MARCH 2011 $5.00
Jeff Nesseth
Travel Dreams Come True Survey: Travel Destinations Technology: Videoconferencing
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Contents
Features
8
11
20 Columns 3 4 31 34 35 36
March 2011
Opening Notes Headlines New Products Vocal Tip Classifieds Ad Index
Cover photo by Jan Nohling, Elgin, Ill. Choral Director® Volume 8, Number 2, 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, March 2011
8
FROM THE TRENCHES Bob Morrison takes a look back at the origins of the modern music advocacy movement, which began in earnest 20 years ago.
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GUEST EDITORIAL: TRAVEL Two seasoned veterans of school music travel examine the intricacies of taking an ensemble on the road.
14
UPCLOSE: JEFF NESSETH Jeff Nesseth, director of choirs at Burlington, Illinois’ Central High School, chats with CD about the nuts and bolts of the overseas performance tours that have become an integral part of his choral program.
20
SURVEY: TOP TRAVEL DESTINATIONS
23
REPERTOIRE FORUM: GENERAL CONCERT SELECTIONS In this final installment of a series focusing on music from 2009 and 2010, forum editor Drew Collins reviews general concert selections.
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TECHNOLOGY: VIDEOCONFERENCING Dr. John Kuzmich presents the ALIVE project, a videoconferencing project for music educators, and its application to choral programs.
14
Opening Notes
Score One for the Kids
D
uring their annual holiday concert on December 16, 2010, the fifth grade chorus of Staten Island’s Public School 22 received quite a surprise. Actress Anne Hathaway, a New York City native and co-host of the recent Oscars, came out of the wings of the stage to inform the group and the audience that arrangements had been made to fly the PS22 chorus out to L.A. to perform live at the 83rd Academy Awards. The revolving cast of young singers who make up the PS22 chorus aren’t strangers to fame at this point. Their clips on YouTube have been viewed tens of millions times, and they have been featured in a wide range of major media outlets (including the November 2009 edition of this publication), performed onstage alongside superstar musicians, and even sung at a special event in front of the current President of the United States. Yet, even for them, their performance in front of Hollywood’s brightest stars was a mammoth achievement. And, as most readers probably saw, the “What they were kids delivered, closing the show with a teaching performance sharing at the of “Over the Rainbow.” While this undeniably adorable troupe of youngsters was Academy Awards greeted with a standing ovation by the movie industry elite, not were the fruits everyone was pleased by their presence. “It was just bad. It was of a gift given awful. It was just horrible,” said Andy Cohen, Bravo’s senior to them by their vp of original programming and development, on the MSNBC inspired choral talk show, “Morning Joe.” This apparent rancor caught many director.” by surprise, igniting a firestorm of criticism against Cohen, who quickly came to his senses and apologized the next day. And while such pointed comments directed at a group of 10-yearolds are clearly a little misguided, Cohen clarified that he didn’t mean anything personal against the kids, just that he felt it was inappropriate for a bunch of children in neon tshirts to perform at the black-tie affair often referred to as the Hollywood Prom. In any case, score another one for public school music education. Regardless of one’s opinion on their wardrobe or the campy arrangement and production of the tune they sang, those were real kids up on that stage, largely from economically disadvantaged backgrounds. What they were sharing at the Academy Awards were the fruits of a gift given to them by their inspired choral director: passion, creativity, and opportunity. While there’s a good chance that many of the children in the PS22 fifth grade chorus may be too young to fully appreciate the enormity of their performance, one can only hope that what they represent – the concept that through music, anything is possible – will resonate deeply for years to come.
®
March 2011 Volume 8, Number 2 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff
EXECUTIVE EDITOR Christian Wissmuller
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EDITOR Eliahu Sussman esussman@symphonypublishing.com Art Staff
PRODUCTION MANAGER Laurie Guptill
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GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff
ADVERTISING MANAGER Iris Fox
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CLASSIFIED & DISPLAY SALES Maureen Johan mjohan@symphonypublishing.com
SALES & MARKETING MANAGER Jason LaChapelle jlachapelle@symphonypublishing.com Business Staff
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Choral Director March 2011 3
HeadLines Registration Open for 7th World Choir Games
I
NTERKULTUR, the International Organizing Committee of the World Choir Games, has announced that the registration documents for the 7th World Choir Games in Cincinnati are now available to all amateur choirs, worldwide. For the first time in the history of the World Choir Games, the competition will be held in a U.S. city (July 4 - 14, 2012). The World Choir Games is the largest international choral competition in the world, taking place every two years. The event is expected to attract 400 choirs from 70 countries. The registration documents offer an overview of the competition, qualifications for participation, and the method of adjudication. Participants have ranged in age from 6 to 96. There are multiple opportunities for participation, including International Friendship concerts and non-competitive evaluations for choirs that prefer not to compete, but would like to participate. The Champions Competition and the Open Competition are two separate and distinct competitions, each with its own awards system. The Champions Competition is for choirs that meet qualification standards that can be found in the “Competition Information.” The Open Competition is for any choir – regardless of artistic achievement – wishing to participate, pending approval from INTERKULTUR. In 2012, there will be 23 musical categories: Children’s Choirs, Young Children’s Choirs, Youth Choirs of Equal Voices, Mixed Youth Choirs, Male Choirs, Male Chamber Choirs, Young Male Choirs, Mixed Boys Choirs, Female Choirs, Female Chamber Choirs, Mixed Choirs, Mixed Chamber Choirs, Musica Sacra, Music of Religions, Contemporary Music, Popular Choral Music, Folklore, Scenic Folklore (with choreography), Show Choirs, Jazz, Gospel, Spiritual and Barbershop. INTERKULTUR has ties to 120,000 choirs made up of 4.8 million choral singers around the world. In more than 20 years since INTERKULTUR was established, more than 5,500 choirs and some 250,000 singers from 100 nations have taken part in the World Choir Games and INTERKULTUR’s regional choir competitions. The World Choir Games are dedicated to the Olympic ideal that participation is the highest honor. Previous World Choir Games have taken place in Austria, China, Germany and the Republic of Korea. Learn more at the new 2012 Games website, www.2012worldchoirgames.com.
Disney’s “Ear for the Arts” Badge
D
isney Performing Arts is now celebrating and commemorating students that take part in the program with the new Ears for the Arts badge of honor. Participants in Disney Performing Arts programs, which include performance opportunities, workshops, festivals and competitions for everything from marching bands to jazz ensembles, dance to choral, theatre and everything in between, will now receive an exclusive Pittsford (N.Y.) Mendon High School students were the first official Ears for the Arts recipients of Disney’s new Ears for the Arts badge of honor. (Photo by pin and become a Gene Duncan, Walt Disney World Resort)
4 Choral Director, March 2011
part of an elite group of students. The pin is intended to commemorate the confidence, character and camaraderie required for an ensemble to be able to come together and perform in front of an international Disney audience. Learn more at www.disneyyouth. com.
Hal Leonard debuts App for “Double Dream Hands”
H
al Leonard has announced that a Double Dream Hands iPhone app is now for sale in the iTunes App Store. Jointly created with Charlottesville, Virginia-based mobile web developer WillowTree Apps, the application lets users paste their faces – bobble-head style – on John Jacobson’s body as he performs the famous dance routine viewed by millions on YouTube and beloved around the world. They can then upload their video to Facebook and YouTube, save it to their iPhone library, or email it to friends. The Double Dream Hands pop culture phenomenon started in December, giving Hal Leonard an unexpected present. A choreography video from the company’s Music Express magazine site – featuring renowned educator, clinician and composer John Jacobson – went viral on YouTube. Now a bona fide worldwide Internet sensation, “Double Dream Hands” has more than 2.3 million hits to date, and has spawned dozens of entertaining mash-ups and response clips – bringing total hits to over 3 million.
Best Buy gives $1.24mm for Music Ed
B
est Buy Co. Inc. and its children’s foundation have announced a $1.24 million donation to the Grammy Foundation to support music education in high schools.
Walt Disney World
HeadLines
Travel to
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Paula Prahl, one of Best Buy’s vice presidents, issued a statement saying, “Music is a foundational piece of Best Buy’s DNA and our commitment to the music industry extends well beyond the products we sell in our store. We salute all of the great work the Grammy Foundation is doing to advance the music industry, especially giving young people access to music education.�
Nashville Schools “Keep the Music Playing�
M
etro Nashville Public Schools have received almost $5 million in funding for music programs from the Nashville-based Country Music Association since 2006, and this week students put on a show to celebrate the impact that this funding has had. Hosted by country music star Luke Bryan, hundreds of Metro Nashville Public School students shared the stage of the Schermerhorn Symphony Center this past Tuesday in a motivation concert demonstrating that music continues to thrive in Nashville schools, despite tough economic times. Learn more about this collaboration at www.cmaawards.com Hal Leonard immediately set up www.DoubleDreamHandsDance.com to accommodate fans from around the globe, selling the sheet music and audio tracks to the song, and even Jacobson’s signature yellow Music Express polo shirt. A link to the new app – which sells for 99¢ – is also available from that site.
Š Disney
March is ‘Music in our Schools Month’
. . . or
Around the World
with Bob Rogers Travel since 1981
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R5 &#(# R5 )1&5 ' -555 R5 (. ,( .#)( &55 R5 #-( 35 ,%-ÂŽ
www.bobrogerstravel.com
(800) 373-1423
6 Choral Director, March 2011
M
arch marks the annual celebration of music in our nation’s schools. MENC, the National Association for Music Education, which is a more than 100-year old sponsoring organization, has announced “Music Lasts a Lifetime� as the theme for Music In our Schools Month (MIOSM) 2011. Says MENC, “Music programs nationwide are in danger. State and local legislators are attempting to make up for funding shortfalls in this difficult economy by cutting education budgets, and music programs are often the first to be considered. Advocacy takes place on many fronts, and advocates for music education need to learn to speak to different audiences, each of whom has a key contribution to make. Now’s the time to get involved and do your part to ensure that America’s students have access to a comprehensive, sequential music education taught by exemplary music educators!� Learn more by visiting www.menc.org.
