The Chorister Spring Issue
2014
TABLE OF CONTENTS: 1. The Chorister: Cover Page 2. Weber: Notes from the President 3. Porter: Programming 5. Photoflash! 6. Barnum: Repertoire Recommendation 8. Boechler: The Adolescent Voice 10. Moe: Revolution & Redemption
North Dakota ACDA
11. Voeller: Teaching Jazz 14. Bartunek: Three Perspectives 16. Seil: Book Review 17. Johnson: Student Teacher Survey 19. Gerszewski: Cartoon Corner 21. Bowles: Developing Artistry 28. Photo Flash: Concert Photos 29. MNACDA Summer Dialogue
Notes from the President Michael Weber, NDACDA President We are remarkable. We are motivated. We are committed. We are North Dakota ACDA! When I reflect on the past year and look at the activities that were sponsored by NDACDA, those three words come to mind. We are remarkable because of the growth in membership this past year. Currently we have 169 members that are either have an active membership, a retired membership or a student membership. I think we can safely say this is the largest membership that our chapter has ever had throughout our history as a state chapter of ACDA. This was a group effort led by Rebecca Raber and Andrew Miller. Congratulations to them and all of you who nominated or recommended teachers and conductors for membership. Because of our efforts, we will be recognized at the North Central Division Conference in Des Moines by Tim Sharp, the executive director of ACDA. Evidence of our motivation for excellence is seen in all of the projects we support throughout the year. Surround the State in Song, led by Cheryl McIntyre and Melanie Popejoy, was one of the most successful activities of the year. There were five sites throughout the state and each site had great participation. Additional thanks to the site managers Lindsay Kerzman,
Bruce Southard, Brian Saylor, Cheryl and Melanie for their service and organization of each site. Josh Bronfman did a wonderful job planning our state conference in Grand Forks. Geoff Mercer and Paul Barta did a great job as the hosts and site managers. A huge thanks to all of the teachers who prepared their students to sing in the honor choirs. I witnessed the magic and power of music as these students sang so well under the leadership of our honor c h o i r conductors. And a final shout out to the organizers of each honor choir. Charlette Moe, James Wolter and Danielle Larson spent countless hours organizing the choirs so that our students would have a great experience. We are also continuing our support for scholarship to the International Music Camp. More information will soon be on our webpage and distributed through the list serve. Our commitment to ACDA is also noteworthy. There are many of us who are willing to serve in a leadership role and help promote the mission of ACDA – “to inspire excellence in choral music through education performance, composition, and advocacy.” Our R & S chairs are working to bring useful and
important opportunities for you and your students throughout the year. This can be seen in recommended literature lists at the reading session during the annual conference. The executive committee (Josh Bronfman – president-elect; Rebecca Raber – vice president; Sheldon Weltz – treasurer; and myself) work throughout the year to serve the needs of the membership and the organization at the state and division level. We are committed to keeping ACDA a vital and important resource for you and your students. Finally, I believe that all of you are remarkable, motivated and committed. Everyday you bring the remarkable gift of music to your students. Everyday you are motivated to give your students valuable learning experiences that will shape their love of music for their entire life. Everyday you are committed to making sacrifices so that your students may be successful. I cannot think of a more important profession or passion than the work that you do with your students. YOU are North Dakota ACDA!
Programming...an Elusive Beast Tom Porter, Men’s Choirs R & S Now Here’s Something We Hope You’ll Really Like! Concert programming is an elusive beast. I vividly remember the first concert I programmed. I went to the local music store and went through every piece of music in every box on the shelf. Not good time management, but I did find some interesting pieces. As an R&S chair for ACDA, I have been sent boxes upon boxes of music (I measured the stack one year—over five feet of single octavos). Even though I am currently in the thick of rehearsals and performances this spring, my mind is already going to “that place” of selecting rep for next year’s events. I feel caught somewhere between Bullwinkle’s “Watch me pull a rabbit out of my hat,” and Rocky’s “Now here’s something we hope you’ll really like.” Step 1: Something old Which piece from the core repertoire (Renaissance, Baroque, Classical, Romantic eras) will fit my choir/challenge my choir? It may be one piece for the year or one piece per concert, but grounding the student experience in solid choral tradition is step one…Palestrina, Bach, Mozart, Brahms, et al. Some favorites include *Sicut cervus, Palestrina *Harmony in Marriage, Haydn *In paradisum, Fauré *Zigeunerleben, Schumann
Step 2: Something new At the opening ceremonies of the Winter Olympics, “The Rite of Spring” was used as a musical theme throughout the program. It made me think of how the piece has gone from causing riots (although the unrest was more due to the style of dancing) to defining a culture. I admit it, I am something of a contemporary music junkie. I like doing the “odd” piece on the program, that number that stretches the experience of the performer and audience alike. Many of these are not “new” pieces, but considered “new music” because of their use of extended techniques. At least once a year I try to program something in this genre for the sake of the audience and choir. It usually raises eyebrows, but I have learned to partner it with something traditional to soften the blow. *Rondes, Rabe (the concepts in this piece can be adapted to almost any group) *Geographical Fugue, Toch (great interdisciplinary piece) *Lightning, Gilpin (middle school) *Mi’kmaq Honor Song, Adams (grade school through adult) Step 3: Something borrowed I get by with a little help from my friends. I am constantly inspired by the great work of my colleagues. And I steal from them on a regular basis. I love the “Pick Five” and “What’s in Your Folder” articles in this journal and others, and I am always on the lookout for things that
work for other people. Youtube has been a great resource for me, searching for the traditional as well as the obscure, watching the performances of other choirs, and gaining insight into performance practices. For me, these pieces are forever linked with the people who introduced them to me. *Home on the Range, arr. Hayes, borrowed from Eph Ehly *Waiting on an Angel, arr. Shelton, borrowed from Portara Ensemble who posted a performance of one of my compositions, White Promise *There Will Be Rest, Ticheli, borrowed from Susan McMane *Alleluia, Thompson, from singing in Bill Franke’s choir at Mandan High School Step 4: Something blue(sy) Send them home singing; give the audience a good melody to carry them out the door, something they can hum on the car ride home. Patriotic pieces, folk songs, and popular tunes are great, as well as some of the classics (Hallelujah Chorus). We all like to hear familiar tunes, and it’s even better if you give the audience a chance to sing along once in a while. *Zip-a-dee-doo-dah, arr. Huff *Shenandoah, arr. Erb *Blow, Gabriel, Blow, Porter *Battle Hymn, arr. Wilhousky Different textures, sounds, emotions, voicings—these make great programming, and we are not likely to find everything we need at the next reading session or convention booth. Start with a solid foundation, and everything will fall into place.
