NDACDA Chorister, Spring Issue 2017

Issue 18 • Spring 2017

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 Mike Weber, president, North Dakota State University Peggy Dahl-Bartunek, president-elect Sheldon Weltz, treasurer

North Dakota Repertoire and Resources Committee Repertoire-Specific Coordinator: Tom Porter, University of Mary  Men’s Choirs: Tom Porter  Women’s Choirs: Charlette Moe, North Dakota State University  Vocal Jazz: Mike Seil, Bismarck Legacy High School  Showchoir: Brian Saylor, Bismarck High School  Ethnic Music: Mary Pat Archuleta, Bismarck Century High School

Youth Coordinator: Sarah Barnum, Discovery Middle School  Children and Community: Cheryl McIntyre, Jamestown High School  Middle School/Jr. High:

Allyse Hoge, Valley Middle School Jessica Blair Stoppleworth, Wahpeton Middle School  Senior High School: Phillip Voeller, Beulah Middle/High School

Collegiate Coordinator: Chris Redfearn, Valley City State University  Youth College/University: Chris Redfearn  Student Activities: Melanie Popejoy, University of North Dakota

Life-Long Coordinator: Sara Lichtblau, Fargo South High School  Community Choirs: Sarah Barnum  Music in Worship: Vicky Boechler, St. Mary’s High School, & Sara Lichtblau

Brent Rogers, Dickinson State University Editor and Designer, The Chorister brent.w.rogers@dickinsonstate.edu

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In This Issue From the President

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What’s in the Folder?

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Lacey Hanson, Center-Stanton Public School Vitamins for Women’s Choirs

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Charlette Moe, North Dakota State University Insights from a First-Year Teacher

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Mike Seil, Bismarck Legacy High School Making Pop Purposeful Through Composition

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Jessica Stoppleworth, Wahpeton Middle School

Visit NDACDA online at ndacda.com, or by clicking below.

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From the President reetings to all of my NDACDA colleagues!

Peggy Dahl -Bartunek asked me to write one more column to reflect on my years in leadership positions for ACDA. I have served as the North Central Division Treasurer from 2005-2011 and I have been a part of the North Dakota leadership team beginning in 2011. I have seen many changes in the organization at all levels. I have had the honor to work with exceptionally talented and giving people at the national, divisional and state levels. I have also been privileged to meet many gifted and talented conductors and singers across the country and the world. ACDA has provided opportunities for me to work on conference planning committees, national symposiums and to experience choral concerts of the highest artistic level.

The one constant factor that has remained with me through all of the good and not so good, is the fact that we are a volunteer organization—and we have GREAT volunteers in North Dakota. I love the fact that when there is a need for help, someone always steps up and is willing to do whatever it takes to make it happen. I can’t think of an example when this wasn’t true. When we hosted the 2008 division conference in Fargo, we had the best conference planning committee. I cannot adequately express how hard that group of people worked to make the conference a success. They were all volunteers. At every state conference I have participated in, either as 4 | The Chorister • Fall 2016

a planner or as an attendee, people were always asked if anyone need help with anything— and they did the work. They were all volunteers.

Our board members, who have served in the past and present, consistently work to create exceptional experiences for us and our students.

There were and are all volunteers. The people who organize our special events, such as Surround the State in Song and the honor choirs, believe in the power of these events. They are all volunteers.

The people who have worked on the Sing Up! campaign, which has helped us grow the organization, believe in the importance of ACDA. They are all volunteers. The people who have accepted leadership roles for NDACDA have generously given of their time to make the organization relevant and important to the membership. There were all volunteers. Thank you to all of our volunteers!!!!

Our professional organization is a living, evolving machine.

I have seen many positive changes that continues to energize our membership. One of the most important changes occurred when Tim Sharp was hired to be the executive director. He has almost single-handily led ACDA into the 21st century. Without his

leadership, I don’t think we would be the vibrant organization that we are right now. This energy has been passed down to the division leadership and also to the state organizations. Tim has hired a great group of people to facilitate the activities of ACDA. The most important one for North Dakota has been the Sing Up! campaign. During each of the past three membership drives, we have increased our membership to the point where we have been recognized by the national office for our growth. We currently have 219 members. That is our largest membership total to date. Because of our rate of growth, we were presented plaques at the last two national conferences and the last division conference. People across the country have heard of NDACDA! I leave the NDACDA leadership role knowing that we are in good hands.

