NDACDA Chorister, Spring Issue 2016

Issue 15 • Spring 2016

The Official Publication of the North Dakota Chapter

of the American Choral Directors Association www.ndacda.com

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North Dakota ACDA Leadership Joshua Bronfman, president University of North Dakota Peggy Dahl-Bartunek, president-elect Mike Weber, past president North Dakota State University Sheldon Weltz, treasurer

North Dakota Repertoire and Standards Chairs Cheryl McIntyre, children’s choirs James Wolter, junior high choirs Discovery Middle School Allyse Hoge, junior high choirs Valley Middle School Tom Porter, men’s choirs University of Mary Charlette Moe, women’s choirs North Dakota State University

Phillip Voeller, senior high choirs Beulah Middle/High School Mike Seil, jazz choirs Legacy High School Brian Saylor, show choirs Bismarck High School Sara Lichtblau, ethnic/multicultural Fargo South High School Chris Redfearn, collegiate/university Valley City State University

Melanie Popejoy, community choirs University of North Dakota Vicky Boechler, music in worship St. Mary’s High School Andrew Miller, student activities Bismarck State College

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In This Issue From the Past President

4

From the Editor

6

Articles Success in Sight Reading

19

Using Renaissance Sacred Music Christopher Redfearn Taking Care of the

12

Classroom Teacher’s Voice Stephanie Beinlich

Thoughts on Music

14

Melanie Popejoy

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From the Past President

H

i everyone – I’m back!!!! Congratulations to Josh Bronfman for his new position at Sam Houston State University in Huntsville, Texas. I think it’s a bit warmer there. Following the bylaws of ACDA, if the president resigns, the position of president goes to the vice-president. We’ve got a great board and our presidentelect, Peggy Dahl-Bartunek is the epitome of organization and energy!

This is an exciting time for ACDA and NDACDA. Our state continues to have a record membership. We currently have 207 members. I think we can have even more members as we move into the next year. Just think if we all invited one more person to join – it would be amazing!

The are new changes to our national organization that will be implemented very soon. The R & S structure has been modified. Instead of 11 areas of interest, there will be 7 standing committees: International Activities, Research and Publications, Composition Initiatives, Advocacy and Collaboration, Education and Communication, Diversity Initiatives, and Repertoire and Resources. The most immediate change we will see is in the Repertoire and Resources committee. This committee provides support, vision and resources for every major area of choral work. The 11 areas of this committee (formerly Repertoire and Standards) will be represented by four major themes/ positions, Youth, Collegiate, Life Long and Repertoire Specific. The Youth R&R Area will include the R&R Chairs for Children and Community Youth (which will now 4 | The Chorister • Spring 2016

contain Boy Choir), Middle School/Junior High and High School. The 2 Year College and C o l l e g e / University R&R Areas will be combined and along with Student Activities (formerly Youth and Student Activities) will come under the Collegiate Area. Life Long will include Community Choirs and Music in Worship. The Repertoire Specific areas of Men’s Choirs (formerly Male Choirs) Women’s Choirs, Jazz Choirs, Contemporary/Commercial (formerly Show Choir) and Ethnic Music will be overseen by the National R&R Chair who will help these areas have both a unique identity and also infuse their specific literature and resources into all the other areas.

Our state board will be working on defining the needs that we will have to meet the new structure of committees.

The charge from the national office is: State and Division Boards will be required to have at least four R&R representatives (Youth, Collegiate, Life Long, Repertoire Specific), but beyond these, States and Divisions will have flexibility in the number of R&R representatives.

If you have any input about the restructuring, please contact your board representative. http://www.ndacda. com/#!board/c1t44

The other piece of news is about the restructuring of our division conference.

North Central will be joining the Central Division and having joint conferences.

The site will alternate between Chicago and Minneapolis. My understanding of this collaboration is that it is more of a financial benefit to both divisions. I will have more information to share after the division board meeting.