Educating the next generation of outstanding musicians. Christmas at Mary Saturday, Dec. 7 at 7:30 pm Sunday, Dec. 8 at 3:00 pm
Check us out on Youtube “Prairie Storm” by Dr. Tom Porter University of Mary Concert Choir
Dr. Tom Porter Director of Choral Activities Katherine Henjum Associate Professor of Music, Voice Contact the U-Mary Music Department to learn more: music@umary.edu www.umary.edu/music 800-288-6279, ext. 8301
The University of Mary Music Department is defined by a commitment to excellence. Vocal music students have the opportunity to study Concert Choir, Vocal Jazz, Vocal Arts Ensemble, Chamber Choir, Musical Theater, and Private and Class Voice Lessons. Scholarships are available for music majors as well as students majoring in other areas who participate in music ensembles. Audition dates for 2013–2014 are December 7, February 1, and February 17. Students may contact the music department to arrange a campus visit and scholarship audition on a different date. Students living more than 250 miles from campus may send a recorded audition.
Concert Photos
Repertoire Recommendations Sarah Barnum, Eastern Representative I was fortunate to be able to attend the 2014 National ACDA Children’s and Community Youth Choir Conductor’s Retreat in Minneapolis. I’ve chosen eight selections from the three reading sessions to share. “Pretty Saro” by Mary Goetze –3-Part Treble Boosey & Hawkes through Hal Leonard 48019924 The ostinato parts with the third verse a r e easy t o u s e a s warmups as y o u begin to introduce the piece. The students will know the hardest part of the song before they even see the music! “I’se the B’y” by Shirley W. McRaw – SA Ruth Dwyer Choral Series Colla Voce Music 24-96590 This Newfoundland folk song is arranged in 6/8 time. It offers homophonic harmonies, a beautiful flute part, and a chance for singers to clap and stomp along.
do their best to leave the world a better place. “On your Bike!” is a happy ride through town. “Keep it good” refers to the goodness of clean water and the rain and snow it brings. “Nozone” will give your students a chance to rap – the science teachers will appreciate your cross curriculum inclusion. “The Rain She has a Silver Broom” by Richard E. McKee – unison choir
Cosmic Possum M u s i c CPM 0004 The choir sings in unison for most of the piece, doing some simple two part divisi at the end. It utilizes windchimes, oboe and body percussion. It gives us a chance to show off some unique notation, including whole rests and dotted half rests in ¾ time. “Alleluia, O Come and Praise the Lord” by J.S. Bach arranged by Janet Hill – SA Choristers Guild CGA174
“Green Songs” by Bob Chilcott – upper voices (SS) Oxford University Press
Originally written for tenor and baritone, this Wedding Cantata (BVW 196) is written for voice I and voice II and includes flexible instrumentation.
These four songs are based on environmental themes. “Be Cool” encourages students to be aware of the changes in the environment and
“Two Childhood Songs” by Randall Thompson – Thorpe Music Publishing 392-03011
These pieces can be sung by unison chorus or by a solo voice. There are editor suggestions for how to add a second part for choirs. The first “Some One” would be a good way to work on staccato. The second “The Echo Child” is a great Randall Thompson introduction to your choirs. Poetry for the second piece was written when the lyricist was age 9. “Trolls” by Clifford Crawley – Leslie Choral Series no. 1193 You’ll need a group with a great personality to pull this one off, but it is lively and tells a funny story. I think my 6th graders would love it. There is plenty to add to the score, once notes and words are learned, so adding all those extra layers will really make the performance. “I’m Goin’ Up a Yonder” by Walter Hawkins and arranged for 4-part treble voices by Martin Sirvatka Doreen Rao’s Choral Music Experiences – Boosey & Hawkes by Hal Leonard 48004224 I have a special place in my heart for this piece; it is attached to one of my strongest middle school music memories. I couldn’t sing along at the convention, for being too choked up, but it’s a beautiful setting, one that choirs will remember their entire lives.
