Issue 21 • Spring 2018
In This Issue: From the Adjudicator Our Deepest Fear What They Don’t Tell You The Art of Feeling 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: Jacy Walker, 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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Contents From the President-Elect
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Cheryl McIntyre, Jamestown High School From the Editor/Adjudicator
6
Brent Rogers, Dickinson State University Our Greatest Fear
8
Melanie Popejoy, University of North Dakota What They Don’t Tell You
10
Mary Pat Archuleta, Bismarck Century High School The Art of Feeling
14
Christopher Redfearn, Valley City State University All-State Music For Sale
16
Visit NDACDA online at ndacda.com, or by clicking below.
www.ndacda.com | 3
From the President-Elect
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his year’s North Dakota ACDA state conference was held on the campus of NDSU. We appreciate all of the help contributed by the staff of NDSU to help make this event a success. Teachers were asked what they found most beneficial about being a member of NDACDA. I was inspired by their words and would like to share them with you.
Collegiality- Connecting with teachers throughout the state
other
Honor Choir opportunities for students at the state, regional, and national levels
Professional development
Innovation for better teaching
Workshops & presentations
Networking and receiving support from colleagues
Supportive community
Resources on line
Reading sessions
Getting to grow, connect, and network
Tried and true teaching suggestions
Teachers were also asked to share advice with newer teachers. “Remember the people who helped you along the way? They have inspired us by giving us words of wisdom or suggestions on how to stay sane in our busy jobs.” Here were several of their wise suggestions: “The kids who need your love and attention the most will ask for it in the ugliest of ways. Remember this in those difficult moments.” “You can only teach the kids you have, not the kids you wish you had. If you are starting with a small group, 4 | The Chorister • Fall 2016
teach them the best you can and more will come.” “Don’t try to control everything. Delegate to kids and let go when something doesn’t need to be ‘just so’.” “Don’t be afraid to ask questions.” “Be friendly with your students but do not be their friends.” “Bring cookies for the school secretary and the janitor/custodial staff.” “Make it fun-for you and the students.” “Don’t go more than 15 minutes without the students moving in rehearsal.” “Be sure to acknowledge the accomplishments (baby steps) along the way.” “If you are not having fun…you aren’t doing it right. It is supposed to be FUN!” “Build relationships with your students. Get to know what they enjoy besides singing. Go to their other activities.” Next year the NDACDA Conference will be held at Grand Forks Central High School on February 1 & 2. Plans are under way already. If you have suggestions for presentations, please let me know at cheryl.mcintyre@k12.nd.us. Also, please consider auditioning your choir for the Showcase Concert which will be held on the Friday
evening of conference. Feb. 1. Auditions will be due in November. There is a $25 audition fee. More information will be available on the website in the near future. Thank you to all the teachers who contribute so much to our organization.
Cheryl McIntyre Jamestown High School NDACDA President-Elect
www.ndacda.com | 5
From the Editor/Adjudicator
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he last month or so has been adjudication season for me and my wife, and as we’ve been discussing the things we’ve heard it’s occurred to me that you all might be interested in knowing what it’s like to be on the other side of the adjudicator’s table. So let me share with you some of the thoughts that I’ve had, and some of the things my wife and I have discussed after hearing your students sing. Before I talk about you and your students, let me just mention a couple of things about being an adjudicator. It is tremendously challenging to boil down all of our thoughts in the short time we have with you and your students, so we sometimes need you to fill in the gaps. If the only comments I have time to write are suggestions for improvement, be sure to also pay attention to the fact that I gave your students high marks on the numbered rubric. We do our best, but we sometimes fall short. I don’t think I’ve ever met an adjudicator whose goal was to demean or belittle you or your students, so if a comment accidentally comes across that way, please do your best to reframe the comment in a positive light. And I think I speak for all of us when I say that you’re welcome to contact us for clarification of anything we say on an adjudicating form. Now, on to you. First of all, you’re all doing good work. I think we all know that there is a lot of selfdoubt that floats around in the minds of music teachers. In my opinion, teaching is one of the most challenging professions there are. The number of variables affecting each student’s ability to learn and perform are almost mind-numbing; multiply that by the dozens (and for some of you, hundreds) of students you see every day and it’s no wonder that teachers question whether or not 6 | The Chorister • Fall 2016
