AntiphonNewsletter of the Arizona Chapter of the American Choral Directors Association

WINTER 2010, Volume 15, No. 2

From the State Presidentby Frank Sargent, State President, AzACDA

Dear People,

Yes, I’m sticking with this salutation! I’m sure much has happened in your cho-ral music side of life since our last issue. In November, we had a very success-ful Cantaremos festival at Gilbert High School. Big “thank yous” go to Andrea Rodgers and Riki Sloan for making this huge event another Cantaremos success. As she steps down this year, thanks to Andrea for her years of work keeping this a premier event on the AzACDA calen-dar. We look forward to more of the same as Riki takes over the Cantaremos reins.

Most of us are past the first concerts of the season. We have prepared for performances and worship services for the holiday season. Why do we do this? When was the last time you attended a celebration where there was no music? Music elicits our emotion, and com-pletes our celebrations. Music has been an integral part of celebration for thou-sands of years, with many developments to make it what it is today.

School musicians face challenges in this ever-changing society. I believe the key word is sensitivity. Whether or not the school district actually has a policy that dictates the style and genre of music you may present, stay sensitive to your constituency and your responsibility. As

an educator, continue to offer students the highest quality choral music educa-tion, using the highest caliber choral music. At the same time, be sensitive to your community. Most educators do this spectacularly, so I am preaching to the choir, but I urge even the most expe-rienced to keep quality, education, and sensitivity in mind when developing concert programs. If you are successful in this effort, hopefully your district will never establish a restrictive policy.

I try to do two things when program-ming a concert. I include something for students, something for the audience, and something for me1, keeping the sensitivity word right up front. Five choirs performed fourteen pieces on our December concert. There were seven sacred and seven secular pieces in four languages: English, Latin, Hebrew, and Nigerian. There were pieces for all three “audiences.” Maybe not in every concert, but over time (and not too long), a choral director must include music that addresses different portions of the community. I wish you all the best in these upcoming concerts.

Looking forward to 2010, I strongly urge you to attend the Western Division convention in Tucson. It has been years

since we had an ACDA convention in Arizona. Let’s turn out in droves for this great event in our home state. The com-mittee has planned an outstanding con-ference, one you will not want to miss (see page 5), so register and make hotel res-ervations right away. Come to the Ari-zona reception on Thursday evening. I’ll look forward to seeing you in Tucson. —Frank

IN THIS ISSUE

From the State President .................................... 1AzACDA Leadership ............................................ 2Sight-Singing: Yes, You Can ................................ 3Perfect June Retreat: Four Corners ..................... 42010 ACDA Western Division Convention ........... 5Cantaremos from Participants’ Mouths ................ 7Hark and Hallelujah: UA HS Honor Choir Festival ...9New Site: JH/MS Choral Festival ....................... 10Literature Review: King David ............................ 10Calendar .............................................................11From the Editor ...................................................111. See Antiphon, Fall 2009, “From the State President,”

column 3, “new program year resolution.”

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AzACDA Leadership

President Frank Sargent president@azacda.org

President Elect Greg Gentry presidentelect@azacda.

org

Past President J. Edmund Hughes jedmund@cox.net

Secretary Justine Farenga secretary@azacda.org

Treasurer Steve Hickman treasurer@azacda.org

Antiphon Editor Public Relations Lani Johnson antiphon@azacda.org

Webmaster David Topping webmanager@azacda.org

Cantaremos Honor Choirs Chair Andrea Rodgers cantaremos@

azacda.org

Cantaremos Honor Choirs Assistant Chair Riki Sloan cantaremosa@

azacda.org

Boychoirs Heather Mitchell hmmm17@email.ari-zona.edu

Children’s Choirs Gloria Day gjeanned@aol.com

College and University Choirs Bruce Chamberlain bbc@u.arizona,edu

Community Choirs Dave Perry perry.pub@cox.net

Ethnic and Multi- cultural Choirs Sarah Ross meisense@gmail.com

Jazz Choirs Craig Peterson craig.peterson@mcmail.maricopa.edu

Junior High/Middle School Choirs Ron Carpenterrdcarpen@mpsaz.org

Male Choirs Brook Larson brook.larson@asu.edu

Women’s Choirs Jordan Saul SaulJ@flowingwells. k12.az.us

Music and Worship Warren Dennis chwhdaz@cox.net

Senior High School Choirs Paul Olson polson@brophyprep.org

Show Choirs Daniel Tenney danieltenney@ hotmail.com

Youth and Student Activities Ryan Holder ryan.holder@nau.edu

www.azacda.org 3

“Choral directors seem to agree on the importance of music reading in the curricu-lum, yet are not always successful at finding the time to teach it.” - SM Demorest

We all agree that we need better sight-singing and sight-reading.1 Annually we resolve to incorporate

techniques into daily rehearsals, but we still wonder how to get started. We ponder what, exactly, a choir director should do.