Validating the Changing Adolescent Voice Vicky Boechler, Music in Worship R & S After 20 years in the Catholic Schools I finally have my dream choir. I was thrilled to meet sixtyfour beautiful students on the first day of school. I was also overwhelmed knowing only 4 of the young voices that were entrusted to my care. Goals for the first week: 1. Show them I care 2. Learn their names and something special about each one 3. Find their singing voice and empower them to share it in a safe environment. A little background. As you might know, the Catholic schools in Bismarck have been distinct since their inception. The three schools had various definitions of a 7/8 choir. One school chose to have choir only 9 weeks. The other two offered choir all year, every other day, as an elective, one of those schools had it offered opposite band. Last year 2 of the schools had substitute teachers for large portions of the year. Unfortunately, zero students were able to audition for the NDACDA Middle School Honor Choirs last year. This year, we are all one system; Light of Christ Catholic Schools of Excellence (LOCCSE). The Middle School has the 7/8 Academy. They are under one roof and I have the great privilege of being their teacher. Some students sing in the Central Dakota Children’s Choir, however most were unfamiliar with even navigating their way through a choral octavo and had never even been to a choral performance at or above their grade level. The first thing I did after welcoming them on day one was share that opportunities to sing solos would be made available, but for their dignity, I reassured them I would not be calling them out in front of their peers to sing alone. This was followed by a sigh of relief. The second activity was probably crazy. I wish I had footage of the quick sorting process. We sang “Jingle Bells” in various keys to find and group their voices. I walked through the rows as they sang and sent them to far corners of the room, weaving my way through voice after voice, keeping my ears open and my eyes dull to avoid visual distraction. I let them know that we were just finding “like”
voices, not the best voices. After that activity, I announced that everyone in the room could sing on some level and that we could get going on being a choir very soon. I offered to listen to any voice individually after school over the next few days if they wanted feedback and a more in-depth voice check. I ended up with a very simplified sort for the thirty boys: unchanged, cambiata, tenor, and baritone. The girls were quickly grouped into just 2 voices for the time being. Since many really had no concept of middle school choir, I could do what I wanted and they wouldn’t be saying “that’s not how we used to do it.” Little experience actually had a positive impact on our daily rehearsal. I was able to get them warming up learning solfege and hand signs, echoing lots of patterns in their music while finding free resonant sound, and working basic choral theory along with remedial note reading. We even tossed balls in class to give each person a chance to share something about themselves while the singers listened to the different ranges in the choir. I now have them standing in groups of 8-10 in front of the active board while sight reading (sightreadingfactory.com) in treble and bass clef for assessment. Because we are a Catholic school, there is a focus on chant with neumes on 4 line staff. It allows them to concentrate on moveable ‘do’ and transitions easily when placed back on modern notation. Our middle school students have even been able to attend a liturgy when the High School choir provided the music. The students could see the path from their lessons to the implementation of the music in its appropriate liturgical setting. I encouraged listening to excellent modeling. I used Bobby McFerrin, Chanticleer, the Real Group, ACDA Honor Choirs, Middle school choirs, and great college choirs for examples. In December, we attended a preview performance of the University of Mary Choir, conducted by Tom Porter. This invitation was timed beautifully and led to active class discussion. It actually transitioned into a better sound from our choir.
An issue arose in my early planning. Before I heard a single voice, I needed to be somewhat prepared with choral literature. After combining all three music libraries, I did not have a single song that I would be able to hand out to all choir members. I am not an advocate of sharing folders. We don’t share textbooks in the English classroom. Where would all the music come from? Luckily, I’ve had a few NDACDA angels along the way. I took the octavos that had the most scores, and filled in from additional libraries. I also was able to purchase 2 pieces for our first concert. I had to choose wisely. We used SAB and three part mixed voicing with a few modifications where necessary. The music in our folder: “Hallelujah” from Messiah- George Frideric Handel; “O Nata Lux”- Tom Porter; “Stille Nacht”- Joseph Mohr/Franz Gruber; “Three French Carols”- arr. Donald Moore; “Can You Hear”- Jim Papoulis; “I Knew You Were Trouble”- Taylor Swift, Shellback & Max Martin; “Down to the River to Pray”- arr. Roger Emerson; “Mary Had a Baby”- arr. Philip Kern. This semester I am now utilizing SATB literature. We are singing: “I Dream a World”Andre Thomas; “Oye”- Jim Papoulis; “Homeward Bound”- Marta Keen; “Hush”Brazeal Dennard; “May it Be”- arr. Brymer; “Heaven is My Home”- Albrecht. Our 7/8 Academy has a 20 minute home base period at the end of the day. This has allowed students to come in for lessons, extra help, voice checks, and sectionals. I have heard all of the students individually at least 3 times for voice checks or short lessons. The students have their own changing voice chart
for middle school voices. We date them and keep track. They typically come into the studio nervous and leave smiling. It’s important to let them know that their voices are normal. I celebrate finding the break in the voice and then tell them that I’m excited to hear what’s to come. I give them a picture of what things look like when voices change. We talk about voices I’ve enjoyed in previous years by the crazy things that work themselves out through practice and good training. I’ve even had middle school students say “Thank you. That was fun!” when we discover more about their changing voice together. I was thrilled to have 7 students in the NDACDA Middle School Honor Choirs and we auditioned 2 for NCACDA. Those students are all well on their way to leadership in the HS choir. I love their energy and enthusiasm. I also enjoy helping them find their voice as they develop into lifelong singers. They have all shared music from their current listening libraries as presentations to our choir. This ties lyrics and style from older choral repertoire to lyrics and style of today’s music. Our students will also have the opportunity to open a hymnal for many years to come and I hope to give them the skills to at least stand in the middle of the congregation and raise their voice in praise. Music is a gift and a necessity. We are in such a privileged field; helping singers discover their uniqueness and potential and validating their voice all while getting to know them as special people. I finally have my dream choir and, while the learning curve is steep, it is a journey I am happy to be taking.
