglow” (arr. D. Meader), pub. Alfred for SATB • “I Wish You Love” (arr. S. Zegree), pub. Hal Leonard for SATB a cappella • “Something’s Gotta Give” (arr. J. Althouse), pub. Alfred for SATB, SSA, or TTBB
SPIRITUAL Ezekiel & David (arr. S. Albrecht) – Alfred
Second-Hand Rose (arr. L. Spevacek) – Heritage There are several arrangements in this section appropriate for treble groups. This one, from Funny Girl and scored for SSA and piano, is especially appropriate for high school or junior high girls’ groups. Opportunities for one or more soloists, and a great opportunity for simple choreography. Full performance and score samples available at www.Lorenz.com.
I’ve Never Been in Love Before (arr. K. Shaw) – Hal Leonard This Frank Loesser classic gets a sparkly and engaging treatment by Kirby Shaw. Originally a medium ballad on stage and screen, Shaw sets the
tempo at 144-152 (be careful not to rush this…144 is about right). The SATB voicing is perfect for high school vocal jazz groups. Also available for SAB and SSA. Get a closer look at www.HalLeonard.com.
I Can’t Believe That You’re In Love With Me (arr. D. Meader) – Alfred Darmon Meader’s arrangements are so tight and intricate, yet light and transparent. This SATB arrangement is good for advanced jazz ensembles. Playing the New York Voices’ recording of this arrangement in class will provide an excellent model for stylistic characteristics and tone associated with vocal jazz. Score and audio samples available at www.Alfred.com.
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Sally Albrecht has combined two spirituals, “Ezekiel Saw the Wheel” and “Little David, Play Your Harp” for young singers. Purists may rant that there is little beyond the melody and words to identify this as a spiritual, but the reason for arrangements like this is to make spirituals available for performance by developing choristers: a noble goal that should be embraced by choral educators at all levels. The rhythms are fun to sing, and the voice parts are independent. David’s harp is alluded to in the piano accompaniment, and there are some brief opportunities for soloists. Scored for 2-part chorus and piano with an optional third voice from time to time. Also available for 3-Part Mixed. Hear it and see it at www.Alfred.com.
Been Down Into the Sea (arr. N. Page) – Alliance Nick Page has created a driving–almost rambunctious–arrangement combining a couple of joyful spirituals. He even quotes the “Hallelujah Chorus” at a few points. Scored for Three-Part Mixed chorus with piano, with guitar chords provided. Consider adding bass and drums. Sound and score samples at www.AllianceMusic.com. I hope Page and Alliance will consider making SATB and SSA voicings available of this arrangement in the future. For more spiritual arrangements for changing voice choirs, see the “Also strongly recommended” section below.
Just Like John (arr. G. Custer) – Colla Voce “I Want To Be Ready” is a favorite spiritual of mine, and arrangements
of it have always been published under that original title. Custer’s, titled “Just Like John.” is scored for SATB unaccompanied, with only scattered moments of divisi. The arrangement chugs along with a motoric momentum, but Custer is careful to vary the texture throughout. Dynamic contrast will be essential to a performance of this arrangement, as the call and response is done with full sections (or duets between sections) who then need to temporarily fade back into a choral texture for the softer responses, rather than alternating soloist and choir. So, adhere diligently to the marked dynamics. Note that the ranges for each of the vocal parts dip kind of low, so check the ranges carefully to make sure it will fit the vocal development goals you have for your ensemble. Gerald Custer has in recent years been championed by James Jordan, and many of his publications are available in Jordan’s “Evoking Sound Choral Series” through GIA. Now, Tony Thornton has picked up the banner, and his new choral series is currently almost entirely made up of Custer’s music. Also strongly recommended: • “Walk Together, Children” (arr. K. Berg), pub Walton for 3-Part Mixed • “Down By the Riverside” (arr. L. Beery and P. Perec Lee), pub BriLee for 3-Part Mixed optional Baritone • “I Got a Home in-a That Rock” (arr. J. M. Butler), pub. Roger Dean for SATB div. • “Follow the Drinking Gourd” (arr. T. Council), pub. Colla Voce for SATB div. • “Were You There” (arr. J. Ray), pub. Lawson-Gould for TTBB
MISCELLANEOUS Yanaway Heyona (Iriquois, arr. B Tate) – Pavane Brian Tate continues to create unique and interesting choral works, many of which are informed by or based on the music of a particular culture. This arrangement employs an Iriquois melody in a series of variations that make use of canon and indeterminacy to achieve echo effects that, in turn, achieve atmospheric and meditative effects. The conductor is urged to
consider all conducting and rehearsal challenges built into this score in advance of the first rehearsal, as there are some unique ones. This arrangement would make an interesting processional. It is scored for SATB non divisi with soprano solo. Entire score and entire performance recording available at www.PavanePublishing.com.
