Spring 2009

Literature as Heard in the Land O’ Lakes 2 Personal & Professional Survival Tips for the Beginning Conductor 3 Work Less & Get More: Ways of Building Independence in Your Choir 4 Jazz Up Your Choir: Listen! Ask! Try! 5 Spring Cleaning 7 Images from Oklahoma ACDA National Conference 8 A Note from the Editor 8 Summer Opportunities and Announcements 9-10 Voices United Conference 11

Virginia Chapter of the American Choral Directors Association

Virginia HarmonyVirginia Harmony

The President’s Page With Rebecca Tyree

ACDA: A Volunteer Organization “Volunteering is the practice of people working on behalf of others without being motivated by financial or material gain. Volunteering is generally considered an altruistic activity, intended to promote good or improve human quality of life. People also volunteer to gain skills without requiring an employer's financial investment. Volunteering is NOT a form of alternative sentencing for a crime, as significant benefits result from service.” (wikipedia.org)

Volunteering takes many forms and is performed by a wide range of people. Many volunteers are specifically trained in the areas they work in, such as medicine, education or emergency rescue. Others volunteer on an as-needed basis, such as in response to a natural disaster. When you think about it, just about everyone has volunteered for something in his or her lifetime. Where would this country be without the Red Cross, American Heart Association, National Cancer Society, Meals on Wheels, and literally thousands of other non-profits which “promote good or improve human quality of life?” Our schools rely on parent-volunteers, our churches and synagogues thrive with member volunteer leadership and activities. Students are rewarded for hours of service in their communities, learning from an early age that “working on behalf of others without being motivated by financial or material gain” is a positive force in their lives, “NOT a form of alternative sentencing for a crime, as significant benefits result from service”.

“I always wondered why somebody didn't do something about that. Then I realized I was

somebody.” --Lily Tomlin

Look at our organization, the American Choral Directors Association and all that is offered in each state and division. Upon returning from one of our ACDA conferences, (this spring, a phenomenal national conference in Oklahoma City!), I find it staggering to think of the number of people and man-hours it took to put together the logistics for such a large-scale event. What’s more astounding is the joy with which the service and energy is given. We choral directors are a strange breed: eclectic, artistic, intellectual, social,

and demanding, but we continue to give service for the support and promotion of the arts programs in our communities at the local, regional and national level. If you have not experienced a leadership role in Virginia, I encourage you to volunteer. For those wonderful people who have served with me for the past two years I am extremely grateful. If I added up the hours spent on two Middle School All State Choirs, two Children’s Honor Choirs, the Voices United Conference, newsletters, website, membership, VMEA conference, meetings and book keeping (let’s not even go into email!) it would surely amount to more than one fulltime job. Please join me to publicly thank Lisa Pennington, Rhonda Miller, Bill Podolski, Jerry Myers, Barbara Perry, Joe Eveler, Lisa Billingham, Phillip Keirstead, Hope Armstrong Erb, Bethany Houff, David Schwoebel, Lara Brittain, Ryan Hebert, Jen Penserga, Margie Woods, Katherine Nelson-Tracey, Emi Eiting, and Patrick Walders for serving on the Virginia ACDA leadership with me. I have been rewarded ten-fold by getting to know and work with these colleagues and our ACDA membership throughout the Commonwealth. In closing, I urge you to attend the VOICES UNITED Conference 2009, our little gem in northern Virginia, August 6-8. It’s close, it’s inexpensive, it’s packed with fabulous clinicians, sessions and new music, it’s rejuvenating, and it’s just the jolt we need to get us ready for the 2009-2010 season of choral music. With best wishes to all for a wonderful summer!

