virginia harmony - va acdavaacda.org/sites/default/files/winter-2011.pdf · shape heading into 2011...
TRANSCRIPT
Virginia HarmonyVirginia Chapter of the American Choral Directors Association
WINTER 2011
THE PRESIDENT’S PAGEwith Dr. Patrick Walders
Greetings and Happy New Year to everyone. I hope your holidays went well, and you’ve begun 2011 feeling more refreshed, determined, and motivated. This time last year, I remember writing something about the December 2009 and January 2010 “s-word” (Snow!) and “New Year’s Resolutions.” It seems we’re having a bit of déjà-vu in 2011?
I know my aspirations to become as fit as Jason Bourne didn’t truly begin until December of 2010, but I’m happy to say I was in better shape heading into 2011 as I was in 2010. I did program less repertoire for my choirs, allowing more focus on skill-building with my choirs, as suggested in previous newsletters. I hope many of you were able to do the same, remembering baby-steps are just
fine! I thought to use this edition of the newsletter to share a few reminders with our membership:
We’re on FACEBOOK!Since The Social Network is receiving much recognition, it’s time VA-ACDA members find your ACDA state chapter on the world’s #1 social media. “Virginia ACDA” is a very attractive (and single!) person who is willing to connect fellow VA-ACDAers around the Commonwealth and with National ACDA membership. I expect this to be a resource for teachers, student-teachers, future teachers, church musicians, and university professors alike. I would like to see healthy dialogue happening on walls, along with open forums prompting discussion and debate. Hosting an event? Post it! Use Facebook to help you promote your activities. Post your “Events” so we can see the quality activities our budding membership is doing in schools, churches, universities, and communities on a regular basis. All-things-ACDA can be discussed and/or addressed via Facebook.
ACDA NATIONAL MEMBERSHIP- A FINE PROFESSIONAL ORGANIZATIONVirginia ACDA membership has been one of the fastest-growing in the country for several years now. Let’s maintain this trend! Bill Podolski, our VA-ACDA Membership Chair does fantastic work. If you have any questions about membership in ACDA, please do not hesitate to contact him at [email protected].
IN THIS ISSUE
ARTICLESThe President’s Page Cover The President-Elect’s Page 3-4Recruiting All Year Long 5-6What’s Your Generation IQ 7-83 Days, 3 Choirs, 3 Master Conductors 9
COLUMNSR&S Musings 10-11 Collegiate Corner- Longwood 12 AND MORELeadership Directory 2Musical Source Ad 13Save-the-Date Voices United 2011 14
Executive BoardPresident, Patrick Walders
Immediate Past President, Rebecca [email protected]
President-Elect, Lisa [email protected]
Treasurer, Bethany [email protected]
Membership Chair, Bill [email protected]
Newsletter Editor/Webmaster, Emi [email protected]
Repertoire & Standards ChairsBoy’s Choirs, Adam Hughes
Children’s Choirs Co-Chairs, Caroline Desmond, [email protected]
Janet Hostetter, [email protected]
College & University Choirs, Ryan [email protected]
R&S Chairs cont’d
Community Choirs, Mary-Hannah [email protected]
Ethnic & Multicultural, Margaret [email protected]
High School Choirs, Nate [email protected]
Jazz Choirs, Lara [email protected]
Jr.High/Middle School Choirs, Philip [email protected]
Male Choirs, Brian [email protected]
Music & Worship, Tom [email protected]
Show Choirs, Glen Cockrell [email protected]
Two-Year College, Robert [email protected]
Women’s Choirs, Jennifer [email protected]
Writing & Advertising with Virginia Harmony
Virginia Harmony is the official publication of Virginia ACDA.
We welcome member contributed articles and
advertisements! For inclusion in any issue, articles and
advertisements must be submitted to the editor via
email by the published deadlines listed below. The editor
reserves the right to alter any submissions.
Publication issue dates and deadlines are as follows: Winter
2011 issue: Submit by January 15th
Summer 2011 issue:submit by May 15th
Fall 2011 issue: submit by September 15th
Please email Emi Eiting with questions or submissions.
DOWN THE ROAD A BITThe 2011 ACDA Voices United Conference (August 11-13, 2011) will be another important weekend for growth, friendship, collegiality, and Choral Music-making. Please make the effort to be there this summer, and bring a friend- or five! The strength of our tri-state ACDA chapters will be in full-effect, and no doubt about it, the “Commonwealth of Virginia” is a misnomer when I think about how UNcommon we are, and how much WEALTH-of-knowledge and talent we have to share. (Or, it probably should be interpreted as, “We share a common wealth.” …I’m a Yankee; allow me to stretch this somewhat….)
I hope you have a wonderful spring. Please use your nearby resources- fellow colleagues, college students, high school students, etc… to help you be a better teacher and conductor, and if anything, to have someone else come in and say the SAME THING you’ve been teaching in a different way so your ensembles think you may not be so “certifiable” after all.
Kind Regards,
Pat!ck Walders
Patrick Walders is the Director of Choral Activities at James Madison University in Harrisonburg, VA. He can be contacted at [email protected].
Dear Virginia ACDA Members and Friends,
CHICAGO AWAITS! It is time to get motivated, learn new repertoire, refresh our methods and make connections with colleagues on a trip to the National Convention being held this month in Chicago. As choral artists this is an opportunity to sit back and enjoy stellar performances by choirs from around the country and the world at large. National Convention is also the fuel to inspire the hunt for new pedagogical ideas, rehearsal techniques and repertoire. It has been my personal experience, from my first National in San Antonio in the 80’s and in each subsequent conference since then, that there is something to learn for everyone.
Here are five challenges that I give myself as an attendee at National ACDA. I share them with you in hopes they are as productive for you, as they have been for me.
1) Attend a concert of a performing group with whom you are not familiar. Don’t miss the opportunityto hear something you don’t already know you will enjoy. Take the time to really listen to theperformance and select ONE new score that you can put in your library. Go to the exhibits and purchasethe score. Make notes of the group you heard performing it, the conductor and how it made you feelas an audience member. It may not be something you can use today, but over the course of your careeras a conductor you will find it one day in your personal library and make it your own with one of yourchoirs. The beauty of experiencing someone else’s interpretation of the score can be priceless.
