Issue 19 • Fall 2017
In This Issue: Basic Microphone Techniques, Goal Setting for Ensembles, and Repertoire, Repertoire, Repertoire!
The Official Publication of the North Dakota Chapter
of the American Choral Directors Association www.ndacda.com | 1
North Dakota ACDA Leadership Peggy Dahl-Bartunek, president Cheryl McIntyre, president-elect, Jamestown High School 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 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
2 | The Chorister • Fall 2016
Contents From the President
4
What’s in the Folder and Why and How
7
Tom Porter, University of Mary What’s in the Folder
9
Mike Seil, Bismarck Legacy High School Microphone/Sound Technique
12
Brian Saylor, Bismarck High School Goals!
14
Phillip Voeller, Beulah Middle/High School All-State Music For Sale
16
Visit NDACDA online at ndacda.com, or by clicking below.
www.ndacda.com | 3
I
From the President
t’s the end of September as I write this. By now, you have settled into the routine; you can tell how this year’s choirs are different from last year’s; you’ve determined the choirs’ strengths and weaknesses; and you know if you have to make adjustments to the repertoire you planned. You’re coming to know the personalities of new students and you’re seeing how the choir works together socially and musically. You’re probably tired at the end of the day, but I hope you’re excited for what the next day will bring.
Please know that you are not alone in your journey as a choir director. The North Dakota chapter and the national ACDA have so much to offer you and your students. In this article I will focus on our website at www.ndacda.com which I believe is a great resource. I invite you to check out each menu, described below.
On the “Membership” menu, there is a wonderful North Dakota made video that explains the purpose of ACDA, features interviews with members and students, and shows examples of honor choirs. If you know a North Dakota music teacher who isn’t a member of ACDA, I encourage you to forward this link: http://www.ndacda.com/membership and encourage the teacher to join. A nudge from you might help non-members to consider joining. The “NDACDA Board” menu includes contact information for all board members. Please contact any board member if you have questions or concerns, or if you would like information about helping at an SSIS site, with our spring conference, or with the honor choirs. The “Honor Choirs” menu includes information for Surround the State in Song and audition information for the 2018 conference Honor Choirs. The “Repertoire” link lists all of the songs performed by past honor choirs. This is a great collection of titles that might work for your choir. The “Conferences” menu provides information for state, regional and national conferences. The Feb. 14-17, 2018 North Central Regional Conference in Chicago will combine the North Central Division and the Central Division. The next national conference is in Kansas City in 2019. The links to the left are for the North Dakota State Conference February 2-8, 2018 at the NDSU Challey School of Music. President-elect Cheryl McIntyre already has the membership schedule posted so you can see the excellent range of workshops that will be offered. Information for receiving credit will be post4 | The Chorister • Fall 2016
ed as the conference nears. The “Showcase Choir Audition” link provides information for auditioning your choir to perform at the 2018 conference. I hope you’ll put the February conference dates on your calendar and that you’ll audition students for the honor choirs. This is such a wonderful opportunity for our membership to spend time together, for us to learn from other directors, and to have our students participate in honor choirs. The “Chorister” menu includes the current issue and all back issues and provides Dr. Brent Rogers contact info if you’d like to visit with him about contributing to the newsletter. The “Director Resources” menu provides extensive, helpful, interesting resources. Rebecca Raber built this page. I continue to be impressed with the amount of time and thought she puts into this page. These are just a few examples of the links. There is something here for everyone!
The “Connect” menu provides several ways to connect with NDACDA. The “Documents” menu includes a variety of forms and minutes of past board meetings. One of the forms that I hope will be of interest to you is the nomination form for Director of the Year. At the summer NDACDA board meeting, changes were made in the Director Award timeline and eligibility requirements. The biggest change is that we’ll be doing this in November and the recipients will be notified in advance so they can be honored in the conference printed program as well as at the Honor Choir concerts. I’ll be sending info out via listserve and Facebook. I hope this walk through the NDACDA website will inspire you to explore the site often.
Peggy Bartunek
Best wishes for a musical, fruitful, rewarding fall.
