SEPTEMBER 2010 $5.00
Ryan Beeken
Finds his
Muse and Inspiration in Music
Report: Grant Writing Survey: State of the Choral Nation
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Contents
September 2010
Features
18
7
GUEST EDITORIAL: THE OTHER SIDE OF ‘GLEE’ CD reader and educator L. Lucerne Mottaz weighs in on some of the potential negatives of the “Glee” phenomenon.
9
SURVEY: STATE OF THE CHORAL NATION Vocal music educators from across the country provide insight into the well being of their programs, along with some key survival tips.
12
UPCLOSE: RYAN BEEKEN In this recent CD interview, Ryan Beeken, choral director at Waukee (Iowa) High School, discusses using choir to create life-transforming opportunities for his students.
18
REPORT: GRANT WRITING Choral Director delves into the grant writing process with Moriah Harris-Rodger, executive director of the Fender Music Foundation.
22
TECHNOLOGY: MUSIC APPS FOR SMART PHONES John Kuzmich presents some of his favorite classroom tools now available on smart phones.
25
REPERTOIRE FORUM: GENERAL CONCERT SELECTIONS In this second installment of reviews for music composed in 2009 and 2010, Drew Collins turns his attention to general concert selections.
25 Columns 4 5 29 30 31 32
Opening Notes Headlines New Products Vocal Tip Classifieds Ad Index
Cover Photo by Katy Batdorff Photography, Grand Rapids, Mich. Choral Director® is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781)453-9310, publisher of School Band and Orchestra, Musical Merchandise Review, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: $20 one year; $30 two years. Rates outside U.S.A. available upon request. Singles issues $5 each. Resource Guide $15 Standard Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to Choral Director, 21 Highland Circle, Suite 1, Needham MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher.Copyright © 2010 by Symphony Publishing, LLC, all rights reserved. Printed in USA.
2 Choral Director, September 2010
12
Opening Notes
SuBo and Sanctuaries
Y
ou probably already know who SuBo is. In case you don’t, that nickname refers to Susan Boyle, the 49-year-old Scottish singer who lived in relative obscurity until last year, when she auditioned for and won the opportunity to perform live on the British reality TV show, “Britain’s Got Talent.” Initially mocked for her “plain” appearance and lofty aspirations, Boyle proceeded to flabbergast the audience with a dazzling rendition of “I Dream a Dream,” from the musical Les Miserables. That performance has gone on to become one of the all-time most-watched videos on YouTube, amassing more than 50 million hits. Her debut album, despite being released in late November of last year, sold 8.3 million copies in just five weeks and was, according to Billboard, the top selling CD of 2009. It’s not like Susan Boyle simply got lucky, though. Boyle has taken voice lessons and been a regular in her church “One of the most choir since she was a girl. She knew she could sing and she was astounding ready to seize that moment, once it arrived. In fact, the only reason she didn’t become famous sooner was that, as she said elements is the on that fateful TV appearance, she had never been allowed courage with the opportunity. There are a number of obvious lessons that one could take which Boyle… from the Susan Boyle story. For example, one could say that risked ridicule people shouldn’t be written off because of their appearance or and defeat.” that it’s never too late to achieve one’s dreams. But one of the most astounding elements is the courage with which Boyle, who bears little resemblance to most of today’s emerging singing stars in terms of either appearance or age, risked ridicule and defeat, daring to stand out on that stage and perform as she knew she could. Where does such confidence come from? In the interview for the cover story of this issue, Ryan Beeken, choral director at Waukee High School in Waukee, Iowa, describes the music room at the high school he attended growing up as a “sanctuary.” It was a place where he was welcome, where he could make friends, where he felt comfortable. Now that Beeken is running his own successful choral program, he, in turn, has made a point of creating a similar environment for his students. Perhaps instilling that sense of belonging and pride, that idea of being a part of a musical family, will imbue his students with a confidence that will allow them to stand up to life’s challenges, whatever those might be…
®
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4 Choral Director, September 2010
HeadLines “Too Hot To Handel” to Bring NYC Kids to Carnegie Hall
T
his fall, Carnegie Hall’s Weill Music Institute (WMI) teams up with conductor Marin Alsop and the Baltimore Symphony Orchestra to bring a choral creative learning project to hundreds of New York City high school students. As choir students from six New York City high schools – located in Manhattan, Brooklyn, Queens and the Bronx – head back to school this fall, they will begin the final rehearsal process for WMI’s “Too Hot to Handel: The Gospel Messiah Project,” becoming active participants in the creative process and preparing for the once in a lifetime opportunity to perform at Carnegie Hall with the Baltimore Symphony Orchestra and Marin Alsop on November 14. A related songwriting workshop for select students involved in the project culminates with a performance of their own student-written compositions and excerpts from the larger piece in Zankel Hall. The centerpiece of this project, a musical work conceived by Ms. Alsop, is “Too Hot to Handel: The Gospel Messiah,” based on Handel’s famous work. During performances of the Messiah, the “Hallelujah Chorus” is known for getting people on their feet, and this sense of excitement prompted Ms. Alsop to suggest giving the Messiah a new twist. “Too Hot to Handel: The Gospel Messiah,” co-arranged and orchestrated by Ms. Alsop’s colleagues Bob Christianson and Gary Anderson, takes Handel’s “Messiah,” and infuses it with jazz, gospel, rock, and R&B. During the performance, audiences will be provided sheet music from the “Hallelujah Chorus” and encouraged to sing along with the student choir. In addition to the large-scale choral project for hundreds of students, select students involved in the project have also been given the opportunity to participate in a more intimate songwriting workshop inspired by “The Gospel Messiah.” Working with professional composers, students from three of these New York City high schools have been asked to explore the possibilities inherent in re-inventing or remixing a masterwork. Since the spring, these students have become composers themselves, re-inventing masterpieces of their own choosing. These students will perform the world premieres of these original works and all six choirs will perform excerpts from “Too Hot to Handel: The Gospel Messiah” in Zankel Hall on November 21. For more information, visit www.carnegiehall.org.
President Obama Honors the Global Choir Community
T
he World Choir Games (WCG) were held in Shaoxing, China, July 15 - 26 2010, and 472 choirs and jurors from 83 nations – comprising a total of well over 20,000 active participants – took part in the world’s biggest choir competition, which is organized every two years by Interkultur in cooperation with partners. During the twelve days of song and music, more than 220,000 visitors flocked to the competitions, concerts, and events marking the city of Shaoxing’s jubilee celebrations. In a message to the choral singers of the world, President Obama also stressed music’s potential “to transcend languages, cultures and borders.” The message was read out to thousands of participants at the World Choir Games’ closing ceremony. The message went onto say that the power of art and music “brings us together and helps us to reflect on who we are, where we come from, and what lies ahead.” Obama stressed that musicians from all over the world had gathered together “to exchange ideas and styles and share in the artistic vibrancy born from diverse experiences and tradition.” In the Champions Competition at the WCG, 66 gold, 117 silver and 28 bronze medals were awarded. The choirs in the Champions Competition included two ensembles from the U.S. -- Men in Blaque and the Voices of Unity from Indiana. Cincinnati, Ohio will be the host city of the next World Choir Games in 2012. To find out more, visit www.interkultur.com.