NDACDA is in very positive financial standing. Sheldon Weltz has been an excellent treasurer. He is very attentive to detail and he is timely with all financial responsibilities. Peggy Dahl-Bartunek is very conscientious, organized and has

great ideas for our organization. She will be a great president and will lead us forward. And after Peggy, Cheryl McIntyre will be our next leader. Cheryl has great energy and vision, and she will continue to move us forward.

I think NDACDA has a bright future.

Our members are committed and our leadership team is committed. We all love the power of choral music and we all advocate for strong musical experiences for our students. Thank you for the opportunity to serve NDACDA. I encourage everyone to volunteer and participate in our organization. The benefits far outweigh the amount of time it adds to your busy schedule. We will always need volunteers to make NDACDA a great group of people that does amazing work. I look forward to the new changes in store for our organization.

Mike Weber North Dakota State University NDACDA President

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What’s in the Folder

s we enter April, most of us are just finishing or preparing for upcoming festivals within our Regions/ State. In the Class B schools, we recently had our Regional Small Group festivals. My folder selections for this issue are all vocal selections that I used at our festival. I feel that choosing quality literature can be a challenge some years but I have some pieces that become favorites.

Title: Heart, We Will Forget Him! Words: Emily Dickinson Composer: Laura Farnell Voicing: SSA Publisher: Hal Leonard Recording: https://www.youtube.com/watch?v=08fW2aaNXnc Notes Over the years, Laura Farnell has become one of my go-to composers. She creates luscious harmonies and beautiful piano accompaniments to all her pieces. This selection uses the beautiful text from Emily Dickinson’s poem and sets it to a piano accompaniment full of arpeggiated triplets against the voices singing eighth notes. This will give your students lots to work on such as phrasing, singing dissidences, and overall musicality. It’s a favorite of my girls!

Title: Bayushki Bayu (A Russian Lullaby) Composer: Dave and Jean Perry Voicing: Available in 2-pt and SSA Publisher: Alfred Recording: https://www.youtube.com/watch?v=jNKNCiN6JXE Notes I discovered this piece about eight years ago and instantly fell in love with 6 | The Chorister • Fall 2016

the beautiful harmonies. The lyrics are based on a short Russian phrase that is commonly spoken from mother to child. It’s a lyrical lullaby that is mainly sung in English. The composers set it to a ¾ meter which gives it a lilting feel.

Title: Oceans and Stars Composer: Amy Bernon Voicing: SATB, 3-pt Mixed, SSA Publisher: Shawnee Press

Recording: https://www.youtube.com/watch?v=QaIqC9KiAwk Notes During my first few years of teaching I came across a piece by Amy Bernon titled, “She Sings”. I fell in love with it instantly and my students have all loved performing it. After finding that piece I later considered more literature by Bernon and found some great songs. This year I found one of her newest compositions, “Oceans and Stars”. In this piece, Bernon makes a comparison of the voyages we make through life to those of a river flowing to a sea. My favorite lyrics are, “Live, you will live; grow, you will grow; sing you will sing, you will flow….”. In addition to contest, I feel that the lyrics would be fitting for Graduation.

Title: Scarborough Fair Arranger: Roger Emerson Voicing: SAT(B), 3-part mixed, 2-pt Publisher: Hal Leonard Recording: https://www.jwpepper.com/Scarborough-Fair/10278663.item#/ Notes This traditional folk song takes a more contemporary feel as Emerson sets it to a 4/4 meter vs. the traditional 3/4. There are several sections where the vocal line is syncopated against the piano’s running eighth note accompaniment. My students loved how this piece felt more modern than the traditional arrangements.

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Title: Prayer of the Children

Composer: Kurt Bestor • Arranger: Andrea Klouse Voicing: SSAA, SATB, TTBB Publisher: Alfred Recordings: https://www.youtube.com/watch?v=khRznLpLpHc https://www.youtube.com/watch?v=qZF7ASUGeZA Notes This is a piece of literature that I truly feel every choir should sing or hear at some point. Originally composed as a tribute to the children of Bosnia, it was also recently used as a tribute to those lost in the Sandy Hook shootings. The text is powerful and hits every heartstring with lines like the following: “Cryin’ Jesus, help me to see the mornin’ light of one more day. But if I die before I wake, I pray my soul to take.” Klouse took the complexity of the four-part harmony and increased the difficulty by making it a capella.