NDACDA President www.ndacda.com | 5
6 | The Chorister • Fall 2016
I
What’s in the Folder and Why and How
always enjoy seeing the lists of repertoire from my colleagues’ folders, and I am always amazed at the diversity and sheer number of pieces that are new to me. With unprecedented opportunities to find and program music for choirs of all levels, it is perhaps more important than ever to consider the reasons and the methods behind our choices. WHY
Programming a concert is like planning a menu for a fine meal, recognizing the importance of each course and the balance of the individual aspects in the whole. Some of the important aspects include
Different eras of music. It’s easy to get caught up in the “new” or stuck in “my favorite” era. A good choral program will have at least 2-3 eras represented, at least two per course (set) in the program. If the program includes a variety of choirs, those eras are balanced in the different ensembles as well.
Varying tempi. Who doesn’t love a beautiful, lyric choral melody? They provide so many learning opportunities for our singers, and gorgeous music for our audience. But the palate will become bored with the same flavors.
Entertainment. Choir members are engaged by entertaining pieces, and audiences are delighted by them. There should be something in every folder for “fun.” It may be popular, patriotic, or humorous, but it is a piece that will turn up the energy level in any rehearsal and immediately get the attention of the audience. It is the fancy dessert that draws the “oohs and aahs” of the audience.
Education. Entertainment and education should not be at odds with each other. Each has value in our program. But a concert program should be more than sweets. Pieces that challenge our students and audiences are equally important. In a multi-choir program, perhaps those pieces are balanced throughout the year so that not every choir has a major work on every concert. Included in this menu would be pieces that use contemporary techniques as well as traditional pieces whose challenge lies in difficulty level and/or language.
As I gather scores of the finalists for selection to a program, I place the scores in front of me and determine which of the above categories they fulfill. Often pieces I love don’t make the cut. Perhaps they are too much like another piece in the program; perhaps they are simply too much like my personal taste rather than what the ensemble/program needs for a balanced diet. HOW Before my first choral position at Bismarck State College, I spent an entire week at the local music store reading through scores a box at a time. I also inherited a considerable library of (cont’d) www.ndacda.com | 7
music from my predecessors. From these efforts I pieced together my first semester of concerts. Over the years I have come to value music reading sessions. Perhaps it is the communal nature of the event or the opportunity to hear voices reading the scores and imagining a choir learning the parts that make the experience attractive for me, but it is something I look forward to from our state’s music stores as well as our state, regional and national conventions. I have, however, become very discriminating at reading sessions, looking for one or two pieces to round out a season rather than expecting to find the majority of pieces that I will program. In the past several years I have become a YouTube music junkie. I love being able to hear a variety of choirs performing music, and I love the fact that one click automatically start an entire afternoon of listening or offer 10-15 related clicks that often lead to new and inspiring selections. I know that I have found an engaging piece of music when a performance jumps from the background of my office work to demand my attention. Those are pieces I mark; those are pieces that end up in my folder. Social media is a wonderful tool to connect choral professionals as well as to connect conductors with composers. In the past week I have been in touch with composers in Hungary, Australia, and the United States. My folder is richer because of the opportunity to get suggestions and make connections. WHAT My choir at the University of Mary is preparing for a fall tour as well as Christmas at Mary. The 110-voice choir is approximately half freshman, and it is a non-auditioned ensemble. In our folder are the following: Jubilate Deo, Levente Gyongyosi (SSAA, violins and percussion) O magnum mysterium, Victoria Mary Had a Baby, arr. Courtney Betelehemu, arr. Whalum Silent Night, arr. Peter O Salutaris Hostias, Esenvalds Ave Maris Stella, Kverno Song of a Shepherd, Fogarty
Hark! The Herald Angels Sing, arr. Forrest
Tom Porter University of Mary NDACDA Repertoire-Specific R&R Coordinator
8 | The Chorister • Fall 2016
What’s in the Folder
W
elcome back to another school year of celebrating the gift of choral music in our wonderful state. I currently have the privilege to work with hundreds of vocalists of varying ages and abilities. The literature list that I have included below is a snapshot of a piece from several of our ensembles. Some of these are newer offerings, while others are certainly tried and true. Regardless, you will hopefully find several of these titles beneficial for your singers. I’ve included the meaningful portions of the publisher descriptions in addition to some of my thoughts about each piece. Enjoy!