AzACDA and AMEA, among other event hosts, increasingly require individual and ensemble sight-singing skill demon-stration. Their goal is to create better and better singers by encouraging the inclusion of sight-singing in the music classroom. For best success, training should begin in elementary music programs.Just the Facts

Sight-singing experts devote from five to twenty minutes per rehearsal to sight-singing. For major keys, most utilize moveable do solfège. Others use num-bers, neutral syllables, or fixed do. For minor keys, they use solfège that begins either on the first (minor do) or the sixth (minor la) degree of the scale. Similarly, those employing numbers use the scale degree one or six as tonal center. Count-ing was the most frequent rhythm read-ing approach, although directors also use neutral syllables, ta-ti-ta, or systems such as Gordon Rhythm Solfège.

If you are just getting started, look to your own district’s music teachers, including elementary teachers. Check out internet sites, join forum discussions, ask questions online, and borrow books. You are not alone.Resources and Tips

Ed Gordon’s Music Learning Theory and its accompanying learning sequences

are cornerstones of many sight-reading and sight-singing programs. Students both hear and sing the patterns, developing aural acuity. Masterworks Press is one of several publishing houses selling graded series.Use Curwen hand signals

Be judicious when selecting music, and incorporate verbatim passages into warm-ups, in order to build a tonal vocabulary and provide a hook to the melody. Find vocalise material in music from all genres, scanning for scale passages, parts that diverge from unison, and independent melodies that stack to make partner songs.

Write sight-singing passages on the board and insist on heads-up attention.Technical Steps

Establish do (or la), the tonal cen-ter or pitch anchor, in the inner ear. Students should outline the tonic triad aloud (do-mi-so-mi-do). For la-based minor, the minor tonic is la-do-mi-do-la. Relate subsequent notes to these “notes I already know.”

Establish both the meter and the pulse of the passage. In the beginning, pulse is more important than meter, because it makes rhythmic patterns work.

Ask students to mentally “sing” through the exercise.2

Now sight-sing as a choir

Be confident, concentrate, and stay on top of the rhythm. Keep the eye mov-ing ahead of the notes.

Afterward, sing the music correctly and ask singers to point out where the ensemble made mistakes.Fine

You and each student will be impressed with the results of consistent sight-singing practice. For a jump-start, take in Chris-topher Borges’ interest session at the ACDA Western Regional Convention, “Start With What They Know: Sugges-tions for Successful Sight Reading.”

Sight-Reading TipsCourtesy of ACDA Chapter at the University

of Wisconsin—Green BayPut these on a poster or in students’ folders.Before sight-singing, take a moment and look for:

Road hazards. Glance through the whole pieceRepeat signs, endings, coda,

and special instructionsKey and time signaturesDynamic markingsChanges in rhythm and articulationMelodic challengesDifferences: Locate accidentals, key changes,

and unusual melodic patternsSimilarities. Search for sections that will

sound about the same or that use similar melodic patterns. The second time the material appears will be easy!

While sight-singing:Keep up. Always read ahead.Sing. Don’t sit there and listen. Don’t give up. Keep trying.

Sight-Singing: Yes, You Can

by Gloria Day

1. Sight-singing is the skill to sing a score without having previously seen or heard its contents. Sight-reading is the skill of performing a new score. The difference may be subtle but centers on the lack of an instrument. Sight-singing is a uniquely vocal skill.

2. From Jean Ashworth Bartle, Sound Advice: Becoming a Better Children’s Choir Conductor (New York: Oxford Press, 2003). Bartle suggests five minutes of silent score study time before attempting to sing. Let students discover as much as they can, including:• Instances of do (or la). This requires paying attention to the

key signature as well as the notes’ positions on the staff. Perhaps ask students to draw a box around all instances of do and a circle around all instances of so on the first page of the score.