Opera America’s Grant Programs
O
pera America, the national service organization for opera, has announced grant programs to be administered through June 2011. The Robert L.B. Tobin Director-Designer Showcase is a bi-annual program offered as part of OPERA America’s continuing effort to foster emerging opera artists. Emerging director-designer teams submit a production proposal for a work selected from a list of North American operas. Four teams chosen as finalists will receive a stipend to create more complete renderings and models for the concept and will receive a trip to Opera Conference 2011 in Boston, Mass. to present their
Choral Director, September 2010 5
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production proposal to a group of opera company general, artistic and production directors. The program connects promising directors and designers with those who are in a position to promote their careers. Members of all four finalist teams from the first Director-Designer Showcase in 2009 have been offered career-advancing opportunities with opera companies across the U.S. as a result of their showcase participation. The application deadline is October 1, 2010. New Works Exploration Grants provide support to representatives of Opera America professional company members who wish to travel to another city to attend a performance or workshop of a new opera and meet with the creative artists and administrators who are responsible for the work’s creation. The goals of the program are to broaden awareness of new North American opera and music-theater works across the field and create relationships among opera companies interested in pursuing the creation and production of new works. Grants cover the cost of transportation and lodging. Application deadline: These applications will be accepted on a rolling basis until June 1, 2011. For further information, including guidelines and application procedures, visit www.operaamerica.org.
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usic for All, Inc. has announced that Eric L. Martin has been named the organization’s president and CEO. Previous president and CEO Scott McCormick has resigned his position with the organization. The executive leadership of the organization will be Mr. Martin and Nancy H. Carlson, vice president and chief financial officer. For more information, visit www.musicforall.org.
2011 NAMM President’s Innovation Award
T
he NAMM Foundation has announced that Sept. 30, 2010 is the final deadline for college students to apply for a 2011 NAMM President’s Innovation Award. The award supports college students interested in and planning for careers in the music products industry to attend professional development activities at the NAMM Show Jan. 13-16, 2011 in Anaheim, Calif. Interested parties must submit their application online by 5 p.m. Pacific Standard Time on September 30. The NAMM President’s Innovation Award is provided to undergraduate and graduate students. The cash award supports qualified college students to attend NAMM’s annual global music products trade show. Awards help with travel needs and expenses to attend the show. For more detailed information about the programs that the NAMM Foundation’s initiatives support and to access funding guidelines, visit www.nammfoundation.org.
CDGuest Editorial: Show Choir
The Other Side of BY
L. LUCERNE MOTTAZ
glee I
finally have a choir class at the middle school that feeds my high school; this is the first time I have had a feeder pro-
gram. On the first day of class last year at the middle school, the kids asked me if I watch “Glee.” I told them I didn’t, because I am not usually home in time to watch it – and, in reality, I have enough of teenage drama in my classes; why watch any more? So the kids proposed that we make it a class project to watch “Glee” and talk about it every other Friday, during tutorial. I thought to myself, “Sure, why not. It will be a great way to connect with the kids and a fun way to get to know them.” Choral Director, September 2010 7
I returned home later that night in time to watch that week’s episode. Imagine me sitting on the couch with my glass of cabernet thinking, “This will be fun.” And there on the screen is the cheerleader telling her boyfriend that she is pregnant and that it happened in the hot tub when he... well,
Did I love it? Yes… and I hated it. The more trophies that were won the more the parents wanted... and watch out when the choir had an “off ” performance. I realized that I was yelling at kids who sang flat or wrong notes, or missed steps, or wrong facial expressions; I didn’t like who I was becom-
“The students had no idea that they would be handing their lives over to this one event, which they had to do if they wanted to be competitive.” you know... and she tells him because the water is hot “they” swim faster... gulp... I thought to myself, “Oh God, I am soooo fired!!!” I immediately went to the computer and sent an e-mail home to the parents explaining that I had agreed that this should be a class project before I watched it. I received many e-mail replies from parents, some upset and some from those who saw the humor in the situation.
M
y first teaching job was at Mt. Eden High School. I started a show choir there which is still in existence. But at the end of the fourth year I realized that the program had become a monster. It was too expensive, involved too much time, and the competition to be in the class had divided not just students but entire families. If I wasn’t rehearsing or teaching the other five classes, I was designing and sewing costumes or making props or cutting music or dealing with melt downs – there is a never-ending list.
Fund Raising
ing, There was no time to fix those problems and no money to hire more staff. There were not enough hours in the day to get it all done and I was starting a family. It was too much. When I took the job at California High School I had to ask myself what the real role of music in society was and how I wanted to extend that understanding to the high school music students. Music is an exact science and an inexact science. It is what math and science sound like, it is the voice of the cultures of the world, it is to be shared and examined and loved and hated, but I could not find a spot for the competitive element to fit. To me, that element only spoke to the hubris, the ego, the need to brag about the self... not the need to share the experience. It quantified what should never be defined. Should there be a rubric in the education of vocal musicians? Yes. Should there be one sound or one person who is deemed better that the others? Possibly, but only at that moment in time. That’s why I got out of the competitive field
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and tried to become an educator of humans who were about to find their way to an adult life. Why should you love music? Love where you have been. Look with eager anticipation to where you are going and find the beauty and share the experiences along the way. It’s cheesy I know, but true. Every single kid will always remember that moment shared. Having both participated and taught in them, I know that being in a high powered performing ensemble is exciting and rewarding. But it can also be dangerous and exhausting if it is done for the wrong reasons, for example, if the goal is always the prize or trophy. That is where “Glee” comes in for me. The kids at Cal wanted to start a show choir. So we had a meeting where, using charts and graphs, I outlined the exact costs: $3,000 per student to participate, which covered materials, choreographers, custodial. The cost of the costumes and trips was additional. But the kicker was the time commitment: the students had no idea that they would be handing their lives over to this one event, which they had to do if they wanted to be competitive. I am glad that we do a pops concert. The students do the musical theater thing, which, here, is really a watered down version of show choir. I am glad that there are teachers who can dedicate the time and energy to having show choirs. I do not oppose them; I just choose not to “go there” anymore.
With more than 20 years of teaching experience, Lucerne Mottaz is currently the director of Choral Music/AP Music Theory at California High School and the choral director at the Pine Valley Middle School, both in San Ramon, California. She is also music director at the Trinity Lutheran Church in Pleasanton, California, past-president of the Bay Section of the California Music Educators Association (CMEA), and the CMEA’s past state secretary. Ms. Mottaz places great value in a sense of humor, which she deploys when necessary.
CDSurvey: State of the Choral Nation
State of the Choral Nation:
Assessment and Survival Tips
I
n spite of some of the obvious benefits of a life in vocal music education – such as the sense of fulfillment after a day spent sharing the joys and complexities of music with eager students – the going isn’t always easy for school choral directors. With that in mind,
it can be invaluable, on occasion, to step back and reflect on the general well being of those in the choral profession, ruminate on the challenges within the occupation, ponder an assessment of one’s own program and areas that might warrant improvement, and, of course, brainstorm tips for making it through the day, the week, the month, and the year.
9 Choral Director, September 2010
Choral Director, September 2010 9
This recent reader survey does just that, providing both an opportunity for the Choral Director readership to air frustrations and to share the methods by which they – you – cope with those same challenges.
How long have you been teaching vocal music? 0-5 Years
3% 6-10 Years
13%
10+ Years
84%
“Thankfully I am still employed as a music teacher. However, due to budget cuts, I am now part of a rotation that covers four subjects, one quarter-period at a time. With only nine weeks to teach, I’m creating my own curriculum and unsure about the practicality of a final concert in each quarter. Also, I no longer have an auditioned Advanced Choir as part of my class schedule. The good news is that I am optimistic that things will turn around, and while they’re currently turned upside-down, I can still make a difference in some students’ lives.” Joanne Hong Newark Junior High School Newark, Calif. “I have moved this year to the elementary school in our district. After years of the middle school music program being cut back, I had no more kids to draw on for leadership at the high school. I feel great about the move... I feel that I am teaching instead of just holding a choir program together against all odds.” Kirk Jackson Pevely Elementary School Pevely, Mo.