-Becky

2 Virginia HarmonyVirginia Harmony Virginia ACDA Officers

Rebecca Tyree, President Virginia Commonwealth University Department of Music 922 Park Avenue, P.O. Box 842004 Richmond, VA 23284 804-828-1360 rtyree2@vcu.edu Jay Hartzler, Vice President Eastern Mennonite High School 801 Parkwood Drive Harrisonburg, VA 22801 540-432-4514 hartzlerje@comcast.net Patrick Walders, President-Elect James Madison University School of Music 800 South Main Street MSC 7301 Harrisonburg, VA 22807 540-568-3852 jmuchoralactivities@yahoo.com Lisa Pennington, Treasurer Collegiate School 103 North Mooreland School Richmond, VA 23229 804-640-7077 lpenning@collegiate--va.org Bill Podolski, Membership Chair H-B Woodlawn High School 4100 Vacation Lane Arlington, VA 22207 516-384-5147 bill.podolski@gmail.com Emi Eiting, Newsletter & Website Editor 1622 N. McKinley Road, #4 Arlington, VA 22205 202-286-3066 emi.eiting@gmail.com

Repertoire & Standards Chairs

Hope Armstrong Erb Children’s Choirs Greater Richmond Children’s Choir P.O. Box 8595 Richmond, VA 23226 804-201-1894 Armstrong-erb@mindspring.com Ryan Hebert College & University Longwood University 211 Wygal Music Building Farmville, VA 23909 434-395-2500 hebertrj@longwood.edu Joe Eveler Community Choirs Stafford High School 33 Stafford Indians Lane Falmouth, VA 22405 540-371-7200 joeeveler@gmail.com Continued on page 4

LITERATURE AS HEARD IN THE LAND O’ LAKES Jennifer Penserga, Women’s Choirs R&S Chair pensergafamily@comcast.net

Great choral performances occur each and every day. In my life, I have participated as an audience member, singer, conductor, page- turner and shaker shaker in a number of fabulous concerts. In February, I greatly enjoyed hearing my sister Amy's Bel Canto Choir perform at the Minnesota Music Educators Association convention in Minneapolis. The group consists of sophomore,

junior, and senior women who eagerly soak up their teacher's expertise and give it all they've got in performance. The program was varied, challenging, and beautifully sung. Minnesota requires that performing ensembles sing pieces of all levels. Some of the literature is well-known and other pieces improvised for the occasion. For the many treble choir directors searching for new ideas – I hope you find at least one below. If you would like further insight into any of these selections feel free to email me or my sister, Amy Johnson, at amyb.johnson@anoka.k12.mn.us.

EVERYONE SUDDENLY BURST OUT SINGING Peter Willsher; Boosey & Hawkes HL48003132; SSA with piano, English text

This great concert opener is appropriate for an intermediate or advanced high school ensemble. The range is challenging for all parts and the texture is mostly chordal. The conductor can play with tempos, which correlate with a wonderful text. Amy went directly from this piece into the next, Canticle to the Spirit, which worked seamlessly and had a beautiful musical effect.

CANTICLE TO THE SPIRIT Eleanor Daley; Alliance Music Publications AMP 0411; SA with piano, English text

Canticle is a wonderful piece for any high school women's ensemble. The range will challenge middle school choirs but definitely take a look if you have a vocally mature group. The legato lines and meaningful text serve as a wonderful blending tool. This is a great piece to work on vowel unification at the beginning of the year.

O PASTORELLE, ADDIO Umberto Giordano, arr. Emile H. Serposs; G. Schirmer No. 11602; SSA with piano, secular Italian text

A classic Italian piece, O Pastorelle is appropriate for advanced high school or college level ensembles. It splits up to six parts and requires healthy operatic singing technique.

SVÉTE TÍHIY Pavel Chesnokov; Musica Russica MRSM Cn040; Double SSAA chorus, a capella, liturgical Russian text from the Vesper Service

This is a stunning piece appropriate for an advanced high school or college level ensemble. It sounds ethereal as the outer octaves hold while inner chords move. Singers are

challenged to sing independently while paying close attention to tuning. The Russian text repeats, so don't be intimidated. Students love singing this piece. Transpose up or down a half step as needed.

NIŠKA BANJA arr. Nick Page; Boosey & Hawkes OCTB6517; SSAA (or SATB) with 4 hand piano, secular Serbian text

Niška Banja is a perfect piece for all levels (elementary, middle, and high school) and can be performed in a variety of voicings. If you are looking for a closing piece for combined choirs at a pyramid concert, this is a sure crowd pleaser. It teaches mixed meter, provides an opportunity to sing with bright, forward tone placement and has optional solos. Add movement or colorful scarves for visual effect.