“Horizons,” by Peter Louis Van Dijk SATTBB a cappella 08742856 https://www.youtube.com/watch?v=ILlIpdNhfjI Written for The King's Singers for their 1995 South African tour and included on their Street Songs album, this evocative work is based on a 16th-century Bushman painting of a European ship inhabited by people they saw as gods but who would soon be the cause of the Bushmen's near-extinction. This piece is both beautiful and heart wrenching. The students describe it as a “vocal wave of emotion.” The voicing is challenging given that it is a King’s Singers arrangement and it is a long piece, but it is worth the investment. “Harriet Tubman,” by Walter Robinson, Arr. Kathleen McGuire SSAA a cappella 35031384 https://www.youtube.com/watch?v=gNrc7p_6zXU This superb a cappella arrangement is an inspiring tribute to the heroism of Harriet Tubman. Vocal percussion effects, well-written harmonies, train sounds, and call-and-response singing work together to create a wonderful choral tapestry perfect for a women's choir feature. The SATB arrangement of this piece is also very good. The women in Angelica find this work very empowering and it is written in such a way that enables them to sing it with much expression.
“Dirshu Adonai,” by Kenneth Lampl & Kirsten Lampl SATB & Solo Quartet a cappella WW1638 https://www.youtube.com/watch?v=I_4KqyeqrKg Dirshu Adonai is a sensitively composed meditation with beautiful layered harmonies that build to rich harmonic clusters. At first glance of this score, it is easy to be intimidated by the amount of divisi. However, the majority of the clusters are accomplished with scale or triadic movement and the part writing is very well done. It has a similar feel to Eric Whitacre’s “Hope, Faith, Life, Love.” (cont’d) www.ndacda.com | 9
“I’m Yours,” by Jason Mraz, arr. Deke Sharon SATBB & Soloist a cappella 08749905 One of the biggest pop songs of 2008, this arrangement features a tenor solo supported by a six part vocal texture, weaving together a light reggae feel that supports the original's harmonies. This is just a really well done arrangement. The majority of the setting is a typical soloist with simple background choir feel that can be learned very quickly. However, there are several sections where the choir is also featured in meaningful ways. Both younger and more advanced groups would enjoy singing this piece. There is also another good arrangement of this song by the King’s Singers. “Take Me Home,” by Kevin Olusola, Kirstin Maldonado & Audra Mae, Arr. Roger Emerson SATBB a cappella 00155799 https://www.youtube.com/watch? v=NLRUlbyH_D0&index=6&list=PL0UgnbSObGq5strT7DNSbuZplLbY4oe2x Choirs will love re-creating the warm harmonies and soulful vocals of Pentatonix's Take Me Home, with its hymn-like cadences. Roger Emerson did a great job making this Pentatonix song more accessible for young voices without taking anything away from the work itself. The text has a simple and positive message, one to which your singers will relate to at an age where so much of the messaging they receive is negative and disturbing. “Turn the Beat Around,” by Peter Jackson & Gerald Jackson, arr. Kerry Marsh SATBB & Soloist a cappella www.kerrymarsh.com https://www.kerrymarsh.com/collections/vocal-jazz-ensemble-arrangement/products/turnthe-beat-around-ssatbab-l3-5 More driving than its original disco version, this arrangement of "Turn the Beat Around", was initially made famous in the 70s by Vicki Sue Robinson and later in the 90s by Gloria Estefan. A pedal tone in the chorus serves as one form of reharmonization used in the chart, and several other moments go in surprising directions that will be fun for your singers to work up and present in concert. Definitely a crowd-pleaser, but there's tons in here for students to learn about singing jazz harmony! I really enjoy Kerry’s arrangements, but this is one of my favorites. As usual, there is a lot of complexity and some really funky chords, but this song serves well as both a pop arrangement and a jazz arrangement. In your set, it could work as the perfect opener or closer.