Revolution & Redemption Charlette Moe, Women’s Choirs R & S In an article written by Bridget McGovern titled “Wall-E: Pixar’s Lasting Tribute Power of Art” she sites many scenes from the movie which demonstrate that through art, we communicate. Wall-E, who is the main character of the movie, is connected on a high emotional-level to a movie version of Hello, Dolly!. This robot to musical connection, directs the plot and “the lesson is driven home again and again: singing, dancing, music, and art have the power to connect, to further our understanding of the world; art is how we communicate; it can inspire revolution, redemption, and change for the better.” The state’s ND ACDA conference was held in Grand Forks, ND January 31-Feb. 1, 2014. This conference is a perfect example of North Dakota choral music educators from across our state, providing opportunities for students and teachers to communicate and connect through art. Through the gracious hosting of the staff at Grand Forks Central High School and planning of the ND ACDA board, hundreds of middle-level, high school and university singers rehearsed and performed under the wonderful conductors of Pamela Burns,
Carolyn Loney, and Sigrid Johnson. The power of human connection was truly demonstrated in the performances of the honor choirs. Though the time is brief in which the honor choirs gather, the musical memories, which are created last a lifetime. Connection through singing was further demonstrated in the wonderful appearance of the “Surround the State in Song” singers. THANK YOU committee members for planning, volunteers for completing tasks such as learning tracks, conductors for preparing rehearsals, choral educators for preparing students and administrators for providing support! Together, everyone provided an opportunity for student singers to experience art’s ability to connect. In WallE, a world has lost its art. In contrast, the ND ACDA State Conference provided an opportunity for our choral art to thrive and maybe… “inspire revolution, redemption, and change for the better.”
Teaching Jazz Concepts in the Elementary General Music and Choral Classroom
Phillip Voeller, Senior High School Choirs R & S Over the past few years I have undergone an extensive overhaul with my 5th/6th grade general music structure. One of these items is the incorporation of jazz music into the curriculum that is studied throughout the year. For the past two years I have taken my 5th/6th grade students to perform and observe other high caliber ensembles at the University of Mary Jazz Festival. This experience has been one of the highlights of their year. Teaching jazz to my 5th/6th grade students has been an amazing journey, allowing me to expose my students to a wonderful and fun genre of music at such a young age. Who said that jazz music is difficult or exclusively for high school students? It’s all in our approach to how we teach jazz; keep it simple. I have found that listening, movement, modeling, repetition, and being fearless are all crucial elements that will lead my students to success. I will also include some tips for teaching improvisation to elementary age students, as well as a few recommendations for repertoire selection. Listening and Movement Listening and dancing to music with a driving beat is how I
begin my class every single day. It is a opportunity for my students to be exposed to many genres of music, internalize the beat, and to burn off some of that penned up energy from sitting in their desk all morning. Call me crazy, but I allow my classroom to get very loud during this
portion of class. In fact, I even encourage a loud noise level! By sacrificing the first 3-4 minutes of class and allowing the noise level to rise, I am subconsciously encouraging them to use their voice in class. I am creating an atmosphere where they feel safe enough to be goofy, try new things, and to sing. Modeling Immediately after the music movement chaos stops, I have my students gather at the front of the classroom and we immediately begin singing. There is no calm in my classroom, this transition
happens extremely quick, and it sets the pace for a very fast paced rehearsal. When I am teaching jazz I ALWAYS model each phrase and have them echo it back to me. I spend a tremendous amount of time teaching syllabic stress to my 5th/6th grade students. I want them to understand where each phrase is going, I want them to connect with the phrase, to sing it with purpose, to sing it from the depths of their soul. However, they need someone to show them how. They need a strong model to follow. Repetition The students need lots of repetition over an extended period of time to learn jazz. This is not a 3 week “unit”. Do it justice, do it right. Be fair and true to the music and be fair and true to the kids. Don’t study jazz for 2 weeks and then run away from it, only to say we “touched on it” in the curriculum. I currently teach 3 sections of 5th grade and 2 sections of 6th grade. To simplify teaching parts I have assigned each section to either part 1 or part 2. When we study jazz we will begin in November and conclude with the University of Mary Jazz Festival. We will be very thorough in studying the history of the songs, the
songs, the composers, the eras, listening to multiple recordings, ect. These are all important components to jazz, and it is what makes jazz so special. Fearless This is an important part of my classroom atmosphere. I never want my students to feel afraid to make a mistake. I want my students to be fearless of mistakes and to feel completely safe to make a mistake in my classroom. I also never focus on what they don’t know, but rather on what they are having success with. It is a proven fact that if people do not feel successful at a particular activity, they avoid that activity. I don’t know about you, but I surely don’t want my students to avoid singing! I want them to feel successful at it! Students feed on positive reinforcement. In addition to the students being fearless, this also goes for you, the teacher. Jazz is not as scary as it may seem. You are going to need to just take the plunge into it and give it a whirl. The scariest part is getting started, but you will soon realize it is not nearly as scary as you thought it would be. Just trust me on this one. Tips for teaching improvisation and jazz articulation -Listen, listen, listen
-Don’t be afraid to have students improvise on orff instruments or recorders. Even if only a couple of notes work within the key, it is less scary for them and it builds their confidence. Scat singing is very exposed and students will often freeze up when presented with scat singing. -If your students are having a hard time with articulating scat syllables, have them sing it through a kazoo. They will naturally articulate it with the proper syllables. I also use the kazoo as a transition tool between improvising on instruments and scat singing. -Often times I see scat syllables published, “Do-Bah-Do-Bah”. There are a lot of very successful jazz educators who will tell you to change it to “DoVah-Do-Vah”. Just do it, it will sound better. -In my opinion the articulation of “Dot” is one of the most aggressive found in jazz. In most cases really emphasize the “D” and make the articulation fat. Repertoire Recommendation Programming for a 5th/6th grade vocal jazz choir is one of the most daunting tasks I have
ever been faced with. I have found the “Discovery Jazz Series” by Hal Leonard to be outstanding for young singers. Steve Zegree also has some excellent 2part jazz arrangements through Alfred publishing. This year I pulled St. Thomas out of my “Real Book” and noticed it was in the key of C major and thought, “This would be really fun to play on recorder!” Let me tell you, the kids had a BLAST with it! Conclusion I will admit that it was a very scary task to spearhead a 5th/ 6th grade vocal jazz choir. However, in my opinion it was important enough that no matter what the cost, I had to make it happen. I’d like to see other music educators go back to their schools and teach jazz to their younger students. It can be done, and it’s not nearly as difficult as it may seem. If I can help you in any way with starting a young vocal jazz group, please feel free to contact me. I hope to see your younger students performing at a jazz festival near you. You won’t regret it and your students will be begging for more jazz!