In the Sweet By and By (arr. D. Hall) – Walton Daniel Hall’s arrangement of the classic hymn is ideally suited to larger, more advanced treble choirs. His approach is anything but predictable. He explores every ounce of the melody’s potential, without relying on existing approaches or tired traditions even a little. The audience experiences a touching, moving, transporting setting. It is scored for SSAA and piano. The piano part is intricate, and requires a more experienced player. Closer look at www.WaltonMusic.com (audio) and www.HalLeonard.com (score sample).
Under the Willow She’s Weeping (S. Foster, arr. LaBarr) – Santa Barbara A lovely, unaccompanied arrangement for the larger, advanced high school women’s chorus. The melody is standard Stephen Foster ballad: airy and lyrical. The arrangement is intimate, drawing the listener in. Scored for SSAA divisi with small group. Consider positioning small group just offstage or behind the audience. Entire score and beginning-to-end performance at www.SBMP.com.
Forum editor Drew Collins is on the faculty of Wright State University (Dayton, Ohio) where he conducts choral ensembles and teaches music education courses. He is active as a festival conductor, author, and composer. Contact him directly at drew@drewcollins.com.
We Are Coming, Father Abraham (Civil War Song, arr. M. Armstrong) – Carl Fischer A song from the Civil War, the words are in response to Abraham Lincoln’s call for volunteer soldiers. Men will enjoy singing the poem, and the melody has a mighty, militaristic feel as well. Matthew Armstrong’s arrangement is scored for TB with piano. Though not included, a snare or field drum part would be a natural addition. Full score samples, audio, and free mp3 rehearsal aides available at www.CarlFischer.com.
Do you have suggestions for future articles or areas of coverage? Visit us online at: www.choraldirectormag.com!
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NewProducts Yamaha’s Pocketrak Portable Recorder
Yamaha’s new Pocketrak portable recorders can slip into a shirt pocket. The Pocketrak C 24 and W24 are hi-fi, lightweight, small-profile recorders. The C24 is smaller than the W24, which features two stereo microphones, a wireless remote control, and other features for pro recording on the fly. Both models come with a built-in tuner and metronome, onboard speakers and high-quality 24-bit/96kHz sound quality. They even include Cubase AI5, a 48-track editing and production program for Windows and Mac that derives many features from the award-winning Cubase 5 digital audio workstation by Steinberg and lets users transfer recordings to CD or MP3 files. The C24 is the lightest and smallest pocket recorder on the market, weighing just two ounces. The C24 features a non-directional mic, so there’s no need to point the device at the sound source, and is able to pick up large ensembles like choirs and brass bands. In MP3 mode, it can record for 26 hours. With 2GB internal memory, it holds plenty of data. The C24 features a built-in connection to a USB port for transferring recordings to a computer, which means there’s no need for separate cables. It comes with a clip that attaches to a mic or music stand. The W24 features X-Y mics that offer a wide range of stereo coverage. Weighing just 3.2 ounces, it includes 2GB of flash memory, a peak limiter for optimal recording of loud music and a high-pass filter to eliminate wind 28 Choral Director, January 2011
and low-end rumble. The included wireless remote control offers convenience and the five-band EQ provides pinpoint sound-shaping possibilities. The W24 records for up to 56 hours in MP3 mode.