they’re doing a good job. Rem e mbe r t ha t many of the factors affecting student success are outside your control. Keep doing your best, and trust that the work you’re doing is making a difference. My wife and I have both taught in the public schools and are now foster parents, and we often talk about how similar the two are: you do the best you can to love and teach the children, but at the end of the day their fate is not really in your hands. Still, the things you do for them are meaningful, and will often have a significant impact on their future success not just as musicians, but as human beings. So keep up the good work! Second, for the most part you’re choosing good-quality repertoire for your students to sing, both in their solos and in their ensembles. We do occasionally see repertoire that’s not of the highest quality in and of itself, but we recognize that this is sometimes the best repertoire for the student(s) given where they are in their progression as musicians. Continue taking the time to seek out the best for them; we’ve all seen how much harder they’ll work when the repertoire is something they can really dig into and connect with. Third, don’t forget the basics, especially with young singers. Continually reinforce things like aligned, flexible, and open posture, low breathing, and engagement of the breath support mechanism during pho-
nation. So often—so very often!—these are the solution to what ails your singers. If you’re not confident that you understand these issues, spend some time reviewing some good vocal pedagogy books and/or taking some voice lessons over the summer to strengthen your experiential understanding of what good vocal technique looks like, sounds like, and—most importantly—feels like. If you decide to take lessons, be sure to find a voice teacher that is experienced and knowledgeable as regards vocal technique. If you need recommendations, your nearest college voice faculty can be a great resource. If you don’t have a good vocal pedagogy book, have a look at Scott McCoy’s Your Voice: An Inside View, available online for $60 at VoiceInsideView.com. This book breaks things down systematically, and has some fantastic multimedia resources to help strengthen your understanding of the voice. James McKinney’s The Diagnosis and Correction of Vocal Faults is also a great resource, and is written with choir directors in mind. Lastly, be sure to spend time teaching your students to read music. This can feel burdensome at times, but I assure you that it is well worth the effort. Just imagine how much more time you’ll be able to spend working on things like blend, intonation, phrase shaping, etc. when you only have to spend half as much time chasing notes and rhythms. Give it a try—I think you’ll find that your time is more than repaid. If you’re not sure how to do this, Steven Demorest’s book Building Choral Excellence: Teaching SightSinging in the Choral Rehearsal is a quick read, and has some great ideas on how to build sight-singing into your choral curriculum. Remember: we can give our students more than just wonderful experiences with performance; we can give them the skill of reading music without having to learn by rote. Imagine what it would do for the musical life of your community to have a more musically literate populace!
You all are doing great work. I admire and respect greatly what you do from day to day. I know it’s grueling sometimes, and I know what you’re up against. Keep at it. We who are teaching at the college level need you. Your community needs you. Most importantly, your students need you. You know what you mean to them, and what music means to them. If you don’t, just ask them. My best wishes to each of you on these last weeks of the school year. Please let me know if there’s any way I can be of assistance to you and your students, not just as the editor of this newsletter, but as your choral colleague. (My email address is in the inside cover of this newsletter.) And be sure to take some time for yourself over the summer! You can’t give to your students if your own bucket is empty. Keep up the good work!
Brent Rogers
Dickinson State University Editor and Designer, The Chorister
www.ndacda.com | 7
I
Our GreatestFear
t has been a long time since I started my teaching career. However, I am quickly transported back in time as I talk to the students in my Secondary Music Education Methods & Materials class at the University of North Dakota. Until now, I had all but forgotten that first year of feeling overwhelmed with all the information that is thrown at me during new teacher orientation, of managing the year long schedule of city, regional and state music competitions and performances, of testing out my discipline plan with high school boys that towered above me, and of trying to cover up that I was scared that I would be deemed a failure by my peers and professors. Right now as I think about that first year, it manifests in my gut the same way it did as if it were yesterday.