2) Make a new choral friend. Talk with the person next to you on your walk to a concert venue andshare your story. Exchange cards and emails. Promise to send a score or an interesting story in the nextsix months. I am always surprised at the people I meet who know someone that I have either worked withor conducted. As we share with others in the choral community through the years we will learn howstrong our connections are, and how much each connection makes us grow
3) Purchase one new book that you find interesting, whether it be a standard you have always wanted,or something hot off the press. Convention is a rare opportunity to browse a wide variety of books you won’t usually be able to peruse. Write the date and the convention site in the front of the book. If the author is at the conference, ask for a signature. Talk with the authors to glean their perspective on the choral art. I am often surprised at the number of times I still reach for Choral Conducting : A Symposium by Harold Decker and Julius Herford. The inscription from my first National Conference is still in the original copy in my office that is frequently loaned to my graduate conducting students so that they can do a Herford Analysis of a score.
4) Share stories with your colleagues and friends. I am always amazed at how willing colleagues are toshare their new ideas, insights and stories from their teaching and conducting lives. The clinicians aren’tthe only ones you can learn from. Your experiences in the rehearsal hall and classroom will be interesting for them to hear as well. We share a common bond of making music. Be willing to talk with younger colleagues who may have questions about how they are doing as a young conductor.
5) Keep a journal. It is common practice for us to say we will save our convention bulletins andprograms, but convention is so much more than the collection of printed documents. . A small journalis a way to keep a personal memory of your conference experiences from year to year. As a youngconductor I was fascinated by the guest conductors who would spend countless hours with the honorchoirs. Some of my creative teaching strategies over the years have come from watching the masters
FROM THE PRESIDENT-ELECTFIVE CONFERENCE CHALLENGESby Dr. Lisa A. Billingham
of our art working with an honor choir. I still look through my notes from the many honor choirs Ihave seen over the years (regional and national) where I observed the masters of our craft. The web of inspiration is a spiral that encompasses us all as we watch, listen and take away new ideas. Conference moves fast, and even at the end of the day, it can be difficult to collect and remember everything that happened. That is truly one of the joys of our profession - that we share our ideas and are happy for the day when we know someone has adopted a concept that we use in our everyday work.
I always encourage everyone who can to attend National ACDA Conference like the 2011 one in Chicagonext month. If you cannot make this National Conference, then perhaps our next Voices UnitedConference at George Mason University in August is the right venue. Our next ACDA RegionalConference will be held in Winston-Salem, NC in 2012. If you see me at any of these, please stop and sayhello. We’ll see how many of these we can do together. Our art is one of connections that we buildwith each another.
See you there!
L"a A. Billingham Dr. Lisa A. Billingham is Associate Professor of Music Education and the Director of Graduate Studies
at George Mason University in Fairfax, VA. She can be contacted at [email protected].
LEND A HANDHave you been looking for a way to get involved in Virginia ACDA?
Well here’s your chance!
VA-ACDA IS SEEKING A NEW WEBMASTER/NEWSLETTER EDITOR
TERM BEGINS AUGUST 2011
If you are interested in learning more about this vitally important job please contact President-Elect, Lisa Billingham at [email protected].
Recruiting for our programs tends to be a year-round, 24/7, mind consuming process. In my school district, the “hardcore recruiting time” has come earlier and earlier each year. It used to be that a Pyramid Concert in March was a great way to encourage elementary and middle school students to continue singing in the next year. We’ll have our Pyramid Concert February 22nd, and the students will have already been scheduled!
Here are some things I’ve done this year. None of them are particularly original, and most of them are ideas I’ve stolen from others. But if one of these can work for you, mission accomplished!
October: Each October I host the Central Virginia Men’s Chorus Invitational. About 100 male choir members, grades 8-12, come work with a guest conductor. We rehearse Friday afternoon, finish before football time, reconvene Saturday morning and have a concert that afternoon. Short, sweet, great experience for guys who don’t have a men’s choir at their schools.
November: Each of my students makes a recruitment poster. The poster must include 3 reasons why someone should sign up for choir next year. Bigger, brighter, pictures are best. These are hung up around school.
November: Each student must interview 3 non-choir members, grades 9-11. Included are questions like, “have you ever thought about being in choir?” “If so, why aren’t you?” “Were you in chorus in middle school?” “If so, why did you not continue?” “What would make singing in high school more appealing to you?” On the interview form I encourage people to be completely honest. They won’t hurt my feelings. You might be surprised at the answers you get. Students who answer “yes” to questions about being interested in taking choir next year receive a letter from me explaining the different choirs and audition details. I always start it off with “so and so says you might be interested in taking choir next year.” That way it’s from me, but also sort of from a student.
December: My chamber choir performs 1-2 pieces at the feeder middle schools’ winter concerts. If there’s a combined finale piece, we sing that too.
January: I go over to the feeder middle schools and rehearse the combined Pyramid Concert finale piece. This year, I brought one of my classes over to do this. It was the first time the middle school students and my students had seen the piece. This was a great way for the middle schoolers to see a high school level rehearsal. I didn’t play their parts on the piano for them, I didn’t speak the rhythm for them first, etc. They also got to see high school students (and sight reading) in action.
January: My students each send a letter to an 8th grader. I randomly assign names for them to write to, but try to have guys write to guys when possible. This was the first year I did this, and I had several students fail to write – although it was part of their exam grade. So my advice would be to have your top groups do this, or have a few awesome students be on standby to write two letters if needed.
February: My chamber choir does singing valentines. I’ve done it 2 ways: 1. Sell them for $2-$3 (which makes about enough money for pizza lunch for my kids). 2. Treat it like Valentine’s Day caroling, and just go door to door. In many ways it’s a bit easier to just go door to door, or send an email out to the school see which teachers would love to have you come and to which class period. I’m doing it before Valentine’s Day this year to give me time to promote auditions before my guidance deadline.
RECRUITING ALL YEAR LONGby Nate Miller, High School R&S chair
February: I get a list of the middle school students who have applied to the specialty center at my school. Since many of these students are outside the feeder pattern, I send them letters to introduce myself and the program. This year, I’m going to have current specialty center students include a blurb explaining how they were able to fit choir into their schedules, and why it was so important for them to continue in 9th grade.
Anytime: My students put together a slideshow for the spring concert each year. The following year I use that slideshow for recruitment purposes. I’ve taken it over to middle schools and I’ve played it at curriculum fairs we hold at school before scheduling.