Mike Seil Bismarck Legacy High School NDACDA Vocal Jazz R&R Chair
10 | The Chorister • Fall 2016
www.ndacda.com | 11
I
Microphone/Sound Technique Basics for Young Singers
f you are currently working with, or thinking about developing a jazz or pop choir, one of the things that is often difficult is understanding how to effectively use a microphone to enhance the volume of sound. This should always be done without coloring or changing the sound of the singer, which can often be a difficult task. Below are some suggestions after many years of using professional audio equipment, and working with young singers using basic amplification. IT STARTS WITH A GOOD MICROPHONE AND CABLE The goal of using a microphone should be to amplify existing good sound. I always tell my singers that microphones do not make us sound better, they just amplify the existing sound. Another way of saying this is, if we sound bad off mic, we will also sound bad on mic. In theory, the same should be true if we sound good off mic, however often when microphones are added, the sound changes. What do we do to make things sound the “same” but louder? In my experience there are a few tricks. First, make sure that the equipment you are using is the best you can possibly get your hands on. Good equipment doesn’t have to be expensive, and expensive equipment is not necessarily good for your setting. Do your homework, ask other choir directors, and don’t necessarily buy equipment based on the retailer’s recommendation alone. I would encourage you to evaluate your existing equipment based on your needs. I always start from the end of the signal chain closest to my singers. Always make sure that you are using a good quality microphone cable to connect your microphones to the sound system you are using. Cheap cables are often not worth what you pay for them. That doesn’t mean that you have to buy the most expensive cable you can find, rather it 12 | The Chorister • Fall 2016
means to buy something that has a reputation of quality. I have some personal favorites and I would be happy to share my sources with anyone who is interested. The microphone in the hand of the singer needs to be placed within close proximity to their mouth. Depending on the microphone, it should be anywhere from 1-5 inches from their mouth for good sound. A general rule to follow is for cheaper microphones, the singer should be directly singing into the head of the microphone. For more expensive microphones that usually require phantom power, you may be able to pull the mic away from your mouth up to five inches and still have a relatively decent sound, This can be particularly useful for effect moments in your performance. If a cheaper microphone gets that far from the singer’s mouth, it usually just sounds bad. So you might be wondering how you know what level of equipment you are working with. My suggestion to you would be to run some experiments. Sing on the microphone at various distances. Find out where the best placement is for great sound. Then teach your singers to do that all the time. They need to learn how to effectively use the microphone as an extension of their voice. USING THE MIXER EFFECTIVELY Once you determine good placement of the microphone, and make sure that the cable is good, it is now time to think about the
mixer or sound board you are using. With the advancement of technology, sound systems have become significantly cheaper and the quality has become better than ever. If your system is relatively new it should be adequate to serve your needs.
that student’s voice sounds like off the mic. Work to make it sound exactly the same on the mic. If this is done with each and every singer, you will find that the balance and blend can be as easy when plugged in as it is in your unplugged rehearsal.
There are some common mistakes that I would caution you against. First, make sure that your gain is turned up high enough without being too high and causing distortion. On most sound systems there is a row of knobs at the very top of the control surface that are “gain” knobs. Often these are not used to effectively control the sound. Gain can impact everything that comes through that channel on the mixer. I find that a good place to start is at 12 O’clock. Pull the fader all the way down, and then slowly move it up to where it is at the 0 mark on the left hand side. If the mic is too loud, turn the gain a bit to the left, too soft a bit to the right. Once you have done this with each singer on each respective channel you have the basis for a pretty good sound. The faders then can be used to fine tune the mix of voices that you hear. If there is a voice that is sticking out, pull that fader down a bit, too soft push it up and so on. If you are spreading your faders out a bunch, go back up to the gain knob and work there to keep the faders in roughly the same position on each channel. This will ensure that each microphone is running through the “sweet spot” of the mixer.
FINAL THOUGHTS
Next you should look at the EQ section of each channel strip. For singers, less is more. I find that if I am using the above tips, and have a good mic in the hands of the singer, the EQ becomes something I rarely use. One thing that is great to remember is that the human voice is somewhere in the 400-800 Hz Range. If the EQ knobs associated with those frequencies are turned to the left of center you are actually eq-ing out all of the sound that you want to have in the vocal in the first place. Proceed with caution, only make small changes, and use the ears that make you a great choir director. You know what
Using microphones and sound systems can be intimidating for many reasons. Often choir directors have received almost no training on the equipment, and if we have, it was often for another setting like a personal band or church experience. These skills do not always transfer to mic-ing a vocal ensemble. I would encourage you to work to make sure that your group sounds exactly the same on mic as off, except louder of course. The balance, blend, tone color, and depth of sound should all stay the same. There are a good number of online resources for setting up specific equipment. YouTube is a lifesaver for helping understand complex equipment. Often there are pro sound techs that are making videos on YouTube related to your specific equipment. Use these as a resource to get you started. If you ever have any questions, need help with equipment purchasing, or need to understand how to make what you already own work well for your needs, please feel free to contact me any time. brian_saylor@bismarckschools.org
Brian Saylor Bismarck High School NDACDA Showchoir R&R Chair
www.ndacda.com | 13
S
Goals!
