Texas Sings! Fall 2016

Volume 33 Number 3

TEXAS SINGS! Official Publication of the Texas Choral Directors Association

Fall 2016

Your 2016-2017 TCDA Officers Dr. Carolyn Cruse College/Community Thomas Rinn High School Billy Talley Past President

Connie Horton Middle School/Junior High Debra Johnson Elementary

Kari Gilbertson President

Dr. Pam Elrod Huffman, President-Elect

Dan Baker Church Leigh Ann McClure Secretary/Treasurer Sharon Lutz Executive Director

ENHANCE TEACHING

2017 TCDA Annual Convention

MEET FRIENDS

NETWORK

SHOP EXHIBITS

INSPIRATION

ENERGIZE

Join Us! July 20-22, 2017

For More Info:

www.tcda.net

TEXAS SINGS!

Volume 33 • Number 3

2016-2017 Officers: President Kari Gilbertson, Richardson

Fall 2016

TABLE OF CONTENTS Are You Investing Or Spending?

by Kari Gilbertson, President.........................................................page 2

Past President Billy Talley, Amarillo

TCDA—Rising Costs & Why It’s Worth It

by Sharon Lutz, TCDA Executive Director......................................page 3

President Elect Dr. Pam Elrod Huffman, Dallas

Choosing Repertoire with UIL in Mind

by Connie Horton, MS/JH Division.................................................page 4

College/Community Vice President Dr. Carolyn Cruse, Lubbock

Choosing Repertoire in Planning Winter Concerts

by Thomas Rinn, High School Division...........................................page 6

High School Vice President Thomas Rinn, Fort Worth

Diamonds are Forever: Cultivating Vocal Beauty in Adolescent Singers

by Dr. Sandra Snow......................................................................page 8

Middle School/Junior High Vice President Connie Horton, Spring

2016 TCDA Scholarships.............................................................page 10 2016 Third Quarter TCDA Financial Report..................................page 12

Elementary Vice President Debra Johnson, Belton

Benefits for Current TCDA Members...........................................page 14

Church Vice President Dan Baker, Amarillo

Geographic Distribution Of ALL Current Texas Members.............page 15

Secretary/Treasurer Leigh Ann McClure, Keller

Why You Should Attend the TCDA Convention...........................page 18

Executive Director Sharon Lutz, Austin

The 2016 TCDA Annual Convention Was a Huge Success!..........page 20

Texas Sings! Editor: Beverly Schlegel Layout and Design: Mary Byrd Official Publication of the Texas Choral Directors Association 7900 Centre Park Drive, Suite A Austin, TX 78754 512-474-2801 www.tcda.net 2016 Texas Choral Directors Association No part of this publication may be reproduced without the permission of the Executive Director.

TCDA is an affiliate of ACDA. TEXAS SINGS! • Fall 2016

Advertising * Sponsorship * Support..........................................page 14 Join Us at the 2017 TCDA Convention–Nothing Can Compare!... page 16 2016 TCDA Awards....................................................................page 19

TCDA Membership Year is January 1 - December 31.

Membership for 2017 opens December 1, 2016.

Renew or Join TCDA at www.tcda.net to receive benefits for the entire year! (see page 14 for a list of Member Benefits) Recruit a Colleague Get Involved Volunteer at Convention Check website for 2017 convention plans!

Future Convention Dates: July 20-22, 2017 July 25-27, 2019 July 26-28, 2018 July 23-25, 2020

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Are You Investing Or Spending?

by Kari Gilbertson, President Welcome to our inaugural digital edition of Texas Sings! We hope you enjoy this expanded and in-depth issue and find many helpful ideas for your classrooms and rehearsals. It was a fantastic summer convention! So many great memories, pictures, and concerts, including our special viral video lobby performance with Eric Whitacre! Thank you to the TCDA Board and all our presenters, volunteers, and participants for making the 2016 convention one to remember!

As we move past the “honeymoon” phase of our fall, I am reminded of a lesson I learned that changed how I approach my rehearsals. If I’ve mentioned it before, it bears repeating. An amazing teacher, and former TCDA board member, Dianna Jarvis, lead a staff development in my district several years ago and asked her audience a question: “Are you spending time or investing time?”

I pose that same question to you today. We get caught up in our calendars, and our planning and teaching notes certainly become the primary goal. Rightfully so. Those concerts and performances seem to come around sooner every year, with less and less time to prepare.

So much of our time is spent teaching the “what we do,” making music (and collecting forms and paperwork, right?!).

But what about the investment in the “how we do” what we do? Performance goals and excellence are always good things, but at what cost? Does the time you spend teaching all those notes and rhythms supersede the time you invest in procedures and rehearsal discipline? Does the time you spend attaining the perfect storm of hand signs and pristine part-singing overtake the investment of time for team building and classroom culture?

An investment in the foundations of how you want your rehearsals to function can have lasting effects for the remainder of the year. Good rehearsal practices take time and practice, but setting that tone can make the rest of the school year much easier. Good tone, vowels, and phrasing is a habit that must be strongly built, but will transfer to every piece your choir sings. Building a positive and respectful culture is the cornerstone of having invested singers who will work for a common goal of excellence. All of these things take time, valuable time. But in the long run, investing that time will reap benefits long beyond the time you spend on less important tasks. Decide what is important for you and your ensemble/classrooms and invest wisely.

Your TCDA Board is investing great energy in planning for your spring and upcoming 2017 convention. We want to be a resource to our membership beyond the convention, so look for even more opportunities and outreach from TCDA. And it’s never too soon to plan the time and resources to come to San Antonio in July. When we compare our convention to other state and national conventions and workshops, we believe that our offerings are a fantastic value …. a wise investment! #iamTCDA!

Thank you to the 2015-2016 TCDA Board of Directors for their hard work and support!

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TEXAS SINGS! • Fall 2016

TCDA-Rising Costs & Why It’s Worth It

by Sharon Lutz, Executive Director One of the biggest challenges to TCDA is controlling ever-increasing costs. The staff and board of TCDA continues to evaluate, improve, and streamline its processes, services, and publications, with our main focus being to consistently offer our members a relevant annual convention that adds value both personally and professionally.

What am I leading up to here? Effective in 2017, TCDA will be raising its convention fee for Active and Associate members. The pre-registration fee will rise to $130 (vs. $120 in 2016), and the on-site registration fee will be raised to $150 (vs. $130 in 2016). Active and Associate membership remains the same at $50.