Listen to the MTA
Google engineer and artist Alexander Chen has created a fascinating musical art project titled “Conductor� using a map of the New York City Subway system. In short, Chen animates the various train lines and when one line crosses another, it generates a sound like the plucking of a string, with the resulting tone depending on the length of the line being crossed. Visit www.mta.me to explore this unique project.
Online Survey Results Did you attend the ACDA convention in Chicago this March?
No 44%
Yes 56%
Visit www.choraldirectormag.com and let your voice be heard in the current online poll – results to be published in the next issue of CD.
From Show Choir to Acapella to Traditional Choir, vocal groups who take part in a Disney Performing Arts program — whether that’s in a performance or in a workshop or festival — share a common bond. And now, Disney Performing Arts is celebrating this bond and commemorating
this once-in-a-lifetime experience with an exclusive badge of honor. So, if you think your vocal group has Ears for the Arts, then there is no better time to plan your next Disney Performing Arts trip. For more information, contact your travel planner or call toll-free 1-800-951-8254.
DisneyPerformingArts.com
Disney Youth Programs
MYADPACD11
CDFrom the Trenches
“It was 20 years ago today…”
“Just as there can be no education without learning; no education is complete without music” – Growing Up Complete (1991) BY BOB MORRISON
A
s we celebrate March as “Music in Our Schools” month, some readers may not be aware of the events that occurred 20 years ago to help preserve music education in our schools and launch the modern era of music and arts education advocacy – thus, the homage to the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.
In March of 1991, several hundred people from music education, the record business (yes, they did sell records at one time), the music products industry and government leaders all gathered at the JW Marriott Hotel in Washington D.C. to release a groundbreaking report to Congress and the Bush I administration, Growing Up Complete – The Imperative for Music Education. The release of this report, and the recommendations embedded in it, served as the first public salvo of the modern day music and arts education advocacy movement. This was the culmination of two years of organizing of the broader music community against the threat of marginalization in our schools. The threat came from the establishment of the “National Education Goals” by the National Governors Association. The goals, released in the summer of 1989 and as stated at a meeting chaired by then Governor of Arkansas, Bill Clinton, were: Goal Three: “children will demonstrate competency in core subjects English, math, science, history and geography.” 8 Choral Director, March 2011
How do you get rich when you’re not getting paid?
Tell your students!
TOP PRIZE IS
$10,000! Protecting music is good. Have your students tell us why Copyright Counts and they could win big! A $10,000 scholarship is waiting for a student who can help us get the message out. Why is it wrong to use others’ work without permission or pass it off as your own? Why is copyright important? Get creative! Make an advertisement, do a video, record a song… you decide.
Stealing music is bad. If you are a composer or writer you don’t get paid for your work if people are making copies. You never “hit it big.” That’s why buying and paying for music is so important. Enter the MPA/MENC “Copyright Counts” Scholarship Contest for a shot at a $10,000 grand prize, a $3,000 second prize, or a $2,000 third prize. We want students age 13-25 to create a campaign illustrating the importance of copyright. Why is it wrong to use others· worN without permission or pass it off as your own? We want your most creative answer in audio, video, or PowerPoint format. Entries must be submitted no later than May 1, 2011 to be eligible. For the official rules and entry forms, visit mpa.org or menc.org.
243 5th Avenue, Suite 236, New York, NY 10016 s admin@mpa.org s www.mpa.org
Go to: s mpa.org or visit: s facebook.com/MPAoftheUSA s menc.org/gp/menc-copyrightawareness-scholarship-program for more information about the contest. Entries must be submitted no later than May 1, 2011 TM
This is the first time our nation had attempted to codify core subjects. Noticeably absent was music and arts education. This served as a clarion call to some key leaders in the music community. A breakfast meeting was convened in 1989 between Mike Greene, president of the National Academy of Recording Arts and Sciences, Inc. (the Grammy folks), Larry Linkin, president of NAMM, and Karl Bruhn, director of market development for NAMM. These three meet to discuss the problems that music education had been facing over the previous decade: declining enrollments, gutting of programs, and outright systematic removal of music programs around the country. Recognizing that the current trend would be devastating to music in our culture the three gentlemen decided to take action. These leaders then contacted John Mahlmann, executive director of the Music Educators National Conference (MENC) and together the four of them and the three organizations that they represent went to work to create the National Commission on Music Education. The National Commission was a blue ribbon panel of 60 national dignitaries from all walks of the music community, including high profile names like Henry Mancini, Quincy Jones, Wynton Marsalis, and Leonard Bernstein. Three forums were held (one in each in Los Angeles, Chicago, and Nashville) to gather testimony before the commission during the fall of 1990. Petitions were signed from coast to coast to show public support for music education and materials were being prepared for a national campaign. These activities culminated in a symposium in March of 1991, entitled “America’s Culture at Risk.” The results of all of the forum testimony were brought together in the commission report, “Growing Up Complete: The Imperative for Music Education.” Along with the report came 150,000 petitions for all corners of the nation. The two daughters of Nashville congressman Bob Clements pulled them into the ballroom on little red wagons. The petitions and report were delivered to President George H.W. Bush, all members of Congress, and the Governors of all 50 states, as well as the chief education officers in the Department of Education in each state. 10 Choral Director, March 2011
At that point, the Commission, with its work complete, was disbanded. A new group was formed out of this meeting to lead the national campaign and thus began the National Coalition for Music Education. MENC, NAMM, and NARAS were joined by the American Music Conference (AMC) to lead the push to
have the potential to create change. The challenges we face today pale in comparison to the threats of 1989. Contrary to popular opinion, we have more music and arts programs in our schools today than we did 20 years ago. Most children in the United States
This collaboration has led to tremendous group efforts among these organizations benefiting the music education community and, in many instances, helping save music programs. implement the recommendation from Growing Up Complete. The Coalition developed state level affiliates in 43 states with thousands of local advocacy groups around the country working to support music education in the schools. Major accomplishments from those recommendations included: • The Development of National Standards for Music and Arts Education (March 11, 1994) • The Establishment of Music and the Arts as a Core Subject (March 31, 1994) • National Assessment for Educational Progress in the Arts (1999 and 2009) • Sustained National Media Campaigns (NARAS, NAMM, MENC, AMC 1993-2002) • Greater Investments in Scientific Research (NAMM – ongoing) • Embedding Advocacy Efforts at the State and Local Level (1992- present) This collaboration, born at that breakfast meeting in 1989 and cemented in the release of Growing up Complete in 1991, has led to tremendous group efforts among these organizations benefiting the music education community and, in many instances, helping save music programs. The addition of music and the arts as a core subject at the national level and the establishment of national standards for arts education are two of the most significant moments of the last century in music education – efforts that were an outgrowth of this work. I share this story for a couple reasons: 1. Many people do not know this background (and there is more to share), but more importantly 2. To illustrate that all of us in music education and the music community
have music and visual art as a part of their basic education (with a few notable exceptions, like California). I will go further to say that the quality and diversity of the programmatic offerings in music has never been greater. Guitars, mariachi, keyboard labs, technology stations, and rock bands – all in the classroom – are initiatives over the past 20 years. Do not let all the doom and gloom of threatened budget cuts take our eyes off the prize of realizing a system of education where every child has access to an education that includes music. Although it may not at times feel like it, we are closer to this goal than ever before. It is up to all of us to finish the important work the was launched 20 years ago and write the positive ending to this story future leaders will write about 20 years from now. It is our responsibility. It is our obligation because: “Just as there can be no education without learning; no education is complete without music” And that means music… for all. Note: There are plenty of resources to help you and your parents groups advocate for music education in your community at MENC.org and SupportMusic.com. Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organization. In addition to other related pursuits in the field of arts education advocacy, Mr. Morrison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Holland’s Opus Foundation. He may be reached directly at bobm@artsedresearch.org.
CDGuest Editorial: Travel
Should I Stay or Should I Go? BY DEAN MCDOWELL AND JIM GIBBONS
I
n today’s environment of budget cuts and ever increasing demands on teacher time, this song from The Clash seems like an appropriate anthem for music programs across the country. For decades, performance travel has been a cornerstone of the school music experience. The benefits for students are undeniable, but are they justifiable in the current climate?
While students can learn plenty in the classroom and at school performances, the education they receive on the road is priceless and simply cannot be duplicated. Most educators are likely already well aware of the benefits students and teachers alike receive from performance-based travel, but may be uncertain where to begin when planning a trip, or how to justify the undertaking to parents and administrators in today’s economy. By getting an early start and carefully considering all aspects of the trip, making the case for bringing students on a once-in-a-lifetime experience should be no trouble at all.