• Melodicorrhythmicpatterns• Repeatedsections• Keychanges• Tessituraoftheirpart• Dynamics,phrasemarkings,articulations• Visiblytrickyplaces

Sight-Singing TipsCourtesy of ACDA Chapter at the University

of Wisconsin—Green BayBooks and materialsChoral sight-singing practices,

a research surveyCurwen hand signsFavorite sight-singing tipsFixedDo.comGeneral sight-reading suggestionsInterval songsIs it worth it to teach Kodaly to a church choir?Should you use La-based minor?Learning to Sight-Sing: The Mental

Mechanics of Aural ImageryFixed Do vs. Moveable DoMusic reading in community choirOnline Chord Recognition, Pitch Awareness,

Just Intonation exercisesAccidentals with Scale-degree numbersSolfège for church choirsSight-singing Suggestions/PhilosophyTransition from sight-reading exercises

to real music

4

Arizona’s Four Corners Choral Workshop—hosted since its inception by Northern Arizona University—has presented a slate of outstanding clinicians in recent years, including Geoffrey Boers, Rollo Dillworth,

Rodney Eichenberger, Craig Jessup, James Jordon, and Weston Noble. However, the Choral Workshop—featuring these consistently acclaimed headliners—remains one of the relatively untapped learning forums for Arizona choral music educators.

For summer 2010, guest headliners Eph Ehly (University of Missouri-Kansas City, retired) and Susan McMane (San Francisco Girls Chorus, Artis-tic Director) will help sharpen your choir directing skills, programming to rehearsal to performance.

Eph Ehly is renowned for his ability to inspire an ensemble, instigate cre-ative programming, and reenergize teachers. Did you know he began his career as a high school teacher in Nebraska? Dr Ehly has conducted over 80 All-State Choirs, and continues to lecture and conduct in Canada, Brazil, Mexico, vari-ous European countries and throughout the world. As an author, Ehly’s Hogey’s Journey (2005) offers his philosophical tenets of learning through a fictitious character named after one of his colleagues at UMKC. As the recipient of multiple teaching awards, Ehly was selected for the prestigious “Faculty Fel-lowship Award” by the UMKC Board of Trustees. However, he is proudest of being husband to Jan for more than four decades, father to son Christopher and daughter Heidi Jane, and a practicing grandfather to five.

In her ninth season as the Artistic Director of the San Francisco Girls Chorus, Susan McMane is sought out for her command of repertoire and her ability to create an exciting, pure, and thrilling sound with young voices. Dr McMane has prepared the SFGC for performances with Michael Tilson Thomas, Helmut Rilling, Kurt Masur, and Robert Spano. She is the editor of the San Francisco Girls Chorus Music Series with Alliance Music Publishers and is highly regarded as a choral clinician, having conducted All-State choirs and Divisional Honor Choirs with ACDA.

With these two fine summer 2010 clinicians, participants will enjoy a creative growth experience they will never forget. Please consider taking advantage of this annual opportunity to network and gain knowledge, with the additional benefit that a summer visit to Flagstaff offers a distinct con-trast of temperature—the comfort of 75-degree days—to much of the rest of Arizona. Spread the word, mark your calendars, and watch for details and online registration at the Arizona ACDA website.

Dr Gregory Gentry is the Director of Choral Performance at Arizona State Uni-versity, where he administers both the graduate and undergraduate choral con-ducting programs. Dr Gentry is also Chorus Master with the Phoenix Symphony.

Perfect June Retreat: Four Cornersby Gregory Gentry,

AzACDA President-elect

www.azacda.org/FourCorners.html

www.azacda.org 5

There are all sorts of reasons to attend the ACDA Western Regional Conven-tion 4 to 7 March 2010 in Tucson, Ari-zona. There are concerts, readings ses-sions, casual coffee klatches, receptions, interest sessions, exhibits, CEUs, and the Tucson atmosphere. Take a look.

Register online, by fax, mail, and even on-site. Hotel Arizona, (800) 845-4596, is the headquarters.

Earn continuing education credit (CEU). Want to get together with like-minded folks? Now is the time to get in touch with Ryan Holder, ryan.holder@nau.edu, to schedule your reception and list it in the program book. To advertise in the program book, invest in sponsor-ship, or find out about exhibiting a ser-vice or product, contact Heidi Harmon, hharmon@acda.org.