As many of you know, rising costs of holding a first-class convention are a constant challenge.

Over the years, we have investigated alternative venues in Dallas and Houston, where many members reside. If we were to relocate, our hotel prices would increase significantly. Also, we benefit from the strong relationships we have with the San Antonio Convention Center staff, and the hotel vendors we use. Coupled with TODA and TBA, it makes sense to keep our convention in San Antonio, as we are able to leverage our shared costs with these groups. Lastly, San Antonio is one of the few venues that can accommodate the space requirements of TCDA, TODA and TBA and provides convenient, walkable proximity to everything we need.

San Antonio has proven to be the best venue to host the annual TCDA In checking out other choral associations, we’ve learned that Convention each summer. Members enjoy the city’s famous Riverwalk.

TCDA offers a convention that is of national quality, and our prices remain a great value too. TCDA is known for consistently attracting nationally renowned musicians, performing groups, and special headliners year after year. Add to that the workshops, reading sessions, and events we offer, and TCDA remains an excellent value for its members.

Cost effective changes we’ve made at TCDA in recent years include: 1) implementing an automated Honor Choir process, negating any need for hiring temps; 2) streamlining our three publications (no heavy program to haul around at convention, and converting to a digital Fall issue; and 3) through better technology, TCDA still operates with just two full-time staff, with outside assistance for publications.

We will continue to seek out the best prices for everything we do to ensure we are always operating at the lowest possible cost to TCDA. We hope you agree that TCDA is worth it! We always want your feedback. Go to www.tcda.net and send your comments or call the TCDA Office at 512-474-2801. Please tell your fellow teachers who are not yet members to join this outstanding organization.

It’s a great value. See you in 2017!

Voting Within TCDA-How Timely!

The current TCDA Constitution specifies that only Active members and Past Presidents may cast a vote for election of new Board members, or anything else the Board of Directors may bring forward for a vote, such as an increase in member dues or a change in the constitution. The Board of Directors is currently bringing before the voting membership consideration in allowing Retired members of TCDA to also cast their vote. This would be a constitutional change and, therefore, requires a referendum.

Please go to www.tcda.net to cast your vote through December 31, 2016. Active members and Past Presidents are eligible to vote. Thank you.

TEXAS SINGS! • Fall 2016

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Choosing Repertoire with UIL in Mind

by Connie Horton, Middle School/Junior High Division Many of us are in the process of choosing music for our Winter concerts. This can be such a tedious task because so much has to be taken into consideration. Is the piece too hard? Too easy?

What can I teach the students through this piece? Is it age appropriate? Is the vocal range appropriate for my choir? Do I have enough time to teach the piece? Is the text/message appropriate? So much to think about!

One thing that helped in the music selection process for me was changing from a “Holiday” Concert to a Winter Concert. Our choirs still perform holiday music (at least one piece per choir), but they also perform pieces that are not holiday specific. With UIL Evaluations scheduled within the first two weeks of March, I have to choose the Winter Concert repertoire with UIL in mind.

Horton’s Helpful Hints for Choosing Repertoire with UIL in Mind: We must always have in mind the concepts we can teach through the music we select.

TEKS and/or Scope and Sequence concepts should be the guide for our concert music selection process. The fall semester is the time to spend developing voices, teaching choral concepts, and building rehearsal skills. Preparation for the Fall and Winter concerts allows time to develop fundamental singing and literacy skills. It also helps prepare your students for UIL Evaluations.

Do not forsake quality for quantity. Not all choirs need to sing three pieces in the Winter concert. The sub non-varsity choir may only sing two songs while the varsity choirs sing three or four. If it does not benefit the students to perform all of the pieces they “know”, don’t do it! Evaluate your students’ progress a couple of weeks before the concert. Choose the piece(s) that they can perform well in the time available and focus on those pieces. Performing less music allows you time to work on sight-reading skills and/or a UIL piece with your choirs while preparing for the Winter concert. Remember, it is more educationally appropriate to perform fewer pieces well than to perform more pieces poorly.

If you are planning to teach a UIL piece for your Winter concert, make sure you enjoy it. You are going to spend a lot of time with it. If you enjoy it, your students will most likely enjoy it too. Consider preparing the less challenging UIL piece so that you can put it away for a little while and spend more time on the more difficult pieces. There are many that are appropriate for both concert performance and UIL Evaluations. I have listed a few pieces that I have used in the past for our Fall or Winter concert that are also appropriate for UIL.

UIL - Treble 935-1-22534 935-1-22588 935-1-27819 935-2-30399 935-2-31073 935-2-32039 935-2-22558 935-2-22679

935-2-30835 935-3-22769 935-3-28782 935-3-22675 935-3-22849 935-3-30418 935-3-27915

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Gloria (from Gloria and Allelluia) Something Told the Wild Geese A Festive Alleluia Antiphonal Kyrie How Can I Keep From Singing?

Lux Aeterna Winter Wind Stars are for Those Who Lift Their Eyes Dobru Noc S’vivon Rise Up in Festive Song Jubilate!

Gloria Festiva Festival Sanctus Gloria!

Schram Porterfield Lightfoot Thrift Crocker Jones Ebel-Sabo Delmonte

(SA) acapella (SA) accompanied (SA) accompanied (SA) acapella (SSA) acapella (SA) acapella (SA) accompanied (2or3 part) accompanied

Grade 1 Grade 1 Grade 1 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2

Johnson Bertaux Clereau Curtright Crocker Leavitt Riley

(SSA) accompanied (2pt with 4 pt canon) (SSA) (2pt) accompanied (SSA) accompanied (SSA) accompanied (SSA) accompanied

Grade 2 Grade 3 Grade 3 Grade 3 Grade 3 Grade 3 Grade 3

TEXAS SINGS! • Fall 2016

UIL – Tenor Bass 933-1-27711 933-2-22048 933-2-27741 933-2-30364 933-2-22096 933-2-27734 933-2-29506 933-2-30365 933-2-30367 933-2-31059

Hand Me Down My Silver Trumpet Sing to the Lord Tollite Hostias (Praise the Lord) Cantate Domino Colorado Trail The Chariot Spiritual Cantate Hodie! (Sing Today) Fillimiooriay My Bonnie Anne Marie She is Evening