If you have a group capable of singing this, please consider it!

Lacey Hanson Center-Stanton Public School

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Vitamins for Women’s Choirs

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reetings to Everyone! I am honored to serve on the board as North Dakota ACDA Women’s Choirs representative and as the Women’s Choirs Chair and Repertoire Specific Coordinator of North-Central ACDA.

The following article is a reprint of an article that I wrote from the Winter Melisma publication When recalling my first guest conducting experience with a treble-voice choir in Bemidji, MN in 1998, my thoughts were that I would LOVE to work with a similar group EVERYDAY. Little did I know, that I would have the fortune to work with the women’s choir at North Dakota State University EVERYDAY, well…. actually every other day, for over ten years and to serve North-Central ACDA as the Women’s Choirs Chair.

Do you eat your vegetables and try to exercise daily, or every other day? As in eating vegetables and exercising, there are ways to implement “what’s good for us” into our women’s choral ensembles.

Please do not interpret these ideas as drudgery but as ideas, which pay large dividends. Similar to many conductors who have learned techniques from other conductors, I frequently steal ideas from choral-conducting colleagues, therefore I am including vitamins from three fantastic women’s choral conductors along with my vitamins for women’s choirs.

Thank you Sandra Peter, Stephanie Trump and Debra Spurgeon for sharing your vitamins for women’s choirs.

From Charlette Moe, Assistant Professor of Music at North Dakota State University. #1. Remember that choral experiences benefit and are lifechanging for all students, regardless of talent.

Though I was an average basketball player in high school, the tenacity and grit I learned from that experience constantly transfers into my daily life. Our singers, even those with average instruments, gain much from their ensemble experiences and become life-long advocates of choral singing. #2. Program music, which isn't your "go to" or your choir's natural "fits us like a glove.” Your ensemble benefits in many musical and nonmusical ways when singing music that is "out of our comfort zone." An awareness of different genres, styles and backgrounds of pieces often builds empathy, understanding and community along with technique.

Though I love conducting and teaching accompanied works with long phrases which allow a bending and stretching of the phrase; my women’s choir and I have benefited and learned better vocal technique, rhythmic preciseness and stronger listening skills from programming a cappella earlier works.

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From Sandra Peter, currently at Stetson University and conducted/taught at Luther College in Decorah, Iowa from 19912013. (continued) #1. SINGING! What is the vision for the group? Why does the choir exist? There must be a vision. Choirs exist so people can sing. Focus on singing and sound, not on people’s expectations or hopes. Have the vision that singing changes lives. Believe that finding your voice and developing your voice can change a person. #2. PURPOSEFUL WARM-UPS The minute the bell rings, or the rehearsal time begins, start stretching, then vocalizing. We all have a lot to say and announcements to give, but wait with that until the end of rehearsal. Focus on the reason everyone is here, to sing!

Build voices. Focus on standing tall, exhaling fully, then using the air they take in. Relax the jaw and tongue and encourage them to send air through an open, relaxed space. Purify vowels. Celebrate what unison singing can do to build voices and strengthen the ensemble. Make use of canons, rounds. Help your singers expand their range and their own awareness of what they can do as a singer. #3. FLEXIBILITY---BEING OPEN-MINDED Change is a mindset. It is the mindset of a lifelong learner. We are open to new ideas, new sounds, and to our students, many of whom are new to us on a yearly basis. There is something new to learn each day. We foster this openmindedness in our students, so that they can experience music, choral singing, 10 | The Chorister • Fall 2016

and being a part of a choir as fully and freely as possible. For example, resist labeling singers (“You are an Alto II.”), but rather, speak of voice parts simply as assignments. In a treble choir, many singers can comfortably more than one of the voice parts in any particular score. Also, move them around logistically. Sing in a circle, sing in two rows facing each other, sing in mixed formation. Help them hear in new ways.