Invited Guest Choir

ChanticleerInternational Ensemble

Incheon City Chorale Hak Won Yoon, conductor

Auditioned ChoirsAmerican River College Vocal Jazz

Ensemble, Sacramento, CA Arthur Lapierre, director

Crystal Children’s Choir—Concert Choir, Cupertino, CA Jenny Chiang and Karl Chang, conductors

Harvard-Westlake High School Chamber Singers, North Hollywood, CA Rodger Guerrero

Mountain View High School A Cappella Choir, Orem, UT Rosemary Mathews, conductor

Mount San Antonio College Chamber Singers, Walnut, CA Bruce Rogers, conductor

Murrieta Valley High School Chamber Singers, Murrieta, CA Jaclyn Johnson, conductor

Northern Arizona University “High Altitude”, Flagstaff, AZ Ryan Holder, director

Phoenix Boys Choir—Tour Choir, Phoenix, AZ Georg Stangelberger, conductor

Riverside City College Chamber Singers, Riverside, CA John Byun, conductor

San Ramon Valley High School Treble Clef, Danville, CA Ken Abrams, conductor

Schofield Middle School Madrigal Singers, Las Vegas, NV Deborah Muhlenbruck-Fleischer, con-ductor

The Choral Project, San José, CA Daniel Hughes, conductor

Tucson Chamber Artists, Tucson, AZ Eric Holtan, conductor

University of Arizona Symphonic Choir, Tucson, AZ Elizabeth Schauer, conductor

University of Utah Singers, Salt Lake City, UT Brady Allred, conductor

Division Honor ChoirsTreble Choir Honor Choir

Cheryl Dupont, conductorHigh School Honor Choir

Jeffery L Ames, conductorCollegiate Honor Choir

Weston Noble, conductorArizona Honor Choir

Arthur Honegger’s “King David”ASU Chamber Choir, NAU Shrine of the

Ages Choir, and The Arizona Choir, with guest chamber orchestra William Hatcher, conductor

Interest SessionsKeynote Address

Weston Noble, Professor Emeritus, Luther College

Special Interest SessionsChanticleer and Incheon ChoraleThe A cappella Passion of Early Mexico

M Grey Brothers, clinician, Westmont College, Santa Barbara, CA

Boy Singers—Matters That Matter Julian Ackerley (http://www.boyschorus org/about_director.php), clinician, with the Tucson Boys Choir

Conducting Master Class Charlene Archibeque, clinician, with the Mt. San Antonio College Chamber Singers

Contemporary A Cappella: From the Radio to the Classroom Kimberly Barkeley Drusedum and Brad Pierson, clinicians, Henderson, NV

Developing a Vocal Color Palette for Various Choral Works Peggy Dettwiler, clinician, Mansfield University, PA

Engaging Their Minds and Welcoming Their Hearts: Imaginative Ways to Begin a Children’s Choir Rehearsal Shane Troll, clinician, San José, CA

How to Grow a Man Choir Harold Clousing, clinician, with the Azusa Pacific University Men’s Choir

The Text as a Means to Compelling Performance David Schildkret, clinician, Arizona State University, with the Murrieta Valley HS Chamber Singers

Locomotion: the Use of Eurhythmics in the Choral Rehearsal David P DeVenney, clinician, West Chester State University, PA

Start With What They Know: Suggestions for Successful Sight Reading Christopher Borges, clinician, Bakers-field, CA

What’s on the Page? Determining Authen-tic Versus Editorial Information in the Choral Score Elizabeth Schauer, clinician, from the University of Arizona, Tucson, AZ

2010 ACDA Western Division Convention

Register online at www.acda.org/conferences/2010/we

Hotel Arizona–www.thehotelarizona.com (800) 845-4596

6

www.azacda.org 7

I first took freshmen to Cantaremos two years ago. Those students now are juniors, auditioning into regional and all-state festivals, serving as choir officers, starring in school musicals, and passionately pursuing music. One Cantaremos veteran just earned a place in the ACDA Western Division Convention’s High School Honor Choir.

I use both the festival and the audition process as a testing ground for incoming freshmen. These processes demonstrate which students are

serious about

their involvement in choir, have enough initiative to sign up for this experience, and are dedicated enough to follow through-all information beyond vocal and music-learning abilities.

Cantaremos from Participants’ MouthsSarah Ross, Director of Choral Activities

and Marana High School students

“I like singing with other people who are serious and dedicated.”

“I wish it were more than one day, so we could spend more time perfecting our music and learning from the clinician.”

“I liked having a guy director who helped me with my voice.”