Moses Crocker Saint-Seans Farnell Moore Moore Lightfoot Beery Courtney Courtney

(TB) accompanied (TTB) acapella (TTB) acapella (TTB) acapella (TTB) accompanied (TB) accompanied (TTB) accompanied (TTB) accompanied (T(T)B) accompanied (T(T)B) accompanied

Grade 1 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2 Grade 2

Cantate Domino Psallite Amavolovolo Riu Riu Chiu (from Three Spanish Carols)

Pitoni/Grayson/Reed Praetorius/Grayson/Leck D de Beer Snyder

(SATB) acapella (SATB) acapella (SATB) acapella (SATB) accompanied

Grade 2 Grade 2 Grade 2 Grade 3

UIL - Mixed 931-2-21080 931-2-21083 931-2-31994 931-3-21347

New music by Stephen Chatman

David Conte

Connor Koppin

from

Robert Kyr

Alice Parker

Libby Larsen

Eric Nelson

Philip W. J. Stopford

Michael John Trotta

www.ecspublishing.com TEXAS SINGS! • Fall 2016

Julian Wachner

www.morningstarmusic.com

Gwyneth Walker

800-647-2117 5

Choosing Repertoire in Planning Winter Concerts

by Thomas Rinn, High School Division As I settle into the new school year amidst the bustle of All-State audition preparation, uniform checkouts, football games, cluster concerts, and new TTES goals, I find myself more than ever confronted with the importance of what we do each day for our students. In a world of political turmoil, violence, and prejudice, we teach an art form that requires calmness, vulnerability, and empathy. At our summer convention Dr. Allen Hightower reminded us that this vulnerability is at the heart of our profession and that there is a loving way to inspire singers to make music without fear. He challenged us to “release [ourselves] from the bondages of self-importance, and simply get out of the way so that the power of the music can roll right through [us]”.

As I was teaching a summer All-State camp and discussing the text of Lee Dengler’s “Things That Never Die”, the students discussed the violence they have witnessed for most of their lives. One student asked, “What can we do to make things different?” This fall my students have chosen to reflect on the quote of Leonard Bernstein upon the assassination of President Kennedy: “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.” We are exploring our own vulnerability and seeking to find common ground through music. We are engaging each other, exploring our differences, and using music as our common bond. While I did not have an answer for the student seeking my advice, I can assert that the first step is to teach students this vulnerability that being a musician requires. This is perhaps the most important lesson we can impart.

In our ongoing effort to make TCDA a resource available to its members throughout the year, I would like to offer some repertoire suggestions for your ensembles as you plan for Winter Concerts. As you consider music for your choirs, consider the following questions: 1. If you are performing “holiday” music, are you representing the multiple traditions of your school and community?

2. Does the holiday music you are choosing have significant historical importance or pedagogical purpose for your ensemble?

3. What skills does your choir need to acquire during the preparation of the Winter Concert to make them successful in the spring semester?

Below are some of my favorites for various levels representing both new and historical pieces I have found to be successful with my choirs.

TREBLE CHOIRS Cuncti Simus – ed. Ricardo Soto Santa Barbara Music Publishers Voicing: Unison with Optional Instruments / Percussion (could be used with any voicing) Level: JV (or Sub-JV) Treble Notes: This edition of a medieval Spanish melody is very rhythmic and poses many possibilities for solos, instrumental and even dance additions.

Pedagogical Uses: Tone Development, Rhythmic Development The Kalanta of the New Year – arr. Malcolm Dalgish Available at www.oooliticmusic.com Voicing: SSA, Hammer Dulcimer (works fine on piano) Level: JV Treble Notes: With alternating English and Greek verses, some unison singing, use of canon, and a cacophonous ending of shouted 6

blessings, this is a unique piece for the Winter Holiday season that any group can be successful with.

Pedagogical Uses: Tone Building; Developing Part-Singing; Language; Multi-Cultural Sing We Noel – arr. Robert Pherigo Santa Barbara Music Publishers Voicing: SSA, piano, flute Level: JV Treble Notes: With much unison and two-part singing, and a vivacious rhythmic piano part, this piece teaches easily, sounds impressive, and is exciting for the singers and the audience.

Pedagogical Uses: Building Tone; Rhythmic Singing, Building Part-Singing Confidence; Building Harmonic Vocabulary (Dorian Mode)

TEXAS SINGS! • Fall 2016

Veni, Veni Emmanuel (I Will Come) – arr. Michael John Trotta Carl Fischer (This was in the 2016 Holiday Reading Packet) Voicing: SSAA, A Cappella, Optional Percussion (also available SATB) Level: Advanced Treble Notes: An exciting rhythmic treatment of the traditional Veni, Veni Emmauel chant. While this is an advanced piece, parts are very patterned based and well written and when broken down, are easily taught. The music looks and sounds much more difficult than it is.

Pedagogical Uses: A cappella singing; Introduction to Contemporary / Dissonant Harmonies; Rhythmic Development; Vowel Matching (Latin Text)

TENOR-BASS CHOIRS Hanerot Halalu – arr. Blanche Chass Shawnee Press Voicing: TBB and piano (also available 2-pt, SAB, SATB) Level: JV Tenor-Bass Notes: This Hanukkah song establishes an ostinato bass line under a limited range melody that sings very well for young high school tenor-bass voices. With two and three partsinging, a developing choir will feel successful and sound robust singing in comfortable ranges.

Pedagogical Uses: Tone Building, Part-Singing Development, Minor Mode God Rest Ye Merry Gentlemen arr. Elizabeth Campbell Carl Fischer Voicing: TTBB (but it is never actually more than TBB) and piano Level: JV Tenor-Bass Notes: This ostinato based arrangement has elements of jazz as the bass section imitates a string bass. The ostinatos are easily broken down and the singers gain confidence with independent part-singing. While written TTBB, it is easily covered by a TBB choir as there are never more than three independent parts.

Pedagogical Uses: Developing Part-Singing; Minor Mode Song of Peace – Vincent Persechetti Theodore Presser Voicing: TTBB and piano (also available SATB) Notes: This standard of collegiate men’s choruses by a great American Composer provides interesting melodic and harmonic lines in a prayer for peace that would complement a December concert. The piece is easily accessible by a high school Varsity Men’s Chorus and could be a fine choice piece for contest in the spring.