With A Little Help from My Friends The first decision to make once it has been determined that a trip is right for
your students is whether to go it alone ments for safe loading and unloading of or bring in a tour operator to help plan students’ instruments, ensuring approthe details. It’s important to fully underpriate security at the hotel, managing stand all the elements and tracking student that go into planning a payments, creating “Concerns from trip before making this rooming lists, and deadministrators decision, as it will greatveloping a detailed itintypically include ly impact the amount of erary that includes not work and time commitjust the performance/ cost to students ment required in order competition elements and the school, to ensure the trip’s sucthe group will be atdistrict liability, cess. tending, but also keeps and student time With the plethora the students occupied of travel websites that out of the classroom.” during down time. Adhave cropped up in the ditionally, it’s imporpast decade or so, it is easier today than tant to have a plan in place to cover the ever before to go online and book many “what ifs,” such as a student who gets components of the trip, including travel, sick, a flight that gets cancelled, or a bus hotel and restaurant reservations. Howthat breaks down. ever, those are just a handful of the conWhile many music directors do desiderations that go into planning a trip. cide to take on planning these elements Other plans that need to be coordinated on their own, for others the simplificainclude on site transportation, arrangetion of working with a tour operator is Choral Director, March 2011 11
worth what is usually some additional expense. A good tour operator will handle the bulk of the logistical issues noted above, which become more nuanced as groups become larger. Having the history and experience of planning multiple trips, tour operators often can negotiate better deals from vendors, such as hotels and restaurants. They should also be able to anticipate anything that may not go according to plan and be ready to address issues with alternative plans, on-site support, and liability insurance. In addition, some tour operators offer opportunities and experiences that wouldn’t be available to a teacher trying to plan on his or her own.
Right Where I Belong Once the decision has been made whether to use a tour operator or go it alone, the next step is the fun part of planning: figuring out where to go and what to do once you get there. There are a multitude of destinations to choose from, from Disneyland to New York City, and everything in between, and a variety of experiences for students, including performances, competitions, and workshops, as well as museums and other cultural sites. But how do you choose what’s right for your students? While there is no single answer or resource that can make this decision for you, there are several factors that, when taken into account, can narrow down the
12 Choral Director, March 2011
options. Size of the group, goals for the students, budget, and the school’s location may all impact where the best place to go might be. Once these elements have been decided, other teachers are often some of the best sources for recommendations and information on trips. There are numerous online forums, such as those at MENC.org, where teachers are discussing travel and can help educators better understand the pros and cons of various locations. Alternately, if for those who choose to work with a tour operator, most travel companies can provide custom options for trips that address a group’s specific needs.
Let Me Go Once the decisions of where to go and how to plan the trip have been decided, there is still one more critical step before you can offer a trip to your students – securing buy in from administration. While each district is unique, concerns from administrators typically include cost to students and the school, district liability, and student time out of the classroom. And while many schools have specific paperwork that needs to be filled out to secure approval, often the best course for addressing these concerns is to develop a proposal for travel that can be presented to the administration. This should include: ; Who is planning and taking responsibility for the trip?
;
; ; ;
;
;
How will liabilities be handled – is it the district’s responsibility, or will someone else cover liability? Destination, trip length and itinerary. Anticipated number of students participating. Where will chaperones be secured (will it be parents or other teachers) and how many will there be? Educational benets (or how the trip addresses specic curriculum requirements if appropriate). Cost (to students and the school) and how costs will be covered (e.g. fundraisers).
By providing these details to the district, they will be able to better understand all the elements of the trip and your commitment to it, making it easier and faster for them to provide approval.
Ain’t Got a Lot of Money Many great school music programs aren’t in particularly wealthy districts, and even with the full district’s support, typically students will need to cover much of the cost for their trip. But in today’s economy, it can be harder than ever to ask parents to cover the full cost of travel for their students. However, there are many opportunities for raising money, ranging from bake sales and soliciting donations from local business to selling products like candy, wrapping paper, or pizza. A good resource for information on a vari-
ety of fundraising options is www.brightsparktravel.com/fundraising. These activities will not only enable students to participate, but provide valuable lessons to students and build your program’s community even beyond what would organically happen on the trip. When students work to raise money to achieve a goal, they are able to understand the benefits of hard work and how working as a group can bring about a desired result, skills that will remain valuable well into adulthood. Students also gain a better understanding of the value of their money, and saving in order to get what they want. Jim Gibbons has been a music instructor for the last 19 years and is currently the director of bands at Oxford High School in Oxford, Mich. Jim has continued Oxford’s tradition of travel for the past 13 years, having taken his bands to the Mackinaw Islands, Mich., New York City, and Disney World in Orlando, Fla.
Dean McDowell is a tour consultant with Brightspark Travel (formerly New Horizons Tour and Travel) and has planned hundreds of cultural and performance tours, as well as more than 60 Bowl Game and Holiday Parade tours, during his 20-year tenure with the com-
pany. Dean left teaching in 1986 after 11 years at Fort Jennings Public Schools and Ada Public Schools, where his concert and marching bands consistently received superior ratings at the local and state level, to pursue a career in travel after traveling with his own students for many years.
Travel Tips If you are planning a student trip, here are a few tips we’ve picked up over the years to ensure your trip is a success: ; Look for a perfect blend of fun and education. Make sure you’re doing things that appeal to your students, but provide educational opportunities in disguise. For instance, some groups include a clinic about the music profession and basic music skills as part of their regular Disney trip. Because of the environment, the kids actually take away more information than they would in the classroom and don’t dread the lecture. ; Always keep the kids busy. While you don’t want to burn your students out, be careful not to give them too much free time, where they can get themselves into trouble. It’s key to find the perfect balance between planned activities and downtime. ; Make sure you have enough chaperones. This is important to having a successful, safe trip. It also gives parents’ peace of mind in knowing someone is checking up on their children.
“THE STANDARD IN EXCELLENCE�
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Choral Director, March 2011 13
UpClose
Travel Dreams Come True 14 Choral Director, March 2011
Santa Maria della Salute, Venice, Italy.
Trevi Fountain, Rome.
Jeff Nesseth in Tuscany.
by Eliahu Sussman
Jeff Nesseth, director of choirs at Central High School in Burlington, Illinois, loves to travel. Since taking over the CHS choral music program in 1996, he’s brought his vocal groups across Europe, with stops in Great Britain, Italy, Germany, and Eastern Europe, among other locations. Jeff was introduced to the excitement of traveling with a school music group when a local colleague and mentor invited him to come along on a performance tour of England, Scotland, and Ireland that she was planning for her own choirs.
Travel clearly has tremendous potential for fostering personal growth among participating students, and the possibility for some great life experiences for all involved. In addition, these adventures provide a fantastic boost to the choral program at CHS in terms of both notoriety in the school and community, and bonding within the choirs themselves. Of course, there are also plenty of incredible performing opportunities abroad, as well. Recognizing of all this, Nesseth has continued to make travel an integral part of his program’s focus, even through difficult economic and geopolitical environments. For the inside scoop on how Jeff turns his travel dreams into reality, CD recently caught up with the esteemed director, who was happy to share the details of the goings on in the CHS choral department. Choral Director: When did the adventure first begin for you at CHS? Jeff Nesseth: After college, I had a hard time getting a job right away. I spent my first year as a teacher’s aide, and then I ended up getting a call by chance – literally two days before the school year was going to start – from someone here at Central High School. The previous choral teacher had decided she wasn’t going to come back, so they brought me in for an interview, offered me a job that day, and I had 48 hours to prepare for the year. That was 15 years ago and I’ve been here ever since! CD: Tell me about the program that you walked into 15 years ago. JN: The previous teacher had just begun an honors ensemble called “Chorale,” but I wasn’t terribly happy with how that had been set up, so I had to basically start from scratch. I thought that I needed to make good on the promise that I had made to administration when they hired me, which was to rebuild the program, so I just started at the beginning. It turns out that the teacher I was replacing was exceptionally popular among some of the choral students, so it was a little rocky at first. There were maybe 100 students in two sections of chorus, as well as the honors group, which was a new curricular choir that had 13 students in it. The first thing I did when I came on board was to start an extracurricular girls group, which was in addition to the three groups that met during the day. They met at 7 a.m. twice a week, and it was by audition. We built that up and then four years later started a guys group, called Men of Note. The reasoning behind that was I had a group of hoodlums and I needed to know where they were – I started that group just to get them off of the streets. Now, it has blossomed into the “thing to be a part of.” There are about 60 members in the Women’s Chorale and 45 guys in the Men of Note. CD: And when did you first catch the travel bug? JN: My fourth year here. In some ways, it was almost a celebration of having made it through my first set of students. We did the traditional bus trip to New York City and we saw some shows and took in some sights. It was an opportunity to get the kids out of the Burlington bubble. There was no performing whatsoever; it was purely an end-of-the-year reward. The next year, one of my mentors invited me along on her school’s choir trip, which was to England, Ireland, and Scotland. She said to 16 Choral Director, March 2011
I
’m always looking for amazing performance experiences. me, “I know you’re about to turn 30, this will be a great experience for you, it might help to broaden your horizons, and it might be something that you’d like to do with your kids down the line.” I went on the trip and, immediately upon returning, started planning a trip of my own. The first trip we took was in 2002. My first parent meeting to discuss this trip was scheduled for September 12th, 2001. It felt like the world was coming to an end and, let me tell you, that was a tough sell. [laughs] I ended up taking 30 participants, 15 adults and 15 kids. I had this great European connection whom I had met on the trip I went on with the other high school. He was the one who set up the performing venues and hotel accommodations, just really solidifying the whole itinerary. We were over here sending him ideas, and he was on the other side of the Atlantic Ocean trying to make them happen for us. I’ve done a trip every two years since then. We’ve gone to Ireland, England, Scotland, Czech Republic, Austria, Germany, Switzerland, Italy a couple of times – it’s just been a great experience. CD: Typically, there are a number of hurdles that need to be cleared in order to make a trip of that magnitude happen, including planning, parental and administrative clearance, fundraising, and so on. Would you tell me a bit about your process? JN: We typically start planning 18 months ahead of time. We sit down with a trip advisor, who is someone whom I feed
my information to. He’s another teacher in the area – ironically, he’s a former student of the woman who first invited me to travel with her school group. He isn’t a professional travel consultant or anything, but he’s done a million and a half trips and organizing is his thing. As a side note, for travel to Europe, the costs are in Euros, and we’re bidding on a trip 18 months ahead of time without really knowing what the exchange rate is. So we’re praying that the Euro isn’t going to skyrocket and we won’t have to go back and ask people for more money. Anyway, 18 months ahead of time, we take out a big map, look at the places we’ve gone and think about where we want to go next, asking ourselves, “What’s the dream?” CD: What about your administration – how do keep them fully supportive of these adventures? JN: As long as I have everything covered and I walk them through it and make sure that everyone is clued in to all of the details, they have been great. I’ve had several trips where administrators came along – not necessarily because they needed to be the heavy, but because they wanted to go experience the world as well. I come up with a first draft of a prospective itinerary, and then call a parentstudent meeting. There, I tell them what I’m thinking and give them a rough estimate of the expected price. I tweak things throughout the summer, and then right in the first week of September, we meet again. At this point, we go over the adjustments that have been made, and people start to get excited. The next step is to start raising money. I do a minimum of three or four fundraisers.