Got more ideas? I’d love to hear them! Shoot me an email at [email protected].
Nate Miller is the Choral Director at Monacan High School in Richmond, VA. He can be contacted at [email protected].
“In November, each student must interview 3 non-choir
members, grades 9-11. Included are questions like,
“have you ever thought about being in choir?” “If so, why aren’t you?” “Were you in
chorus in middle school?” “If so, why did you not continue?” “What would make singing in
high school more appealing to you?”
Singing Valentines can be a great chance to show of those guys who sing!
In my experience, community choirs have traditionally been made up of and directed by those who are middle aged or older. Today there are choirs geared exclusively toward young adults, octogenarians and everywhere in between! Whether the director is of a different generation or there is a mix of ages in the group, he or she will need to be aware of some i m p o r t a n t d i f f e r e n c e s i n t h e g e n e r a t i o n s ; communication style, media, values, education and attitudes about money. Understanding these differences can lead to more success in working together with singers and a board of directors.
First, where do YOU, your SINGERS and your AUDIENCE fall on the timeline of birth years?
Veterans (1922-1945) Baby Boomers (1946-1964) Gen X (1965-1980) Gen Y or Millennials (1981-2000)
If you are all of the same generation, chances are that you will enjoy similar music, have a common vocabulary and share a set of cultural experiences. As community choir directors, however, chances are that your choir has or will become more diverse. As our population's longevity increases, the likelihood of having several generations, perhaps even all four in a community choir is strong. Why should and how can community choirs attract these singers? Perhaps more importantly, what can the director do to make the generation mix a success?
Why?Today’s high school and college students are of Generation Y and a number of these singers are looking for good groups in which to sing. Current students may not be able to schedule chorus during the day due to increasing demands and conflicts in course schedules. In addition, not all talented high school graduates go straight to college. Some are taking a gap year, others are entering the work force and some are still seeking employment. These young adults can be valuable members of a community choir, infusing it with youthful enthusiasm and talent. They also will bring friends from their generation to hear concerts, changing the size and character of the audience.
How?I will share what has happened in the choir that I direct, The Chamber Chorale of Fredericksburg (CCF). If you visit the December CCF blog, http://ccfbg.org/page7/page7.html, you will see a photo with smiling faces of all four Generations. Joe Eveler, my predecessor for this column, who is one of six young music teachers in the Chorale, manages our blog. These teachers are no longer the youngest members, though, because three 2010 high school grads now sing in the Chorale. Thanks to the high quality choral programs in our region, these new members are top notch and not coincidentally studied with two of the teachers in our group, Shannon Forry and Joe Eveler! Students often ushered at or attended the Chorale concerts, but when we sang on a combined program at Joe's high school, it made the Chorale more accessible and gave me an opportunity to personally invite singers to audition.
What?I discovered that to connect with these three singers to set up auditions I needed to send an Email, text message and connect through Facebook. Although I enjoy these different ways to communicate in my personal life, it was new to me to do this when connecting with potential singers for the Chorale.
I often share recordings for study by posting mp3's to a file-sharing server, place our Chorale dates on google calendar and our roster on Google docs so that all can make changes and those with smart phones can call from the link. We still make announcements, phone calls, a few printed copies and CD’s for members of the Chorale, but singers of all generations are making the move toward the digital realm.
WHAT’S YOUR GENERATION IQby Mary-Hannah Klontz, Community Choirs R&S
The Chorale welcomed the new singers with great excitement, especially when they heard their beautiful voices. Their excitement faded a bit though when one of the young singers was selected over members with more experience to sing the solo, “Balulalow,” in Britten’s Ceremony of Carols. Her voice was the perfect match for this solo and she performed it flawlessly. Those not selected, handled their disappointment with grace and celebrated our young soloist’s accomplishment, but it was an emotional shift that none of us had expected.
Some practical issues presented themselves when suiting up for the concert. I neglected to explain that “dress” rehearsal did not actually require wearing the concert attire, as it does in some school settings. Since most recent grads do not own a tuxedo or long black gown, it is wise to ensure that all know early on whether they are to provide their own or purchase a uniform dress. Given the finances of many young graduates, it may also be helpful to assist with borrowing concert attire.
If you really want to understand the GenY lingo, you may consider visiting the Urban Dictionary on occasion. Urban Dictionary is a Web-based dictionary of slang words and phrases. Some vocabulary that might occasionally be used in rehearsal or conversation may have a MUCH different meaning in today’s culture. Warning: Those who’ve never visited may find it to be vulgar. Enter at your own risk!
I have written mostly about the introduction of Generation Y singers into the Chorale, but now let’s look to Generation Z (the “net” generation), those born in 2001 and later. Some of them have already been to rehearsal with their parents or grandparents on occasion! One young boy serenaded the group with the piano recital piece he had just played earlier that evening and another young lady decided to join the youth choir at her church after a visit to our rehearsal.
We have a family atmosphere within our Chorale; a family with high expectations for bringing the best they have to each rehearsal and concert. It has been a difficult year for many in our choir as six spouses, parents or siblings of members passed away. Get to know the members of your choir and be sensitive to their emotions when selecting repertoire. I pulled an especially sentimental selection from our Christmas concert when tears consistently welled up in rehearsal.
We can always sing it next year when the emotions have mellowed enough to allow the richness of those memories to add to the music, not overwhelm.
In the end it is the personal connection to the choral art and timeless repertoire that unites: age, culture and race all blend into one. Whether the performance is compiled as a virtual choir on YouTube or performed live, it is the music that lives and breathes through us.
If you have not taken the opportunity to participate in a chorus lately, let me encourage you to do so. Not only will it refresh your perspective about rehearsal strategies, it will feed your musical soul to be “just” a singer once again, without the podium responsibilities. One terrific opportunity for directors and their choir is to join the Voices United Festival Chorus, Aug. 11-13, 2011, at George Mason University.
Tim Seelig, will lead the chorus in Dona Nobis Pacem, a beautifully moving work by Ralph Vaughan Williams. We are especially seeking qualified male singers. Please consider recruiting a quartet from your college or community choir to create a balanced ensemble. Auditions will be held for the soprano and baritone solos. Choristers, aged 16 and older, will only need a recommendation from their director. Details & applications wil l be forthcoming on the web site,www.acdavoicesunited.com, and via Email.