TEXAS SINGS! • Fall 2016

Pedagogical Uses: Lyrical Singing, Vowel Matching (a good deal of Alleluia); Unison Tuning; Building Harmonic Vocabulary

MIXED CHOIRS Still, Still, Still – arr. Mack Wilberg Oxford University Press Voicing: Two-Part Mixed and 4-hand Piano or String Orchestra Level: JV Mixed (but interesting enough for any level) Notes: This simple treatment of the German carol consists of a melody and counter melody set over a lush accompaniment.

Pedagogical Uses: Sostenuto Singing; Register Development / Tone Building Sing We Now of Christmas - arr. Fred Prentice Hal Leonard Voicing: SATB (divisi) A Cappella Level: Varsity Mixed Notes: This tried and proven piece is an exciting arrangement of the traditional carol. Parts are ostinato based and while there is often divisi it very accessible, consisting of a few ostinatos that are doubled in other parts. Students love singing this impressive arrangement.

Magnificat anima mea Dominum from Magnificat – G. P. Pergolesi, ed. Liebergen Hal Leonard Voicing: SATB and Piano (Orchestral Reduction) Level: Varsity Mixed Notes: This is the first movement from the Magnificat commonly attributed to Pergolesi, but known to be by Francesco Durante. This edition (not an arrangement) provides a clean piano reduction and well edited vocal parts.

This is a great study in late baroque / early classical style.

Pedagogical uses: Part-Independence / Polyphonic Singing; Style Development Christmas Day – Gustav Holst Novello & Company Voicing: SATB and Piano or Orchestra Level: Varsity Mixed Notes: This is one of my all-time favorite pieces for December.

A carol medley written by a historical composer, it has wonderful solo opportunities and terrific writing throughout.

Students and audiences love this piece. It can be done with piano alone, piano and strings, or full orchestra.

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Diamonds are Forever: Cultivating Vocal Beauty in Adolescent Singers

by Dr. Sandra Snow (This article is a reprint from Texas Sings! Winter 2005 Issue.)

Adam, 11, encountered choral singing in fourth grade in his elementary school. With the guidance of his expert teacher, he found his head voice, learned beauty of vowel shape, and sang artful music including unison art song, soaring descants, and music of multiple cultures. By the time Adam finished fifth grade, he had sung in five languages and developed a lovely instrument that could float easily to high G. Adam loved choir.

Cut to 6th grade and a shift to middle school. Adam’s voice has just begun to change and he feels a little less secure. It frustrates him to lose his top notes while it secretly delights him to know he is on his way to his “adult” male voice. He eagerly awaits the music for the year only to find the boy’s part (B of SAB voicing) is consistently too low. He is embarrassed to sing alto exclusively though it is the part that most suits his voice. He is not so excited about this music—the words seem, well, sappy and the music somehow lacking.

His last elementary concert included music of Bach, Bertaux, Britten, and Goetze—but this music isn’t so satisfying.

His friend, Maria, also has a sweet voice. Because she takes piano privately, she sings alto as she provides musical leadership. Maria feels boxed in as her music keeps her in the low part of her tessitura, rarely using the full range of possibility for her essentially soprano instrument. Even Sydney, a Sop I, notices that she no longer traverses the special soprano area of d1-g1, the place she intuitively understands she sounds best. She spends more time in 3rds or 6ths with the Alto or Baritone sections in the middle part of her voice.

John, a ninth grade settling-baritone and choir veteran, has gotten used to dropping out when the baritone (SAB) part goes too high.

As a profession, we have sanctioned a base of repertoire “As a profession, built on fundamental misunderwe have standing of the adolescent vocal sanctioned a base experience. In the quest to of repertoire built “protect” the developing male on fundamental voice, we have devised compositional techniques and misunderstanding voicings designed around the of the adolescent changing voice. The treble voices, vocal experience.” likewise, are constructed in support of the three-part writing (SAB), too low, and lacking in important developmental fundamentals such as negotiating the natural break from middle to upper register.

The misunderstanding is this—it is not the repertoire or material that needs a special category of composition, but rather, it is the knowledge and skills of the conductor/teacher in arranging, adapting, re-writing, and repertoire selection that is at the heart of the issue. Successful MS/JH teachers are the most

flexible, imaginative, and reflective of teachers. This article will characterize the most successful programs by illuminating philosophical and structural underpinnings of teacher decisionmaking.

A considerable body of research exists suggesting boys and girls have differences in educational and social needs during adolescence. In the choral classroom, this argument is further validated by the vocal needs of MS/JH singers. TTB(B) and SSA(A) choirs afford the very best possibilities for placing singers according to their individual vocal development. Not only do changing and unchanged male voices easily distribute in the TTB model, girls’ voices are equally well served. The best MS/JH programs this author has observed structure choirs in same-sex classrooms. They perform mixed repertoire, generally preparing a small section for a concert or informance. The bulk of time, though, is spent in same-sex environments where singers can be placed in the area of the voice appropriate for their level of development.

TTB and SSA music allows students to sing in accordance with their tessitura, the most comfortable area of the voice.

Unchanged male voices can sing in an unchanged range without

Sandra Snow is Professor of Choral Conducting and Music Education at MSU College of Music where she interacts with undergraduate and graduate students in the areas of conducting, choral pedagogy, and choral singing. She conducts the Michigan State University Women’s Chamber Ensemble, a group that has appeared as featured performers at American Choral Directors Association conferences (Central Division 2014; National Conference 2009; Central Division 2008; MI-ACDA 2007). As a guest conductor, Snow travels extensively, conducting all-state and honor choirs and holding residencies with singers of all ages. She recently was a principal conductor at the Festival 500 International Choral Festival in Newfoundland, Canada. Recent appearances include all-state choirs in Colorado, Tennessee, Michigan, Maryland, and Virginia. Snow is the 2015 principal conductor of the Pacific International Children’s Choir, and was a featured headliner at the 2015 Texas Choral Director’s Association convention. She will serve as principal guest conductor for the Texas Christian University Chamber Singers tour of Central Europe. She is artistic director of the 2016 ACDA National Youth Choir traveling to Prague, Salzburg, and Vienna. Snow edits the choral music series In High Voice published by Boosey & Hawks, and is author of the DVD Conducting-Teaching: Real World Strategies for Success published by GIA (2009), a resource for conductors-teachers at all levels of teaching.