“I really liked the clinician. I had fun and I learned a lot about singing and my voice.”

“The music was fun and challenging.”

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APPLICATION for MEMBERSHIP in the AMERICAN CHORAL DIRECTORS ASSOCIATIONPlease Fill Out Completely

Name Mr. Ms. Mrs. ____________________________________________

Send ACDA publications to: c/o ___________________________________

Street ______________________________________________________

City, State, Zip ________________________________________________

Phone ( ) ______________________________________________

____________________________________________________________

IMPORTANT—Please Complete This Section Please check areas of activity:

7 ❑ College/University8 ❑ Community Choir9 ❑ Church ChoirP ❑ Professional ChoirS ❑ Supervisor/Administrator

Please Check classification of choirs directed: ❑ Children ❑ Boy ❑ Girl ❑ Men ❑ Women ❑ SATB /Mixed ❑ Jazz/Showchoir ❑ Ethnic/MinorityPlace of Employment ____________________________Title and/or Position _____________________________

Mail to: ACDA National Office, ATTN: Membership P.O. Box 2720, Oklahoma City, OK 73101-2720

As an ACDA member, I will comply with the copyright laws of the United States of America as they pertain to printed music or the downloading of music off the internet. (Compliance with these laws is also a condition of participation by clinicians and performing ensembles that appear on any ACDA-sponsored event or convention.)

ACDA is a founding member of the International Federation for Choral Music (IFCM). If you need additional information about IFCM, please check box. ❑

Please accept my application for membership in ACDA as indicated: ❑ NEW ❑ RENEWALActive US/Canada $85.00 Life $2,000.00* FOREIGN ACTIVEAssociate $85.00 Institutional $110.00 Airmail $110.00Student $35.00 Industry $135.00 Surface mail $100.00Retired $45.00 *Life membership payable in annual installments of $200.00 or more. To quallify

To qualify for life membership, you must have been an active member of ACDA for a minimum of 10 years.

Please remit in U.S. funds only. Make check or money order payable to: American Choral Directors Association

1 ❑ Elementary School2 ❑ Junior H.S.3 ❑ Senior H.S.5 ❑ ACDA Student Chapter6 ❑ Jr./Community College

FOUR CORNERS CHORAL WORKSHOP

June 17–19, 2010 Northern Arizona University, Flagstaff

For school, community, collegiate, professional, and church choir directors Special interest sessions, music reading sessions, exhibits

Clinicians include Dr. Eph Ehly (University of Missouri-Kansas City, retired)

and Susan McMane (San Francisco Girls Chorus, Artistic Director)

Information soon available on the Arizona ACDA website

www.AzACDA.org Dr. Eph Ehly Susan McMane

Visit AzACDA.org to keep up with the latest in Arizona choral music

www.azacda.org 9

UA High School Honor Choir Festival

by Chelsea Acree

The University of Arizona High School Honor Choir is a tremendous experience for students and directors alike. Honor choir singers have the opportunity to sing under a conductor who is an expert in her craft—Dr. Elizabeth Schauer,

Associate Director of Choral Activities at the University of Arizona—and are exposed to quality, challenging literature. This year’s festival featured the Dies Irae movement from Mozart’s “Requiem” and Alice Parker’s “Hark, I Hear the Harps Eternal.” Students meet students from around the state who share their passion for music. They also gain experience and skills to bring back to their classrooms, perhaps the most significant benefit.

In addition to rehearsing and performing in the final concert on Saturday, honor choir students select an interest session, this year “Conducting,” led by Dr. Bruce Chamberlain, “Vocal Techniques,” led by Dr. Elizabeth Schauer, or “Careers in Music,” led by Dr. Kelland Thomas.

A social event on Friday evening breaks the ice. What a great opportunity for students to talk to singers from other high schools and members of the UA Symphonic Choir, who sing at the college level! My students had a blast playing games and singing karaoke; they stayed until the very end. Besides organizing this social event, the UA Symphonic Choir performs a piece in the final concert with the festival choir. The high school students absolutely loved singing with college students, admiring their musicianship. Basses were especially tickled when the collegiate basses busted out low notes that they can’t yet hit!

The UA High School Honor Choir festival caters to directors, too. Directors’ several opportunities include a session led by Dr. Bruce Chamberlain and the chance to rehearse and perform with the Arizona Choir, UA’s premiere graduate ensemble. Not only do directors appreciate sitting on the other side of the podium, students get to hear their conductors sing.