In addition to her choral duties with the Chamber Chorale of Fredericksburg, Mary-Hannah Klontz is the Arts Education Specialist for Arlington County Public
Schools. She can be contacted at [email protected]
THE CONDUCTORS CHORUSConducted by Dr. Charlene Archibeque
NEW THIS YEAR all Voices United Conference participants have the opportunity to register as a member of the Conductors Chorus at no additional cost! This SATB chorus will rehearse and perform 4-5 pieces under the baton of Dr. Charlene Archibeque.
Dr. Archibeque was Director of Choral Activities at San Jose State University for over 30 years. She has presented choir clinics and conductors’ workshops throughout the US, as well as Australia, England, Canada, and most of Europe. She has conducted hundreds of honor choirs in 43 states and six provinces of Canada. For ACDA she has presented major interest sessions, served on many panels, and her choirs have performed at 25 state, divisional and national conventions. She is editor of the Charlene Archibeque Choral Series with Santa Barbara Music Publishers.
Conductors Chorus participants will have 3 rehearsals with Dr. Archibeque, one on each day of the conference, and perform on the final concert. This is your chance to get off the podium and enjoy the thrill of being in the choir again! You can secure your free spot in the Conductors Chorus when you register for the conference by checking the box that says “Will you sing in the Conductors Chorus.” Check back soon at www.acdavoicesunited.com for repertoire list.
THE FESTIVAL CHORUSConducted by Tim Seelig
The planning committee for the ACDA 2011 Vo ices Un i ted Summer Conference would like to extend an invitation to outstanding chorus members (adult singers 16 years and older) to participate in the 2011 SATB Festival Chorus. The conference will be held August
The guest director for this summer’s Festival Choir is Dr. Tim Seelig. Tim Seelig has been making music as a conductor, singer, teacher for 35 years. He is currently the Director of Art for Peace & Justice, Artistic Director in Residence for GALA Choruses and on the adjunct music faculty Southern Methodist University’s Meadows School of the Arts since 1996. In addition, he continues an extremely busy guest-conducting schedule throughout the U.S., Canada and Europe. He is the Conductor Emeritus of the Turtle Creek Chorale, which he conducted for 20 years. Dr. Seelig will lead the Festival Chorus in Ralph Vaughan Williams’ Dona Nobis Pacem. T h i s m o v i n g w o r k w i l l b e accompanied by string orchestra and will feature soprano and baritone soloists to be selected by audition. Choristers will not need to audition, but wil l need a recommendat ion from the ir director. Forms and information about posting audition mp3's will be made available soon on the V o i c e s U n i t e d w e b s i t e . Information will be Emailed to all previous participants.
THE CHILDRENS CHORUSConducted by Henry Leck
The 2011 Voices United Children's Honors Choir will be directed by internationally renowned children's director, Henry Leck at George Mason University from August 11-13, 2011.
Henry Leck serves as the director of choral activities at Butler University and is the founder and artistic director of the Indianapolis Chi ldren's Choir, a program consisting of approximately 1200 children in twelve choirs.
Children who will be between the ages of 10-15 by August 11, 2011 are invited to submit a u d i t i o n C D s f o r p o t e n t i a l involvement in the 2011 Voices United Children's Honors Choir. Approximately 120 voices will be welcomed into this year's honors choir. For audition information and o n - l i n e a p p l i c a t i o n , g o t o www.acdavoicesunited.org.
ACDA VOICES UNITED SUMMER CONFERENCE
3 DAYS 3 CHOIRS 3 MASTER CONDUCTORSWHICH ONE WILL YOU EXPERIENCE FIRST HAND?
For this issue of Virginia Harmony, we asked our R&S chairs to answer ONE of three questions. Generous people that they are, most of them couldn’t resist answering all three. Boys R&S Chair Adam Hughes went a step further and interviewed some of his students asking what they love about being in Boys choir. We’ve highlighted those answers in the colored boxes below.
Name a piece that has inspired you recently--something you think others should know about, or if it's a well known piece then perhaps they could consider revisiting it.
"Baba Yetu" SSATBB (Alfred); Chris Kiagiri & Christopher Tin. Featured on the "Video Games Live" concert tour, from the video game "Civilization IV" Choral purists may balk at the idea of an accompaniment CD (yours truly included), but it could provide a good hook for some students who are into gaming.
- Margie Woods, Multicultural R&S
If you've never performed David Brunner's "Yo le canto todo el dia" with your middle school choirs, it's a must do! It's not nearly as difficult as it looks but is such a crowd-pleaser, especially if you stylize the unison claps. The 2-part arrangement has a perfect range for young men. There are three different musical ideas that repeat themselves and only about twenty words of Spanish!
- Philip Keirstead, Middle School R&S
"Hallelujah Round of Praise" (2 part mixed, but works with all treble voices) by Mozart, arr. Lovelace"Shady Grove" (SSA) by Shirley McRae; "Oye" (SSA) by Jim Papoulis; "Take Time in Life" (SATB, but works in any voicing. I taught the soprano part only
and added unpitched percussion and Orff instruments. This piece is always quickly taught and an exuberant hit with my middle schoolers!) by Will Schmid -Janet Hostetter, Children’s R&S
Tell us something great one of your singers said to you in response to a musical experience they had with/because of your encouragement.
When doing voice-checks in my 7th grade men's choir, I vocalized a young man (who had just switched from band a few weeks prior) up to a B above the treble staff, impressing the rest of the class. He said the simplest but one of the most profound things I've heard from a student: "I feel really good when I sing." I had to hold back tears.
- Philip Keirstead
Something new (or old!) that you've instituted in your classroom/sanctuary this year that's having positive results.
One of the things I have started doing this year is to get away from the piano more often. I also have included pieces in our repertoire where we learn the music totally a cappella. I have always wanted to do this and I can speak from experience that, although difficult at first, it will change your life. Your choir will sing more in tune, listen more, be better leaders, and be proud that they did not need more than one pitch played on the piano. Give it a try, you'll be happy you did!
-Ryan Hebert, College R&S
Something that has really proven to be helpful in my classroom is the use of Dr. Beat. While Dr. Beat is a good friend of ours as a metronome, it also serves well as a tone generator. It is a great piece of technology to use to help students, especially at the
R&S MUSINGSVirginia R&S Chairs share their thoughts!