BUGLER'S HOLIDAY Leroy Anderson; adapted from the instrumental score: Alfred Publishing 00-87801; SSA with piano, Bb trumpet trio adapted for chorus sung on

vocables. A great novelty number for any concert, Bugler's Holiday is appropriate for an advanced high school or college level ensemble. The tempo is quick and will get an audience's toes tappin'. The arrangement lends itself to short solo group sections, and any performance would be enhanced by the use of kazoos during the second half. Order the kazoos with the trumpet bell for a visual representation of the original arrangement.

Jennifer Penserga is currently on maternity leave from Fairfax County Public Schools. She remains active professionally teaching voice and piano lessons, adjudicating and guest conducting.

3 Virginia HarmonyVirginia Harmony

“Be proud of your musical process, as it

is more important

than the one day of product most concerts

provide.” -Dr. Lisa A. Billingham

PERSONAL & PROFESSIONAL SURVIVAL TIPS FOR THE BEGINNING CONDUCTOR Dr. Lisa A. Billingham, Youth & Student Activities R&S Chair lbillin1@gmu.edu

As a mentor for undergraduate and graduate students in Northern Virginia I find myself offering the same advice to all who are taking on new positions as conductors in the public and private sector. Those new jobs create a great sense of responsibility and challenge for all who strive for excellence. Conductors are conversant not only in the musical language of notation but also the art of movement. The interplay of these can create joy in the rehearsal room and inform our ensembles. It can also bring physical and emotional exhaustion at the end of the semester. Below are a few tips that I attempt to reinforce with my students so that they are successful in our profession.

LIVE A BALANCED LIFE! It is vital once you begin conducting to take time for yourself in other areas outside of music. Following years of music study it is a good idea to find a hobby that enthralls you to be creative in a new way. Take the opportunity to make friends in your community by volunteering with service organizations. Find the time to exercise and rest so that your body is healthy and ready for the environmental stresses that it encounters in daily living. I encourage my students to discover body training at an advanced level. This could be accomplished by courses in yoga, Tai Chi, Laban Movement Theory or Alexander Technique. Actively practice your belief system, and surround yourself with those whom you are most comfortable in that setting. EXPLORE RESOURCES FOR VARIED REPERTOIRE. The internet has become a valued resource for repertoire searches. Look to great resource databases such as musica.net and cpdl.org. These are not the only search engines, but they are certainly a good place to start for the beginning conductor. Attend reading sessions from local music vendors and take the time to read music reviews in the Choral Journal. Perform music from other cultures and do not be intimidated by a new language as many publishers provide pronunciation guides and CDs. Some of the best repertoire suggestions come from friends and colleagues. Be open to taking that wisdom.

CONTINUE YOUR EDUCATION IN CONDUCTING. There are countless summer opportunities for summer workshops across the U.S. Read the Choral Journal in the spring as it provides a collective list of workshops that has been turned in by professional companies and universities. Contact your local university if you are not sure where to initiate training for an advanced degree. PROTECT YOUR VOCAL HEALTH. Dr. Axel Theimer of the VoiceCare Network encourages all of his performers to “Sing Wet!” Make it a habit to hydrate and limit the amount of caffeine and alcohol you consume. Warm up appropriately for your voice type by activating the breath and resonators prior to phonation. Learn to laugh with heart. Sing balanced on the spine and encourage this by modeling for your choir during rehearsal. CULTIVATE A LOVE OF PEOPLE. The people in your ensembles are looking for an outlet for beauty and expression. Music is a way to touch hearts and inspire a sense of community which all people desire. You are responsible for the kindness in your demeanor and the heavy hand when warranted. Remember stories that you have shared with others that have inspired you to lead and conduct. Be mindful that your ensemble members are looking to you to provide caring environment in which performing, learning and taking risks is attainable.