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TEXAS SINGS! • Fall 2016

sacrificing socially, as the TTB ensemble is (or should be) an allmale environment. Changing male voices distribute easily between tenor II and baritone I, and imaginative teachers teach these young singers to pivot between parts when necessary. Settling or settled baritones have a much better experience when the baritone range is approached in stepwise or logical fashion. SAB voicing often requires the baritone section to sing wide, disjunct intervals and make complex vocal shifts in order to fill out the harmonic fundamental. Three-part mixed writing, a voicing meant to alleviate this issue for baritones, often is unsatisfying compositionally as the music has a “first-inversion” triadic feel that can leave the tonic or root absent from the lowest sounding voice.

SATB music is without a doubt the best choice for mixed repertoire, even at the MS/JH high level. There are many sources of repertoire that would distinguish SATB adolescent music from that of high school or collegiate counterparts. Clearly, tenor parts cannot lie too high and baritone/bass parts, too low. A central concern is that the publishing industry has not embraced this voicing for this level, and thus, much of it remains obscure to teachers. What is well-marketed is music that is written without craft or great poetry in mind, but is instead conceived as a problem-solving technique for the developing adolescent voice. If the repertoire is beautiful, teachers can make the minor adjustments necessary for their particular context to solve the problems of voicing.

There are several practical sources for teachers who desire SATB music for their middle level choirs. If graded contest lists do not include SATB options, the easy category for the HS singer for those programs with smaller numbers and experience levels can be a rich source for the middle level program. The ACDA website, acdaonline.org, has a rich repository of information in the Repertoire and Standards link for both middle level and high school choirs. These lists include less difficult SATB voicings.

Consider music of the masters—the first movement of the Vivaldi Gloria, for example. Think outside the reading session box. Attend a church music session, a community choir session, or a community college session. Many of these constituents face similar issues with regard to numbers of singers and skill level of those participating.

A factor that dissuades many teachers from programming SATB music is the number of boys in the program. I recently heard the story of a very successful middle school TEXAS SINGS! • Fall 2016

teacher in Texas recount her first UIL contest. Eight singers, two of whom were tenors, and one baritone, took home a “1” for their performance singing SATB music. She exclaimed that she didn’t know any better but what a great way to have the lesson brought home!

Beyond SATB voicing, an emerging category of voicing can be used successfully with middle level choirs. Variably voiced repertoire often is based on multi-ethnic musical practices that have community singing at the heart of the experience. In these pieces, boys and girls can sing any part in a comfortable octave without sacrificing the musical integrity of the composition.

Composers such as Stephen Hatfield and Stephen Leek write well in this configuration. These parts might be labeled Group I-IV or Part I-IV. Other music can be adapted in this variably-voiced manner.

Lee Kesselman’s Shona Mass movements (Boosey & Hawkes) sing easily when singers choose the part most comfortable for their voice. Creative teachers can simply stop referring to four-part writing as SATB and rename the parts I-IV. Is all SAB and three-part mixed music unacceptable? Of course not. There are examples of well-crafted music with great sensitivity to both developing male and female voices. There are many other options, however, regarding selection of music for middle level choirs, and teachers should feel empowered to experiment!

For Further Reading: Pollack, W S (2002) Real Boys: Rescuing our Sons from the Myths of Boyhood. Riverhead Publishing.

Sadker, M. & Sadker, D (1995) Failing in Fairness: How America’s Schools Cheat Girls. Touchstone Publishing.

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2016 TCDA Scholarships

2016 TCDA Student Scholarship Recipients Left to right: Janet Allphin (Matheny donor), Brandi Spybuck, Sarah Collier, Richard Del Cristo, Jr., Brooke Gandy Penry (Gandy Ink donor), Megan Becker, Aaron Harp, Kari Gilbertson (TCDA President), Gary Mabry (former TCDA board member), Clinton Hardy, Ryan Rogers, Justin Shen, Kevin Tarpley, Monica Pasillas, Shelba Gorham Bell (Gorham donor). Not pictured: Chelsea Berner, Molly Leach, Andrew McNair.

Congratulations To Our Scholarship Recipients: I am very thankful for the TCDA scholarship because it makes it possible for me to continue to pursue my music education degree at Texas Tech University. TCDA’s investment in my education allows me opportunities I would not be able to accomplish on my own.

—Monica Pasillas Texas Tech University I am honored to have received a TCDA general scholarship, because it has helped to further my education and my dream of becoming a music educator. This scholarship has greatly helped with my college tuition and textbooks. Thank you!

—Brandi Spybuck University of North Texas

Megan Becker, Baylor University DONALD BAILEY

Chelsea Berner, Michigan State University ABBOTT IPCO

Sarah Collier, UT Arlington GENERAL FUND

Richard Del Cristo, Jr., UT Arlington JAMES EDWARD MATHENY

Clinton Hardy, University of North Texas JIM AND GLENDA CASEY

Aaron Harp, Atlanta Conducting Institute GANDY INK

Molly Leach, University of North Texas JAMES EDWARD MATHENY

Andrew McNair, Texas State University WILLIAM GORHAM

Monica Pasillas, Texas Tech University CLOYS WEBB

Ryan Rogers, University of Houston

The TCDA Undergraduate Scholarship has provided me with the opportunity to fully focus on my studies and development as a music educator at the Moores School of Music. My ultimate goal is to make a difference in the lives of my future students and to help them develop an appreciation for and dedication to music and the arts. With this scholarship, TCDA has allowed me to move one step closer to realizing this goal.