uccess: it’s human nature to want it, and we all thirst for it. Why are some people more successful than others? What do successful people do differently? One recurring trait amongst successful people is goal setting. Without goals, we are busy without being effective. In this article, we will discuss setting goals and how your ensembles can get the most benefit from them. It is football season, so let us use a football analogy. Imagine a football team that never calls a play. What is a football play? It is a goal that ensures everyone understands the value of their contribution toward a common objective. All too often, goal setting is random and not aligned with a common objective. If we tell our students to write down a goal with no further instruction on the direction of the group, it is like a football coach telling his team to score a touchdown with no details of a game plan. Goals need to be identified as either group or individual. Group goals must be created first; there must be a vision of the end result. Group goals should be posted in the front of the room for every member to see. They serve as persistent reminders of the direction of the ensemble and the value of individual contribution. Every member of the ensemble must be committed to the ensemble’s ultimate goal. To achieve this, every stakeholder must be involved in the goal setting process. Everyone’s voice should to be heard, and the ensemble should collectively agree on a common goal. I stress to my students that our goal does not have to be directly musical. We teach so many life lessons that are connected to music; relationships, community service, and student body support are all examples on which our ensembles may focus when setting a group goal. 14 | The Chorister • Fall 2016
All of these components will benefit your music department. Once an end result has been set, the ensemble needs to establish stepping stone goals that will lead them to their vision. These stepping stone achievements also need to be created by the students to give them ownership and “buy in”. These small achievements should be attainable, realistic, and graduated in terms of difficulty of achievement. Just as a baby learns to walk by first rolling over, then crawling, standing, and eventually taking their first steps; goals are achieved by gradual progress. Now that the ensemble has a defined vision, and achievable accomplishments have been created to help them conquer their vision, each student needs to create personal goals and commitments that are aligned with the ensemble’s goal. What benefit is a personal goal if it isn’t aligned with the ensemble’s goal? Does a football player understand the end result of each play? Does a football player understand how his commitment will help the team execute the play? Absolutely. Our choral members need to understand the ensemble’s intentions and how their personal contributions will aid the advancement of the ensemble. Personal goals should be kept in each student’s folder as a daily reminder of their personal commitment to the ensemble’s vision. Successful people don’t become successful by accident. Success happens by being
persistent, by assessing success and failures, and then implementing a plan. Through the use of goals, each member can realize the importance of their contribution. Goals provide direction, define why we do what we do, and most importantly, they provide unity. Directors, students, and administration need to be unified. They all need to stand on common ground in relation to the general direction of the ensemble. What is your ensemble’s goals? Are you and your students unified toward their goals? Is the administration aware of your student’s goals? Is the administration allowing you to help your ensembles achieve their goals? These are questions we need to ask ourselves if we want our students to gain the full benefit from a goal. We need to allow a goal to do the work that it was intended to do, and not allow it to fade away as an afterthought.