As conductors you wave your hands and bring joy, laughter, unity, and enlightenment to all with whom you work. Be mindful of the challenge you bring to them by upholding standards for communication and musicianship. Be proud of your musical process, as it is more important than the one day of product most concerts provide. The musical community with whom you work will be grateful for your dedication and unwavering expectations.

Dr. Lisa A. Billingham is Associate Professor of Music Education Choral studies and Director of Graduate studies at George Mason University in Fairfax, VA.

SING THE TEXT WITH EXPRESSION. Our art form gives us the added pleasure of meaning with our notation for performance. Ask your singers to read the poetry with dramatic emphasis. Discuss the text and how it is set. Drama in performance comes from an understanding of the composer’s intent. DRESS APPROPRIATELY FOR SUCCESS. One honors their ensemble by dressing appropriately for rehearsal. Ladies wear shirts, skirts and slacks that cover the body tastefully. Exposing too much skin is not an attractive look when you are working with your middle and high school men. Gentlemen, please press your shirt and don a tie from time to time. Dark shoes require dark socks. These are points I often make with student teachers so that they can be successful during the interview process. Your ensemble looks to you for guidance in performance attire. Encourage closed-toed shoes for ladies and men, and keep earrings and jewelry to a minimum onstage as you want the voices of the choir to be center stage.

R&S Chairs continued Margaret Woods Ethnic & Multicultural Perspectives J.E.B. Stuart High School 330 Peace Valley Lane Falls Church, VA 22044 703-824-3970 Margaret.Woods@fcps.edu Lara Brittain Jazz Choirs Forest Park High School 171 Forest Park Drive Woodbridge, VA 22193 703-583-3328 brittalm@pwcs.edu Rhonda Miller Jr High/Middle School 6300 Harrison Road Fredericksburg, VA 22407 540-786-2606 Rhondamiller1@earthlink.net Philip Keirstead Male Choirs Marsteller Middle School 14000 Sudley Manor Drive Bristow, VA 20136 703-393-7608 keirstpc@pwcs.edu David Schwoebel Music & Worship Derbyshire Baptist Church 8800 Derbyshire Road Richmond, VA 23229 804-740-8028 x 23 dschwoebel@ derbyshirebaptist.org Bethany Houff Senior High School Harrisonburg High School 1001 Garbers Church Road Harrisonburg, VA 22801 540-433-2651 bhouff@harrisonburg.k12.va.us

Katherine Nelson-Tracey Two-Year College 703-590-2147 katherinenelsontracey @hotmail.com Jennifer Penserga Women’s Choirs 4101 Picket Road Fairfax, VA 22032 703-426-5405 Jennifer.Penserga@fcps.edu Lisa Billingham Youth & Student Activities George Mason University Department of Music 4400 University Dr., MS 3E3 Fairfax, VA 22030 703-993-3778 lbillin1@gmu.edu

4 Virginia HarmonyVirginia Harmony

Running daily choral rehearsals is physically draining, particularly during peak concert season. While trying to reduce their administrative work, choral directors often delegate time-consuming responsibilities to student officers, parent guilds, or assistants. When it comes to the music-making process, choral directors can carefully train their singers to become independent thinkers who can trust their musical intuition. If left to their own devices, choristers can easily disconnect themselves from the responsibilities of making music. This is not because they lack artistic skill, but rather they fail to recognize that it is their responsibility to apply musical concepts on their own. For example, if an instruction is given about a particular section of music, singers often neglect to apply that same instruction to similar passages or phrases. Another very frustrating way that choirs display a lack of responsibility is when after hours of rehearsal, they go back to singing it the “old” way. Additional concern arises when scores are collected following a concert and the conductor finds incorrect markings or none at all. Furthermore, there are many occasions where sections of the choir have sat in rehearsal knowing there is a problem for quite some time, only to wait for the conductor to correct it. Let’s face it, we can’t hear every little minute detail, and feedback from your singers is essential to building teamwork.