The annual October festival at the University of Arizona in Tucson is open to students in grades 9 to 12. Organizers mail letters to high schools in July, but those wishing to know the date earlier may contact Dr. Elizabeth Schauer, erschaue@email.arizona.edu.

Students audition by tape or CD and submit a $5 application fee. The audition requires the student to sight-read melodic and rhythmic examples, sing a classical solo, sing a major and a minor scale, and sing back intervals using aural recall. Audition tapes are due in September. Teachers receive notification of results by the end of that month, along with information about music, lodging, and schedule details. There is a $30 fee to participate, which includes the student’s music and t-shirt.

Don’t miss this invaluable experience for you and your students.

Chelsea is a student at the University of Arizona. She is currently student teaching at Flow-ing Wells High School in Tucson, Arizona. She will graduate in December 2009 with her B.M. in Music Education. Chelsea hopes to find a choral teaching position in Arizona.

Western Division Convention website: acda.org/Western/Convention.html

10

Hey, all you junior high and middle school choral directors: Are you wondering whether

you should take your choir to a festival this spring? I hope to persuade you that this year’s AzACDA Junior High/Middle School Choral Festival on May 8 at the Brophy Chapel on the campus of Brophy College Preparatory will be well worth your time and effort.

Now, I know we all ask ourselves a number of questions while deciding to attend a festival: What will my students gain from the experience? What will we get for the money we commit—and probably have to raise? Will the stress balance the benefit? Here are some great reasons to decide “yes.”

• This year’s AzACDA Junior High/Middle School Choral Festival will be held at the gorgeous Brophy Cha-pel on the Brophy College Prepara-tory campus. Your choir will sound amazing in this fantastic facility.

• Your choirwillworkwith a skilledclinician, who will reinforce what you teach and give helpful ideas toward improvement.

• Thisyear’scliniciansareGregGen-try, Arizona State University; Ryan Holder, Northern Arizona Univer-sity; and Brett Robison, Scottsdale Musical Arts, Shadow Rock United Church of Christ, and the Tucson Arizona Boys Chorus

• Eachgroupmayopt toberatedorsimply to receive comments.

• Your studentswill see and listen toother junior high/middle school choir performances.

• Your choir will receive a digital record-ing of its full 15-minute program.

• After the performance, your choirwill have a 25-minute private ses-sion with a festival clinician, also recorded.

• Each director will receive a com-plimentary copy of a professional ensemble photograph. Students may purchase a photo.

• Eachchoirwilltakehomeabeauti-ful, engraved plaque.

Bring your choirs to this festival, and you will go home with a few new, focused ensemble goals. Students universally find such events motivating, both because of the varied performances they experience and as a result of clinicians’ work with their ensembles.

Even better, we’re offering the new reces-sion-buster low price of $150 per choir!

You may easily register online, begin-ning in January.

If you contemplate attending an age-specific festival this year, and even more if you think you will not do so, I hope you will consider participating on Saturday, May 8. The new format, combined with the new festival site and exciting new judges, prom-ise to make this year’s AzACDA Junior High/Middle School Choral Festival a winner. I hope to see you there.

Festival Moves to Phoenix, Adopts New Format

Junior High/Middle School Choral Festivalby Ron Carpenter, R&S Chair

Junior High/Middle School Choirs

Dates and DataJunior High/Middle School Festival

8 May 2010 Brophy College Preparatory

701 North Central Avenue, Phoenix, Arizona 85012 $150 per choir

Apply by 1 April — www.azacda.org, click Festivals and Junior High/Middle School Choral Festival

(beginning January, 2010)

In this large work for chorus, soloists, narrator, actress, and orchestra, Honegger incorporates compositional styles from chant to Baroque to jazz. The French text is by René Morax, although performances in translation also are common. Honeg-ger revised the 1921 28-movement, five part work two years later.