How would you grade your school’s choral program?
“Teaching music, and especially choir, is one of the most rewarding jobs available! Remember the old adage that if you love your job you’ll never work a day in your life. I love my job. I get paid to sing and bring the joy of making music into the lives of young people. I get to see the change that comes into their life as they find a sense of belonging in choir that they can find nowhere else!” Joseph Allred Gunnison Valley High School Gunnison, Utah
38%
A
45%
B
13%
C D F
3% 1%
What are the most pressing concerns for vocal music teachers in your area? Do you plan to continue in your current field indefinitely? No Undecided
11%
8%
Yes
84%
10 Choral Director, September 2010
“Our elementary teachers have switched from music only to being fine arts teachers. In most cases, the vocal teacher is being pushed out for the teacher that can teach it all. One of the four middle schools has a choral program in the school schedule, while another meets after school, and yet another has been ‘off and on,’ with choir becoming an after-school program one year, to a class during the day, to no choir in a three-year span. Vocal music is just not considered a priority in our district anymore.” Brett R. Burton Maddisonville-North Hopkins High School Madisonville, Ky. “Reform efforts are causing administration to scramble for success on the test, which keeps whittling away at the entire music program. Our Middle School is at bare threads stage of existence. Instrumental has been hit harder in the long run, but they also have the benefit of being ‘needed’ by the athletic program. Many area music teachers, here and at surrounding schools, have been margin-
alized in their area and placed in reading and tutoring aid positions for much of the day, or asked to teach ‘extra’ classes outside their area of certification.” Joyce King Indian Lake Local Schools Lewistown, Ohio “Even though there are two music teachers to teach general music to 850+ students, our school doesn’t support the chorus financially. The teachers aren’t paid for their time for any rehearsals or performances, which are all after school, money for music has to come out of our allotment for general music, and we pay for any extra accompanists out of our own pockets.” Cathy ter Weele Emerald Hill Elementary Culpeper, Va.
What are the areas in which you would most like to see improvement?
33%
Numbers/enrollment Level of performance Support from administration or the community
14%
Enthusiasm/fun Other
29% 23%
11%
“I would like to see our level of performance continue to increase. I also would like to get the kids out in the community more to perform.” Trisha Scheidies Carmel Middle School Carmel, Ind. “I would like to see more of my students become more independent as vocal musicians by becoming better sight readers and sight singers.” Betsy Bergeron Greens Farms Academy Greens Farms, Conn. “I graduated 40 seniors last year so my numbers are down a bit. I would like to see a few more kids
coming into choir as freshmen, but they are worried about getting their required classes in their schedule.” Gail Bowers Maria Carrillo High School Santa Rosa, Calif.
What is the best survival tip or tactic that you’ve learned since becoming an educator? “I have come to understand that I am helping students discover their humanity through the lens of music. When I am able to remember that in the fray of the day, how I teach, how I relate, how I discipline, and how I see my classes in relation to my colleagues – it all falls into place.” Pat Badger The Prairie School Racine, Wis. “Keep learning... I take as many classes from as many different teachers as possible. We are so fortunate to be teaching what we love. We need to celebrate that! We need to be our own best advocates and our own best support system.” Edward Reisert Fox Lane High School Bedford, N.Y. “You can never be too prepared. Garner a file of 10-minute ‘punts’ that will work in any teaching situation: if the risers have been removed for another event, if a student gets sick in rehearsal, if your original planned piece, warm-up, whatever falls flat, and so on.” Dale Lower Springside School Philadelphia, Pa. “Do not be afraid. This statement can be taken many ways and is meant to be that way. Do not be afraid to make split second decisions. Many things will be put onto your plate daily, and deci-
sions for dealing with these things can make or break your program. Also, do not be afraid of experimenting with the vocal capabilities of your choir. Change warmups frequently and also vary the styles of songs that you perform. Never rehearse one piece for the length of a rehearsal. This leads to stagnation in the choral sound and also leads to classroom management issues due to boredom.” Gregory Cross Polk County High School Benton, Tenn. “My best survival tactic is simple: respect. Respect your students. Expect them to treat you and other students with respect. Set the expectation that everyone respect the equipment and the environment around us. This one concept affects our rehearsals, our classroom management, and our relationships with students, parents, and the community.” Sue Green Graham-Kapowsin High School Graham, Wash. “Be willing to change. The face of music education is changing and we must be willing to change with it. Be willing to offer nontraditional classes if necessary (for example, music technology, mariachi, steel drums, and so on) to bring more students into the music department.” Joyce Bertilson North Canyon High School Phoenix, Ariz. “Remember that teaching is a calling. Show the students how much you enjoy it, and don’t dwell on the negative aspects. Work with what you have with enthusiasm. Be passionate in your teaching!” Cathy Spence Alexandria High School Alexandria, Ala.
Choral Director, September 2010 11
“Ultimately, every special, meaningful, or pivotal moment in my musical life involved an inspirational teacher.�
12 Choral Director, September 2010
Ryan Beeken
Muse & Inspiration Finds His
in Music
By Denyce Neilson For some, finding one’s niche in life can be a life-long quest. For others, finding a passion that inspires one to be ambitious, determined, and humble all at the same time can be almost instantaneous, as if predetermined. The latter applies to Ryan Beeken, choral director at Waukee High School, in Waukee, Iowa. When Beeken was a teenager, his family moved from a small rural town in Iowa to Dubuque, Iowa, which, at the time, seemed to him like an overwhelming metropolis. However, Ryan found a home in the school choir. As he explains, “On the first day, the choir director told us that if we have any free periods or study halls, we were welcome in the choir room. I did spend my free time in the choir room, and that was the beginning of my life in choir. The music room was my sanctuary.” That was the beginning, and as Choral Director found out in this recent interview, for Beeken, there is no end in sight. Choral Director: What inspired you to become a choral director? Ryan Beeken: When I was a middle school student, Mrs. Donna Reet, a
vocal music teacher in Spencer, Iowa, was an inspiration to me. The vocal music room was a place where I could excel, be accepted, and leave every day yearning for more. It was that middle Photo by Dennis Carlson.
school experience, complete with Mrs. Reet standing in her stocking feet, on top of her desk, conducting that inspired me to pursue music and specifically choral music education. She was
animated and motivational. She made it really fun to be there. CD: When did you begin teaching? RB: I began teaching in 1994 in a small rural school in Cascade, Iowa. I taught vocal music for grades five through 12. CD: What were some of the pivotal experiences for you as a music student? RB: As I’ve mentioned, certainly Mrs. Reet. Another would be my high school music experience. When I was a freshman, my family moved from Spencer, Iowa – a very small community in the northwest corner of the state – to Dubuque, Iowa where I attended a large school of approximately 1,750 students. The change was a bit unnerving and overwhelming for me. My schedule was such that I had choir and then a free period after choir. On the first day, the choir director made an announcement and told us that if we have any free periods or study halls, we were welcome in the choir room. I did spend my free time in the choir room, and that was the beginning of my life in choir. The music room was my sanctuary. It was a way to meet people and develop a circle of
Photo by Dennis Carlson.
14 Choral Director, September 2010
friends, and it all revolved around the music room. For me, a nervous little 14 year old, it was a good way to ease the transition into a new school. Secondly, my experiences as a Music major at Drake University were extremely pivotal. I learned how to use my voice and teach others. Conducting and music theory were entirely new worlds for me, and I loved exploring them. Ultimately, every special, meaningful, or pivotal moment in my musical life involved an inspirational teacher.