Central High School Choirs at a glance Location: 44W625 Plato Road, Burlington, Ill. On the web: www.burlington.k12.il.us Students in school: 1200 Students in Vocal Music program: 200
Ensembles
Introduction to Choir: 50 Chorus: 120 Chorale: 45 Men of Note: 40 Women’s Chorale: 60 Vocal Velocity: 30
Recent CHS Choir Events:
Co-Curricular event with a local high school (Bartlett High School): Performance of Schubert’s “Mass in G” w/orchestra Performance at St. Mark’s Basilica in Venice, Italy Upcoming: Festival Disney, Orlando, Fla.
Next Program: Chorus “Cantate Domino” (Hassler/Arr. Norman Greyson, pub. Bourne Co./New York) “Three Madrigals” (Emma Lou Diemer, pub. Boosey & Hawkes) “Freedom Trilogy” (Paul Halley, pub. Pelagos) “Praise His Holy Name” (Keith Hampton, pub. earthsongs) Men of Note “The Bells” (Mary Lynn Lightfoot, pub. Heritage Music Press) “The Morning Trumpet” (arr. Michael Richardson, pub. Mark Foster Music Company) “Grace” (arr. Mark Hayes, pub. Beckenhorst Press, Inc.)
Women’s Chorale “A Praire Woman Sings” (Eugene Butler, pub. Carl Fischer) “La Lluvia” (Stephen Hatfield, pub. Boosey & Hawkes) “Snow by Morning” (Joshua Shank, pub. Santa Barbra Music Publishing, Inc.) Chorale “Kyrie (Mass in G)” (Franz Schubert, pub. G. Schirmer, Inc.) “In Remembrance” (Eleanor Daly, pub. Gordon V. Thompson Music) “Lamentations of Jeremiah” (Z. Randall Stroope, pub. Alliance Music Publications, Inc.) “I’m Gonna Sing ‘til the Spirit Moves in my Heart” (Moses Hogan, pub. Hal Leonard Corporation)
CHS choirs at the Colosseum, Rome.
CD: What types of fundraisers have you found to be most successful? JN: Entertainment books that sell for 20 or 25 bucks and include every coupon under the sun are pretty good. Now those books come with a card for even more discounts online. We also raise money at our holiday concerts. We do a poinsettia sale, and a whole portion of that, as well as other holiday greenery – wreathes and that sort of thing– goes to the travel account. We do the traditional candy sales, Choral Director, March 2011 17
too, as well as a walk-a-thon, where students will get pledges per lap or even an open pledge. That has proven to be very lucrative. If the kids really try, they can make a lot of money doing the walk-athon. Some kids have paid for over half their trip doing just that one fundraiser.
Vienna, Austria.
CD: That’s pretty impressive. When choosing a destination, what elements do you focus on? JN: I rely heavily on outside advice and recommendations. I articulate what I am looking for and then my advisors tell me about other adventures they’ve done that fit the bill, or that they think might work for what I’m looking for, as well as the parameters and limitations of some of the prospective venues (for example, if a certain cathedral will only allow performances of sacred music, and so on). I’m always looking for amazing performance experiences. “Oh my goodness, here’s a 13th-century cathedral we could sing in, how amazing!” Sometimes you find those by touring, where you just happen to stumble around a corner and find something that makes you say, “Everyone, stop! We need to sing right now!” You have to keep the kids in mind, too, of course. Something that I or some of the other adults might find enjoyable isn’t necessarily the same thing that the kids will find enjoyable. I’m also trying to educate the kids and give
beginning, I had a choir of only 15, so we did a lot of chamber stuff. We’ve now been invited to places, because we’ve gone out and met people and made connections. Before, we were trying to find performance venues – an open park, you name it. CD: Do you have any advice for someone who might be interested in exploring travel with a school music group? JN: I would say call upon your colleagues. Ask around if there’s anybody who has done a trip or worked with a particular company that they feel comfortable with. I personally planned my early trips by taking looking at a number of early itineraries that my
A
s much as we’re trying to soak in other cultures, we’re trying to share a little bit of ours, as well. them some kind of cultural experience along the way. Sometimes that comes in the form of an exchange concert or going to sing in a school. Sometimes you can get tied into a community event or a festival in a particular city, and those can be great opportunities, as well. CD: What’s the ratio that you go for in terms of cultural opportunities versus performance opportunities? JN: I would say it’s about fifty-fifty between cultural and performing. The nature of our trips have definitely changed over the years. At the very 18 Choral Director, March 2011
colleagues had done. I would let them know what interested me and ask them to walk me through the trip. I would ask about the highlights and what the kids really got out of it. Relying on the advice of colleagues would be my number one piece of advice. Start asking questions and going online and looking up information about places that you might dream of going. Start taking a look at what may or may not be practical for a school trip. Some places are more expensive than others to visit. It’s important to establish a budget early on – or at least think about what might or might not be possible.
Culturally, you should look at whether a trip is to a distant village in northern Germany, where maybe no one speaks English, and ask yourself, “Would everyone be comfortable with that?” And as you’re doing your research and preparation, you should also begin building excitement among your students about this adventure – because that’s what it is, an adventure. You have to sell it. Maybe parents have never done anything like that, as well, so there may be some fear tied into it. CD: That brings up another point: what’s your rule of thumb for chaperones? JN: I would say that the hierarchy of the whole event is that I am in charge. I’m in charge of the discipline and I’m in charge of the music making. There’s someone who I bring along on my trips, the guy who arranges a lot of the details from over here, and I delegate a lot of things to him. He comes along for free and basically serves as the tour coordinator. He’s the one who makes sure that we get where we need to be. With the parents – because for so many of them, this is also the trip of a lifetime – if I need them to help, I do enlist them. But I also understand how much they are also getting out of the trip, so I do leave them to do their own thing at times. As for the amount of chaperones, I do a screening process to determine who I want to come with us. CD: Have you had any incidents with chaperons being problematic? JN: No, but I have had many tough conversations. I usually take care of it
in the screening process. For example, if someone is the kind of person who is used to a strict routine where they wake up, go to work 9-5 and has to eat every night at 6pm, then going on the trip is not for them. If there’s someone who might be uncomfortable if, after several days of rain, we completely change the itinerary, they should also not be on the trip. CD: So it’s all about setting expectations beforehand? JN: Absolutely. A lot of chaperones get themselves worked up because we may have had the chaperone meeting, but not doled out all of the specific responsibilities – they think that they’re going on the trip to work. I know a lot of people have different philosophies about this, but my philosophy is that I am in charge of everything on the trip. It’s nice to have extra sets of eyes and ears, but I like to handle most things myself. CD: Is there anything that you’ve learned to avoid or things that might not have worked so well?
JN: The last couple of trips I’ve done, I’ve only programmed all a cappella music. I do that because you never know what the venue is going to have in terms of backing instruments, or what condition they’ll be in. Also, sometimes you’re just on the spot. I would say always have one or two pieces in your back pocket that your kids can sing anywhere. You could be at a dinner and the kids are all dressed up and there are other tour groups there as well, and everyone decides that singing right then and there would be a good idea. Repertoire is huge. Make sure you know what your destinations – and audiences – are. I do a fair balance of performing music that is native to wherever we’re going with, but it’s also really interesting to bring a Copland piece or an “Oh Shenandoah.” The audiences usually think that these pieces are the most interesting things in the world. As much as we’re trying to soak in other cultures, we’re trying to share a little bit of ours, as well.
One other point is that I don’t take freshman. It’s a maturity thing. By and large, they just aren’t ready yet. So I only take sophomores, juniors, and seniors. CD: What kind of impact have these trips had on your program? JN: The coolest thing is that it’s a great recruiter for keeping your program strong. It is a nice carrot to dangle. The students that come with us have to be in the top tier of the ensembles, the auditioned groups. They also have to be involved in the school. They’re part of the fabric of what makes our school run. When they come back from a trip, it often takes them a while to readjust because they’re perspective has usually changed. They’ve seen a bigger picture – dare I say a global picture? I see the students often become a bit kinder, and a bit more adventurous, and that feeds into the next school year. The stories that come out of those experiences get the whole group excited, even those who haven’t yet participated in one of the trips.