Concert Choir University Singers Jazz Ensemble Quantum Brass Quintet
Faculty Members Accomplished Performers, Experienced Teachers Christopher Redfearn Choirs, Voice D.A. Choral Conducting: University of Northern Colorado M.M. Choral Conducting: Michigan State University B.M. Music Education: Brigham Young University
Valkyries Concert Band Athletic Pep Band Woodwind Trio Garage Band Saxophone Quartet
new Music Scholarships for 2013–14 Multiple Four-Year Full-Tuition Awards Available
Robin allebach Voice DePaul University M.M. Vocal Performance: Northwestern University B.S. Music Education: Bemidji State University
ContaCt: Dr. Beth Klingenstein Chair, Department of Music VCSU beth.klingenstein@vcsu.edu 701-845-7269 music.vcsu.edu
Three Perspectives of Solo and Ensemble Contest Peggy Dahl Bartunek, Guest Columnist I’ve been making notes for this article for a few months and in the last few days I’ve been mentally preparing to write it. Last night I had a “stress” dream in which I was adjudicating a Regional Music ensemble which was performing a song that was definitely inappropriate for contest. I was panicking because I didn’t have an NDHSAA Regulation Handbook available to clarify the rules regarding appropriate contest music. It was definitely a bad dream. I find it interesting that although I was once a student, later a teacher, and am now an adjudicator; my dream was from my newest perspective. Having played each role, I know that if each party fulfills certain responsibilities, the music contest will not be stressful, and will be a positive, rewarding experience. The purpose of this article is to share a list of responsibilities culled from my own experience. I’m writing from the Class B point of view, which has regional contests beginning in March and culminating with State Music in May. My responsibilities as a teacher: 1. Know the information on the NDHSAA Music Tournament Information site (http:// www.ndhsaa.com/fine-arts/ music) which includes links to regulations, the list of appropriate literature, and the current ballot form. Print the ballot form to share with the students. 2. Listen to as many other schools as possible at the spring contests to note literature that might be appropriate for my students and to enjoy the fruits of my colleagues’ work. 3. Continue to think about and study solo and ensemble literature through the summer and fall. 4. Listen to each student after the winter concert as a semester evaluation, as an audition for interested students for placement in large and small ensembles, and as a time for soloists to commit to preparing a contest solo. 5. After listening to the students, determine ensemble personnel. 6. Give ensemble members a form for students and parents to sign which includes information about rehearsal attendance (“Three absences and you’re out”) and what the students will be expected to wear (“all black with no skin showing”). 7. Give soloists a form for students and parents to sign which includes the first date to sing for me with mostly correct rhythms and pitches; the date the solo will be memorized; a statement that the student will not be registered for contest if the solo isn’t prepared by the on-line registration date; and a statement that if the student chooses not to perform after being registered, the student will be responsible for refunding the fee which the school had paid. 8. Finalize appropriate literature for ensembles and soloists. If students are singing in a foreign language, double-check pronunciations with reputable iTunes recordings.