“I decided to join boys choir because I like music and like to sing. My friends said it would be fun. I am really glad I joined
because the crowd loved us at our winter concert and I had the privilege of performing a solo! My favorite things about boys
choir is having fun with Mr. Hughes and joking around when we are allowed to. Boys choir is awesome!”
-Ryan Kirk, 8th Grade
“I joined the boys choir because it keeps me out of trouble. It gives young men something to do that’s not a bad
influence. In boys choir we get to sing and dance. It’s a great experience.”
-Marcus Tyler, 8 Grade
beginning level, maintain tonic while learning to sight-read. While the students detested using it at first, they eventually like having it there as a safety net while studying through an excerpt on their own. Then, you can have a section of the choir serve as the tone generator while the other sections sing their parts. Finally, and most importantly, is having the students internalize the tonic while sight-reading through examples or pieces of music.
- Brian Kelly, Men’s R&S
I created a very thorough rubric covering rehearsal, performance, and audience etiquette, detailing what an A, B, C, D, and F would look/sound like. It covers posture, focus on the director, keeping your hands by your side, etc. Before a performance we review the rubric and after the performance the students give themselves their own grade, using the rubric to justify it. This has really enhanced the professionalism of our concerts, creating a more enjoyable experience for students, parents, and their director!
-Philip Keirstead
Every year in my vocal jazz choir, scat solos are included as a part of their exam. "What?!" exclaim the 'newbies', "How can you grade scat?!" Great question. I'd love to hear the answer from some of my great colleagues in Virginia. Here's what is on their exam:
Scat, alone, to a 12-bar blues accompaniment. You will be graded on: Following the chord structureWide variety of scat words usedVocal highs and lowsEnergy and vitality throughout – “attack”Musical idea and variationsVariety of rhythmCreativity
Before the exam, they have: Learned the chord structure to a basic 12 bar
blues patternPracticed 'call and response' scat with the director
and with their peersTraded twos and fours (sometimes even with an
instrumentalist) Listened to a variety of scat artists and to
instrumental jazz (since scat is vocalist imitating instruments, who are imitating vocalists...)
....And been encouraged to experiment with known melodies.
I'm sure you have many more ideas! Send them to Emi Eiting, VA ACDA newsletter editor! [email protected]
- Lara Brittain, Jazz Choir R&S
“My favorite things about boys choir are the people, the class, and the fact that it is an all males choir. Normally you associate females with middle school choir. So this
being a boys choir makes us pretty much one-of-a-kind. I am definitely glad I joined. The boys here are hilarious
and the experience itself is astonishing. Due to this experience, I attended my first professional basketball game and even went to Kings Dominion to compete for the first time. I think all middle schools should consider
creating a boys choir. Every boy deserves the chance to join. It is well worth it”.
–Nathan Stewart, 7 Grade
“I wanted to join boys choir because I never had any previous experience with a choir and the response from
students already in the group was overwhelmingly positive. It has given me an experience I will never forget. One of my favorite things about boys choir is that it brings people from
all grades together. I have formed numerous friendships due to this experience.” -Anders Blair, 7th Grade
At the end of spring semester, 2010, Dr. Ryan Hebert offered us the opportunity to student direct Longwood University’s women’s choir as well as audition our own select chamber ensemble. For two students hoping to go on to a graduate degree in choral conducting, this was heaven. We were fresh out of our choral methods class and just itching to get our hands on a choir. Women’s University choir was made up of about sixty girls with varying musical background and from this, we would select our ten person chamber ensemble. As the semester approached we began choosing repertoire for the first time.
After sifting through the mountains of music and sources that we didn’t even know were available to us, we settled on” Seal Lullaby” by Eric Whitacre and “Johnny has Gone for a Soldier” by Robert Greenlee for the university choir. Each piece was written as a three part arrangement and we felt they were an appropriate level of difficulty for the choir. Armed with sheet music and several semesters of theoretical work, we entered class the first day ready to combat the real life experience.
Our first surprise was how little experience many of the singers had with sight reading. Luckily our director, Dr. Hebert, was able to show us how to teach “mass sight-reading” effectively. As the semester progressed the sight-reading exercises became easier for the whole choir. Another pleasant surprise was how well the girls reacted to having two student directors. They were so supportive of our learning process as we did our best to direct them. Considering that many of the high school teens we may be teaching in the future probably won’t be as tolerant, we were lucky to make some of our first mistakes in a safer environment.
The semester flew by and leading rehearsals came to feel like a natural part in our day. Hearing parts of the music that we selected lock into place felt so rewarding. The night of our concert we gave our first downbeats and sixty beautiful voices responded. Talk
about a rush. Having this opportunity the semester before student teaching was fantastic. Being in front of a group of motivated singers twice a week was the perfect way to get pumped and prepared for student teaching. Knowing that we have gone through the process of selecting music, stood in front of a choir in rehearsal, and conducted on a concert helps relieve some of our nerves as we step “behind the desk” for the first time.
We are both currently placed in elementary schools. Though we aren’t often conducting our adorable students, our choir experience is still helping us along the way. The kids respond well to talk about posture when singing and it almost always improves their pitch and tone. Some of the older kids are responding to deeper “singing speak” like breathing from the diaphragm. There is a small, select choir at both of our host schools, so we are experiencing what it is like to rehearse a much younger age group. We will be entering high school placements in early March and are both excited to try the “mass sight-reading” method with the high school choirs. We learned how to teach a choir to make a beautiful sound from Dr. Hebert and now we’re ready to go try it on our own. We feel beyond prepared and we have the amazing music faculty at Longwood University and the opportunities they provided us with to thank for our experience.
Jennifer Irby & Heather Maynard are members of Longwood University CMENC chapter. Their collegiate chapter advisor is Dr. Ryan Hebert.
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Charlene ArchibequeDr. Charlene Archibeque is one of America’s foremost choral conductors and teachers. She has conducted in many of the worlds major music halls including Carnegie Hall, Kennedy Center, Royal Albert Hall in London, the Berlin Philharmonic among many others. She has presented choir clinics and conductors’ workshops throughout the US, as well as Australia, England, Canada, and most of Europe. She has conducted hundreds of honor choirs in 43 states and six provinces of Canada. Active in the American Choral Directors Association she has presented major interest sessions, served on many panels, and her choirs have performed at 25 state, divisional and national conventions. She holds degrees from the Univ. of Michigan, San Diego State and the DMA at the University of Colorado. She is editor of the Charlene Archibeque Choral Series with Santa Barbara Music Publishers.