Your students won’t just experience the 18th century. They’ll be part of it. Music during the 18th century crossed all social lines and provided accompaniment for work as well as entertainment. Come and be part of our musical heritage. Choir or band groups of 15 or more are permitted at specific Colonial Williamsburg public locations. Year~round venues include Merchants Square and the Colonial Williamsburg Regional Visitor Center. Leave here with memories and stories of the past that last long into the future.
© 2o11 The Colonial Williamsburg Foundation
Ask about our special performer pass. Admission passes and reservations are required to secure performance venue. Call us at 1~800~400~2862, email groupsales@cwf.org, or visit colonialwilliamsburg.com/grouptours.
Be part of the story.
Choral Director, March 2011 19
CDSurvey: Travel
Top 5
Domestic Destinations: as selected by CD readers
1. New York City
Travel Destinations “S
o much to see, so little time to see it,” goes the age-old saying. And it’s true: it’s a big world out there, full of opportunity to learn and explore. For school choral groups, there is no single “right” or “wrong” place for an ensemble trip or performance tour. (Actually, there may be a wrong place or two, but there are many, many right places.) Both domestic and abroad, the potential performance venues, eye-popping experiences, cultural learning opportunities, and peer bonding possibilities are limited only by the imagination and planning prowess of those in charge.
To determine the top destinations for vocal music groups both near and far, Choral Director turned to its readership with this recent survey. The votes have been cast and counted, and the results are in. And – surprise, surprise – N.Y.C. is at the top of the list in the U.S., due surely to Broadway, the host of museums and other sites to be seen, and, of course world-class venues and performance opportunities. And beyond our borders, the birthplace of pasta and opera was voted “il numero uno” among the intrepid choral directors who have ventured beyond the oceans with their students. Read on for the rest of the top destinations at home and abroad, as selected by readers, as well as some comments from vocal music educators on how they choose the best locations for their choral groups’ adventures.
20 Choral Director, March 2011
2. Disney World (Orlando, Fla.) 3. Chicago, Ill. 4. Washington D.C. 5. Pennsylvania “New York City is a microcosm of the entire globe, and represents what I consider the cultural center of the world on many levels. It also gives my students a taste of what they have to look forward to as they continue in the arts.” Ken Ahlberg Hermantown High School Hermantown, Minn. “Disney World is a great trip for all. It is very affordable and the Disney people really work with your group in a very personable manner to make your trip easy. You really don’t even need a travel company!” Carrie Taylor Dover Jr/Sr High Schools Dover, Ark. “In Chicago, we often do an exchange concert with one of their many fine choral programs in their Public Schools. There’s also lots of great sight-seeing – don’t forget to include a visit to Medieval Times while in that area!” Marshall Butler, Jr. Jesse O. Sanderson High School Raleigh, N.C. “There are so many great sites and free things to do and see in Washington DC!” Lori Temanson Westfield Area High School Westfield, Wis. “Philadelphia is a compact city with arts, history, and so much more.” Fran Depalma Caldwell Public Schools Caldwell, N.J.
How far do you typically travel with your choral groups? In-state only
16%
Nearby states Across the country Internationally/Overseas
19%
27%
38%
Which piece of criteria is most important when selecting a destination? Proximity/cost
27% Cultural learning opportunities 22% Opportunity to hear/meet 8% other ensembles
41%
Quality performing venues
Opportunities to blow off steam & have fun
2%
Do you have any advice on narrowing down the plethora of potential destinations? “Pick what will work best for your group and your budget. If you have a small group, fundraising can be an issue. Try to find sources of funding outside your normal realm. Businesses are always looking to help out schools when needed.” Ken Kleager Jane Addams Middle School Bolingbrook, Ill. “Choose a place that you are comfortable taking a group to, and that you think your students will find exciting. Make sure you have something fun planned for them to act like teenagers.” Beth Massengale Luella High School Locust Grove, Ga. “I always stick to one country. I never country hop (like those London, Paris, Rome trips). I want my students to spend as much time as possible in the country, not on the bus/train/airplane. They respond best to places they have some connection with, a place they have learned about. Italy is always a favorite; the Roman Coliseum, Pompeii – they’ve studied these places since elementary school. Normandy Beach and a concentration camp – we have been to Dachau and to Terezin – have also made huge impacts on my students.” Elaine Shurley Marshall County High School Benton, Ky.
Top 5
International Destinations: as selected by CD readers
1. Italy 2. 3. 4. 5.
England Austria France Canada
“Italy is the birthplace of Western musical traditions.” Teresa I. Irwin Ironwood Ridge High School Tucson, Ariz. “In London, the language is easy, obviously, and the architecture, cathedrals, focus on music, and West End shows are fantastic.” Jena Dickey Young Voices of Colorado Littleton, Colo. “In Salzburg, music and Mozart are everywhere!” Carolyn Henson Central Davis Junior High Layton, Utah “France has strong choral traditions and wonderful concert venues. Also, it has many museums, historic buildings, parks, and cathedrals to visit.” Sallie Ferrebee Connecticut Children’s Chorus West Hartford, Conn. “There is a lot of culture and music in Canada.” Annice Benamy Elizabeth Public Schools Elizabeth, N.J.
Choral Director, March 2011 21
“So what is manageable for you. All of my trips have the same features (concert, clinic, competition, broadway show, shopping). The students care most about having time together, not the destination.” Dan Brill Shady Side Academy Pittsburgh, Pa.
Is there anything to be wary of when deciding where to take a school music group? “Most of my ‘wary and worry’ have come from the hotels. The hotel location/neighborhood – is it safe? Is the hotel clean, well staffed and secure for students? Are there other conventions or events booked when you’re there? What are they, and in what relation to your rooms? This is also where an experienced agent can help. They know what to ask and often have a track record with certain hotels.” Bryan Marks Cohasset High School Cohasset, Mass. “Student safety is always an issue, but some places people may think are threatening really are not at all once you go and see them for yourself. Looking at the types of experi-
ences students will have when not performing is very, very important, as well. Different places offer different opportunities and some offer many more than others!” Shawn Lawton Mona Shores High School Muskegon, Mich. “Be sure there are enough activities for the students when they are not rehearsing or singing. We pack our itinerary with walking tours, museum visits, fun activities – such as pizza-making, gelato tasting, discos, swimming, horse drawn carriages, and so on – to balance our tours between religious activities, musical activities, cultural activities, and recreational activities.” Brother Joshua DiMauro, OSF Saint Anthony’s High School South Huntington, N.Y.
Additional thoughts? “Be creative. There are so many great venues available if you will take the time to think about it. Singing on the rim of the Grand Canyon can be just as moving as singing in Carnegie Hall. A local chapel may have better acoustics for your group than the stage of a fancy theater miles away. And remember, it isn’t about the destination, it is about the preparation. You can excel at an outdoor amphitheater just as easily as you can crash and burn in a historic hall.” Joseph Allred Gunnison Valley High School Gunnison, Utah “Traveling with choral groups creates memories that last a lifetime and enriches the lives of every student and parent who participates. The adventure of traveling with your choir is priceless if you prepare, preplan, and preview!” P. Fulk Surry Central High School Dobson, N.C. “We are a small rural community school and travel only every four years. Music trips are often the only traveling our students may ever make – and best of all is the awakening of the student to the outside world and the spark that sets their eyes to a bigger picture and goal.” Ruth Novak Seymour High School Seymour, Mo.
Surve
y
If you are interested in participating in upcoming
Choral Director
music education surveys, please contact editor Eliahu Sussman at esussman@symphonypublishing.com
22 Choral Director, March 2011
CDRepertoire Forum:
General Concert Selections
Only the Best: A repertoire forum for the discriminating choral educator
New Releases
General Concert Selections II BY DREW COLLINS
T
his is the last of a series of columns featuring releases from 2009 and 2010. Previous articles in this series featured holiday, general concert, crosscultural, and American Heritage selections. Each
has included a variety of voicings and difficulties. This column returns to the general concert theme, with works useful throughout the year. My next series of columns will feature new releases for the 2010-2011 school year.
TREBLE (EASY) I Am a Cloud (Neil Ginsberg) — pub. Santa Barbara This was commissioned by a high school treble choir, but it’s perfect for elementary and junior high choirs as well. It is scored for SA non divisi with piano accompaniment. This setting of a Sara Teasdale poem features subtle text painting, a beautiful melody, soft syncopations, and open harmonies. Though hardly formulaic, it will appeal immediately to singer and listener. The ranges are compact, but there are
plenty of teaching tools such as syncopation, hemiola, super triplets, and off-beat entrances. The piece might be best described as mellow, but it is certainly not boring. The music and text fit one another wonderfully, and will have a transporting effect on the listener. Visit www.SBMP.com to see the score and hear a MIDI file.
Sarasponda (Dutch, arr. Perry & Perry) — pub. Heritage Sarasponda is a Dutch folk song about a spinning wheel; it is popular as a scouting song and campfire song. The rhythm
speech section will be fun for young singers, and they will love the syncopations in the melody as well. There are several arrangements available for either unison or two-part (one standard arrangement is by Boshkoff, pub. Santa Barbara). The Perrys’ arrangement is also for two-part chorus and piano and features independent harmonies ideal for developing singers. Full-length performance can be heard at www.Lorenz.com, where you can also view a score sample. Also strongly recommended: • “For the Beauty of the Earth” by Choral Director, March 2011 23
René Clausen for SA and piano (pub. Roger Dean).
TREBLE (MEDIUM) Music, Spread Thy Voice Around (Handel, arr. Mayo) — pub. Shawnee This is a chorus from Handel’s oratorio Solomon, originally for SSATB. It is available in a variety of editions and voicings, including several versions for SSA chorus. Becki Slagle Mayo has created this new SSA arrangement, and it works quite well. Regardless of the edition or arrangement, tempo is always a challenge with this piece: too fast and it sounds like a waltz; too slow and it loses its lilt. Handel’s original begins with a solo exposing the melody, and Mayo gives this option on the first page of her arrangement as well. See and hear samples at www.HalLeonard.com.