www.yamaha.com
“Over the Rainbow” from Alfred
Israel Kamakawiwo’ole’s Hawaiian-style “Over the Rainbow” has become a prevalent part of popular music. Performed in “Glee’s” first season finale by Matthew Morrison and Mark Salling, the setting has been sung by several “American Idol” contestants and featured in many TV shows and movies. In this arrangement, a divisi choir accompanies the soloist, duet, or small group, performing a cappella or with optional piano, ukulele, or guitar.
www.alfred.com
Marshall’s Major Headphones
The Major headphones from Marshall feature a headband that is made out of the same vinyl used in Marshall Amplifiers and bears the original Marshall texture. The coil cord refers to vintage style guitar cables and the plug is a 3.5 millimetre replica of a classic tele plug, which can be used with the included 6.3 mm adapter for plugging in to a stereo. The Major headphones are foldable for easy storage and transportation.
posers Earlene Rentz, Lynn Shaw Bailey, Laura Farnell, Ruth Elaine Schram, and Vicki Tucker Courtney. Each song is specifically tailored to the treble voice, from narrow ranges of six and seven notes to others that expand the range as the voice continues to develop and mature. These songs challenge the voice without taxing it, and encourage the development of expressiveness rather than over-extension. Includes favorites such as “Oh Shenandoah,” “I Know Where I’m Goin,” and “How Can I Keep From Singing?”
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Naxos Music Library App
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Let Nature Sing: Solo Songs for the Developing Voice
Carl Fischer Music’s has released the newest addition to the BriLee Music vocal solo series for treble voice, Let Nature Sing: Solo Songs for the Developing Voice. This new release, like the other books in this series, includes a CD containing both piano accompaniment and vocal demo tracks. Let Nature Sing: Solo Songs for the Developing Voice contains ten songs in a variety of styles from spirituals and folk songs to originally composed works, all by well-known female BriLee com-
sic rock, nostalgia, and world music, the Naxos Music Library, will launch a new Android application which will allow subscribers remote access to the entire Naxos Music Library. The NML Android app offers subscribers the portability they require in streaming music. Allowing full site navigation and free downloads, the app enables users to build individual playlists on the NML Web site, and then stream these playlists anytime, anywhere through an Android device. NML users of all subscription types can listen
NewProducts to both their personal playlists and those created by an account administrator through this new app.
New Recording from Singer Rondi Charleston
www.naxosmusiclibrary.com
Genelec’s Multimedia Speaker System
Genelec’s multimedia speaker system, the 6010A biamplified speaker and 5040A powered subwoofer delivers studio-quality sound in a compact system that fits easily by a computer (the speakers can also connect to a portable audio player).
On February 8, 2011, Motéma Music will release acclaimed jazz vocalist Rondi Charleston’s Who Knows Where The Time Goes CD. Who Knows Where The Time Goes is the follow-up to her 2008, critically acclaimed release In My Life.
www.motema.com Although the speakers measure just 7-1/8” high by 43/4” wide by 4-1/2” deep, and the subwoofer is 9-7/8” high by 12” in diameter, they are designed to referencequality monitoring standards. The speakers feature a proprietary woofer and tweeter and built-in amplifiers that are matched to the drivers, for a smooth tonal balance and resolution of the subtlest musical details. The tweeter is mated with Genelec’s Directivity Control Waveguide TM (DCW TM), to deliver accurate imaging over a wider listening area. The speakers have a diecast aluminum Minimum Diffraction Enclosure TM (MDE TM) that reduces internal resonances for maximum clarity, and they come with a distinctively styled Iso-Pod base for optimum positioning. The matching 5040A subwoofer extends the low-frequency response of the system down to 35Hz with powerful, articulate bass. It includes a system volume control and can accommodate a stereo or 5.1-channel home theater surround system.
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Choral Director wants to hear from you! E-mail your thoughts or comments to editor Eliahu Sussman at
esussman@symphonypublishing.com! Choral Director, January 2011 29
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