Henry LeckHenry Leck is an associate professor and director of choral activities at Butler University in Indianapolis, Indiana. He is also founder and artistic director of the Indianapolis Children's Choir, one of the largest children's choir programs in the world. Mr. Leck is widely known as a specialist in choral techniques, the child's voice, He is a frequent conductor of regional and national honor choirs, including the ACDA Southern, Southwest, North Central, Central and Northwest Divisional Honors Choirs. Mr. Leck is certified as a "Kodaly" instructor and is an active member of ACDA, OAKE, MENC, AOSA and Pi Kappa Lambda. Mr. Leck received his training from the University of Wisconsin, the University of Colorado and Indiana University, where he received a master's degree in choral conducting.
Tim SeeligTim Seelig has been making music as a conductor, singer, teacher for 35 years. He is currently the Director of Art for Peace & Justice, Artistic Director in Residence for GALA Choruses and on the adjunct music faculty Southern Methodist University’s Meadows School of the Arts since 1996. In addition, he continues an extremely busy guest conducting schedule throughout the U.S., Canada and Europe. He is Conductor Emeritus of the Turtle Creek Chorale which he conducted for 20 years. Dr. Seelig holds four degrees, including a DMA from the University of North Texas and the Diploma from the Mozarteum in Salzburg, Austria. He has three books and two DVDs on choral technique including the best-sellers The Perfect Blend, The Perfect Rehearsal, and The Perfect Choral Workbook.
Conference Highlights
Festival Chorus: Open to advanced HS, College, Community & Church choristers and their directors. Perform a major work with orchestra under the baton of Tim Seelig. Applications available January 2011
Children’s Chorus: Honor choir for ages 9-15. Choir directed by Henry Leck. Audition info available January 2011.
Conductor’s Chorus: Your chance to rehearse and perform under the baton of one of our guest conductors! All conference attendees eligible to participate!
Reading Sessions: over 75 free pieces
Networking Breakfasts
Diverse sessions: local and nationally renowned choral musicians
Conducting Masterclasses
Friday evening banquet with guest clinicians.
GEORGE MASON UNIVERSITYAUGUST 11-13, 2011
Fairfax, VA (right outside Washington, DC)Visit www.acdavoicesunited.com
for More information
2011 ACDA Voices UnitedConducting Master Class – Participant Applicationwith Charlene Archibeque Open to All Conductors
Conductor’s Information
Name: ___________________________________________________________________________
Mailing Address: ___________________________________________________________________
City: _______________________________________________State: _______ ZIP: _____________
Home phone: (_____)______________________Cell Phone: (_____)_________________________
E-mail address (please print clearly): ___________________________________________________
Current Position or Conducting Assignments: ____________________________________________
ACDA Membership Number: ____________________
Information & Application ProcessThe Charlene Archibeque conducting master class will take place as part of the 2010 Voices United Summer Conference on Friday, August 12, 2011. Four to six participants will be selected to work directly with Dr. Archibeque and each will receive approximately 20 to 30 minutes of podium time. The committee seeks to select participants from a wide cross section of conducting interests, experience, and working situations. We encourage applications from a full range of conductors: from current conducting students to the most seasoned professionals.
All conductors, who are members of ACDA* are welcome to apply. There is no application fee nor participation fee, but participants are expected to register for either the conference or at least the single day of the master class. The master class sessions will be video taped and each participant will receive a copy of his or her work with Dr. Archibeque.
To Apply — please send the items listed below. Your application must be postmarked no later than Tuesday, June 4, 2011.
• this application form; • resume or c.v. showing your conducting experience, education, and current activities; • DVD or video tape of a rehearsal of no less than 10 minutes preferably showing a direct front image of the conductor;
Optional: an additional DVD or video selection showing a performance (not required, but may be included)All applicants will be notified regarding selection by June 24, 2011. Repertoire for the master class will be selected in consultation with the participants following the confirmation of those selected.
Please mail materials to:Emi Eiting, Choral DirectorJ.E.B. Stuart High School3301 Peace Valley LaneFalls Church, VA 22044
Questions: contact Emi Eiting: [email protected]* Members of affiliate organizations such as the AGO may apply. If you are not a current ACDA member please contact Emi Eiting.
2011 ACDA Maryland/DC, Virginia, and Delaware Conference Children’s Honors Choir
George Mason University – Fairfax, Virginia August 11-13, 2011
Guest Conductor: Henry Leck Deadlines and Schedule: April 18 Application form, audition CD/tape, and $10.00 non-refundable application fee per student (directors
should send one organization check made payable to VA-ACDA to cover all of their applicants) postmarked and mailed to:
Janet Hostetter 1451 Hillcrest Dr. Harrisonburg, VA 22802 May 6 Notification letters of acceptance into the 2011 Voices United Children’s Honors Choir mailed directly to
singers and e-mail sent to directors with acceptance list.
May 13 Registration fee of $75.00 per accepted participant (directors should send one check made payable to VA-ACDA to cover all of their participants) mailed to same address as above.
June 1 Music packets, rehearsal CDs, and additional information sent to directors to disseminate.
August 11 Students arrive at George Mason University for registration from 5:00-6:45pm. Rehearsal that night will
be from 7:00-9:00pm. Music should be memorized and fully prepared according to instructions. Rehearsal will continue most of the day August 12th and the morning of August 13th.
August 13 1:30 performance at George Mason University Center for the Arts.
Director’s Expectations for Students: It is not necessary to submit a written recommendation for each audition applicant. However, directors should only nominate students who are strong in all of the following categories: 1) music reading skills; 2) tone quality; 3) social skills; 4) willingness to work with peers and adults; and 5) adaptability to long rehearsals. Instructions for Preparing the Audition CD/tape You are highly encouraged to record onto CD rather than tape. If you must use a tape recorder, make sure it uses Dolby Noise Reduction. Please include only one student audition per recording. The audition should include the following:
1. Sing one unaccompanied major scale on solfege, ascending and descending one octave starting on the following notes…
a. Treble 1 – G above Middle C b. Treble 2 – D above Middle C
2. Sing My Country 'Tis of Thee (America) on the same starting pitches as indicated for the scale.
3. Up to one minute of an Aria, Art Song, or Folk Song, age appropriate, (with or without accompaniment) that would be suitable for a competition or festival. Limit the piano introduction to no more than 10 seconds. Pop, Gospel, Contemporary, and Contemporary Christian pieces are not suitable.