Musica Dei Donum Optimi (Dvorak, arr. Sieving) — pub. Santa Barbara
Originally for violin and piano, Bob Sieving has superimposed this standard Latin text on Dvorak’s original instrumental line, and added some vocal harmonies. It is scored for SSA with piano accompaniment. Visit www.SBMP.com to see the score and hear a full performance. Also strongly recommended: • “It Was a Lover and His Lass” by Thomas Morley, revoiced for SSA by Russell Robinson (pub. Carl Fischer). • “Weep You No More” originally by Roger Quilter, with new vocal harmonies by Robert Sieving (pub. Roger Dean)
TREBLE (CHALLENGING) In the Sweet By and By (arr. Daniel Hall) — pub. Walton This is an old nineteenth century hymn, recast in a fantasia-like arrangement for SSAA and piano. The original song is itself wonderful, and
in Hall’s arrangement becomes all the more transcendent. The sacred nature of the text is not so overtly religioso as to be objectionable even in the most secular of communities. The piano part is quite involved, and demands a large group of singers singing with full-bodied sound to be heard over it. Visit www.WaltonMusic.com to hear a full-length recording, and www.HalLeonard.com to view a score sample.
Lauda Jerusalem (Porpora, ed. Banner) — pub. Alliance Martin Banner has a wonderful touch with editions of masterworks, producing clean, practical editions. He often manages to unearth a new and worthy addition to the repertoire. Lauda Jerusalem certainly falls into this category. Nicola Porpora, an Italian Baroque composer is best known for his operas. However, like Vivaldi (but a few decades later), Porpora worked at an all-girl orphanage, and composed music for services and concerts performed by the residents. Vivaldi’s famous Gloria is believed to have been composed for an all-girl orchestra and chorus, and this work by Porpora likely was as well. The orchestration is available, but it may be performed with Banner’s piano reduction. Visit www.AllianceMusic.com for score and audio samples. Also strongly recommended: • “Dios Te Salve” by Ricky Ian Gordon from his opera The Grapes of Wrath (pub. Carl Fischer). It is scored for SSA.
MIXED (CHANGING VOICES) VIRGINIA INTERNATIONAL MUSIC FESTIVAL at the 2011 Norfolk NATO Festival | April 29 – May 1, 2011 Let Performing Arts Consultants help you orchestrate an unforgettable trip! Join us in Norfolk for a weekend filled with outstanding entertainment and performance opportunities for your students. Exciting events include the Virginia International Tattoo and the Parade of Nations along with Choral, Jazz and Instrumental groups performing at Chrysler Hall and much more. Call 1-800-USA-FEST or email mike@usafest.org and start planning today.
24 Choral Director, March 2011
Ritorni Al Nostro Cor (Pergolesi, arr. Liebergen) — pub. Alfred This is the final chorus from the opera Salustia. It has a joyful, celebratory feel. Originally scored for SATB, Liebergen has created this three-part mixed voicing. The triple meter has a pleasant lilt that should be neither rushed nor dragged. Form is ABA, which greatly eases the teaching and learning process. This is a good introduction to singing in Italian, however, a very nice singable English translation is also included. This publication holds a unique place in my column, as it rep-
resents the first time—to my knowledge—that an arranger has released a revoicing of the same piece of music. Liebergen released a 3-part mixed voicing of this same piece under the title “O Sing This Festive Day” (pub. Shawnee). There are several significant differences between the two, but it is nonetheless the same source composition revoiced by the same arranger…just eight years later. Both work well for changing voice choirs. Visit www.Alfred.com for a free score sample (partial) and beginning-to-end recording. Performance/accompaniment CD is available for purchase. Also strongly recommended: • “Exultate Jubilate” composed by Earlene Rentz (pub. Carl Fischer). • “Now My Heart,” a madrigal arranged for three-part mixed with optional baritone by Patrick Liebergen (pub. Carl Fischer). Text is in English. • “America” arranged by Ruth Elaine Schram (pub. BriLee) for threepart mixed optional baritone.
MIXED (MEDIUM) Little Lamb (Adolphus Hailstork) — pub. Theodore Presser Dr. Hailstork has done a fantastic setting of this poem by Paul Laurence Dunbar, one of three in Hailstork’s new cycle “Three Dunbar Hymns.” All three are unaccompanied, and all are terrific. This, the third movement, is scored for SATB unaccompanied (it doesn’t divide until the last chord). It would sound good performed by any size ensemble from chamber groups on up. Take care to pronounce the dialect correctly, and be precise with dynamics from the first rehearsal. Hear a full performance and view a complete score at www.CarlFischer.com.
all pages of the score and hear a beginning-to-end performance at www. Lorenz.com. The only other available published edition of this chorus is an import published by Carus-Verlag. Also strongly recommended: • “Where Your Bare Foot Walks” composed by David N. Childs on a text of Rumi (pub. Walton). • “Beatus Vir” by Claudio Monteverdi, arranged by Catherine Delanoy (pub. Carl Fischer). • “The Telephone” by Michael Larkin on a text of Robert Frost (pub. Hinshaw)
Also strongly recommended: • “Song to the Moon (La Luna)” by Z. Randall Stroope (pub. Walton). • “Cantate Domino” by Hans Leo Hassler and edited by David Giardiniere (pub. Walton). • “Tota Pulchra es Maria” by Ola Gjeilo (pub. Walton). • “The Stars Stand Up in the Air” by Eric William Barnum (pub. Walton).
MIXED (ADVANCED) I Would Live In Your Love (Nathan Jones) — pub. G. Schirmer This setting of the beautiful Sara Teasdale poem is scored for SSAATTBB chorus unaccompanied. The dynamics, harmony and texture all expand and contract in a compelling way. Absolutely not to be missed.
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.
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Wie der Hirsch schreit (Mendelssohn, ed. MacPherson) — pub. Roger Dean This is the opening chorus from a cantata by Mendelssohn. Originally for orchestra and organ, this edition has a piano reduction. The text is from Psalm 42; the original German is included with a singable English translation. See
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25
CDTechnology: Videoconferencing
The ALIVE Project and You
BY JOHN KUZMICH, JR.
W
hile giving a presentation in Stockholm for the Swedish chapter of the Percussive Arts Society’s Day of Percussion in 2004, Allan Molnar stated, “Back
in the 1980s, musicians began taking computers to gigs so they could replace live musicians with MIDI instruments. Now musicians can take computers to gigs and replace MIDI instruments with live musicians!”
26 Choral Director, March 2011
He recalls, “The virtual musicians I took to that gig were from Kansas State University. I played vibraphone onsite in Stockholm with the Kansas State University Latin Jazz Ensemble under the direction of Dr. Kurt Gartner. The gig was very traditional in every way except for the fact the KSU musicians were in Manhattan, Kansas. They joined me via videoconference in perfect real time.” This performance launched the Accessible Live Internet Video Education (ALIVE) Project, under the direction of Allan Molnar and Stewart Smith. This series of videoconference presentations used these trans-Atlantic performances as a vehicle to demonstrate the potential for working together on musical projects. Allan Molnar says, “Today, we are challenged to integrate technology into our teaching methodology without compromising the traditional music education paradigm. Just imagine: where would you go if you could take your students on a field trip anywhere in the world? If you could invite
Allan Molnar (in Winnipeg) performs onsite at the “Virtual Percussion Festival” with KoSA founder, Aldo Mazza (in Montreal).
anyone to teach a lesson to your class, whom would you ask? Imagine the ability to connect your students with students from other schools in distant cities and countries. One of the technologies the ALIVE Project uses to bring these ideas to fruition is the technology of computer-based distance learning!” For the past 15 years, I have been intrigued with the capabilities of video conferencing and its instructional benefits with guest lecturers – without the complications of travel, housing,
“This kind of interaction allowed us to access the talents and experience of someone who, due to cost and time factors, would normally be unreachable for our ensemble.” meals and timelines. Colleges have advocated for distance learning as a surefire delivery system for asynchronous lecturing. Today, interactive synchronous instruction over the Internet is readily available as Internet bandwidth has increased and cost is more attractive. Opportunities for videoconferencing have also become realistic because computer hardware, operating systems, and software applications are more powerful and practical. For example, since 2003, Skype,
a quality delivery software system for Internet videoconferencing, is free for both registered PC and Mac platform users, allowing two locations to interact via simultaneous, two-way video and audio transmissions. Family and friends obviously benefit from skyping, and music educators can, too. Consider the following venues for videoconferencing that the ALIVE Project has featured since 2004: • Choir rehearsals with guest conductors • Day-long events with multiple guest artists • Individual lectures on a variety of topics • Show choir rehearsals and clinics • Joint performances spanning continents • Lecture series culminating in live performances • Interviews with renowned vocalists • Live concerts to remote locations • Vocal master classes • Music technology classes • Private lessons • Section rehearsals • Supervision of student teachers • Combo rehearsals and workshops • “Virtual” music festivals
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In October of 2010, Dr. Fraser Linklater and the University of Manitoba Wind Ensemble spent about 75
Choral Director, March 2011 27
minutes via Internet communication with Allan McMurray from the University of Colorado. Dr. Linklater remembers, “I was quite excited about the outcome of this first distance ensemble workshop. I had previously spoken with Allan McMurrary about the repertoire to be rehearsed and given him a brief history of the group. Prior to this rehearsal, Stewart Smith Stewart Smith (in Winnipeg) joins Aldo Mazza and Allan was in contact with him Molnar in a presentation at the KoSA International regarding the audio and Percussion Workshop in Vermont (www.kosamusic.com). video aspects of the session. Consequently, the technology was seamlessly integrated into tors at all levels to consider the posthe workshop and it was as if Mr. Mcsibilities offered by distance learning Murray was in the room with us, lisof this type.” tening and commenting. Granted, he wasn’t conducting up at the front of the ensemble, but his perceptive comments told us that he could distinctly The component parts required for hear the sounds we were producing. a video conferencing system include: “This kind of interaction allowed • Video input: video camera or Web us to access the talents and expericam ence of someone who, due to cost • Video output: computer monitor, and time factors, would normally be television, or projector unreachable for our ensemble. It was • Audio input: microphones, CD/ also a challenge for me to conduct DVD player, cassette player, or any and make happen the suggestions preamp audio outlet source that Allan provided. The students • Audio output: loudspeakers associwere intrigued and focused. They ated with the display device or teleenjoyed the experience and everyone phone grew musically. We will be doing this • Data transfer: analog or digital teleagain in the second semester with H. phone network, LAN or Internet Robert Reynolds from the University of Southern California. I would defiThere are basically two kinds of nitely encourage ensemble conducvideoconferencing systems: dedicated, sophisticated and expensive systems often used by businesses, and portable desktop systems, which are perfect for educators. Allan and Stewart both use the Apple platform, but have also sucAllan Molnar (in NYC) cessfully made the Mac teaches a jazz to PC link. The ALIVE improvisation lesson to a student in Winnipeg. Project primarily utilizes the technological
General Video Conferencing Equipment Options
28 Choral Director, March 2011
resources that already exist in most schools.