I think I can speak for our membership when I wish Josh the best on his new position and send him good choir vibes for his next adventure. And, best wishes to you all as we finish this school year! See you in the fall!!!

Mike Weber North Dakota State University NDACDA Past President

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From the Editor

n my first “Letter from the Editor” this past fall, I mentioned that in the few short months I had been in North Dakota I had developed a positive impression of the choral community in our state. I’m happy to report that in the nearly six months since I wrote that article, my impression has not changed, and has, in fact, grown more positive!

When I got the job at Dickinson State, I wasn’t quite sure what to expect. My only prior impression of North Dakota came from a college friend of mine who asserted that, since she had never met anybody from North Dakota, it must not actually exist. As a Minnesota native, I was at least relatively confident that the state did actually exist. In fact, I had once even driven through it on the way to drop off my sister at college in Idaho! But beyond that, I didn’t know much. So it was with a bit of trepidation that I came for my interview at DSU. I was surprised at how well I liked the area and the school, and was quite pleased with how much it reminded me of my home in the Twin Cities. After having lived in the desert Southwest for six years, it was soothing to be back among trees! After I accepted the job, my wife and I came for a house hunting trip, and continued to gain a positive impression of the community, the University, and the state as a whole. Now that I’m finishing out my first year, we’re quite happy to be where we are and, although we were both concerned about living in a smaller city like Dickinson (neither of us had lived in a city of fewer than 100,000 residents before), we’ve 6 | The Chorister • Spring 2016

found that we can get nearly anything we want here (and if not, there’s always Amazon), and we love the surroundings.

I have been impressed with how much is going on in the choral community in our state. I didn’t expect there to be as many opportunities for young students to develop their talents. From regional festivals to honor choirs to All State, our students don’t lack for musical opportunities. And the quality of the performances at these events doesn’t disappoint! Two weeks ago I served as adjudicator at the Region 10 vocal festival at Assumption Abbey in Richardton. Again, I wasn’t sure what to expect, but was delighted by the high quality of many of the performances I heard. You, my colleagues, are doing good work with your students, and I offer my congratulations. There are, of course, areas for improvement, as there always are and always will be. But it seems to me that the fundamental quality of the choral life of our state is very good, and that all the opportunities that need to be in place for our young people to develop their musical abilities are indeed in place.

I hope that this publication can continue to be an asset to our choral community. As always, I welcome your feedback regarding The Chorister, and hope

you won’t hesitate to let me know how I can be of assistance either personally or through this publication.

Best wishes as you finish out the school year, and as you prepare for another successful year to come!

Brent Rogers Dickinson State University

Editor and Designer, The Chorister

How Can The Chorister Better Serve You? 



Are there issues you would like to see addressed in a future article?

Some examples might include: 

The Boy’s Changing Voice

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Re-Arranging Your Arrangements



Working With Instrumentalists

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Anything else you think could be useful!

Are there regular features you would like to see included in future issues? Any features that were previously included, but which may have gone by the wayside?

Please feel free to email me with suggestions as to how this publication can better meet your needs! brent.w.rogers@dickinsonstate.edu

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Success in Sight Reading Using Renaissance Sacred Music to Teach Basic Concepts

wrote an article two years ago for this publication on the basics of including sight reading in your choral rehearsal and the benefits you can glean from doing so. Not only will your singers be stronger performers in your choir, but they will have the skills they need to be lifelong singers who continue to enjoy their art once they leave your school. Teachers who decide to include regular sight reading in their rehearsal must then find suitable repertoire to use in their classroom. I believe that a good place to start is with Renaissance sacred music.

There are many fine commercially available sight-reading books and methods, many of which I have used and learned from during my career. However, you may find that your budget will not allow you to use these materials. This was often the case when I was a public school teacher. Fortunately, modern editions of Renaissance masses and motets can downloaded for free from Choral Domain Public Library (cpdl.org). While some editions strive to replicate the look of Renaissance sacred music, many have been engraved with modern notation that your students will be able to access with little problem.