As these students prepare to wrap up their course work in a few weeks and enter into student teaching next semester, I posed the question: “At this point in your preparation to be a music educator, what is your greatest fear?” Just as it was years ago with my peers and me, their fears had nothing to do with the delivery of musical concepts, rehearsing ensembles, or their own musical ability. Their greatest fears are no different than the generations of teachers who came before them. With their permission, I would like to share the responses with you.
“In college we are given hypothetical situations and time to think about what we would do. I fear that I will not know how to make the right decisions on impulse.” “I worry about how to find the balance between being kind and compassionate, and authoritative and respected.” “How am I going to know how to do the logistical, day to day opera8 | The Chorister • Fall 2016
tional tasks?”
“What if my students surpass my ability and knowledge? “What if I assume the students know something that they don’t know? Will I be able to spontaneously back up to teach them what they need to know?” “In a large ensemble, how am I going to be able to meet the individual needs of the individual students as well as tend to the needs of the ensemble as a whole?” “With all of the responsibilities of my school day, I am afraid that I will not have time to connect and build relationships with my fellow teachers and will feel isolated and alone.” “My greatest fear is finishing the lesson I planned, realizing that I have 15 minutes still left in class and not having a clue of what to do.” As you can see, the fears are based upon feeling inadequate. We have all been there. Even veteran teachers who change jobs, or challenge themselves to try new technology experience similar feelings of inadequacy. What if we were able to imagine a different feeling from our fears that was the exact opposite of feeling inadequate? My response to the methods students came in the form of a quote from one of my favorite teacher movies. “Coach Carter,” starring
Samuel L. Jackson, is about a basketball coach who tries to motivate his players to be their best selves on the court and in the classroom. The players don’t try because they are afraid of failing. He poses the question, “What is your greatest fear” to which he receives no answer. Towards the end of the movie, after a series of struggles he has with the players, the school administration and the community, one of the players finally provides an answer that is worth remembering by new and veteran teachers alike: “Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light not our darkness that most frightens us. Your playing small does not serve the world. There’s nothing enlightened about shrinking so that other people won’t feel insecure around you. It’s not just in some of us. It’s in everyone. And as we let our own light shine, we un-
consciously give other people permission to do the same.”* That’s right! The power and the light is in everyone and our biggest fear is that we will not even know how to use it. Feeling inadequate leads to feeling like a failure. Failing leads to quiting. That happens all too often for our young teachers. When we can accept that we are “works in progress” we place ourselves on a continuum that keeps us moving forward. Think about the possibilities we create for ourselves and/or our students when we shift to this way of thinking. Feelings of inadequacy give way to potential and promise, and as a result our greatest fear is finally realized. Melanie Popejoy University of North Dakota NDACDA Student Activities R&R Chair *Editor’s Note: This quote is originally from Marianne Williamson’s 1992 book A Return to Love.