Imagination and Video Conferencing At the 2011 Jazz Educators Network (JEN) National Conference in New Orleans, Stewart Smith, who teaches at St. John’s-Ravenscourt School in Winnipeg, Canada, Providence College, and the University of Manitoba, and Allan Molnar, who lives in New York, teaches at Lehman College, runs www.percussionstudio. com, and freelances with KoSA (www. kosamusic.com), presented a clinic on the ALIVE Project, “Jazz Education via Distance Learning.” Through the medium of Internet videoconferencing, they presented concepts and examples of live Internet links for musicians and students around the world. Over the past seven years, they have nurtured relationships between teaching artists and schools worldwide with classes in elementary schools, middle schools, high schools and universities using iChat, a free conferencing application for Mac users. Allan and Stewart demonstrated how they took their iChat-equipped laptops to their respective schools, plugged in, and began team teaching music classes. It’s really that simple, and to date they have been involved
Initially, they conducted sessions with traditional jazz improvisation lessons where Stewart Smith’s students in Winnipeg successfully traded fours in real time with Allan Molnar in New York. Additional instructional sessions have included brass, percussion, music listening and appreciation, general music and technology workshops.
Video Conferencing Equipment By introducing iChat and the iSight firewire Web conferencing camera, Apple opened the door to a new era of communication. While this technology is still evolving, we have reached a point where videoconferences are both effective and satisfying. The PC world is catching up. Here are six basic needs for large group videoconferencing: 1. Apple computer (G3 600 MHz or faster) Any Mac purchased within the last seven years will have the minimum capability to videoconference. 2. Web camera, either external or built into the computer. There are many bands with varying capabilities, so take the time to shop around. Apple’s original iSight camera has been out of production for several years although the can be found on eBay and similar sites. A regular DV video camera will work. 3. iChat account. While free, it can be bundled with a MobileMe account to include Web-based e-mail and web access to files for about $129 per year. 4. High speed Internet connection. 5. LCD projector (not essential but very useful in a classroom with a larger audience). 6. Sound amplifier (again, not essential but very useful in a larger setting). “We have always been interested in finding the confluence of digital technology and music education,” says Allan. “Music teachers are busy enough and the simplicity of what we have done with the technology in the ALIVE Project is, I think, a big part of its appeal. To paraphrase
HIGH SCHOOL CHORAL
AUDITIONS
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
with well over 100 training sessions throughout the U.S.A., Canada, Europe, Australia, and Asia. They created ALIVE because they found that previous videoconferencing initiatives that had been explored in some districts were cost-prohibitive to all but a few schools. However, this has changed dramatically as technology has continued to develop. The vast majority of the schools now involved in the ALIVE Project have never invested in dedicated video conferencing equipment. By and large, the technology costs are nonexistent because schools can employ existing infrastructure. Most schools have high-speed Internet access and personal computers with cameras, and the iChat and Skype software is free. The cost for professional artists will be a budget consideration. This expense will vary based on the demands of the artist and any technical support that might be needed. Many schools have some kind of clinician fee structure in place. Yet, because transportation, accommodations, meals, and so on are no longer an issue, bringing in a guest artist will be more affordable than ever –with no geographic limitations. Allan Molnar reminded us at the JEN Conference, “The value of networking cannot be measured and the concept of connecting classrooms by way of video conferencing is exciting. Teachers sharing ideas, techniques and resources, as well as students meeting students in other schools, cities and countries, make the possibilities limitless. ALIVE encourages students and teachers to develop the networking skills needed for success in today’s highly competitive world. Every teacher and many students can afford to use this technology at home! Music provides an excellent model for the implementation of this idea because in addition to the rich educational value of the subject area, music is a social, interactive and a hands-on discipline. We are building on this music-based model by establishing connections with teachers from other disciplines. The possibilities are limitless.”
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Choral Director, March 2011 29
Jamey Aebersold, ‘Anybody can videoconference.’”
Videoconferencing Highlights The ALIVE Project has produced over 100 videoconferencing sessions since 2004. For an overview of the 15 different venues, go to www.kuzmich. com/TheALIVEProject.pdf In addition, you will find suggestions for how to structure your own successful videoconferences in these three categories: Preparation, Technology and Delivery. The Big Apple… online was a virtual jazz festival involving the University of Manitoba Faculty of Music in cooperation with the ALIVE Project. Interactive, online clinic sessions were presented live involving leading professional musicians from N.Y.C. and around the world. Neal Berntsen, trumpet player with the Pittsburgh Symphony Orchestra and Chairman of the Brass Department at Carnegie-Mellon University, was very impressed with his videoconference
experience with Stewart Smith’s music class. He remarks, “I found the entire event to be fascinating. Under Stewart’s direction, both the class and the technology went very smoothly. I am very impressed that a school is on the cutting edge of such an endeavor. Clearly, these online master classes are the wave of the future and I was honored to be initiated to the process in such a seamless manner. Students will benefit greatly from the myriad of ideas that they will be exposed to in future classes.” Allan (amolnar@percussionstudio. com) and Stewart (mstewartsmith1@ mac.com) can be contacted directly for more information. More details and insight about Allan and Stewart and their videoconferencing can also be found at www.kuzmich.com.
Closing Comments Just think of the possibilities for vocal ensembles. How about having a composer create an original composition for your singers and videoconference in to
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explain the composition, as well as observe and comment on rehearsals? This was recently done in Manitoba in 2010 with director Darrell Chrisp. Headmaster Dr. Stephen Johnson says, “The online learning sessions that have occurred at St. John’s-Ravenscourt School have been a tremendous asset to our music program. Being in direct contact with musicians in some of the finest music schools in world is a unique experience for our students, and firstrate professional development for our faculty. These enrichment opportunities have been second to none in the province, and all for a very affordable cost. I would strongly encourage all schools to explore what the ALIVE Project has been doing for the last seven years” Videoconferencing technology electrifies how teachers teach and how students can learn and share their music. Classrooms, no longer limited by walls, are opening up a world of possibilities, which is fitting for the universal language of music. Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technologist with more than 41 years of public school teaching experience. He is a TI:ME-certified
18 undergraduate majors including vocal performance with optional music theatre emphasis, and vocal music education Nationally and internationally renowned Chapel Choir, established in 1929, with recent tours to South Africa, China, Hong Kong, Japan, Austria, Germany, Czech Republic and throughout the United States Master of music in music education, Kodály track and Choral track, attainable in three summer sessions For information about Capital’s undergraduate programs, contact Heather Massey at 866-544-6175 (toll-free) or hmassey@capital.edu. For information about the MMME Kodály program, contact Suzanna Mayo at 614-236-6199 or smayo@capital.edu. 30 Choral Director, March 2011
Choir recordings available at http://capital.bncollege.com
training instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America. For more information, visit www.kuzmich.com.
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Acesonic’s Multimedia Player
Acesonic has released the BluRay Multimedia Karaoke Player, the Acesonic BDK-2000. Acesonic’s BDK-2000 Blu-Ray Multimedia Karaoke Player is a multi-functional, high-definition, networked, multimedia player. It can play all media from discs, USB drives, local network or Internet in HD quality up to 1080P. The Acesonic Blu-Ray Multimedia Karaoke Player includes an HDMI port and it is compatible with the latest audio, video, picture
and karaoke formats including MP3, WAV, WMA, MPEG-1, MPEG-2 (AVI/ VOB), MPEG-4 (AVI), DivX, MKV, RMVB, JPEG, and MP3+G files. The built-in Blu-Ray multi-format player supports all types of discs such as Blu-Ray discs, DVDs, VCDs, CD+Gs, CDs, and data discs. A built-in Ethernet port enables streaming content online via BD-Live or local network media files on a network PC or network storage. A builtin USB port allows for the user to play music, view pictures or videos stored on a USB drive. The BDK-2000 includes the most commonly used buttons on the front panel for easy navigation. An optional rack-mount kit enables users to lock their player in any standard 19” rack. The Player also features a headphone output jack, two microphone inputs and a built-in digital audio recording function. The player also includes adjustment for microphone bass, microphone treble, microphone volume, microphone echo, and a music equalizer to fine tune performance.
drum, and saxophone players is now available. The packaging for these full color books is hardcover with internal wire binding and each comes with a CD. Some of the titles include: Learn to Play Guitar; Guitar Chord Bible; Learn to Play Keyboards; and How to Record Your Own Music and Get On the Internet.