There is a wide spectrum of music available for use. A good starting point for any choir would be the music of Palestrina. His melodic lines are nice combination of step-wise motion and leaps that are often no larger than a fifth. Intervals of the third and fourth are prevalent,

as well as the octave. One will encounter accidentals in the music of Palestrina, with some pieces employing only a r a i s ed f ou r th scale degree.

Other pieces are more melodically adventuresome.

Should your choir become proficient with the melodic lines of Palestrina, you could introduce them to composers who use accidentals more frequently, such as Lassus and Byrd.

Renaissance sacred music forces your singers to count while they sing. As the music is usually not homophonic, singers must become independent in order to sing their part in the polyphony. Sight reading this music in two, three, or four parts accelerates this process. The rhythms are not overly complex, and some rhythmic motives are repeated enough that singers become accustomed to them quickly. The complexity comes when singers are forced to read and internalize the music while other parts are doing the same with conflicting rhythms. Should this become too much of a burden, using homophonic Renaissance works, such as English madrigals, could serve as a bridge to polyphonic reading.

Some directors are hesitant to include sight reading in their programs, as they www.ndacda.com | 9

have precious little time in rehearsal and are under pressure to have music ready for concerts. This can be especially true in class B schools, where teachers only see their choirs two or three times a week. However, a perk of using public domain Renaissance music as sight reading material is that, unlike most commercially available sight reading methods, these pieces are already performance material. Directors can employ many strategies to use a piece both as sight reading and as performance material.

One can break a mass movement or motet into several different sight reading examples, such as having the choir sing each part as a unison exercise in their own octave. Directors can pair voices together to sight read two parts, such as the sopranos and tenors singing the Soprano part and the altos and basses singing the Bass part. If planned properly, the sight reading exercises could be stretched over weeks, but then the entire piece has been read through by multiple parts. It can then be rehearsed as a performable work and presented at your concert.

Directors can contribute to the success of their students by observing a few details during the sight reading portion of their rehearsals. First, directors should refrain from using supporting instruments during the exercise, whether that be piano or the director’s own voice. Students will use their ears instead of their eyes and internal hearing if an instrument is sounding during the sight reading. Next, insist that students execute notes precisely on the beat. Students that sing behind the beat are likely listening for their note before singing it. That is not sight reading, that is a survival strategy. Insisting for “on 10 | The Chorister • Spring 2016

the beat” singing requires your students to commit to the note in their head, whether it is right or wrong. That commitment is the foundation of musical independence. Lastly, you can help prepare them for intervals they will encounter in the sight reading with specific exercises in warm-ups. Will their sight reading exercise have a series of thirds? Include an exercise that practices thirds in warmups, then refer back to it during the sight reading exercise. The same is true for other melodic or rhythmic challenges.

There are many benefits for your students by incorporating these strategies into your choral classroom. First, students are introduced to the music of the great Renaissance masters. This is music that can be sung by the smallest group at solo contest or the biggest choir at large group festival. They learn to sing independently of others around them. Learning to sight read now means that your rehearsals in the future will have less “note pounding” and more musicianship.

Plus, the sight reading used for All-State Choir auditions looks much like this music, both melodically and rhythmically. As the sight reading portion of these auditions is a large percentage of the overall score, you can help your students succeed in their quest to make the All-State or other honor choirs. Thank you for your efforts as choral musicians in our state, and best of luck for the remainder of the school year.

Christopher Redfearn Valley City State University Collegiate/University R&S Chair

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Taking Care

of the Classroom Teacher’s Voice

ost of us are familiar with the hazards associated with working as a professional voice user: vocal strain, dysphonia, chronic laryngitis, and the dreaded vocal nodules, among many other disorders. The occupational risks of speaking all day, often over the voices (and instruments) of dozens, perhaps hundreds, of students are often bypassed by a stronger priority of communication and effective teaching. Unfortunately, misusing the voice in an effort to improve immediate effectiveness will likely lead to more inconvenient and uncomfortable issues later on.