—Ryan Rogers University of Houston

PAST PRESIDENTS

Justin Shen, University of Houston GENERAL FUND

Brandi Spybuck, University of North Texas GENERAL FUND

Kevin Tarpley, Texas State University JACKIE COCKE

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TEXAS SINGS! • Fall 2016

A Special Thanks To Our 2016 Scholarship Donors Jennifer Adams Frierson Joseph Akers Amy Allibon Janet Allphin Kathryn Amshoff Nelsalee Amy Jo Antinone Patrick Antinone Lauree Aschen Christopher Aspaas Dan Baker Vicki Baker Debra Barkey Carroll Barnes Sam Bartos Susan Bartos Christie Bean Shawn Bell Laura Bendorf Tammy Benton Terry Berrier Rick Bjella Ouida Bliss Richardson Criselda Bocanegra Erin Bodhaine Anne Boeding Nick Boltz Patricia Bonner Sandy Borrego Parker Bowen Carl Braden Tracy Bradstreet Freda Breed Robin Brockway-Nichols Carrie Brown Joshua Brown Laura Brown Dianne Brumley Michael Bryson Alan Buratto Susan Burt Alexander Carr Linda Cassidy Will Chandler Christina Chapman Sandra Clampitt Betsy Clark Candace Clayburn Jodi Coke Elizabeth Cole Lorelai Cole Caitlin Collins Carol Colvin Karen Cook Sybil Crawford Vanessa Crixell Cherisa Cromer Carolyn Cruse Sue Cruse Andrea Cruz

Ricardo Cruz Nathan Dame Deborah Daniel Claire Daniels Billy Daves Susan Dawes Audrey De la Cruz Danny Detrick Leslie Detrick Betty Devine R. Michele Dial James Dickens II Ron DonLevy Paul Doucet Cynthia Douglas Jason Dove Robert Draper Levi Duncan Karla Dunning Paula Edwards Susan Elliott Marianne Engle Stephanie Ertel Kammi Estelle Tracey Falazi Joshua Heath Farr Christopher Fiorini Linda Frazier Patti Freeman Lynne Gackle Susan Galentine Jason Gallardo Melody Gamblin-Bullock Ricardo Garza Sylvia Garza Kari Gilbertson Nancy Ginsburg Philip Glenn Karen Gonzalez Megan Goodman Shelba Gorham-Bell Margaret Haddad Sandra Haggray Julia Hall Christina Hallwachs Clinton Hardy Jessica Harper Melissa Hartshorn Judy Harvel Emily Hatzel Alison Haygood Jeni Hendrix Michael Hitt Angela Hobbs Michele Hobizal Stephen Holcomb Robyn Hollimon Randy Hooper Robert Horton Steven Hoyle

Austin Ishee Molly Jackson-McConville Laura Jenschke Jazmine Johnson Stephen Johnson Cindy Johnston Amy Jordan Cynthia Juarez Myron Karner Gaylene Kelley Katrina Kelly Madi King Phyllis King Vicke King Kelsey Kipp Heather Klossner Lauren Knebel Cheryl Knighton Georgia Kornegay Carole Krueger Cheri Lafferty Grace Littlefield Andrea Loer Lelah Loftin Maria Lorentzen Carl Lorey Martha Low Asa Low, Jr. Sharon Lutz Myles Lyra Michael Lysinger Gary Mabry Sarah Malin Richard Mann Anne Marquis Jennifer Marrero Joey Martin Katherine Martin Adela Martinez Lorissa Mason Melissa Massie Connie Matheny James Douglas Matheny Carver Mathis Sandra Mattson Alan McClung Leigh Ann McClure Candy McComb Marguerite McCormick Caia McCullar Katherine McDaniel Kelly McDonald Donna McGinnis Katherine McGrew Joshua McGuire Jennifer Mckee Brian McKinney David Means Darla Meek

Dinah Menger Dinah Menger Glen Miller Rita Minter Kim Moore Vanessa Mora Reece Morgan Jimmy Morgette Joyce Morris Debra Moses Hope Myers Cara Naizer Samantha Nalundasan Mary Neeley-Stevens Susan Neff Sheri Neill Samara Neto Courtney Neva Carisa Niemeyer Brittney Nixon Bradley Olesen Janwin Overstreet-Goode Ashley Owen Marie Parisot Tracey Patterson Deborah Payne Jerry Perales Brenda Perez Lindy Perez Michael Perez Barbara Perkins Kari Peterson Kelly Pfaffenberger Mary Jane Phillips Robert Phillips Churck Pineda Rachel Pitman Terri Preskitt-Brown Joel M Price Milton Pullen Laurie Purcell Judy Putney Carol Pyle Laura Rachita Jed Ragsdale Jennifer Resendez Jannifer Rice Dennis Richardson Marla Ringel Thomas Rinn Jaclyn Rivera David Rives Paul Roberts Troy Robertson Alejandra Rodriguez Lisa Roebuck Cindy Rohe Melissa Roth Young Mitzi Ruttan-Leatherland-Anderson

Juli Salzman Adam Samuels Kelsey Scheuerman Sally Schott Julie Scott Jo Scurlock-Dillard Karen Seiffert Megan Senter Pauline Sexton Brenda Sharpe Don Shelley Sandy Shelley Kay Sherrill Julien Shine Bonnie Smith Tammy Stallcup Ralph Stannard Michele Stehling Denise Stephens Gloria Stephens Morris Stevens Catherine Stevenson Robert Stovall Christine Stratton Elizabeth Tait Billy Talley Lonnie Tanner Joshua Taylor Neena Taylor Ouida Taylor Karen Thomas Chris Thomasson Nikki Thompson Mary Jane Thornton Cherrie Townsend Tony Tuckwiller Jeff Van Hall Eddie Vandewalker Jack Vandiver Eunice Vargas Sally Vasquez Michael Ventura Drusilla Vinson Eric von Hindman Kelly Webb Ferebee Betsy Weber Theresa Whatley Lisa Wheeler Brad White Donna White Marty White Nathan White Dorothy Wilson Jean Wood Roderick Zeman Henrik Zetterstrom

Invest in the Future – Donate to the TCDA Scholarship Fund!

TEXAS SINGS! • Fall 2016

11

2016 Third Quarter TCDA Financial Report Scholarship Report

Revenue & Expenditures

as of September 30, 2016

Scholarships Beginning Balance, 1/1/2016 Contributions to 9/30/16 Awards Paid Adjustments*

Scholarship Balance, 9/30/2016

Scholarships funded by: Abbott IPCO Gandy Ink

January through September 30, 2016

162,316.57 16,800.00 (16,500.00) 10,133.61 172,750.18 500.00 1,000.00

*investment interest & golf net profit

Balance Sheet

as of September 30, 2016

ASSETS Current Assets Checking/Savings Bank of America, Checking Petty Cash Total Checking/Savings Other Current Assets Accounts Receivable, Gen Accounts Receivable, NSF Accts Rec, Magazine Lincoln Financial Investments Prepaid Exp, Bulk Postage Scholarships Total Other Current Assets

142,493 50 142,543 3,783 202 275 123,075 576 172,750 300,661

Total Current Assets

443,204

Fixed Assets Depreciation Reserve Fixed Assets, Electronics Office Furniture/Equipment Total Fixed Assets