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NewProducts lightweight gas injected molded polypropylene cabinets, and a 1200wRMS powered subwoofer, constructed in Baltic birch plywood. The three powered two-way models, the ProMaxX 14a, ProMaxX12a, ProMaxX 10a, all feature 600wRMS Class D LF amps and 300wRMS HF Class D amps with switch mode power supplies. The amps circuitry is enclosed in an aluminum chassis, whichacts as a heat sink to eliminate thermal shutdowns and the use of a fan to cool the amplifiers circuitry. Instead of rotary EQ controls, a new control panel features a DSP with eight factory EQ presets to provide easy EQ adjustment for a variety of applications. The control panels also feature balanced XLR in / signal thru out, a high pass filter switch, ground lift switch, volume control, power on, and protect and peak LED indicators. All ProMaxX speakers feature neodymium magnet woofers with die cast aluminum frames and neodymium magnet HF Drivers with titanium diaphragms, custom made for FBT by B&C Speakers. The ProMaxx14a, features a new 14” woofer, to deliver a similar LF frequency response of 15”, in a smaller, yet more efficient package.
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Yamaha Arius Digital Piano
Yamaha’s 88-note graded hammer action Arius YDP-161B digital piano features AWM Dynamic Sampled piano voices and comes in a new black walnut
Resources for Choirs and Soloists
porary dining/console table measuring 25”x 63”, but the front portion of the unit folds down to reveal a full 88-key piano in a slide-out panel. There are also ten other models in sizes up to a full nine feet concert grand including a limited edition six feet designer grand. All Sculpturra models are designed in-house by Tom Van Rijn, who was trained in design and architecture in his native Holland.
www.sculpturra.com finish. Providing true piano touch and tone, the YDP-161B is suitable for beginners and experienced pianists alike. The half-damper effect gives players expressive control over sustained sounds when pedaling for a more realistic acoustic piano experience. The two-track song recorder is ideal for using built-in recordings of standard piano repertoire during practice. Another feature is the ability to mute either hand of the 50 preset songs, letting players practice each hand independently at their own tempo until they’re ready to put the two parts together. Dual headphone jacks allow two people to sit at the instrument and play, practice or teach in privacy without making a sound out of the speaker system.
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Sculpturra Digital Designer Styled Piano Line
Sculpturra’s lead model, the X2, has the outward appearance of a contem-
Assistance for Individuals and choirs Internet 'ownloads and C'¶s /icence to cop\ included A growing numEer of choral worNs SuEMect to terms puElished on the site
Since 2001 choral music directors world wide have chosen Note Perfect to help thousands of singers to con¿dentl\ learn their individual parts.
www.note-perfect.com 32 Choral Director, March 2011
Casio Privia PX-330
Casio’s Privia PX-330 digital piano features all new grand piano samples and a new Tri-Sensor 88-note scaled hammer action keyboard and weighs only 26 pounds. Four dynamic layers of stereo piano samples are integrated
with Casio’s proprietary Linear Morphing System, for a grand piano sound with seamless transitions and a dynamic range. For added realism, the PX330 simulates the sound of the open strings when the dampers are raised by the pedal using Acoustic Resonance DSP. The PX-330 also has 128-note polyphony, enough horsepower for the most demanding musical passages and the ability to layer sounds and use the damper pedal without worry of dropped notes. Utilizing the PX330’s 250 on-board sounds and 180 rhythms, up to 16 tracks can be recorded. Accepting SD memory, songs can be saved and loaded to standard MIDI files from the Internet. The PX330 features a built-in metronome and a pitch bend wheel.
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New Choral Works from Carl Fischer
Carl Fischer has made available a new crop of choral works from BriLee Music for middle school and developing choral ensembles. Once again, BriLee has employed the talent of composers such as Vicki Tucker Courtney, Sandra Howard, Greg Gilpin, Ear-
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lene Rentz, Patrick M. Liebergen, and more. This new collection contains a wide assortment of folk songs, spirituals and arrangements of masterworks, focusing mainly on unison/two-part chorals, for developing and middle school groups. BriLee also offers selections for treble chorus, male chorus, or mixed ensemble. In particular, directors seeking chorals for the changing male voice will be especially pleased. Finally, BriLee continues to provide free Part-by-Part tracks for individual chorals in the 2011 collection: partdominant MP3s for each voice part, as well as accompaniment and performance recordings – all available for free at www.carlfischer.com. Carl Fischer Music is also now distributing Balquhidder Music’s Complete Canzonets for Two Voices by Thomas Morley, edited by Mark Dulin. This volume contains the complete works from Thomas Morley’s First Book of Canzonets for Two Voices (BQ119 - Performance Score - $11.95), and has already been praised as “masterfully adapted” for two trumpets by Chris Martin, Principal Trumpet of the Chicago Symphony Orchestra. All of the music in this collection would originally have been sung, played on instruments or a combination of the two. As the original works do not indicate dynamics, tempo markings or articulation, Dulin elected to exclude them here as well.
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Stone Soup: An Operatic Fable in One Delicious Act from Theodore Presser Company
Theodore Presser Company has announced the publication of Daniel Dorff ’s widely-performed Stone Soup: An Operatic Fable in One Delicious Act (411-41126 - Piano/Vocal Score - $19.95), with libretto by Frank McQuilkin. Written for SATB solo voices and piano or orchestral accompani-
ment with optional SATB chorus, this light-hearted storytelling work was commissioned by the Young Audiences organization. Stone Soup has received well over a thousand school performances in its original piano version, as well as many full productions with orchestra.
Using catchy tunes, humor, and a story about food, the message that “it takes all kinds of people to make up a happy town” is heard as a clear parallel to “it takes all kinds of food to make stone soup.”
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IK Multimedia’s VocaLive App
IK Multimedia has announced that VocaLive™, the first professional performing and recording vocal processor app for the iPhone, iPod touch and iPad, is now available for download from the iTunes App Store.
VocaLive provides vocalists with a suite of 12 real-time professional vocal effects along with a capable recorder for studio quality sound in a portable package. When used with the new iRig Mic, VocaLive gives singers an easy-touse but extremely powerful music creation tool that provides professional results previously achievable only with expensive hardware or complex computer software. VocaLive includes 5 Vocal Effects – Pitch Fix (for tuning correction or stylized quantization FX), Choir (a 3part harmonizer), Morph (an X-Y pitch and formant shifter that changes the tonal quality of the voice from subtle deepening to radical gender bending), De-Esser and Double (Double effect gets unlocked by registering) – along with 7 Studio Effects – Reverb, Delay, Parametric EQ, Compressor, Chorus, Phazer and Envelope Filter – that together create the perfect vocal processing solution. The effects can be combined into a chain of three processors and saved as presets. A collection of dozens of Presets is also included to get users up and running immediately.
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Sing Staccato “To clean up pitch accuracy and intonation, I have the students sing staccato, nothing sustained. The results are immediate and obvious: either they are in tune, or they’re not – no ‘sliding to the right note.’ As we ‘repair the music,’ they begin to support the tone better and use their facial features to fine tune. Also, the effect of singing a legato passage totally staccato is a little silly, which actually helps them focus better on what they’re doing and have fun in the process! One selection my 8th graders sang this year had an extensive ‘ooh’ section. When sung staccato, a student remarked, ‘It sounds like an owl convention!’ We all laughed and they begged to sing it that way at least once each rehearsal. This process has caused my students to be much more successful singing a cappella!” Paula Helle Churchill Junior High School Galesburg, Ill. Submit your PLAYING TIP online at www.sbomagazine.com or e-mail your Vocal Tip by an e-mail to editor it toSubmit editor Eliahu Sussman at sending esussman@symphonypublishing.com. Eliahuentries Sussman Winning will at: be esussman@symphonypublishing.com. published in School Band and Orchestra Magazine and contributor receive prize gift compliments Win a special prize fromwill EPN Travel,aInc. Winning Playing Tipsof EPNwill Travel Services, Inc. Director magazine. be published in Choral
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1-800-964-5150 Rick Kessel - Publisher - x14 - rkessel@symphonypublishing.com Sidney Davis - Group Publisher - x13 sdavis@symphonypublishing.com Maureen Johan - Classified - x36 mjohan@symphonypublishing.com Iris Fox - Advertising Sales - 954-973-3555 ifox@symphonypublishing.com
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P R I N T • D I G I TA L • E - M A R K E T I N G 36
Choral Director, March 2011
Save The Date! In the immortal words of one of jazz’ most notable innovators, LOUIS Satchmo Armstrong…
To Jazz or not to Jazz… There is no question! Call it what you want, but by chance, through karma, serendipity, destiny, fate, providence, or luck…we are proud to announce the Third Annual JEN Conference in yet another city with LOUIS in the title... LOUISville, Kentucky… We think Three’s a CHARM! Come experience all Louisville has to offer, as we will be collectively…
JAZZ EDUCATION NETWORK
Developing Tomorrow’s Jazz Audiences Today! Louisville, Kentucky January 4-7, 2012
The Jazz Education Network
is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. For complete membership information/benefits please visit us at: www.JazzEdNet.org