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WhatThey Don’tTell You
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hether you are seasoned teacher and have 30 plus years in your profession, or you are starting out in your career as a young choral director ready to take on the world, I would bet there have been a few times when “well, I wish I would have known THAT!” crossed your mind. Am I right? Most of the ideas in this article will seem like common sense, but some come from just doing them. Experience. I am speaking from a high school choral director’s perspective. Still, I hope some of this relates to you. Days of the Week:This is REALLY a choral director’s week! Mondays, especially in the morning, getting enthusiastic singing can be like pulling rocks from the bottom of the ocean. I’m stealing that phrase from my sister, but it’s perfect. Kids aren’t always crazy about singing at 7:30AM on a Monday, but the good news is the afternoons are better. Tuesdays, for whatever reason seem to be golden. Wednesdays and Thursdays, too. But even on those days that we’re rehearsing the segue from the second ending to the Coda for the third time, they’re thinking of that Math test next period, getting to their job, their prom dress, or the basketball game. Those precious ones, however—they are still with you for the third time from the second ending to the Coda. Fridays? We own them on Fridays. If you tell the students, we can put away a little early, they’ll work their tails off. Be sure to stick to your word and let them have a few minutes at the end of class. Seriously though, set the tone like you were taught in college. Setting a solid pattern and work ethic is key no matter what age group. (Our school sells popcorn on
10 | The Chorister • Fall 2016
Fridays during Period 2. Never under estimate the power of popcorn!) Auditions for next year’s choirs: You wish they could all be in the best choirs, but choices must be made Two of the most usual situations are 1. Singers in the 9th grade choir go into the 10th grade choir and so on OR … 2. Singers audition for placement in the hierarchy of choirs that exist in your school. There can be quite a few variables in this process so here goes! We assume that if kids are in choir now that they will want to be next year. Most of the time that is true but the number of nonmusic class options has exploded. AP Classes, AVID classes, the list goes on. I visit with those students who may not sing the following year and encourage them to keep music in their schedule and 9 times out of 10, they stay. I think kids want to be needed a little too. They need to know we value them. If we can help them plan as 9th graders, laying out possible schedules for grades 9-12, we can keep those singers in our choirs. They really want to be there after all! For auditions, I keep it simple. I want the experience to be nonthreatening at all costs. I have them sing a song of their choice, I ask them to sing a scales and I do several easy ear-training exercises with
them. I help them along if they need it because in most cases, I already know what their skill level is after having them in choir through the school year. A smile and encouragement from me goes a long way. My partner teacher takes copious notes on their audition form so we can keep track of ranges, initial thoughts, etc. Once we have heard every singer, I create a ‘sticky-note’ roster. Keeping the student’s vocal skill level and soft skills (commitment, promptness, attentiveness, etc.) at the forefront, I put each student’s name, voice part and grade for the next year on the sticky note. I can then begin to divide students into choirs so that I come up with good vocal/ age/grade balance (so I don’t have everyone in my Chorale leave in the same year) and we can easily move the sticky notes around to add more tenors to one choir, promote a promising alto or soprano easily. I am quite the visual learner as you can tell. Use the sticky note idea, it really works! Fundraising: Do you have to do this? Yes you do. It is kind of an ‘eat your vegetables’ thing but it’s usually worth it. If you are a new teacher, acquire opinions on which fundraiser opportunities work in your community. Fellow teachers can help you decide on a product that is not too time intensive and do one or two a year. Collect all money upfront and select dates for the next year before you wrap up the current drive. Even though you may feel fundraisers are a necessary evil, your department can purchase items you really need and help lots of singers attend tours, honor choirs, etc. (My article on “Planning and Facilitating Choir Tours” will have to wait for further Chorister issues.) Partnerships: Take your partnerships seriously. Common advice is to make friends with your school’s custodian. They have become some of my best buddies. As a young
teacher, I drove a huge pickup pulling a trailer full of heavy platforms and sound equipment for my junior high swing choir performances in our community. I was about 26, had zero experience as a Teamster but blindly assured my principal I could do this. The reality was I had 35 performances that year, so I learned more than the students. I learned that if I was at an elementary school with my choir, I could very likely ask that custodian to help me back the trailer into the loading area. (That came in handy a few times.) I learned that you must unplug the brake lights before pulling the pickup away from the trailer (oops! I made four glorious homemade peach pies for the guys down at our BPS bus barns after that incident.) One very snowy December evening after a performance, I pulled up a hill with the trailer only to realize I was going backwards, and starting to ‘jackknife’. I learned that I was