CD: Often times, student choirs and bands are practicing, performing, and traveling together – spending a lot of time together. Does this create a sort of familial dynamic within the group? RB: This past March, we had one of the choirs perform at an ACDA convention. The kids videotaped the event and put it on a DVD for the end of the year slide show. On the video all of the kids were being interviewed, and it was striking how many of them talked about their choir family.
CD: Do you see some of your own students finding refuge and their primary social connections in choir?
CD: You said that every pivotal moment in your musical life involved an inspirational teacher. How do you try to give that gift to your students and inspire them?
RB: Most definitely, it’s kind of a unique thing. Most of their social interactions are within the music department. There are also a lot of kids I see who would normally not be friends with each other. The choir is made up of a diverse group of students, but there is something about the choir that allows these students to come together and have a positive relationship, that they otherwise may not have had. I think this is something that is unique to choir and music in general.
RB: I try to first demonstrate a passion for what I’m doing. I think that passion and commitment is contagious. I can’t expect students to get excited about singing music that some Italian guy wrote 400 years ago if I’m not excited about it. I also think that it’s important to invest in students on a personal level, to try and develop a personal relationship with them, find ways to relate to them. For example, if you know Tommy is a soccer player and you’re trying to get him to be a better singer, you somehow incorpo-
Photo by Dennis Carlson.
Waukee High School Choirs at a Glance Location: 555 Southeast University Avenue, Waukee, Iowa On the Web: www.waukeevmb.org Choral Directors: Ryan Beeken, Amy Hall, and Matt Huth
rate soccer into the singing. Kids not only want to have fun, but they really want to be a part of something that’s good, and they want to feel successful doing it. You have to have a standard of excellence and high expectations. I always say to the kids, ‘If after a performance I say, Wow that was so awesome, could not have possibly been better. Then you need to ask for a smarter teacher.’ We always have to ask ourselves: are we better today than we were yesterday? My students have seen that in me. I’m returning to school because you have to be diligent and constantly improving. CD: So you went back to school? RB: For the past three summers, I have been taking classes at Michigan State, and I’m taking a one year leave of absence to finish my doctorate this year. CD: Are you eager to get started? What will this change be like for you? RB: It’s a little surreal. I’m excited
and stressed out all at once. To go from teacher to student is a bit strange, but it’s a good thing. CD: Will you resume your teaching position at Waukee when you finish? RB: Yes
Choral Ensembles: Four mixed ensembles, three vocal jazz ensembles, treble and bass ensembles, and two show choirs. Students in Vocal Music Program: 300
it will feel like I’m walking into a new job. I’ve worked there for the past 12 years and know the families and the community very well – on that level, people will know what to expect, and I will know what to expect. At the same time, there may be things that I’ll want to do differently. The way I operate on a daily basis may change. After being away at school my perspective may change. It may be like starting all over again. Once you go away, the relationships that you had with people you saw everyday, are going to be different and need to be rebuilt when you return.
Students in the School: 1,200
“The vocal music room was a place I could excel, be accepted, and leave every day yearning for more.”
CD: What was it like to tell your students that you were leaving? RB: It was difficult. I had known for a long time that this was happen-
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CD: What do you think that will be like, after being away? RB: On some level it will be like a homecoming, and on another level
www.rcgown.com • P.O. Box 8988-CDR Jacksonville, FL 32211 Choral Director, September 2010 15
ing. In December, I told the kids and the parents, which allowed for some processing time. At the end of the year, it was very hard. The kids, my colleagues, and the parents did a lot of wonderful things – it was very emotional and very difficult to go. I had
over 300 singers, in four different mixed ensembles, plus treble and bass clef ensembles. On an extra-curricular level, the program now has three vocal jazz ensembles and two show choirs. Each year we do a Broadway musical and a Madrigal Dinner production. When I arrived
“I can’t expect students to get excited about singing music that some Italian guy wrote 400 years ago if I’m not excited about it.” to kind of spin it: yes, I’m gone for a year, and yes, it’s an investment in myself, but ultimately it’s an investment in the school and the music program.
in 1998, the vocal program consisted of two curricular concert choirs, one extracurricular jazz choir and approximately 100 students in the program.
CD: What is the current program like at your school as opposed to before you arrived?
CD: Can you talk a little bit about the accomplishments of your ensembles?
RB: The current vocal music program at Waukee High School serves grades nine through 12 and consists of
RB: The select concert choir, A Cappella, has earned consecutive Division I ratings at large group contest for
over 20 years. In addition, they have performed with the King Singers, Cantus, and international opera star Simon Estes. They performed for the 2005 National Convention for the American Choral Director’s Association and for the 2006 and 2010 Divisional ACDA conventions. They also performed at the 2008 state convention. The show and jazz choirs frequently place at the top of their divisions, earning many solo and caption awards. Also, the department has consistently had among the most students of any school in the state selected to participate in the Iowa All-State Music Festival. CD: What kind of impact do you think you have had on your program? RB: I believe I have provided the leadership necessary to grow the department, but more importantly to let my students and colleagues shine and excel, sometimes by merely staying out of the way of their success, rather than trying to micromanage it.
Your students won’t just experience the 18th century. They’ll be part of it. Students always leave here with memories and stories about the past that last long into the future. Join us for unforgettable, interactive experiences that are both fun and educational, including guided tours, special programs, and hands~on activities. Fife and drum groups perform daily, along with demonstrations of 18th~century instruments.Visits can be tailored to any group’s needs, including lodging, dining, 18th~century tavern meals, and entertainment.
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Be part of the story.
16 Choral Director, September 2010
CD: When you have new students, how do you assess them and their abilities? Is that something you do right away or is it something that takes time? RB: First I try to get a sense of what their experience has been. How involved have they been in music? What are their motivations? I don’t ask these questions directly; I just try and figure it out. The first step is getting a rapport going with a student and hooking them up with other kids to help them establish a network of friends. Ultimately, we have a lesson program, and I spend some one on one time with students getting to know them, working with them, hearing them sing, giving them feedback, and figuring out what ensembles would be most appropriate for them. I try to give them encouragement too. CD: Do you set expectations for your students at the beginning of the school year? RB: Yes. We do this in a variety of ways. We have a handbook and all of those things that we go over. The first day of school though, we just sing rather than talk about how they shouldn’t be late, no gum chewing, et cetera. Our a cappella choir has a retreat every year before school starts. We usually have about 50 students who go on the retreat. We all get to know each other and talk about what we are planning for the year. CD: Do you have any moments or events that have moved you or inspired you as an educator? RB: Witnessing my students realize their potential and achieve it, all while being humble and having a great time! Our college choir traveled to Europe in 1992, shortly after the fall of communism, and sang in a small monastery in what was then Czechoslovakia. That was a time I will never forget, and one that solidified my choice and furthered my desire to be a choral conductor. The experience in that monastery, so cold we could see our breath, yet overflowing with people, none of whom could speak English, was incredibly moving. At the conclusion of the concert, a small elderly lady interrupted the choir’s departure and pandemonium ensued. The audience leaped to their
feet and attempted to communicate and interact with the singers. After a time, things settled down and small, yet limited breakthroughs in communication began. It was time for us to leave, however. We loaded the bus and began pulling away. Suddenly the bus came to a halt, the doors opened and that same, small elderly lady entered the bus. She tried to speak, but couldn’t find the English words to express her thoughts. She closed her teary eyes, took a deep breath and sang “God Bless America.” There wasn’t a dry eye on the bus. From that moment on, I could not wait to have my own choir someday and hopefully have an opportunity to impact someone so profoundly through our music. CD: I know it’s a bit of a cliché, but that story really speaks to the universal language of music. What do you think it is about music that can evoke so many emotions, on such a united level, unlike anything else? Can it be put into words? RB: [laughs] If I could put that into words, I would be someone really special. But, you’re right – it is one of those cliché things. That story is almost one of those musician, tear jerky tales. It is very difficult to convey an experience like that. I’ve tried to talk to kids about this. Some of the kids get it because they have experienced a moment like that, but a lot of them haven’t lived long enough yet to get that opportunity. One of the things that is so awesome about teaching is when you get to witness someone having that special experience that only comes from music. It’s really magical.