NOTE: Clearly mark the applicant’s name and preferred voice part directly on the CD/tape. Do not put any other information on the CD/tape! Cases are not necessary as long as you take appropriate shipping precautions. Tapes/CDs which do not follow the above guidelines will be disqualified. Recordings will be reviewed in a manner which will not reveal the child’s name/choir until selections are made.
ACDA Maryland/D.C., Virginia, and Delaware 2011 Children’s Honors Choir
August 11-13, 2011 Singer Information: (Print very legibly or type.) Applicant must be between the ages of 10 and 15 as of Aug. 11, 2011. Name: __________________________________________________ Nickname: ____________________ First & Last (Will be printed like this in the program and on the t-shirt) (For nametag, e.g. Susie instead of Susanna) Address: __________________________________________ Height in inches: ______ Voice Part: S1, S2, A __________________________________________ Best Phone: (_______)__________________ City: ____________________________ State ______ Zip __________ Age on Aug.11, 2011______ Parent e-mail _____________________________________________________________________________ (Please make clear distinction between ones and L’s, zeroes and O’s) Circle your T-shirt size: Youth Medium Youth Large Adult Small Adult Medium Adult Large Adult X-Large Statement of Obligation We have read the entire application form and understand that selection for the 2011 ACDA Children’s Honors Choir brings with it a significant musical and financial obligation. We understand that as a member of the Honors Choir the applicant must pay a $75.00 participation fee, and that ACDA is not responsible for the costs of the applicant's transportation, lodging, or meals. We understand that the applicant must arrive at George Mason University, Fairfax, VA for registration and the first rehearsal on Thursday, August 11 and that the applicant must attend all Honors Choir rehearsals and the convention performance on Saturday, August 13, 2011. The applicant will be committed to having the music fully prepared according to the instructions included in the music packet and may be spot-tested at rehearsal. ____________________________ ____________________________ _____________________________ Singer Signature Parent Signature Parent’s printed name
e-mail any questions to [email protected]
Chaperone Information
Name: ____________________________________ Relationship to child: __________________________ Cell Phone: (_______)________________________
(You must have your cell phone at all times during the event. If you do not have a cell phone, you are required to remain in the rehearsal space.)
Chaperone Statement of Obligation
If the applicant is selected, I will chaperone the applicant to George Mason University in Fairfax, VA, August 11-13, 2011. I understand that ACDA is not responsible for the costs of transportation, lodging, or meals, and that I am responsible for the child at all times, including rehearsals and meals. I understand that I am to remain on the GMU campus and be reachable by cell phone during the entire event. I certify that I am at least 21 years of age as of August 11, 2011. ____________________________ ____________ Chaperone Signature Date
Director Information
Name: __________________________________ Home Address: __________________________________
__________________________________
City: _____________ State _____ Zip _______
Sponsoring Choir: ___________________________ (Include school or church name)
Home Phone: (_______)_____________________
Work Phone: (_______)_____________________
Cell Phone: (_______)_____________________
ACDA # __________
E-mail: ____________________________________ (Please make clear distinction between ones and L’s, zeroes and O’s) _____ I am attending the conference
_____ I am not attending the conference
Applications must be postmarked by April 18
SATB FESTIVAL CHORUS Open to all singers age 16 and up!
SINGER REGISTRATION FORM (Please make copies and submit one form for each singer)
Singer name: __________________________________________________________________ Singer mailing address: __________________________________________________________ _____________________________________________________________________________ City: _______________________________________________State: _______ZIP: __________ Home phone: (_____)___________________Cell Phone: (_____)______________________ Singer e-mail address (please print clearly): __________________________________________ Singer voice part: Soprano I Soprano II Alto I Alto II Tenor I Tenor II Bass I Bass II Years and type of choral experience: ________________________________________________
Statement of Obligation I have read the entire application form and understand that participation in the 2011 SATB Festival Chorus entails a significant musical obligation as well as a commitment of time. I understand that if selected, I am responsible for the $90.00 participation fee, and that ACDA is not responsible for the costs of my transportation, lodging, or meals. I understand that I must be present for on-site registration and the first rehearsal on Thursday, August 11, and that I am expected to attend all Festival Choir rehearsals as well as the Festival Choir performance on Saturday, August 13, 2011. I understand that I must have the music prepared prior to arriving at the workshop and that I cannot expect to learn the music during rehearsals at the workshop. Singer signature____________________________________________Date_______________
ALL C HO RIS TE RS M UST RE TU RN TH IS FO R M TO THEIR DIRECTO R- DO NOT MAIL IND IV ID UAL FOR MS!
Music Director Information (Director must be ACDA member in good standing)
Chorus/Choir affiliation__________________________________________________________ Director name_______________________________________________ ACDA #_________________ Daytime phone: (_____) _______________________ Evening phone: (_____) _________________________ Director e-mail address___________________________________________________________ Directors: Please mail all registration forms, a $10 application fee per person postmarked by May 1, 2011, to: Mary-Hannah Klontz, Registrar 648 S. Illinois St. Arlington, VA 22204 To be completed by current music director: (use a scale of 1-10 with 10 being the most proficient). Directors: the singers will NOT see this recommendation. We need your honest, open recommendations- please be as candid as possible. If you are submitting more than one singer, please indicate their ranking from highest ability to lowest ability. Tone Quality _______ Blend ________ Vocal Agility _______ Sight reading ______ Dependability _______ Projection ability _______ RANKING: _______ out of ________ singers Signature of Director ________________________________________ Date _____________
Please make checks payable to Delaware ACDA.