The rehearsal environment and our musical expectation should foster a sense of leadership from all of our singers. Outlined below are simple strategies that might aid in helping your choir be more engaged in the musical process, thus saving you time and energy. 1. Have an expectation. On the first day of rehearsal, explain that you expect your choristers not to wait for every single musical detail before they begin “making music.” Many choirs will not sing musically unless they are instructed to. I find this very frustrating but necessary. In short, expect them to sing musically at all times. Set the guidelines for what that means, and make them feel comfortable to give input when necessary. 2. Give broad instruction. Find aspects of the music that would require the singers to “dig in” to the score, and apply directives to phrases that

WORK LESS AND GET MORE: WAYS OF BUILDING MUSICAL INDEPENDENCE IN YOUR CHOIR Ryan Hebert, College & University R&S Chair hebertrj@longwood.edu

have similar principles. For example, “In this piece all notes that are a half note or longer should have a slight crescendo and then decrescendo throughout.” This directive is given with the hope that you won’t have to go to each long note in the piece at that moment, but when they don’t apply it every time it occurs in the music, you can then ask them “why aren’t you doing it like I asked you to?” Every time they sing it incorrectly stop them, and remind them of your instructions. Don’t let them continue singing until they follow through on your instructions. After enough stopping, they will get the picture: it is their responsibility to stay engaged and involved. 3. Hold them accountable. If you can create a positive environment whereby students can sing individually without shutting down, you can gain valuable information about whether or not they have internalized the instruction. Have the choir sing a passage of music, but tell them that at any moment during the piece you will point to an individual to continue singing alone while everyone else drops out. Don’t give them a chance to think about it. Just start the music, and you will notice an immediate focus. Each chorister will be thinking “Will the conductor point to me?” Even if you never point to anyone, you will immediately see results because the individual responsibility is being highlighted. Those who are not being proactive will suddenly become more conscious of being sure they are singing with musical awareness and following through on musical directives. Use this strategy with care though. To avoid humiliating any one singer, call attention to those who you know will be good models, which in turn will encourage others to do well. 4. Make them think. Do everything you can to

prevent them from singing mindlessly. Change the seating, count sing, sing only the vowels, sing only the consonants, sing staccato, etc. Anything you can do to engage their minds by switching something up will get them from just doing it routinely. 5. Make them “become” the conductor. This one has been the most helpful to me because I have realized that singers are often only aware of their own part. They forget to look at the entire score, rarely noticing the accompaniment,

Continued on page 6

5 Virginia HarmonyVirginia Harmony

LISTEN UP! It’s called “America’s Music”, and I know you’ll want your students to experience the joy of Jazz! So much of Jazz is about finding the right style. Style is hard to describe in words and is more effectively learned aurally. The best advice I have about Jazz? LISTEN! Online you can use Youtube – you’ll easily find examples of “what not to do” and perhaps will even luck into some great recordings. Purchase the CDs and/or DVDs of those groups – audio and video quality is so much

Jazz Up Your Choir: Listen, Ask, Try! Lara Brittain, Jazz Choirs R&S Chair BrittaLM@pwcs.edu

ASK AROUND! You can learn a lot about Jazz by talking to experts in the field – I did! A few Virginians to contact: Lauren Fowler-Calisto (CNU), LFowler@cnu.edu; Rebecca Tyree (VCU), rtyree@vcu.edu; Debbie Moyers Proctor (retired; 25 years at Garfield H.S.), debmproctor@yahoo.com; Dana & Jim Van Slyke (Herndon H.S.) dana.vanslyke@fcps.edu; Nancy Riley (Heritage H.S.) nancy.riley@loudoun.k12.va.us; Glenn Cockrell (Chantilly H.S.) Glenn.Cockrell@fcps.edu; Stephanie Nakasian (UVA-Charlottesville) www.stephanienakasian.com; and feel free to contact me! TRY IT AND BUY IT! The Musical Source www.musicalsource.com and UNC Jazz Press www.uncjazzpress.com are tops for finding new music! I like to visit the Musical Source store in DC (it’s easy to find!) or their exhibit at the Voices United Summer Conference. I like to go online for UNC – plane tickets are pricey! I have compiled a brief annotated list of “tried and true” jazz pieces that have worked for me. You’ll find my comments are more conversational than formal, and that’s intentional. You can find two wonderful articles in the Choral Journal with even more Jazz repertoire.