9. Find recordings, particularly of solos, on iTunes and YouTube. 10. Find BAD recordings which also provide interesting learning opportunities. 11.Make rehearsal recordings. 12.Know who the accompanist will be. Schedule rehearsals with the accompanist well in advance of the contest. 13.Prepare a calendar with a rehearsal schedule for ensembles and sign-up times for solos and small ensembles. Include an evening recital and performances during choir rehearsal approximately a week before contest. 14.Assuming the music is well learned; begin working on musicianship and presentation. Practice how to enter the room, how to stand, expression, and where to look. 15. Be prepared to register for contest online at least a week before the due date. 16. If there are students or ensembles that aren’t prepared, have the courage to not allow them to perform. 17. At contest, expect students to listen to as many performances of other schools as possible. 18. Submit a picture to the local newspaper of the students participating at Region. 19. After contest, review the judges’ evaluations and schedule rehearsals for students going to State. 20. After State, submit a picture to the newspaper. Students’ Responsibilities: 1. Instead of waiting until shortly before contest, upon receiving the music, number the measures in the vocal and the accompaniment scores. 2. Schedule a lesson by the agreed upon deadline to sing with correct rhythms and pitches learned either through your own avenues or with a rehearsal recording. Bring a notebook to the lesson to record specific things to work on for the next lesson. 3. Listen to iTunes recordings and watch YouTube videos. 4. Have music memorized by the assigned date 5. Practice at home in front of a mirror to become aware of posture, vowel shapes, eye contact, and facial expression. Practice introducing yourself, acknowledging the accompanist and thanking the judge. 6. With the teacher or alone, make audio and video recordings. Use the NDHSAA Official Music Adjudication Form as a guide to evaluate tone, intonation, accuracy, interpretation, and technique. 7. Commit to listening to other solos and ensembles at contest. 8. Write a thank-you note to the accompanist. (Maybe the teacher will receive a thank-you note too). 9. Following the regional contest, meet with your teacher to discuss the performance and the adjudicator’s ballot. 10. If the student or ensemble is going to State, schedule a
rehearsal. My responsibilities as an adjudicator include: 1. Know the NDHSAA Rules and Regulations. 2. Understand the Adjudication Form. 3. Use kind, positive, encouraging words, and constructive criticism. 4. Rate fairly. I believe it is an honor and a privilege to be an adjudicator. I want the students to know that I am happy to listen to them, that it is my pleasure to affirm what their teachers have been teaching them, and that I want to help them to become even better musicians. I want to stay on time and to write as quickly as I can so I can use as much time as possible working with the students. I also want the listeners in the room to learn so I work with the group in the front of the room. As a teacher, I explained to my students that each judge has just ONE person’s perspective, but that there was something to be learned from each judge. Teachers come to know that many judge’s have pet topics. Mine are vowels (especially diphthongs), phrasing, posture, and singing with expression. I wish that teachers and students could take as much time as possible during contest to listen to other students to better understand the ratings at the end of the day. Sometimes a performance is so outstanding that a star rating is a given, but for many performances, the decision between an excellent and a superior depends upon the quality of all of the performances. At Region contest I sometimes tell a soloist or ensemble that they have sung VERY well but that I don’t know what the day will bring
until I’ve heard everybody. Then we’ll work on improvements as though they ARE going to State, with all of us hoping that they actually will. Our new adjudication form lists “Appropriate attire” in the “Other Factors” section. I’m pleased to see this because it may help teachers explain that contest is an opportunity to look professional in modest clothes that don’t distract from the performance. I must end with a bit of humor. I think that the NDHSAA Music website includes some “cutting and pasting” of information meant for our athletic friends, for it creates an odd picture to imagine musicians exhibiting any of this prohibited behavior in our contest performance venues: • Throwing of any object onto the playing floor or in the stands. • Behavior deemed dangerous or which interferes with the rights of others to watch the game. • Use of obscene, profane or abusive language or gestures, signs posters or banners which show disrespect • The use of noisemakers. • Entry onto the playing surface at anytime. In closing, I’m grateful to the teachers, students, administrators, and parents who take contest seriously. The quality of the performances I hear at proves that choral music is alive and well in many of our North Dakota schools.
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Book Review: The Breathing Gym Michael Seil, Jazz Choirs R & S The Breathing Gym by Sam Pilafian & Patrick Sheridan In Bismarck Public Schools, one very good aspect of our staff development is the formation of professional learning communities. As part of our PLC work, the individual departments are able to do book studies for college credit. This fall, our band director at Legacy High School and I decided to read and implement the book The Breathing Gym by Sam Pilafian and Patrick Sheridan. This text is a simple, but effective model to proper breath management and guide to incorporate these methods in the classroom. Generally, warm-ups in the vocal ensemble are based on increasing vocal range and flexibility. Far too often, breathing exercises are avoided since they do not typically provide an immediate result. As with any other physical exercise, the results will be evidenced over time with consistent implementation. When training the developing singer, students must be convinced that singing and speaking are two completely different uses of the same apparatus. While singing, we use much more of our potential lung capacity than we do in everyday situations. Normalizing this sensation takes a great deal of repetition and trust. However, good breathing techniques also improve other aspects of the overall rehearsal. The authors claim that these exercises also “promote a calmer, quieter, more focused rehearsal, create better group timing at entrances and releases, help internalize and improve group rhythm, while allowing students to better prepare for performance by the calm and focus created by group breathing.” Five types of exercise examples and explanations are encouraged in this guide: Stretches • Loosen muscles in area around the lungs • Loosen muscles in the mid-section
• Create better flexibility of breathing muscles Flow Studies •Simulate breathing patterns used in singing • Move air with absolute minimum of resistance and tension • Develop strategies for breaths that occur quickly or over longer periods of time Therapies • Inspire better air flow • Deliberately create problems to help initiate student actualization of resistance or tension Deliberately create problems to model the • eventual physical solution Strength and Flexibility • Expand and contract the lungs and breathing muscles from full capacity to empty • Increased range of motion in the lungs and breathing muscles will result in singing with greater ease Breathing for the Brain • Develop skills to keep the most important muscle involved in singing, the brain, fully supplied with oxygen • These exercises also advance focus and concentration Personally, the trusting of my own breathing technique and the subsequent teaching of these skills has been one of the weakest areas of my instruction. While I have been trying to add these exercises slowly into daily rehearsals, I have really enjoyed practicing them in my own singing and performing. I have also successfully implemented them during individual vocal instruction as the students were preparing for All-State auditions. The book includes detailed instructions and pictures, noting a step by step approach to achieving these breath goals. It is an easy read and is well worth your investment of time and money.