VOICES UNITED SUMMER CONFERENCE 2011 ACDA FESTIVAL CHORUS AUGUST 11-13, 2011
Dear ACDA Member, The planning committee for the ACDA 2011 Voices United Summer Conference would like to extend an invitation to outstanding chorus members (adult singers 16 years and older) to participate in the 2011 SATB Festival Chorus. The conference will be held August 11-13, 2011 at George Mason University, Fairfax, VA. The guest director for this summer’s event is Dr. Tim Seelig. Tim Seelig has been a conductor, singer and teacher for 35 years. He is currently the Director of Art for Peace & Justice, Artistic Director in Residence for GALA Choruses and adjunct music faculty Southern Methodist University’s Meadows School of the Arts since 1996. In addition, he continues an extremely busy guest-conducting schedule throughout the U.S., Canada and Europe. He is the Conductor Emeritus of the Turtle Creek Chorale, which he conducted for 20 years. Dr. Seelig will lead the Festival Chorus in Dona Nobis Pacem by Ralph Vaughan Williams. This moving work will be accompanied by string orchestra and will feature soprano and baritone soloists to be selected by audition. I hope that you will consider auditioning or recommending your finest singers for this opportunity. Applications for choristers and Audition instructions for soloists will be posted at: http://vaacda.org/ Choristers will not need to submit an audition. They are to fill out the top part of the form and then return it to their director for completion. The director’s recommendation and ranking will be kept confidential. Please do not have the singers mail in the forms individually- they should come as a group from the director. Each director should mail all completed forms along with the $10 per singer application fee to the registrar address on the form. The postmark deadline is May 1, 2011. Choristers will be notified of their selection by May 31 and will be required to submit the $80 registration payment by June 15, 2011. This registration fee will cover the music, a boxed lunch on Saturday, and the actual event with the director, Time Seelig. Transportation, lodging and meals are not included.Practice tracks are available on the web at: http://www.cyberbass.com Festival Choir registration will take place on Thursday, August 11, 2011 at 3:00 p.m. at George Mason University. The rehearsals will begin at 4:00 p.m. that day. We will rehearse throughout the day Friday and Saturday morning, with the concert at 1:30pm on Saturday. The concert will take place as part of the ACDA “Voices United” conference at George Mason University. The participating singers will receive a packet of music, CD and schedule in the mail by June 30, 2011. High school, university/college, church choir, and community choir directors are encouraged to suggest this event to their outstanding choristers. If possible, encourage an SATB quartet of singers from your group to attend. We also encourage directors themselves to participate, but please realize it is not feasible to do both the Festival Chorus and the Voices United Conference. Please contact me if you have any questions. I look forward to working with you this summer. Sincerely, Mary-Hannah Klontz, Community Choirs R&S Chair for Virginia ACDA Ph. 703-244-8315 [email protected]
Application Instructions
1. Please make copies of the registration form for all singers who are interested.
2. Singers should complete the top half of the form, and return it to their director, along with the $10
application fee.
3. The director should complete the recommendation portion. If the director is submitting more than
one singer, please use the “ranking” portion to rank the singers in order from highest ability to
lowest. Please keep your recommendations private, so as to ensure an unbiased opinion.
4. The director should mail all applications and fees to the following address:
Mary-Hannah Klontz, Registrar
648 S. Illinois St.
Arlington, VA 22204
5. All applications are due (postmarked) by May 1, 2011.
6. Directors, please be honest and candid with your recommendations. We are looking to create the
best possible choir, so please submit your strongest sight-readers and leaders from your choirs. If
you plan to submit high school students, please ensure that they are of an Honors Choir or All-
State caliber.
7. If selected, both chorister and director will be notified by May 31. You will then have until June 15
to submit the $90 registration fee. Music and schedule will be mailed out by June 30.
Voices United Festival ChorusSoloist Audition Form
Singer name: ________________________________________________________________
Singer mailing address: ________________________________________________________________
________________________________________________________________
City: __________________________________State: _______ZIP: __________
Home phone: (_____)___________________
Cell Phone: (_____)______________________
Singer e-mail address (please print clearly): __________________________________________
Singer voice part: Soprano ___ Baritone_____
Summary of Vocal Training and Experience: (attach resume if preferred) ________________________________________________________________
________________________________________________________________
Song Title: ________________________________
Composer: _______________________________
Statement of Participation
I understand that if selected as a finalist in the search for a soloist, I will be asked to record and submit an assigned excerpt from Dona Nobis Pacem, by Ralph Vaughan Williams. If selected to perform as a soloist in the 2011 ACDA Voices United Festival Chorus I understand that I will not receive remuneration. In addition, ACDA is not responsible for the costs of my transportation, lodging or meals. I will be expected to participate in the event from Thursday, Aug. 11 through Saturday, August 13, 2011. An archival recording of the performance will be made. If arrangements are made to record and sell the recording, I give my permission to include my performance without compensation.
Singer Signature____________________________________Date___________
Voices United Summer Conference 2011
ACDA Festival Chorus August 11-13, 2011
OPEN AUDITIONS FOR SOPRANO AND BARITONE SOLOISTS
DONA NOBIS PACEM RALPH VAUGHAN WILLIAMSTIM SEELIG, CONDUCTOR
AUGUST 11-13, 2011GEORGE MASON UNIVERSITYFAIRFAX, VA
The planning committee for the ACDA 2011 Voices United Summer Conference would like to extend an invitation to outstanding soprano and baritone singers (adult singers 18 years and older) to audition for the solo roles in the Voices United Festival Chorus performance of Dona Nobis Pacem, by Ralph Vaughan Williams on August 13, 2011.
The performance is the culminating event of the conference that will be held August 11-13, 2011 at George Mason University, Fairfax, VA. Soloists will work under director, Tim Seelig and be accompanied by a professional orchestra. They will receive a private coaching with the conductor on Thursday, Aug. 11 (time tba), rehearse with the Festival Choir on Aug. 12 and perform in concert on Aug. 13.
While no compensation will be provided to the soloists; they will benefit from the opportunity to perform in a Washington D.C. area venue for an audience of choral directors from Virginia, Maryland, Washington D.C. and Delaware. In addition, soloists may choose to sing the complete work with the Festival Chorus or attend conference sessions free of charge when they are not required for rehearsal.
Applicants should submit a recording of a solo of their choice (classical in nature.)Recordings and applications may be submitted through the web site: http://vaacda.org/or sent to Tim Seelig (awaiting new address)
Finalists will be contacted to submit an additional recording of an excerpt from Dona Nobis Pacem.
Deadline for submissions: April 30, 2011