27 Movements, 1923 revision

1. Introduction2. The Song of David, the Shepherd3. Psalm: All Praise to Him4. Song of Victory5. March6. Psalm: In the Lord I Put my Faith7. Psalm: O Had I Wings Like a Dove8. Song of the Prophets9. Have Mercy on Me, My Lord10. Saul’s Camp11. Psalm: God, the Lord Shall Be My Light12. Incantation13. March of the Philistines14. The Lamentations of Gilboa15. Festival Song (Song of the Daughters of

Israel)16. The Dance before the Ark17. Song, Now My Voice in Song Upsoaring18. Song of the Handmaid19. Psalm of Penitence20. Psalm; Behold, in Evil I Was Born21. Psalm: O Shall I Raise Mine Eyes unto

the Mountains?22. The Song of Ephraim22. March of the Hebrews24. Psalm: In My Distress25. Psalm: In this Terror, the Gread God

which I Adore26. The Coronation of Solomon27. The Death of David

Forces

2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 1 contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, snare drum, bass drum, cymbals, tambourine, tam-tam, organ, celesta, harp, timpani, strings, chorus, soprano soloist, alto soloist, tenor soloist, narrator, and actress

Literature review: King David(Le Roi David), 1923

Arthur Honegger

www.azacda.org 11

From The EditorLess Expense, Better Response

by Lani Johnson antiphon@azacda.org

What a lot there is to learn about moving from an all-print (including azacda.org/

antiphon/Newsletter.html) to an online newsletter. In the discovery process this week

alone, I have established accounts on Flickr, Presspublisher, Bighugelabs, and Issuu.

Over the next six months, AzACDA’s leadership have determined to take the national

office’s advice to heart and consider converting Antiphon. Your advice will be welcome.

You can find good explanation and a list of benefits in Howard Meharg’s article, “Con-

vention Newsletter or Online Newsletter/Web site?” (Choral Journal, December 2009,

pages 45-47). If you would like to preview our exploration, let the editor know.

The Antiphon is the newsletter of the Arizona Chapter of ACDA (“AzACDA”). It is published three times a year, in Fall, Winter, and Spring, to communicate with AzACDA members and to heighten interest in joining AzACDA by non-members; to promote workshops, festivals, and other programs of AzACDA; to present educational articles for members and non-members; and to create a sense of community among choral directors and interested others across Arizona.

Items for publication or advertisements can be submitted to the Editor at the address below. Advertising rates per issue are as follows:

Full page (7 1/2 x 10) $1302/3 page (5 x 10) $1101/2 page (7 1/2 x 5 or 5 x 7 1/2) $901/3 page (2 1/2 x 10 or 5 x 5) $701/6 page (2 1/2 x 5 or 5 x 2 1/2) $50

Deadline for advertising and for items for publication for the next issue is November 1.

Antiphon Editor, Lani Johnson7820 S Avenida de Piña Tucson, AZ 85747(520) 647-7492 • lani@nysara.com

AzACDA reserves the right to edit any application for appearance and to edit all

materials proposed for distribution.

Calendar

UA Symphonic Choir 28 February, 3:00p, Tucson www.cfa.arizona.edu

Western Division Convention 3-6 March, n/a, Tucson www.acda.org

Arizona Spotlight 6 March, 8:25p, Tucson www.acda.org

Vocal Jazz Ensemble 8 March, 7:30p, Tempe www.asu.edu

Cathedral Classics 26 March, 7:30p, Scottsdale www.asu.edu

All-State Choral Festival 26-27 March, n/a, Gilbert www.acda.org

Collegium Musicum 28 March, 2:30p, Tucson www.cfa.arizona.edu

Folk Songs from Around the World 18 April, 3:00p, Paradise Valley 23 April, 7:30p, Tempe www.orpheus.org

Choral Union 19 April, 7:30p, Scottsdale www.asu.edu

Basically Baroque 25 April, 3:00p, Tucson www.cfa.arizona.edu

Symphonic Chorale, Madrigals & V ocal Jazz 27 April, 7:30p, Scottsdale www.asu.edu

Vive la France! 2 May, 3:00p, Tucson www.cfa.arizona.edu

Men’s Chorus, Women’s Chorus 3 May, 7:30p, Paradise Valley www.asu.edu

Junior High / Middle School Choral Festival 8 May, n/a, Phoenix www.azacda.org

Four Corners Choral Workshop 17-19 June, n/a, Flagstaff www.azacda.org

Board Meetings

Tutti Board 9 January, TBA TBA

Executive Board 13 April, TBA TBA

Tutti Board 19 June, 2:30p, Flagstaff

An eager accompanist can make preparation

so easy

Arizona Choral Directors Association (AzACDA)Arizona Music Educators Association, Inc.6818 E. Kingston PlTucson, AZ 85710

WINTER 2010

ANTIPHON

Presort StandardU.S. Postage

PAIDTucson AZ

Permit No. 371