Speaking over students is often done with poor vocal technique, meaning with a lack of breath support and connection to the tone, at a louder dynamic than is comfortable, at a pitch unnatural to the speaker, and/or with damaging affects to the tone (like vocal fry or breathiness).

Most classroom educators have felt vocal fatigue at some point or another; speaking without healthy vocal technique is sure to introduce vocal fatigue more and more often, and with longerlasting effects.

Speaking in such a way, or experiencing vocal fatigue on a regular basis, is likely to lead to a disordered voice. In addition to the above ailments, issues like polyps, laryngopharyngeal reflux, paresis, and hyperkinesis are commonly found among professional voice users, though it is important to note that these issues are not necessarily caused by excessive voice use. However, the combination of 12 | The Chorister • Spring 2016

environmental and mechanical factors does encourage the professional voice user to take extra care of their vocal health and hygiene in order to ensure a long and uninterrupted career.

Symptoms of a voice disorder often cross paths with common symptoms of a cold or flu, so it is important for the speaker to pay careful attention to their vocal health on a weekly, if not daily, basis. Any time one feels fatigued or notices any of the following symptoms, reviewing any possible causes can help quickly diagnose the problem (overuse? misuse? allergies? diet choices? illness?). Any symptoms that persist over a week should be reported to a doctor, especially an Ear, Nose and Throat physician that specializes in singers, because while the cause may have simply been a cold, use of the voice over such symptoms can lead to more lasting damage. Having a persistent cough can lead to vocal polyps or nodules, for example.

Symptoms to watch out for: 

hoarseness,

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breathiness

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weakness

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strain

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pain

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muscle tightness in the throat

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general ache in the vocal muscles or throat

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discomfort

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excessive dryness

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pharyngeal swelling

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missing pitches in the scale

Fortunately, we know that many of these symptoms and their associated disorders are easily preventable or treatable. Firstly, maintaining overall physical health can help to prevent illnesses which may later cause vocal damage, in addition to shortening recuperation time.

Staying vigilant to avoid dehydration is also key, especially for professional voice users. The typical recommendation for water intake per day is at least 1.5 liters (or 50 ounces), making adjustments to accommodate for intense cardio exercise, illness, and other environmental factors. As caffeine and alcohol are dehydrating, I typically recommend supplementing a can of soda, cup of coffee, or glass of wine with an additional glass of water. Obviously limiting these dehydrating liquids is best, but often unreasonable. Behavioral choices can also help maintain vocal health. Requiring voice rest (from both singing and speaking, while completely avoiding whispering) between periods of high-intensity use is extremely important and can help prevent fatigue. Some classroom instructors favor the use of amplification, while others simply maintain a classroom management policy of not speaking until the room is silent and attentive. Obviously, when the voice is used, it is imperative that any professional voice user make healthy technique choices: using proper

breath support even when not singing, avoiding the now-ubiquitous habit of vocal fry, and speaking at a comfortable pitch for his/her specific voice range.

While “speak higher!” is a commonly used fix for disordered voices, it is actually quite often mis-prescribed. The following list advises the approximate healthy speaking pitches for the various voice classes (as recommended by Dr. Ingo Titze, director of the National Center for Voice and Speech):

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bass: G2

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baritone: B2

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tenor: E3

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contralto: F3

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mezzo-soprano: G3

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soprano: B3

While these pitches may seem lower than one might expect (especially for women), it is emphasized that both pitch and proper phonation are key factors in healthy speaking.

Ultimately, classroom music teachers are most effective when they are healthy and providing a good vocal model to young singers. Remembering the basics of vocal health and hygiene, taking the time to frequently rest, and insisting on taking the steps to care of oneself is the best way to prevent long-term damage to your instrument!