From Stephanie Trump, Director of Choirs at Robbinsdale Armstrong High School in Plymouth, MN and the Women’s Chorale Director at University of Northwestern in St. Paul. #1. Remove the "underdog" stereotype for women's choirs. Work diligently to ensure that women's choirs are not perceived as second-place to the mixed choir both inside and outside of the ensemble. Women’s choirs are capable of much given their unique chemistry, maturity, and aptitude. They will work at their premium when they know their conductor believes in them. They thrive on both praise and challenges. Women’s choirs are capable of quality leadership, fellowship, and musicianship. #2. Women's choirs need high quality repertoire rehearsed with equally high standards for process and outcome.

From Debra Spurgeon, Associate Professor of Music/Choral Music Education at the University of Mississippi. #1. Teach fundamental singing skills.

Just like a daily vitamin, this is something we do in every rehearsal. There is simply no avoiding the need to build voices,

whether it is a high school, collegiate, or community choir singer. If you want to achieve a high level of performance, singing skills must be systematically taught: physical awareness, breath management, teaching the head voice down approach, vowel alignment, and resonance balance. This work should be done in the daily warm up but it can also happen in the middle of rehearsal when the conductor hears issues that need to be addressed and then devises an exercise on the spot to address it. Make voice building a priority; know your singer’s voices, and don’t be afraid to stop to teach technique that arises in the repertoire. All singers, beginner through advanced, will benefit. For the adult female singer in particular, this will help the voice stay agile and expressive as aging and hormone changes take a toll. #2. My next “vitamin” applies to the conductor. We should always be searching for repertoire that suits our ensemble and search for historical repertoire that is often overlooked. From the Medieval and Renaissance eras we have the music sung by nuns in convents. The Venetian Ospedale repertoire contains hundreds of scores written for the prodigious female singers and instrumentalists trained in a conservatory environment such as Vivaldi’s Gloria and Porpora’s Magnificat. From the Romantic period,

Brahms, Schubert, Rheinberger, and later, Holst, composed many works for women.

Though it takes extra effort on the conductor’s part to research and locate this music, some scores are available for free download on the Choral Public Domain Library and the International Music Score Library Project websites. The conductor who does the work and delves into the historic women’s repertoire will find stunning pieces and will lead their women’s ensemble to a rich choral experience.

One final thought from Charlette: Picture a portion of the singers in your women’s choirs as future mothers who organize their family’s calendar (or future fathers in a men’s choir) and give advice to their children in regards to schedules.

Hopefully, we gave our male and female singers the right “vitamins” to assure her future advocacy of the choral art through encouraging their children to SING. Charlette Moe North Dakota State University NDACDA Women’s Choirs R&R Chair

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Insights

from a First-Year Teacher

s I was contemplating what to write about this year, I debated on several subjects, thinking that I would revert back my normal thoughts about the importance of positive relationships in the classroom.

However, as I thought through my specific experiences this year, the most unique relationship that I have had personally is with my coteacher, Jacy Walker. Jacy is a first year teacher, graduating last year from UND. In addition to teaching together, I have also served as her mentor teacher, in some ways requiring us to be more in depth and authentic in our professional relationship. Several of our recent conversations have focused on the aspects of teaching that you can’t and couldn’t learn from a text book. These discussions led me to ask her these questions with the idea of sharing her answers/ experiences with our future up and coming teachers, in addition to reminding the rest of us how difficult it is to be a first year teacher.

What aspect(s) of teaching were you best prepared for by your college experience?

My time at UND prepared me most in two areas: First, a strong philosophy of teaching. I value my philosophy as one of the most important tools because it has guided me through how I prepare for students, what I want them to learn, how I speak to them, and how I get through the moments where the textbook couldn't possibly have guessed on what I 12 | The Chorister • Fall 2016

would encounter.

Second, experience. I was fortunate to have several student/ assistant conducting opportunities that allowed me to practice conducting, pacing, communication, repertoire selections, etc. Without my experiences with student directing the Grand Cities Children's Choir, the UND Varsity Bards, or my choral internship with Calvary Lutheran Church, I know I wouldn't have been nearly as successful student teaching or in my first year as a choral teacher.

What aspect(s) of teaching were you least prepared for by your college experience?

I will always wish I had better piano accompanying chops. In the eyes of the collegiate system, I am very proficient and completed my keyboard skills easily.