thankful our drummer’s Dad usually followed our gang back to the school to unload. In all those cases, silent partners were there to bail me out. I was inexperienced and those incidents were a few of the things nobody ever told me. We count on our fellow band and orchestra directors, our fellow teachers, administrators, PARENTS, and colleagues. Be good to these folks because over the years you will call on them. Utilize them, be a team player because you cannot do everything alone. Lastly, whenever a new choral music teacher is hired in our district, I have made it a point to call them, write to them or go see them to let them know that I am here to help, to answer questions, to mentor and to be a partner as they journey forward in their career. Everyone likes to know that they have someone in their corner. Choosing and Taping Solos: Many kids become a little insane when taping solos and want to redo their audition over and over. Here are a couple of important points. Try to purchase a good Zoom recorder that www.ndacda.com | 11
12 | The Chorister • Fall 2016
you can use right at your desk or piano. The quality of playback is awesome! Play with the balance between singer and piano, and usually if you stand 5-6 feet away from your singer the recording will be fantastic! I also have a rule for each singer: they need to approach the recording process thinking they will go through the whole thing without any stops. If we need to do a couple ‘takes’ we will, but don’t let it turn into 35 tries. I am the best cheerleader when it comes to taping! I think it has taken years to hone my ability to choose just the right song for each student. It means a lot to me that the student likes the selection we choose, that it fits the size and color of their voice, is age appropriate and they are willing to tackle the language. I write in every single syllable using a combination of IPA and phonetics. Umlauts and French “r’s” aren’t easy, so really have a comprehensive discussion with that singer. When choosing audition material, I typically select literature that suits the singer, but it takes much more time and energy. It is always worth it, however. Having judged many honor choir cassette tapes and CD’s in my day, I also see the wisdom of using a short list of songs. So, I’m a little bit on the fence. I keep a library of good recordings for some difficult pieces. On rare occasion, and if I have a senior with significant experience, I have them assist and mentor the younger singer on that piece. It’s fun to see that ‘teaching and mentoring’ taking place! Note: That never takes the place of my rehearsal, critique and expertise of that young student. Growing your Choirs: (This is not always easy, and I don’t have any magic potionbut getting students to plan early does make a difference.) Just think: Are there more/other kids out in those hallways who are not in choir this semester who might like to sing? Yes, sometimes that is the case. Nearly every two weeks, I stop and talk to a new kid in the
halls who I have not seen before and ask them if they like to sing. Sometimes that works, sometimes not but it does not hurt to ask. Your choir kids know someone else who may be your next rock star in choir— just ask them. Really caring for your students, creating meaningful relationships with the ones you have and letting them know you’re rooting for them in the other facets of their lives is so important! I also have to say that taking your older concert or jazz choirs not once, but several times during the year to sing for the younger singers in your city lets those young kids see where they can be in a few years. INCLUDING the younger singers side by side with your older singers on a well-known song blows the roof off. I cannot tell you how many times I have had a current singer tell me how much they looked forward to being in my choir when they got to my school. It can be helpful at times to have a President/Vice President/Secretary of the choir, but use caution. They can take on nondirector jobs (depending on the task), and can be a sounding board when you want the student’s perspective on a decision. The director is always the one responsible for teaching and the leadership of the program. The buck stops with him or her. Giving Credit where Credit is Due: Remember when you were a young singer and you got “thee” solo in the concert, or you made it into the All State Choir and the director of the high school choir, (or your principal, or other important adult) made a point to congratulate you? Do that. Find that student and shake their hand, write them a hand-written note of congratulations. They will always remember it, and their confidence boost will be amazing. I always tell them that it was the practice THEY put in, and THEIR diligence that made it happen for them, and I remind them to thank their director for encouraging them to audition!
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Curtain Call: Do any of you have parents that leave the concert after their child is done singing? We all know this very likely, but that disappears when you plan an ‘all sing’ FINALE! I also ask students to help with the teardown at the end of the concert. Asking new helpers for each concert throughout the year spreads the work around and does not wear out your dedicated kids. I print out a page of the necessary tasks and then cut it apart into slips and hand slips to ones who will help with the clean up after the concert. (i.e. wrap cords, put risers and piano away, pick up discarded programs from the performance space, helpers to hang robes, etc.) A little reward (like a Starbucks card) for those helpers with sound and lighting is always a good idea, too! And with that, I’ll bid you adieu! Enjoy Spring everyone!