Choral Director, September 2010 17
CDReport: Grant Writing
It’s Easier Than You Think
F
or those who have never done it, the idea of applying for and writing a grant can be daunting and intimidating – all of that paperwork, writing, and valuable time spent. How does one convince an organization that their
Executive director of the Fender Music Foundation, Moriah Harris-Rodger, is an expert on the grant-writing process. Looking over various grant opportunities and applications, the most common thread
program is a worthy investment of time and money? Should the grant writer take a cerebral approach to the process or should they poignantly display their passion for the program in need? What about the applicant pool – with so many music programs currently in jeopardy, how does a program get noticed and awarded among so many others? To answer these questions and to get an idea of what organizations look for when allocating grants, CD did some research and called upon a grant-giving professional for some insider tips.
18 Choral Director, September 2010
Moriah Harris-Rodger
found in all of them is proof of sustainability. “Proof of sustainability is a huge part of a grant application,” says Harris-Rodger. “A lot people try to start music programs, and, unfortunately, it is a huge undertaking
that is often miscalculated. It’s hard to keep a music program going for very long without a lot of planning and preparation. We want to award a grant to a program that is able to exist for at least for the life of the instruments we’re giving.” This is important because often times the person applying for the grant is not associated with a school district. As Moriah explains, “So many school music programs are struggling right now and that means that a lot of parents are paying for the supplies. If they can’t make it work, the schools lose their music programs. When this happens, the community may step in, and someone will start a music program if the school does not have one. These people need help with funding, and we have been seeing this situation more and more in our grant applications.” The Fender Music Foundation grants fall into three different categories: school music classrooms, afterschool music programs (usually community-based), and music therapy. If you’ve decided that you want to apply for a grant. The next step finding that granting agency that best matches your program and needs. The easiest and most inexpensive (free) way to find the right grant opportunities is by searching the Internet. The best places to search are the federal government, state governments, foundations, or a business, as these are the top granting entities. Grant writing seminars may be helpful, but the cost may be prohibitive. These seminars cost, on average, anywhere from $400 to $700 for a two to three-day workshop. Grant writing seminars are held all over the country and are hosted by various enterprises, including the federal government. If you have found the grant that you are looking for, now is the time to take the opportunity to learn from others’ oversights and gaffes in the grant writing process. According to Harris-Rodger, one of the most common mistakes is when the applicant makes assumptions about what the Fender Foundation wants to hear. For ex-
Additional Resources & Guidelines Music Matters Grant Program
The Muzak Heart & Soul Foundation’s Music Matters Grants are open to schools and music programs throughout the United States. Grant amounts range from $1,000 to $12,000 and are made on an annual one-time basis. Music education – vocal or instrumental – must be the key component of any music program requesting funds. Public school programs (qualifying for Title I federal funding and serving a minimum of 70 percent low-income students) or non-profit programs directly funding music education (serving students regardless of their ability to pay) should apply. Schools and programs must already employ a music educator and have an existing music program in place. Grant requests must articulate specific music program needs – for existing and/or planned programs. www.heart.muzak.com
National Endowment for the Arts’ Learning in the Arts for Children and Youth
The NEA’s Learning in the Arts for Children and Youth grant does not make awards directly to individual elementary or secondary schools -- charter, private, or public. However, schools may participate as partners in projects for which another eligible organization applies. Local education agencies (school districts) and state and regional education agencies are eligible. If a single school also is the local education agency, as is the case with some charter schools, the school may apply with documentation that supports its status as the local education agency. The NEA offers the following guidelines, divided into two areas: School-Based School-based projects are for children and youth between kindergarten and grade 12, are directly connected to the school curriculum and instructional program, and ensure the application of national or state arts education standards. Such activities may take place in or outside of the school building at any time of the day. This includes after-school and summer enrichment programs that are formally connected to school curricula. Projects also may address professional development for teachers, teaching artists, and school administrators. Community-Based Community-based projects are for children and youth generally between ages five and 18. This area supports important activities and training in the arts that occur outside of the school system. Activities must occur outside of the regular school day, and may take place in a variety of settings. These activities may be offered by arts organizations or by other community-based, non-arts organizations or agencies in partnership with artists and arts groups. While not formally linked to schools or their instructional programs, projects must be based on a curriculum that ensures the application of national or state arts education standards. Projects may include professional development for teachers, artists, and program providers. www.arts.gov
Coming Up Taller
The Federal government’s Coming Up Taller Awards recognize and support outstanding community arts and humanities programs that celebrate the creativity of young people, provide them learning opportunities, and chances to contribute to their communities. These awards focus national attention on exemplary programs currently fostering the creative and intellectual development of America’s children and youth through education and practical experience in the arts and the humanities. Accompanied by a cash award, the Coming Up Taller Awards also contributes support to a project’s continued work. Award recipients receive $10,000 each, an individualized plaque, and an invitation to attend the annual Coming Up Taller Leadership Enhancement Conference. Coming Up Taller is an initiative with the Institute of Museum and Library Services, National Endowment for the Arts, and the National Endowment for the Humanities. The Coming Up Taller Award operates as a program for children and youth in pre-school, afterschool, weekend and/or summer programs, however, may have a school-based component or use school space. www.pcah.gov
Choral Director, September 2010 19
ample, because they are connected to Fender, applicants may think that they should say how much they love Fender, or what a great advertising opportunity this is for Fender. “That’s not what we’re about,” Moriah explains. “We are not a corporation – we are a non-profit. We are about more people making music. We care how these programs are being structured. How are they getting their funding? Do those funding sources look sustainable? So, if an applicant is going to make any assumptions about the organization they are applying to, at least base it on organization’s mission statement.” The time-honored advice often given to writers to “know you topic and your audience,” certainly applies to grant writing, too. As silly as it may sound, you not only have to know your topic, but you have to be in love with it. “From the perspective of the grant maker,” Moriah conitues, “we want to be inspired. If you don’t care about what you’re writing about, don’t use language that conveys how important this is to you, and we can’t see your passion, it is less likely that we will hand over a grant. That’s why applications are stronger when they’re filled out by the person doing the program – the music director or the teacher. The ones that are filled out by people who write grants professionally are often not as strong. There’s a degree of separation.” For those of you who are not professional grant writers, this is great news! Lastly, gather support. The grant writing process can go much more smoothly with the help and support from peers. Networking and reaching out to educators who have been awarded grants is a great way to get advice and support. Social networking sites can be a great way to reach out to other educators. As HarrisRodger says, “It’s important to learn from each other and not look at other music educators as competitors. In the end, we all want more people making music, and we all have to work together to get there.”
20 Choral Director, September 2010
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CDTechnology: Smart Phones & Music
Using Smart Phones for Music Education BY JOHN KUZMICH, JR.
H
ave you ever had a teaching
moment
where you were lucky enough to
have just the right tool to create magic? With the increasing array of musical apps for smart phones, that tool just might be already sitting in your pocket.
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 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.