-25,907 18,165 17,640 9,898

TOTAL ASSETS

453,102

Income Operating Income Collection Fees, ACDA Membership Dues Investment Income Shared Office Income Total Operating Income

Convention Income Directors Chorus 4,646 Exhibit Rents 94,827 Festival Chorus 1,725 Golf Tournament 2,497 High School Day 8,045 Honor Choir Income 27,543 Miscellaneous Income 559 Registration Fees 173,592 Showcases 1,296 Sponsorship 9,162 Sustaining Dues 6,934 Total Convention Income 330,826 Publications Advertising Income 8,467 Total Income 436,271 Expense Total Administrative Expenses

148,979

Convention Expenses Advertising/Promo Audio/Visual Child Care Contract Labor Decorating Facilities Rents Functions Golf Tournament Honoraria, Clinicians HS Day Expense Photography Piano and Organ Rentals Postage, Printing, Supplies, Misc Security & First Aid Student Assistants Technology Travel/Lodging, Clinic Total Convention Expenses

4,571 22,845 1,373 634 18,225 20,233 25,785 1,422 1,300 2,501 1,749 2,435 1,523 2,896 2,234 10,885 1,101 121,712

Directors Chorus Expenses Festival Chorus Expenses Honor Choir Expenses

LIABILITIES & EQUITY

Current Liabilities Sch Payable, Lincoln Fin Soc Sec/Medicare, FICA

-7,616 2,937

Total Liabilities

-4,679

6,720 80,555 7,304 2,400 96,979

Other Program Expenses Commissioned Work Commissioned Work Exp Scholarship Donation Total Other Program Expenses

2,516 4,789 14,663 1,250 448 1,075 2,773

Equity Net Assets, Restricted Opening Balance Equity Net Income Total Equity

172,750 199,699 85,332 457,781

Directors’ Expenses Board Meals Ofc Supplies/Postage Travel, Directors Total Directors’ Expenses

6,245 347 16,512 23,104

TOTAL LIABILITIES & EQUITY

453,102

Publications Expenses

28,125

Technology

4,276

Total Expenses 350,939 Net Income 85,332

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TEXAS SINGS! • Fall 2016

TEXAS SINGS! • Fall 2016

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Benefits for Current TCDA Members TCDA Membership Year is January 1 - December 31. Membership for 2017 opens December 1, 2016.

Renew or Join TCDA at www.tcda.net to receive these benefits for the entire year!

An Annual Convention every July. Experience world-class workshops, reading sessions, performances, continuing education credits, and an exciting, fun-filled exhibit hall.

Session Handouts available on website after convention.

Three annual publications: Fall, Spring, and On-Site Choral Notes: On-line newsletter sent monthly Awards: given yearly for Young Director of Distinction, Choral Excellence and Choirmaster Award.

Scholarships: offered to university students and professionals Job Board: find and post jobs On-Line Member Directory Financial Planning, Health Plans, Dental, Long Term Care, Life Insurance.

Contact Dan Samuel at 512-659-7101 or email at dan@america-grp.com American Income Life Insurance Company (AILIC) Benefits at NO COST! $3,000 Group Accidental Death & Dismemberment Benefit, Health Services Discount Card & Child Safe Kit. Go to www.ailife.com/benefits/5gj9bM. Legal Assistance and Identify Theft Protection through LegalShield.

Go to www.jschlegel.legalshieldassociate.com or call 512-656-8569.

Advertising Sponsorship Support Texas Sings! is the official publication of TCDA, serving over 1600 choral directors in Texas and representing elementary, middle school, high school, college and church.

This publication is our main vehicle to communicate with our members and to promote the choral arts within our state.

The Spring issue is published in April and the Fall issue is published in October. For those of you wishing to advertise choral programs and events such as summer camps and tours, as well as showcase educational tools and products to Texas decision-makers, please consider Texas Sings!

The TCDA Convention Program is distributed on-site to every convention attendee and is another way to publicize choral programs and events, and receive exposure for your company.

This issue includes a complete convention schedule for all activities and events, including performing groups, headliners and clinicians, exhibitor information, and much more.

TCDA offers many sponsorship opportunities during convention. We’d love to partner with you!

We Appreciate Our Advertisers and Sponsors!

Call us at 512-474-2801 for more information, or visit us at www.tcda.net

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TEXAS SINGS! • Fall 2016

Geographic Distribution Of ALL Current Texas Members NOTE: members residing in smaller cities are grouped with closest major city.

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Out-of-state attendees are not required to be TCDA members.

Amarillo

Map does not include out-of-state members who DO hold memberships (approximately 18).

5 El Paso

45

14

Lubbock

Wichita Falls

66

28

Midland/ Odessa

Abilene

541

Dallas/ Fort Worth

35 Tyler

183 Austin

219 San Antonio

491

28

Beaumont Houston/ Galveston

45 Corpus Christi

83 McAllen/Brownsville

In an effort to gather a more detailed picture of our membership, optional questions were included on the Membership Registration forms. Here are the results: Age Range

Gender

1309 Responses (78% ofALL members)

1286 Responses (76% ofALL members)

Size of Choral Program 1174 Responses (70% of members) ALL

13% 21%

12%

28% 37% 29%

19%

20% 63%

19%

18-­‐25

26-­‐35

TEXAS SINGS! • Fall 2016

36-­‐45

18%

46-­‐55

55+

Female

21%

Male

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Join Us at the 2017 TCDA Convention– Nothing Can Compare!

Thursday-Saturday, July 20-22, 2017

As a first year teacher and a new teacher to the state, I found TCDA’s summer convention very enlightening, engaging, and inspiring. I found that many of the sessions led by distinguished figures in the state shared and imparted invaluable wisdom and inspiration for this new year. They challenged and affirmed my personal and educational philosophies. I can’t wait for next year!

Andrew Steffen

Choral Director, Richland HS

Birdville ISD

TCDA has been an active part of my life since becoming a student member my freshman year of college. The professional development and repertoire I have acquired over the years have been invaluable to my teaching, but perhaps the greatest benefits have been the relationships, and the knowledge base from those relationships, that I have built with colleagues from around the state through my involvement in the organization. From serving as a volunteer with facilities, in registration, on the hospitality committee, to participating in director’s choruses, to my current role on the board, I have gained a broad perspective on the organization that continues to develop my understanding, appreciation, and love for what TCDA does.