With the rest of my class load, I didn't seek out or have time for extra piano lessons. I remember spending so much time practicing voice and diction (of which I am extremely thankful-especially my IPA skills when teaching students foreign language), but I do wish I had a more balanced approach to lessons and there was opportunity to take an accompanying class.

Now that you have been teaching, what was the most valuable component of your student teaching experience?

My student teaching experience was a little unorthodox. After attending college in my hometown and feeling so extremely ready for an adventure, my new husband, cat, and I packed up two cars and drove off to Colorado in December for an out of state student teaching experience. The five months I spent in Colorado really solidified what I was looking for in a teaching career and what I expected from local government in terms of supporting music education in the schools. Music Education in North Dakota is a gift that I will never take for granted because of my student teaching. In other words, being a North Dakota baby, it was invaluable and almost necessary for me to experience a bigger picture of

music education and what it looked like in other parts of the country. There were different values from what I was used to and this allowed me to have an easy transition to the philosophies of Bismarck Public Schools. It has helped me to be adaptable not only to my new district's ideals, but to the two different programs I am working within currently.

Now that you have been teaching, what do you wish you had had the opportunity to do in your student teaching experience?

I always wished I had more responsibility during student teaching. It is so hard to welcome someone new into your program, especially someone who doesn't have teaching experience, but I did a lot of observing, a lot of practicing, and I (continued)

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sons: because music is my passion and provided a special experience for me growing up, and because a music teacher made all the difference for me throughout my schooling. For the first time since beginning my music education journey, I feel as if I could be that for someone else. There is nothing that compares to the feeling of knowing you are making a difference.

What is your least favorite part of being a teacher?

My least favorite part by far is disciplining. There's nothing enjoyable about having behavior talks with anyone.

What of your teaching experience has been the most unexpected?

always wanted something to call my own. I know some student teaching models have students take over an entire class for a semester, but I followed a gradual in and gradual out model and never was able to put my own personal stamp on the process or the kids. I was never able to see gradual progress in the students as I popped in and out of each class conducting this piece here and that piece there. However, I credit this experience in giving me an insatiable desire to look forward and figure out how I fit into the two programs in which I teach and make an influence.

What is your favorite part of being a teacher?

I am a choir teacher for two basic rea14 | The Chorister • Fall 2016

I am constantly surprised at how much the students rely on me, especially my high school students. I was always drawn to the idea of teaching middle school choir because I wanted to be a rock to the students that really needed music to help them through such a weird/ transitional time (at least middle school was for me). However, I did not expect how much the high school students would also need guidance and supportand they seek it out! There was no way of preparing for the things these students go through and what to say to them when they are in tears sitting across from you. They need us- they need to feel valued, respected, listened to, and above all, they need to feel they have a place to fit in. On the flip side, all of my students have shown me such incredible compassion and gratitude. From the 6th grade choir to the women's choir, they have all been so welcoming, gracious, and willing to share-good or bad. They

are resilient, open, and understanding.

No textbook or lecturer in college can prepare you for the interactions of real adolescents and all the dynamics that they come with-good, bad, or ugly, and it's sure a surprise when you get there.

If you had it all to do over again, would you choose music education as your major?

Without a doubt, I knew I belonged with music. I began college as a music therapy major and found my way to what it seemed everyone in my life knew I was destined for: education. I know this path was the way it was meant to be for me. Because of my year and half as a music therapy major, I have that additional background that has been invaluable.

I don't think I would want to change any major thing about how I got

to where I am, because I know I am exactly where I need to be and exactly with the programs and students I am supposed to be with.

Jacy is doing a marvelous job at Legacy and Simle this year. She is talented, passionate and caring; everything you’d want to have as a teacher who teaches your children. I know this personally, since Jacy is currently teaching my son.

We are lucky to have young professionals like her in our vocation.

Mike Seil Bismarck Legacy High School NDACDA Vocal Jazz R&R Chair

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Making Pop Purposeful

R

Through Composition

elevance. That sneaky little “buzz word” that has begun to play its way into expectations for teachers over the last several years. Math, science, and English teachers have been told that they need to plan their curriculum in a way that makes their content relevant to their learners. It does make sense. Lucky for us, pop music is a very simple and accessible tool for creating relevance. We also know that as music educators we need to hold ourselves to the same standards that other content areas are expected to meet.