22 Choral Director, September 2010
Smart phone technology is making magic with a plethora of music applications or “apps.” Reva Paget, a private studio violin instructor in Wisconsin, regularly uses the multi-track recording, strobe tuner, and metronome applications on her iPhone. She loves having a tuner right at her fingertips. Peterson Electronics, a leader in the tuner industry, is making an iPhone version of its popular StroboSoft tuning program. iStroboSoft uses the classic Peterson strobe display to provide 1/10th cent accuracy. The glowing sharp and flat indicators simplify tuning when it is difficult to determine which direction the strobe is moving, making it easy for musicians who don’t normally like strobe tuners. It also includes a noise filter, which reduces the effect of extraneous environmental noise; this is helpful when using an external mic or a clip-on tuning device. A metronome is a “must have” teaching tool and it is especially handy if you can carry it around on your smart phone. Frozen Ape Tempo is an excellent smart phone metronome. The simple, single-screen interface makes it perfect for drummers to use live. It features 17 different time signatures and is adjustable from 20 to 220 BPM. The tap tempo allows you to tap along with the music to capture the tempo. Smart phone technology is popular among professional musicians like guitar legend, Al Di Meola, who uses his iPhone to create music compositions. He says, “I never dreamed that an amazing user friendly system for recording sound on sound could ever exist on a phone. Four Track (multi-track recording app) represents a major leap forward for the traveling musician-composer! I did most of
my writing on this app this past year! I love it!”
Smart Phone – What is it? Technology innovations seem to be coming at us at a dizzying pace. Our students can’t get enough of the latest and greatest technology, and there is a reason everyone is clamoring for the highly portable, all-in-one devices. When you think of a cell phone do you think of making phone calls or texting? Are you aware of the instructional offerings the latest cell phones provide? A smart phone is a mobile phone that offers advanced capabilities, often with PC-like functionality (PC-mobile handset convergence). There is no industry standard definition of a smart phone. For some, a smart phone is a phone that runs a complete operating system with software providing a standardized interface and platform for application developers. For others, a smart phone is simply a phone with features considered advanced at the time of its release – for example, in the early 2000s this included e-mail and Internet, but these are now common on non-smart phones, too. Other definitions might include features such as e-book reader capabilities, WiFi, and/ or a built-in full keyboard or external USB keyboard and VGA connectors. Today, a smart phone is generally considered to be a miniature computer that has phone capability, and with many applications (“apps”) to enhance your teaching. A smart phone can include as standard features Internet access, text messaging, e-mail access, integrated digital camera, high quality audio recording and playback, location finder, and more.
Choosing a Smart Phone After choosing a phone carrier, you’ll need to consider what type of smart phone you want. Here are some things to consider: • User Interface The most important thing about a smart phone is its user interface, or the software utilized to interact with the device. The intuitiveness of menus will
often determine whether a given phone is worth owning. • Specs Processor and memory. Most smart phone buyers don’t pay attention to what kind of processor a given device has, but a good CPU can mean the difference between a silky smooth experience and a frustratingly slow one. • Display The right size, resolution, and touch features. If you prefer a smart phone optimized for messaging, test drive one that places the keyboard directly beneath the screen. Screen resolution matters just as much as size. Multitouch touchscreens allow you to use pinching gestures for zooming in on maps, photos, and Web pages.
•
•
•
•
• Keyboard This should allow for fast and accurate typing. Entering text on a device should be easy; choosing a smart phone with a good keyboard is paramount. • Web Browsing Get the best surfing experience. All smart phones can handle full HTML Web browsing, but the most pleasing models load pages quickly and make it easy to pan around and zoom in on Web pages. • Apps Quantity and quality. Thanks to the iPhone, applications have become increasingly important to shoppers. These programs let you do a lot more with your device whether it’s streaming Internet radio, posting Facebook or Twitter updates, reading eBooks or playing high quality games. The iPhone market currently has over 140,000 apps while the Android market has more than 20,000, making it a distant but respectable second in this category. • Contacts and Calendar Sync with your USB or the Cloud? Is it easy to transfer with your PC/Mac contacts and calendar entries. An-
•
droid phones sync with the cloud; all you have to do is enter an e-mail address and password for various accounts to start loading your device with information. E-Mail and Messaging The best smart phones help you keep multiple accounts up to date while offering robust attachment support. Music and Video When it comes to multimedia, there’s the iPhone, and then there’s everything else. Between Apple’s iTunes store and iPod integration, the iPhone OS is the best choice for those looking to load their smart phones up with contents, especially when it comes to wireless music and video purchases. Camera and Camcorder Smart phones can take pictures and record video. Look beyond megapixels. What’s more important is the image quality, speed of the device, and how easy it is to share images and clips. GPS While GPS technology is common, a smart phone can leverage your address book and give you a bigger screen to emulate a standalone navigation device. Pay attention to how loud and clear the voice is through the smart phone’s speaker and how intuitive the menus are to use. Battery Life How long is long enough? Because voice calls are just a tiny fraction of what today’s smart phones can do, the rated talk time for any given device is virtually meaningless. What’s more important is how long you can use the phone for checking e-mail, searching the Web, or performing other data-intensive chores. I recommend that the usage
time be one entire workday with moderate to heavy usage. Smart phones are becoming indispensable for today’s savvy music educator who needs to accomplish more in less time. Today’s leader in smart phone technology is Apple’s iPhone with its inChoral Director, September 2010 23
tuitive touch interface and sleek design. Apple’s App Store has created a microeconomy that is a $1 billion-per-year business. iPhone is clearly winning the app development battle, boasting more available programs than for Android, Blackberry, Palm, webOS and Windows Mobile smart phones all combined. Why are iPhones so popular with developers? There are only three iPhone models while the popular Android phones have many, making it difficult for developers to program apps for so many incompatible phones. The iPhone is also popular for it is audio quality. Androids currently cannot synchronize recording and playback as required by multi-track recording. This is critical for the current trend of music expression, and something music educators must be aware of. A good Web site to check out for a video demonstrations of how smart phones can be used for education is to do a Web search for “Best Ways to Produce Music on an iPhone.” Also, don’t underestimate the capability of smart phones for digital audio recordings. While internal microphones aren’t necessarily meant for recording music, microphone-engineered recording apps and tools on smart phones are continually improving.
The Smart Phone’s Cousin You can run iPhone apps on an iPod Touch and have the convenience of having extra iPod storage for music songs and samples while also keeping your current cell phone and provider. All of the apps that run on an iPhone can also run on an iPad. The only drawback to getting an iPad in it’s first generation is that it lacks the capability to run programs that use Flash, such as Smart Music. Smart phone technology is connecting music teachers to their students as never before. There are virtually no limits to the creativity; fun, and imagination this technology affords. Music apps are generally very affordable and in many cases free! Need more proof of the potential of smart phone technology for music educators? Download the Quicktime video at music4education.com/iphone.mov. 24 Choral Director, September 2010
Dr. Kuzmich’s Favorite Music Apps Reference and Music Making • Smule’s Ocarina ($.99 at iTunes, ocarina.smule.com) has been ranked in the Apple’s All-Time Top Apps and simulates playing a real ocarina. By blowing into the microphone and touching your fingers to the fingering markings on the screen, the sound is remarkably authentic. There are many videos on YouTube using the Ocarina in creative ways, including a few great renditions of Led Zepplin’s Stairway to Heaven. • Pocket Shaker (free and $.99 versions at iTunes, (itunes.apple.com/) simulates 25 different percussive instruments. • Rainstick (free at iTunes, frontierdesign.com/RainStick) acts just like its namesake, making a cascading pebble sound as the user tilts the phone upside down sensitive to the speed of the user. • iPiper ($.99 at iTunes, speonline.com/ipiper) emulates the bagpipes, complete with sample songs and the history of the instrument. As a musician in a Celtic band, the iPiper was crowd-pleaser for a rousing version of “Scotland the Brave.” • Cleartune ($3.99 at iTunes, bitcount.com/cleartune/index.html) features a traditional “note wheel” interface as well as a fine-tuning meter. In addition to standard tuning, it can also be customized for different temperaments, transposing instruments, and used as a pitch pipe. • iTick (free at iTunes,) has a simple and sleek design. This free app packs a punch with a wide selection of time signatures, Italian tempo selections that automatically correspond with BPM ranges, and customizable sounds for both the down and up beats. • Pianofly Pro Synth ($2.99 at iTunes, www.minimusic.com/index.html) features the best scrolling keyboard available with a full 88-note range that allows users to check pitches quickly and accurately. And as a synthesizer, it also has 80 preset instrument sounds that can be customized, as well as the ability to create your own. As a non-keyboard instrument, sometimes it is best to hear something played out on the piano when learning a difficult chromatic passage, and for that I use my multi-tasking Pianofly. • iReal Book ($7.99 at iTunes, www.irealbook.net) eliminates the need to carry around a bulky Real Book for quick references as iRealBook has the chord changes for over 900 jazz standards, as well as the ability to transpose the changes into any key.