Thomas Rinn

TCDA Board Member, High School Division

Choral Director, Colleyville Heritage HS TCDA has been a huge part of my choir director life for the past 28 years. The annual convention always marks the end of summer and the beginning of another school year in my personal calendar. Over the years at TCDA conventions, I have found literature, attended workshops that made me a better director, and gone through at least 14 different hairstyles! TCDA has given me a place to hone my craft and learn important techniques that have benefited my students immensely. These great things, however, are not the most important thing TCDA has given me. The relationships that I have formed with other choir directors in Texas have been invaluable in my development as both a musician and as a person. It is hard for those outside our profession to understand how important people you only see once or twice a year can be in your life. You cannot forge these friendships if you do not attend TCDA conventions. TCDA has changed both my life and my teaching for the good.

Mary Jane Phillips

Choral Director, Wayside Middle School

Eagle Mountain-Saginaw ISD

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TEXAS SINGS! • Fall 2016

From walking and running to and from rehearsals, workshops, reading sessions, and concerts, the TCDA Festival Chorus made it all worth it. Though the number of singers this year was low, the guidance of our clinician and conductor, Dr. Rosephanye Powell, created in the choir something big. Scattered throughout the chorus were church choir directors, school choir directors, choral scholars, and even volunteer church musicians from out of town wanting a weekend getaway to sing some rich and joyful music in the blazing heat of San Antonio. Not even into the first hour of rehearsal was there a dry eye in the chorus from something Dr. Rosephayne said. Throughout her early life, she took certain memories of importance and incorporated them into her writing of choral music. Dr. Rosephanye always reminded us that music is something that expresses our faith to the fullest and with that faith, we give, and in giving, we receive. She told us to always look toward music if we need to “lay these burdens down”, being our personal struggles in life. The Chorus ended with a performance at the Church Service and for the first time it was held in the Henry B. Gonzalez Convention Center. My favorite piece in the program was, “Come unto Me all ye that Labour” from Matthew 11:28-30.

Christian Cruz

Student, Choral Music Education

Northwest Vista College

What’s a summer without attending a TCDA Convention? There are various reasons why I find it important to spend a few days out of my summer at convention. I love to discover new music through the reading sessions, watch great workshops by fantastic directors and pick up new rehearsal techniques by observing great teaching in the TCDA Honor Choir rehearsals. No matter how many years you have taught, you can always pick up some fantastic pieces from the Tried and Proven music session. For many years, the church division has had a worship service with a festival choir. I very much enjoy attending this. Also, I get a lot of business done at the exhibits to help me start my school year, as well as browse through new publications that recently have been made available.

Our profession is so unique and I love making new connections. I meet new people every time I attend a convention. Of course, my TCDA is not complete without several meals on the River Walk and catching up with my choral director friends from all over the state. Yes, the convention schedule is packed, but by the time it is over, I feel rejuvenated and ready to begin again. For me, the TCDA conventions are like a reset button. The timing is perfect. The location is perfect. I am grateful to have this annual event that allows me time to collaborate with colleagues, helps me improve as a director and to start my year off the right way.

Kelly Flores

Choir Director, Hudson MS

For me, TCDA is the catalyst for starting my school year, renewing relationships, and most importantly, stealing ideas from the workshops, gleaning material from the reading sessions, and visiting our amazing exhibitors. The new format for the reading sessions indicating how selections can be used is invaluable to everyone. And how ingenious is the new convention schedule?

It worked beautifully and accommodated our memberships’ needs with an informative and condensed schedule as well as serving those with weekend obligations. TCDA is an exciting organization, with a new venue, and an outstanding vision for its membership, exhibitors, and participants. It is thrilling to see the innovative changes our TCDA leadership is making to impact the future of our organization, promote the growth of choral music educators, and positively influence the lives of our students. Thank you, TCDA!

Sharon Paul

Choral Director, Cypress-Fairbanks ISD TEXAS SINGS! • Fall 2016

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Why You Should Attend the TCDA Convention • Interactive workshops taught by knowledgeable and entertaining clinicians • Valuable reading sessions for finding music for your ensembles • Powerful performances by professional choirs and performing groups • An Exhibit Hall filled with music, software, attractions, retail and more! Great shopping!

• New Teacher Academy offers classroom management, discipline, communicating with administrators, booster clubs, and more--a must for starting your first year, or returning to teaching • 50% Convention Fee Discount for first-year teachers • A Special Time to reunite with friends and make new ones!

Don’t Forget…

• Convention expenses are tax-deductible (convention fee, lodging, transportation and meals).

Consult IRS website www.irs.gov. Membership is NOT tax-deductible.

• Renew membership and pre-register for convention by July 1st – Save $20!

• Make hotel reservations prior to June 30th to receive contract rates. Share a room to save costs!

• TCDA welcomes students and out-of-state attendees.

• Watch website at www.tcda.net for 2017 Convention Highlights • Renew early to receive expanded Texas Sings! Pre-Convention 2017 Spring Issue!

Mark Your Calendar NOW 2017 Convention - San Antonio, Texas Thursday-Saturday, July 20-22 Recruit a Colleague Get Involved Volunteer at Convention Check website for 2017 convention plans!

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TEXAS SINGS! • Fall 2016

2016 TCDA Awards Choral Excellence Awards

Tammy Patterson Assistant Director, Fine Arts Fort Bend ISD

Brad White Instructor in Choral Music Texas Christian University

Young Director of Distinction

Colton Blake Director of Choral Studies Permenter Middle School

TEXAS SINGS! • Fall 2016

Lindsay Swartwood Associate Director of Choral Activities Flower Mound Middle School

Harry Wooten Minister of Music Royal Lane Baptist Church

Texas Choirmaster

Dr. Kenny Sheppard Professor of Music Southwestern University

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The 2016

TCDA Annual Convention Was a Huge Success!

A S pecial T hanks!

A special thanks to our many dedicated and hardworking volunteers who make our convention possible.

From our clinicians, committee members, volunteers, and to all of those who attended convention— TCDA couldn’t exist without you!

We offer a sincere and special thanks to our Convention Exhibitors, Advertisers, and Sponsors.

Your support makes our convention possible.

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TEXAS SINGS! • Fall 2016

The 2016

TCDA Annual Convention Was a Huge Success!