Stephanie Beinlich University of North Dakota Lecturer in Voice

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Thoughts on Music Last fall, I received an invitation to present a TOM (Thoughts On Music) Talk at the North Central American Choral Directors Association Conference in Sioux Falls, South Dakota in February. The theme for the conference was Servant Leadership, with a focus on the book Servant Leadership by Ramona M. Wis. Here are the thoughts I shared.

opportunities to be a part of something extraordinary. 

There was a sextet of “mean girls” in middle school whose goal was to sabotage every opportunity I took to rebuild the declining choral program. Their fear of relinquishing control was their motivation. They taught me how insecure girls are at that age, and challenged me to empower them to use their influence to make positive change in the ensemble, and in their own lives.



I remember the high school choir who rebelled against my rigorous quest for choral excellence, because they were afraid of failure and embarrassment. They taught me that all of us want to feel success, and that fear and self-doubt can manifest itself into the ugliest of behaviors.

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y teaching and choral directing career that began over 35 years ago has taken me through all levels, K12 and college, to 5 different states, and includes church and community choir work as well. At the University of North Dakota, I have the privilege of preparing college students to become choir directors. On the last day of my Choral Methods Class last semester, I realized that my wish for these future teachers could be simplified in one easy statement... “I hope you teach your singers as much as they will teach you!” Looking back, I recognize that the greatest lessons I have learned came from the singers with whom I have had the honor to serve and make music. These lessons started me on my journey from being “teacher” to “servant-leader.” 

For example, a young 5th grade chorister ran 3 miles to get to his chorus concert, because no one at home wanted to stop what they were doing to drive him. He taught me how singers will do anything if they trust you to help them succeed, and offer them

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In his book titled ”Pathways,” Joseph Alsobrook mentions the five gifts all students (and I would add all people) want.

They are the gift of love or acceptance; the gift of attention; the gift of accomplishment; the gift of boundaries; and the gift of fun. He proposes that students will: 

get up at ridiculous hours to attend rehearsals

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show up for every performance

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listen to your every word as if Toscanini himself were speaking

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conduct themselves in a manner pleasing to you

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genuinely try to accommodate all of your requests

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practice their music

…but only if they are getting what they want most in return! These five gifts.

I heard someone say that people only hear what is relevant to their survival.

When I rewind the tape in my mind of some of my more difficult rehearsals and classroom situations, I realize that as I was “teaching,” my singers were communicating loud and clear that what they needed was relevance; relevance to me or to the music.

Leadership-first is a philosophy based on acquiring power. The words “power” and “control” are usually considered synonyms in a teacher’s vocabulary, and used as the basis for determining whether someone is successful. The servant leadership philosophy is about focusing on the needs of those we serve, empowering them to do great things. When I adopted a servant philosophy in my teaching, I encountered less conflict, more success, and a lot of joy. Odd as it may sound, I also became a better leader.

part of a winning team. When …people see a simple plan developed from understanding – not bravado – they will say: Count me in.”

Have you been struggling in your rehearsals recently? What lessons are your singers trying to teach you? Are they saying: “Count me in!” or “Make it relevant?” Are their actions and reactions telling you what they need?

What I know for sure is that servant leadership is a great fit for me. I know that I am more the teacher I have wanted to be. I know that my life is richer for it.

I know that I look forward to the challenges ahead, because with challenge comes wisdom and strength. And finally, I know that as I continue this teaching career, my greatest lessons are yet to be learned, and taught by the most unlikeliest teachers…my singers!

Melanie Popejoy University of North Dakota Community Choirs R&S Chair

Sometimes, we can lose sight of the fact that we are in a people business.

The loss of clarity comes with the demands of performing, when our egos feel threatened, or when the music becomes the priority. Jim Collins, the author of “Good to Great,” said, “What do … people want more than anything else? To be www.ndacda.com | 15

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