Student Teacher Survey Heather Johnson, NDSU Music Education Graduate Describe your student teaching assignment/ placement (school, supervising teachers, grades, levels, choirs, etc) I was placed at Robert Asp Elementary in Moorhead, MN with Kathy Ferreira. There I taught 1st-5th grade, having two sections of each. Along with the classes, I also helped prepare two musicals, one for all 2nd grade students and an after school musical that was open to 2nd and 3rd grade students. The second half of my placement was with Rebecca Raber at Sullivan Middle School and Shanley High School in Fargo, ND. There I assisted with a 7th grade choir, an 8th grade choir, Varsity Choir which is comprised of 9th and 10th grade students, and Concert Chorale which is comprised of 11th and 12th grade students. I also helped with the men’s and women’s e n s e m b l e s , Sandpebbles and Quintessence respectively, and managed two different study halls and taught voice lessons. At the end of this student teaching experience I had the opportunity to conduct several pieces in Shanley’s Candlelight Christmas Concert. What was your biggest surprise upon starting your assignment? At the elementary level, I remember being surprised by how structured every part of the day was and how quick a teacher has to transition between teaching different grade levels. When taking Elementary Music Education Methods, I would prepare lessons and have time to step up all the pieces before I had to give it. When I was student teaching, the classes came in one right after the other, and there was not ample time to transition. This meant I had to get all materials prepped right away in the morning and reorganize once another prep times came along later in the day.
While teaching high school, I was surprised by all of the minute tasks that need to be completed during a single day. Not only do teachers prepare for all of their classes, teach those classes, and teach supplemental lessons,but teachers also need to take care of paperwork, emails, and many other smaller tasks. These extra tasks are even more abundant when close to a concert. It was surprising that there is so much to get done every single day in addition to just teaching classes. What was your first feeling of success? One of my first feelings of success occurred after a 1st grade lesson. During the lesson I helped lead actions and singing for “She’ll be coming round the mountain” and “Bingo”. The students were very responsive and seemed to be enjoying the lesson. As the class was leaving to return to their classroom, one young girl approached me and told me that she had a lot of fun and that I would be a good music teacher someday. At the high school level, one of my first feelings of success came from one of the first times I lead physical warm-ups. Following Mrs. Raber’s style, I chose some very upbeat music to play as students entered the classroom and proceeded to physical warm-ups. The physical warm-ups went smoothly and the students were engaged and energized. I felt that I successfully started the class on a positive note and the rest of the class hour went just as well. What did you struggle with? In both my elementary and secondary placements, I struggled with classroom management. At both levels, I found that students love to talk about things that are not necessarily class related. Humans are social
beings and when chatter starts it can be hard to reel back into a constructive environment. Elementary students had particularly random topics that could get the class off-track. For example, once when I was teaching a lesson abou t r hythm and p au se d to che ck for understanding, a young boy raised his hand to ask a question, or so I assumed. However, he instead shared a story about his dog which prompted all the other students to raise their hands so they could share their own dog stories. Needless to say, that was a day that I had a hard time accomplishing my lesson objectives. Overall, classroom management was a struggle throughout s t u d e n t teaching, but I got better with practice and will continue to i m p r o v e throughout my career. Were there any humorous moments in your classroom? Almost every day of my student teaching held some funny moment during a class. Sometimes it would be an outof-the-blue statement from an elementary student or a humorous comment from a high school student, and other times it would be mix-up of my own making. I believe humor can be found in many places and help create good experiences, especially in the classroom. For me, it is important to take all of those odd, awkward, and funny moments and turn them into examples that show how life and learning can always be fun. Describe having to coach different ages and ability levels in the same teaching day. What is difficult about that? Teaching different ages and ability levels in one day requires a teacher to be able to instantly transition and adapt to each student or group. The same technique will not work for everyone so teachers get to be imaginative and adaptive.
Through student teaching I gained a lot more pieces for my “bag of tricks�. Going into teaching, I had a few ideas on how to teach different concepts, but while teaching I found that for some students, those ideas I had did not work. In those cases, I had to quickly adapt and find a new way to teach these concepts. This can be a very difficult thing to do, but at the same time, a very fun thing to do. What is the most rewarding aspect of teaching music? For me, teaching music is like teaching human nature. Music has elements of many different subjects ranging from math and science, to English and history, not to mention music teaches different cultural aspects. Teaching music is like getting to teach everything, and, on top of that, it is interlaced with emotion and expression. Music is truly a universal language because it speaks to the soul, and almost everyone in the world enjoys some form of music. I love teaching music because it means I get to teach everything. What are your plans for the future? Someday, I would love to teach music abroad so that I can learn more about different cultures and people, and bring my own experiences and knowledge to new people. Overall, I plan to keep learning and become the best teacher I can be. Name: Heather Johnson Hometown: Worthington, MN University: North Dakota State University
Cartoon Corner
Cody Gerszewski is an amateur cartoonist from Fargo, North Dakota. After graduating from Red River High School in Grand Forks and singing in choirs for Tom Young and Brad Sherwood, Cody joined the “Thundering Herd” and is currently attending North Dakota State University where he is pursuing a degree in Theatre Arts with a minor in Music, and has been a member of the school’s Concert Choir for four years under the direction of Dr. Jo Ann Miller.
Developing Artistry Through Contest DeVera Bowles, Guest Columnist Minot State University NDHSAA music festivals are fast approaching, and I look forward to offering ideas that will encourage young singers to develop their artistry and share their gifts. It is a joy to be a part of this experience. Frequently, this question comes up: “Do my students have to sing in Italian to get a star at state?” My general answer is, “No, but it’s easier!” It’s easier for all the reasons choral directors and voice teachers know to be true. There are fewer diphthongs, the legato line is a bit easier to develop, and since the language is unfamiliar, there is less likelihood that muscle memory will complicate the singing process. Readily available editions of Italian song literature offer word-for-word translations and IPA that clarify when certain vowels open and close. I should insert here that North Dakotans actually have a leg up on other regions in the country because the closed e [e] and closed o [o] vowels are a voice teacher’s dream. I enjoy fine-tuning the diction in any of the languages I get to hear singers share, as I am a diction-queen, but I long to hear English sung with elegance and confident awareness of the specifics of diction. Now that’s an accomplishment. The audience appreciates it too! We have a wealth of music from American composers that our singers would benefit from knowing. Please check out some of the songs suggested below. John Duke: I Watched The Lady Caroline –
With no established meter, the melodic line, primarily eighth notes, moves in meandering curves supported by an equally gently meandering accompaniment. The singer is describing the scene of the Lady Caroline braiding her hair, and the music undulates with this gesture.