Mary Pat Archuleta Bismarck Century High School NDACDA Ethnic Music R&R Chair
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The Art of Feeling
ormally, my articles for The Chorister center on some aspect of choral pedagogy. I enjoy teaching and writing about rehearsal strategies, sight-singing, and choral literature. I imagine that I will continue to do so in the future. However, for this article, I ask for your indulgence as I share something of a personal nature that relates to the choral art. I promise it will get there, but first, some backstory. My dad was an ox of a man, and he would simply not take no for an answer. When he was in high school, he played middle linebacker for his Illinois small-town football team. He was 5’ 4” and weighed 145 pounds, and he was a terror on the field. During his playing career he actually broke an opponent’s leg during a kickoff return. He and my mom had seven children (I’m the oldest). Dad was such a hard worker. I don’t have a memory of my dad that doesn’t include really hard work. He chose to be a teacher, and when we were young 14 | The Chorister • Fall 2016
he had three jobs: he taught during the day, sold insurance in the evenings, and worked as a banquet waiter on the weekends. He stopped teaching when his family outgrew his income and he held a variety of jobs, even owning his own business when I was in middle and high school. He was stubborn to a fault, but I knew he loved me even though I don’t ever recall those words coming from his mouth. I also knew that he was really proud of me and all my siblings, and that he valued his family above everything in this world. Recently, he was dealing with a chronic health issue. However, he and his doctors were optimistic about his future and believed he had many years ahead of him. On October 31, my wife
came to the office and told me that he had collapsed while setting up for my parent’s annual Halloween party for the grandkids. It was an event that was the highlight of his year; he always loved a good party. He never regained consciousness, but I was able to make it down to Denver to say goodbye before he died. He was 65 years old. Going into this year at Valley City State University, I knew that I was going to do a large work with orchestra in the May concert. My intention was to do Dona Nobis Pacem by Ralph Vaughan Williams. I was really looking forward to performing it, and I felt that the message of the work was one the world needed to hear. However, my heart was just not into making a social statement after my dad’s passing. I felt like I needed to do something more personal, to do something to honor my dad. I needed to do a Requiem. I looked at the Fauré and Duruflé settings, but I ultimately settled on the Rutter. I love the work and it has some English text, which would have made my dad happy. In addition, Rutter composed the Requiem in memory of his father (as did Fauré and Duruflé, by the way.) With my cosmic connection to a shared experience with Mr. Rutter secured, I did a mid-year change of direction and on May 4 we will present Requiem by John Rutter and Cantata 140 by J.S. Bach. My mom should be able to watch the concert stream from Denver. We start discussing teaching philosophy early in our music education courses at VCSU. I feel it is important for teachers just starting out to understand why we do what we do. Over the course of many years, I have developed a strand of my own personal philosophy: “In the arts, we teach people how to feel.” There are many courses that our students take that teach them how to think and how to reason. Those topics are taught in the arts as well. However, in my classes, I make sure that students learn how to embrace the act of feeling. The arts
are how we express the complexity of the human experience. The arts help us to make sense of life, and to learn to feel deeply and to not be ashamed of it. I believe that it is vital to why music, and all the arts, are core to a student’s education. Students who have learned to feel their own humanity and the humanity of others tend to respect others better. They don’t belittle or bully them, but instead lift others up. Recent events involving students harming other students, either with weapons or with words on the Internet, should convince anyone with doubts that this is a necessary part of a student’s education. While my religious faith gave me hope and comfort, choral music was where I went when I felt a need to express my feelings about my dad’s passing. I know that I am not alone in this regard, and that many people reading this article have had or will have similar experiences. Many of you have had “mountain top” experiences in music that defy description with spoken words. Those type of experiences have to be “felt” in order to be understood. My hope is that all of us will embrace our role as teachers of “feeling;” to teach our students and choristers to truly feel, and to feel with passion and intensity. They need to truly express themselves in song, and not just sing “expressively.” Lives are forever changed when it happens. I know mine has been. I wish you luck and “good feeling” as you finish your school year.
Christopher Redfearn Valley City State University NDACDA Collegiate R&R Chair
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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