Understanding/Responding to Music • Key Signature Quiz (free and $.99 versions at iTunes, www.jasonneufelddesign.com) has timed and un-timed key signature identification quizzes. The free version tests only the treble clef, and the paid includes the bass. • MusicTools Dictionary ($2.99 at iTunes, www.onstagetechnologies.com/ products) includes both a music dictionary with over 2,700 entries and a reference charts for markings. • Shazam (free at iTunes, www.shazam.com) is a music identification app that uses the built-in microphone of the smart phone. When a user holds their phone up to a speaker playing a particular song, the program compares the sound to a central database of acoustic footprints and finds a match, where it will then give you the name of the song, along with a biography and discography of the artist and if available, links to buy the song on iTunes and/or Amazon MP3, as well as YouTube videos of the song. It is very accurate with most pop songs, and will even identify some classical pieces, although this is less reliable because there are so many varying versions recorded of the same piece. As a teacher of a survey of American popular music, I find Shazam valuable in listening to music to be played to my classes and then downloading all of the appropriate information about the recording, the group and other bio related information to share with my classes within seconds. • Karajan Music and Ear Trainer (free and $14.99 at iTunes, www.karajaneartrainer.com/en/) provides detailed lessons for identifying not only intervals but also scales, pitch, and tempo with aural examples. The beginner version has the complete first level of the paid version.
CDRepertoire Forum: New Releases
New Releases:
General Concert Selections While past columns have largely focused on tried-and-true selections, this is the second of five articles featuring releases from 2009 and 2010. Each column will highlight a variety of voicings and difficulties, but will have a unified theme. The last issue featured new releases for holiday concerts, while this one focuses on general concert works useful throughout the year. – Drew Collins
TREBLE (EASY) Solfege Suites (Ken Berg) – pub. Pavane Ken Berg’s music is always fun to sing with appropriate ranges for young singers. His three “Solfege Suites” are perfect for augmenting sight-singing instruction in your choral classroom. The lyrics are entirely solfege syllables (moveable ‘do’). Each of the three suites features three selections; all nine are published separately. Suite #1 features Bolero, Galop and March; Suite #2 is comprised of a Mazurka, Chaconne, and a Gavotte; the most recent installment, Suite #3, was published this year and contains a Waltz, Tango and Boogie Woogie. Visit www.PavanePublishing.com for a free score sample and beginning-to-end recording of all nine octavos. Visit YouTube and search for “solfege suite” to view Dr. Berg leading the premiere performances of Suite #3, complete with solfege choreography (based largely on Curwen handsigns).
Night Winds (Laura Farnell) – pub. BriLee Laura Farnell knows how to write for the developing voice, and I always make sure to give her music a close look. Farnell is herself a music educator in the middle grades, and has “field tested” enough of her own music to know what students will enjoy, what Choral Director, September 2010 25
will help them sound their best, and how to challenge them gently. The compositional style of this setting is at once accessible and fresh. There are many teaching tools in this piece, including line, vocal production around the break, diphthongs, and subtle tempo changes. However, the first teaching tool you will encounter is that the melody begins on ‘ti’ over a tonic chord. This voicing is two-part treble, which helps illustrate the text beautifully. Visit www.BriLeeMusic.com to view the entire score, hear a beginning-to-end recording, and download part-predominant MP3s. Also consider… · Janet Gardner’s setting of the English nursery rhyme, “Nathan Nobb.” Elementary singers will enjoy telling this fun and funny story about a boy who thinks differently than everyone else.
TREBLE (MEDIUM) In Stille Nacht (Brahms, arr. R. Robinson) – pub. BriLee Brahms originally arranged this German folksong for SATB (poco divisi) unaccompanied (it is included in the collection “Deutsche Volkslieder für vierstimmigen Chor” (German Folksongs for Four-part Choir). Robinson has revoiced it for SSA non divisi, with piano accompaniment and flute obbligato, and has added a singable English translation in the musical score itself. Form is strophic: there are two verses identical in all ways (except the text), with a coda that echoes the preceding bars verbatim. Dynamics, meter and tempo are static throughout. The only challenges are a 3/2 meter, some chromaticism, and the German language. It is a “fast learn,” and a good introduction to singing in German. Visit www.BriLeeMusic.com to view the entire score, hear a beginning-to-end recording, and download part-predominant and accompaniment MP3s.
Letter From a Girl to the World (Andrea Ramsey) – pub. Alliance Original choral compositions in the “global pop” category have be26 Choral Director, September 2010
come a welcome sub-genre of choral music in the last decade and a half or so. Ramsey writes in this style very well (though her palette is much broader; for example, have a look at her The Dream Keeper and Jesu). In the male chorus section below, see Cover Me With the Night, which is in a similar vein as Letter… The text of Letter… is written by 7th and 8th-grade girls, and consists of the questions and thoughts that everybody wrestles in the midto-late teen years. Fun to sing and engaging to ponder, this will be a winner for any all-female ensemble from 7th-12th grades. Visit www. AllianceMusic.com for score and audio samples. Also consider… · Linda Spevacek’s arrangement of “Sing For Joy” (pub. Heritage). This chorus from Handel’s oratorio “Judas Maccabeus,” originally titled “Hail, Judea, Happy Land,” has reappeared in arrangements for various voicings through the years. This is a testament to its appeal for singer and listener. Spevacek’s transposes the key from D-major to C-major, scores the opening duet for chorus, changes the voicing from SATB to SSA, and features a complete text re-write.
TREBLE (CHALLENGING) Bumble Bee (Anders Edenroth) – pub. Walton This is a charming little piece that will enchant everybody. It may be performed in a variety of ways, all from the same score: (1) SSAA unaccompanied or with bass guitar playing the bass part; (2) SSAATB with all the men on the same part; (3) SSATB with the tenors singing the alto II part in the written octave; (4) SATTB; or (5) any other way that works for your group. It may be sung one-on-a-part, by a chamber-sized group, or full choir. The point is, the score provides flexibility, so you can definitely find a way to assign parts in order to perform this piece. The challenge is making the motoric ac-
companimental pattern – that lends the piece its persistent but gentle momentum – as precise and consistent as possible. Visit www.WaltonMusic. com to hear a full-length recording, and www.HalLeonard.com to view a score sample.