It is tonal, lyric, and encourages a legato line as well as any mélodie. Walter de la Mare’s poetry is full of rounded vowels that Duke sets into the melodic line with an awareness serving the voice. The highest notes are tenderly sung above the most complicated piano writing. However, throughout most of the piano part, each hand plays a linear melody interwoven with the vocal line, like a braid.
John Duke: i carry your heart – e.e.cummings’ poetry can be obtuse and slightly risqué, so it’s always wise to check out the poetry for age-appropriateness, but Duke has crafted a masterpiece in his setting of this poem. The comforting 6/8 meter is punctuated with duples in the vocal line,
underscoring the meaning of the text.
. The song ultimately rises to a climactic point requiring a singer skilled in rising chromatic long lines, and a skilled pianist. It is holdyour-breath-beautiful
Celius Dougherty: thy fingers make early flowers – e.e.cummings again. The 6/8 meter is creatively tweaked as the vocal line moves in an unexpected way throughout. It’s clever, fun, and works well for the singer who has dramatic confidence. The piano part has some counting challenges, but it is not dense.
Ernest Gold: Music When Soft Voices Die - This song is an exquisite setting of Percy Bysshe Shelley’s poem. Romantic and sentimental, the piano part is laden with accidentals, but the interweaving of the voice and piano remind me of Hugo Wolf
The singer must at turns, caress the diction, and coldly declaim portions of the text. The exultant final phrase requires a freely spinning top.
William Schuman: Orpheus with his lute – Of all the songs listed, this one has the most straightforward chordal piano part, and the most exposed vocal line. The singer must have easy access to lower tones, and the ability to sing softly on top tones. The polymetric setting serves the poetry, and brings to mind the British neoclassicism focus on text declamation.
The way Schuman sets Shakespeare’s lines, “In sweet music is such art, killing care and grief of heart..” is especially beautiful, and to use the most positive descriptor, it’s challenging.
Hopefully, some of the suggestions I’ve offered will be of interest to your singer. The difficulty level is to be found in the detailed diction preparation essential to a convincing performance. The singer must understand the intent of the poetry. The audience must understand each phrase. All are found in “20th Century Art Songs” G. Schirmer. It was a well-loved anthology when I was in college, and I expect many music classrooms may have an old copy on a top shelf. Dust it off! DeVera Bowles, DMA, Associate Prof, Minot State University
Photo Flash!
NDACDA Teacher Recommended Links:
Check it out!
www.musictheory.net www.sightreadingfactory.com www.musicnotes.com www.teacherspayteachers.com www.cpdl.org www.imslp.org www.tumblr.com www.wix.com www.ustream.com www.symbaloo.com www.picmonkey.com www.issuu.com www.choraldirectormag.com ACDA Publications Adjustable Spinner (for classroom games) www.musicanet.org www.choralia.net www.ipasource.com www.teoria.com www.remind101.com www.soundation.com www.screencast-o-matic.com www.wordle.net www.tagxedo.com www.printfriendly.com www.piktochart.com artsongcentral.com www.socrative.com Mrs. Friedman’s Resources www.thepracticeroom.net www.choralnet.org www.edutopia.com
Director Favorites
2013-14 NDACDA Director Favorites Misty Sipma: Blue Skies---arr. by Roger Emerson Amy Dewitt: People of the Willows---Tom Porter
Michael Weber: Nunc Dimmitis in Bb---Charles Wood Charlette Moe: Son de la loma---arr. Jonathan Quick Rebecca Raber: Lonesome Valley---arr. Brad Nix
Tom Young: Creator alme siderum---Richard Burchard Elizabeth Mack: Jabberwocky---David Brunner
Sarah Hanson: And So it Goes---arr. Audrey Snyder Danielle Larson: We are as One---Mary Goetze
Charlene Snustad: There Will Come Soft Rains---Ruth Morris Gray Sara Hagen: My Favorite Things---arr. Mac Huff
Pamela Burns: Heaven Unfolding---Andrea Ramsey
Michael Stevenson: Old American Songs I/II---Aaron Copland Tom Porter: Sainte Chapelle---Eric Whitacre
Cheryl McIntyre: Agnus Dei---Peter Williams
Brad Sherwood: O vos omnes---Richard Burchard
Vicky Boechler: Sure on This Shining Night---Morten Lauridsen Shelley Zietz: Nyon, Nyon---Jake Runestad
Melanie Popejoy: Crossing the Bar---Gwyneth Walker
Summer Dialogue
We have been invited to join the Minnesota ACDA Summer Dialogue which will be held August 5 - 8 on the campus of Concordia College in Moorhead, MN. On-Line registration with credit card payment opens on May 1. Both Graduate Credit and CEU's will be offered. Housing is available on the Concordia campus. Perhaps even some of our Fargo colleagues could host travelers to help defray cost. More information will be distributed through the NDACDA list serve. I hope to see you all at this great opportunity!! Mike
MINNESOTA SUMMER DIALOGUE WEBPAGE