One thing we cannot deny is that if we do not treat our own content area with the same level of importance and careful planning as the rest, how can we expect others to give us equal weight? It lies on us to advocate for our programs

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and show that there is more beneath the surface.

Besides good research, a well-developed curriculum can be one of your most deadly tools for music advocation.

Here’s an idea for how to find success with one of the trickiest state and national standards to meet in the choral setting; creating and composing.

Step one: Let your students nominate their favorite pieces, and let them nominate whatever they want within school guidelines for appropriateness. You can give each song a short listen if you want, it’s a nice little peek into the interests of some of your individual students. I never thought I’d have a Ronnie Milsap fan out there, you’ll be surp r i s e d .

Don’t whine about bad lyrics, or the lack of a meaningful storyline.

Showing respect and having an open mind for their music is imper-

ative to them showing respect and having an open mind for yours. However, now is y o u r chance to create better educated music consumers, so if you can lead a respectful conversation on the importance of good lyrics, by all means do. You may or may not be surprised how little they actually lyrically understand their favorite songs. My guidelines; the message must be school appropriate (I draw a hard line on lyrics that are degrading of young women or that glorify drugs/alcohol). We can edit out one bad passage, but not multiple. The song may have rapping, but should be at least 50% singing.

Step two: Vote! It’s a great opportunity to teach them how to respect other people’s opinions and show civility toward one another. You can explain that not all will love the end result, but that they need to respect those who do like it and keep an open mind. If you do this project multiple times a year, they may also have another chance to win. Teach these same expectations for the nominating step.

“bad” word or line. You can change it, or you can brainstorm with the group. It works well to let them group up for a minute, come up with one idea, share and select the best one. For example, “Little bit of chicken fried, root beer on a Friday night.” Good to go. You can print a free chord chart for any pop song on ultimateguitar.com (bonus, you can transpose to any key), or you can print an actual accompaniment part for around $6 from musicnotes.com that can also be transposed and will sometimes contain simple harmonies you can use as well as chords. Avoid purchasing a prearranged choral version of the song. It will be limiting and will rob you of some creative opportunities. I print off lyrics sheets for my kids, that’s it. You could also use youtube lyric and karaoke videos to introduce/rehearse the song.

Step three: Edit and learn the melody.

Sometimes a song might have one

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your good ears to go home, figure it out, and teach it to their section by rote. They want some soloists? Where should the solos happen? They want instruments? Provide them with chord sheets, axes and support (my favorite combo is a pianist, a bass guitarist and a cajon player). It’s a cool way to feature one of your piano players and you can teach almost any kid a bass guitar or cajon part. We’ve also added violin, ukulele, guitars, hand chimes, Orff instruments, hand percussion, bamboo poles, and the list goes on!

They want movement? Where are my choreographers? Go get to work while we practice our harmonies. They want props? Here’s some supplies. Some of my favorites have showcased some of our other talents, like a solo ballet dance to a popular love song, or choreographed artwork for Lukas Graham’s “7 Years.” If you have good ideas, share them too, but try to put most of the creative responsibility on them and then guide. Our students have excellent ideas and they love to share. They will take a lot of pride and ownership in the finished product.

Plus now they know that not only do you have respect their music, you also respect them and their ideas too.

This is a long-term project, so there’s no need to attempt more than one step

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in a day. Are you composing a brand new piece from the ground up? No, and that’s OK. You don’t have to! Almost any activity that encourages creativity from your choirs will help you meet the creating and composing standards. My choirs have 4 concerts a year and each choir does this project for almost every one. It’s a highlight for them, a huge highlight for the audience and it’s fun and fairly stressfree for me. It’s also very rewarding to see how it turns out! Don’t be concerned that there aren’t technical terms and complicated harmonies involved. You can achieve that with your other pieces.

I balance 2-3 regular octavos with the pop project for each choir on each show. Let this be something for you do for pure enjoyment, a way to unwind or celebrate during your rehearsal that also just happens increase relevance, mutual respect, and the likeliness of meeting the creating/composing standards.

Jessica Stoppleworth Wahpeton Middle School NDACDA Middle/Jr. High R&R Co-Chair Jessica.Blair@k12.nd.us 701-642-6687, ext. 5136 218-779-1300

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