Evening Song (Dawn Sonntag) – pub. Carl Fischer Sonntag’s musical language draws the listener in, and sets Lanier’s evocative poem wonderfully. The writing for piano, flute and choir (SSA with one chord of easy divisi to four parts) is exemplary. Aboveaverage pianist, flutist and choir will be required. It was written for a college treble choir, but a good high school group should be able to handle it. Be aware of the dynamic map, and make sure your singers are aware of it, too: there are several smaller peaks prior to the main climax point (at m. 38) that mustn’t rival the “O night!” moment. Balance the four-part chord in mm. 4142 with an equal number of singers on each pitch to ensure the intended “shimmer.” Visit www.CarlFischer. com to view the entire score, hear a beginning-to-end recording, and download part-predominant and accompaniment MP3s. Also consider… · “Koudjay” by Haitian composer Sydney Guillaume is a winner (pub. Walton). It is scored for SSA. Challenges include the Creole text, syncopated rhythms, and the fact that it is a cappella. But the benefits far outweigh the challenges, and this piece is highly recommended. · “Voice Dance” by Greg Jasperse, now in SSAA voicing (pub. Shawnee).
MALE CHORUS Cover Me With the Night (Andrea Ramsey) – Alliance Again, Ramsey draws on pop and non-Western characteristics to give this original composition a global groove. The text is a traditional prayer from Ghana, and the scoring
is TTB, piano and djembe with optional vocal solos. Your guys and audience will enjoy every aspect of this piece. Consult the recording at www. AllianceMusic.com for dynamics, as the score contains few.
Do You Fear the Wind (Douglas Wagner) – pub. Alfred An original composition in a style that recalls that old male chorus stand-by, the sea shanty. It really isn’t a shanty, though: some simple chromaticism and the Romantic nature of the text help make this distinction, and also lend a particularly dramatic feel to the whole affair. Your men will enjoy producing a “manly sound” and “mighty vowels,” but keep an ear open for over-producing and an eye open for chin tucking. Only a couple of pages are available on the publisher’s website, where you can also hear a full performance. Also consider… · Gastoldi’s “Amor Vittorioso,” an Italian madrigal originally for five mixed voices (SSATB) revoiced for TBB by Jim Leininger (pub. Alliance). There is some simple and fleeting divisi here and there. It is intended to be performed unaccompanied. View score sample and hear a recording at the publisher’s website. · There are two revoicings worth special mention. Ola Gjeilo’s “Ubi Caritas” and David Dickau’s “i carry your heart with me,” both wildly successful for mixed chorus, are now available for male chorus (both titles pub. Walton).
MIXED (CHANGING VOICES) Blow, Bugle, Blow (Ruth Elaine Schram) – pub. Heritage Schram has set this poem by Alfred, Lord Tennyson for three-part mixed chorus. This text is found in numerous settings for more advanced choirs, but Schram’s setting is appropriate for the changing voice chorus in style, difficulty, and range/tessitura. The minor mode lends a shadowy, ironic tone that fits the overall affect of the text very well. The piano in-
troduction is reminiscent of a bugle call, complete with echo an octave lower, that sets up the piece perfectly. Canonic treatment ably illustrates the line “set the wild echoes flying and answer, dying,” and provides a unique opportunity to discuss with your singers the use of compositional devices to illustrate a text. Tennyson was mindful of how he used punctuation to influence the reading of his texts, so be mindful of the punctuation (or absence thereof) when determining phrasing. For example, singing the line, “The splendor falls on castle walls and snowy summits old in story” without a breath makes the most textual sense, though some singers may want to breathe after “walls.” Visit www.Lorenz.com for a free score sample (partial) and beginningto-end recording. Performance/accompaniment CD is available for purchase.
Fire, Fire, My Heart (Thomas Morley, arr. Linda Spevacek) – pub. Heritage This five-voice madrigal is one of the most advanced of the standard English madrigal repertory. However, Spevacek has created this arrangement for developing singers that will allow them to join in the fun. She has written an optional accompaniment, and included an optional baritone part, both of which add flexibility so you can tailor the score to fit the needs and abilities of your particular choir. Visit www.Lorenz.com for a free score sample (partial) and beginning-to-end recording. Performance/ accompaniment CD is available for purchase. Also consider… · Caldwell & Ivory’s “Ain’t You Got a Right to the Tree of Life” (pub. CaldwellAndIvory.com). Composed for the Southern Division ACDA Jr. High Honor Choir. Visit www.CaldwellAndIvory.com to view score samples and a video of the premiere. Caldwell says that percussion may be drumset (as heard in the video), or congas,
djembes and the like. Electric bass and sax are optional. SATB and SAB voicings available.
MIXED (MEDIUM) Gloria (Schubert, arr. Liebergen) – pub. Alfred Patrick Liebergen is a master of making otherwise inaccessible masterworks accessible to young voices. This excerpt from Schubert’s Mass in B-flat is fun to sing, and a moderate challenge. Another recently published Liebergen arrangement of note is the Dona Nobis Pacem from Haydn’s Grosse Orgelmesse (also pub. Alfred). It has a lovely 6/8 Presto lilt. Hear a full performance and view sample pages at www.Alfred. com.
CHAMBER-SIZE GROUPS Gøta (Peder Karlsson) – pub. Walton Karlsson is a member of The Real Group, and this piece was written for and recorded by them. This score can be made to work with larger choirs very well. However, a group of 12-24 could perhaps achieve a greater effect. The text of Gøta is nonsense syllables. The style might best be described as a cross between Bobby McFerrin-style vocal jazz and tribal ceremonial chant. Octave doubling, drones and repetition add to the atmosphere (Take care to keep the octave doubling by the high soprano softer than the lower octave). Visit www.WaltonMusic.com to hear a full-length recording, and www. HalLeonard.com to view a score sample.
MIXED (ADVANCED) Tota Pulchra Es Maria (Gorczycki, ed. Bausano) – pub. Mark Foster Bausano’s editions are always both scholarly and practical. It is rare that a Baroque-era stile antico motet “breaks into” the repertory, but this is one that I hope will do so. It is fun, interesting and engaging to both sing and hear. It will work for your full choir or a capable small ensemble for contest. It starts out Choral Director, September 2010 27
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.
solemn, then builds in excitement with each new section, culminating in a pleasantly syncopated “Alleluia� section and a mighty finish. It is a more challenging work (probably closer in difficulty level to Scarlatti’s Exsultate Deo or Schutz’ Cantate Domino than, say, Palestrina’s Sicut Cervus), but is worth it. Practice conducting the transitions between sections carefully prior to rehearsal. Hear a full recording at www.shawneepress.com/soundclips/ MFA0046.ram.
Naalah (Cry of Grief) (Joshua Shank) – pub. Santa Barbara
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Naalah has a distinctly Middleeastern/West-asian flavor due to ornamentation, use of harmony, use of rhythm, language (itâ&#x20AC;&#x2122;s in Urdu), and the scoring which includes oboe. Shank makes excellent use of silence. Color chords, octave doublings, and rhythmic interplay add to the atmosphere of the piece. Now, the piece is almost seven minutes long, and, except for the oboe, is unaccompanied. So, itâ&#x20AC;&#x2122;s a bit of a â&#x20AC;&#x153;badge of honorâ&#x20AC;? piece for the most capable choirs. But your choir will be intrinsically motivated to rehearse the piece and achieve a high level of performance. Though a foreign language, the pronunciation is easy: the publisher has included a singable pronunciation right in the music. See a score sample (complete) and hear a beginning-to-end recording (performed by a high school choir) at www.SBMP.com. Also considerâ&#x20AC;Ś ¡ â&#x20AC;&#x153;Der Abendâ&#x20AC;? by Johannes Brahms, ed. Drew Collins (pub. Roger Dean). This piece has been available in a variety of editions from time to time. I first learned of it when I heard it performed by the Minnesota All State Choir and recorded by the Robert Shaw Festival Singers. My edition, just out last year, was performed by the Maryland All State Choir, and includes opportunities not found in other editions for a quartet of soloists.
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