Phillip Voeller Beulah Middle/High School NDACDA Senior High School R&R Chair
www.ndacda.com | 15
All-State Music for Sale Women’s Choir
Voicing
Aure Volanti
SSA
The Bartered Bride by Emily Ellsworth
4 part treble
$2.25
$1.13
The Beauty of Your Dreams by Joan Szymko
SSAA
$2.10
$1.05
Christe Eleison by Bach/Rao
2 part treble
$2.50
$1.25
The Cloths of Heaven by Eleanor Daley
SSA
$1.60
$0.80
Dorothy Poems Craig Johnson
SSAA
$2.50
$1.25
El Vito Arr. Joni Jensen
SSAA
$2.10
$1.05
Gloria by Gjeilo
SSAA
$2.25
$1.13
How Can I Keep from Singing
SSAA
$2.25
$1.13
In the Glow of the Moon
SSAA
$2.00
$1.00
I Will be earth by G. Walker
SSA
$2.25
$1.13
Keep Yo Lamps arr. Rosephanye Powell
SSAA
$2.25
$1.13
Lauliku lapsepoli
SA
$1.90
$0.95
Lift Thine Eyes to the Mountain by Mendelssohn (limited)
SSA
$1.80
$0.90
Music Down in My Soul
SSA
$1.90
$0.95
Northern Lights
SSSAAA
$2.45
$1.23
O Pastorelle, Addio by Giordano (limited)
SSA
$1.80
$0.90
Psalm 100 by Rene Clausen
SSA
$2.50
$1.25
Sicut Erat by Hunter
SSAA
$1.95
$0.98
Still I Rise by R. Powell
SSAA
$2.50
$1.25
Take a Step by Stephen Hatfield
2 part treble
$1.80
$0.90
This is the Day by Gerald Smith
3 part treble
$1.95
$0.98
Two Strings But One Voice by Stroope
SSAA
$2.25
$1.13
Wana Baraka by Kirchner
SSA
$1.95
$0.98
Zion’s Walls
SSAA
$1.95
$0.98
Mixed Choir Abenlied by Rheinberger An Afro-Celtic Diddle by Coolen Ballade to the Moon Basket by Effinger Carmina Buranma (O Fortuna) Dawn by Craig Hella Johnson Dies Irae Fiddler of Dooney Even When He Is Silent (limited) Give Me Your Stars to Hold
Voicing SSATTB SATB SATB SATB SATB SATB SATB SATB SATB SATB
Retail Price $2.50 $2.25 $2.65 $1.80
Your Price (50%) $1.25 $1.13 $1.33 $0.90
$1.90 $1.50 $2.10 $2.45 $1.90
$0.90 $0.75 $1.05 $1.23 $0.95
16 | The Chorister • Fall 2016
Retail Price
Your Price (50%)
Gloria by Bass I Cannot Count the Stars by Butler
SATB SATB
$5.55 $1.80
$2.78 $0.90
In Virtutae Tua- Grzegorz Gorczycki (limited)
SATB
$2.25
$1.13
Jordan’s Angels by Dilworth Let the River Run by Craig Hella Johnson The Trysting Place The May Night by Brahms Musical Risotto by Willcocks
SATB SATB SATB SATB SATB
$1.80 $1.95 $2.25 $1.80 $2.25
$0.90 $0.98 $1.13 $0.90 $1.13
My Good Lord’s Done Been Here by Andre Thomas (limited)
SATB
$1.95
$0.98
No Mark by Effinger Oba Ti De by Ames Qui Sedes by Fritschel Sigh No More Ladies by Rene Clausen
SATB SSAATTBB SATB SATB
$1.80 $2.25 $1.90 $1.84
$0.90 $1.13 $0.95 $0.92
Sorida (A Zimbabwe Greeting) by Rosephanye Powell
SATB
$2.10
$1.05
Sure On This Shining Night by Agee Swingin’ with the Saints by Hayes The Tree of Peace by G. Walker The Trysting Place by Brahms The New Jerusalem by Culloton Wana Baraka by Kirchner Way Over In Beulah Land by Gibbs
SATB SATB SATB SATB SATB SSATBB SATB
$1.90 $1.90 $3.40 $2.25 $2.10 $1.95 $2.25
$0.95 $0.95 $1.70 $1.13 $1.05 $0.98 $1.13
Where Your Bare Foot Walks by Childs (limited)
SATB
$2.05
$1.03
The Word Was God by Powell Zigeunerleben by Schumann Zions Walls by Copland (limited)
SATB SATB SATB
$2.25 $2.05 $1.95
$1.13 $1.03 $0.98
Band Down a Country Lane by Copland Evokotah by Mogensen Foundry by John Mackey New Mexico March by Sousa arr. Fennell Orient et Occident Op. 25 by Saint Saens Rikudim by Van der Roost No. 2 in F by Holst arr. Colin Matthews The Red Machine by Peter Graham
Grade
Retail Price $60.00
Your Price (50%) $30.00
$120.00 $75.00
$60.00 $37.50
$109.00 $75.00 $195.00
$54.50 $37.50 $97.50
Orchestra Shortcut Home by Dana Wilson
Grade
Retail Price $75.00
Your Price (50%) $37.50
Grade 5
Grade 4
If you are interested in purchasing used All State music, please contact Cheryl McIntyre at cheryl.mcintyre@k12.nd.us
www.ndacda.com | 17
18 | The Chorister • Fall 2016