Easy SA: Shenandoah Blues, arr. David Elliott pub. Boosey and Hawkes: Try this twist on an old Virginia favorite – put a stand-up bass player on the bass line of the piano, toss in some drums and swing it so they’ll hear it in the hills! Medium SSA: Bill Bailey Won’t You Come Home, arr. Kirby Shaw, pub. Hal Leonard: Great for patriotic concerts, a favorite at the retirement home and an uptempo hit with my teenage girls this year. Add a few simple sassy moves, and singing a history lesson is never more fun. Advanced SSA: Pennies From Heaven, arr. Kirby Shaw, pub. Hal Leonard – With all of the focus on the economy, this is a good one. There are some tough harmonies in here, some group scat, plus the opportunity to “re-arrange” and add some scat solos. You can decide whether you want to do the opening couple of pages, but you will want to do this piece – it has a good message and plenty of good teaching opportunities for all ages. Let it rain! Med/Adv SSAA: How Do I Love Thee, by Nathan Christensen, Treble Clef Music Press – If you’ve got a good girls group, or just 4 really great girls, let them work their rhythmic chops on this piece. Fun! Easy TB: Standing on the Corner, arr. Roger Emerson, pub. Hal Leonard – “Brother, you don’t know a nicer occupation” – a true statement by men in an easy arrangement for them. Add a few soft-shoe moves, a rhythm section and a saxophone and your guys will be the talk of the town. Medium TBB: Sweet Georgia Brown, arr. Kirby Shaw, pub. Alfred – Yes, this is the theme song for the Harlem Globetrotters. Take full advantage of this, and add in some basketball tricks. (Just keep them away from the mics and the pianist!) It’s accessible for a beginning to intermediate men’s group, and guys learn to slam-dunk the swing style! The TTB is out of print (oh no!) but call Alfred Publishing. Advanced TTBB: Not While I’m Around, arr. Robert Page Hinshaw Music – A nice ballad made famous in Broadway’s “Sweeney Todd,” first in 1979 and again in 2007. It’s got a piano part that you can dress up or play as written. The ladies love it – which is plenty of incentive to do a great job on this terrific piece. Easy SAB: Duke’s Place, arr. Russ Robinson, pub. Alfred – The C Jam Blues is a classic by DC’s hometown boy, Duke Ellington. This comes in a variety of voicings and it’s a very easy step into the 12 bar blues and basic scatting. Don’t just use Robinson’s words – let the singers try a few bars of scat on their own. I use the SATB version as a teaching tool, and the 12 bar pattern to do echo-scats etc. Medium SAB: It Had to Be You, – arr. Steve Zegree, pub. Alfred – This classic crooner tune is still a good choice, especially for Valentine event or Sweetheart dance. Continued on page 6

better – and we want to SUPPORT our music industry! Groups to try: The Real Group, New York Voices, Manhattan Transfer, and Uptown Vocal Jazz Quartet. In addition, Virginia Governor Tim Kaine has launched a new resource! “Virginia on iTunes U” is a dedicated area within Apple’s iTunes Store (direct link requires iTunes) featuring free access to educational content. You can download audio and video content onto an iPod. For details visit: http://www.governor.virginia.gov/MediaRelations/NewsReleases/viewRelease.cfm?id=919

6 Virginia HarmonyVirginia Harmony

Brittain, Continued from page 5

Hebert, continued from page 4

Advanced SAB: Come Sunday, arr. Paris Rutherford, pub. Hal Leonard – One of Ellington’s sacred jazz pieces, done justice by Rutherford, with a rich solo feature and a solid slow swing. Also available SATB, this adds a different style for your church choir, with a message that all denominations could appreciate. Easy SATB: Jada Jazz, arr. Donald Moore, pub. Carl Fischer – A hit from the 1920s that will still be a hit in 2020. It’s a great piece if you are just starting out in jazz, and you’ll learn it fast. Please don’t do it as politely as it is on the mp3 on a ‘certain’ website…Jada works best with a touch of attitude. In fact, when we did this, one of the boys announced that it was “his jam.” Mine too. Medium SATB: Everybody’s Boppin’, arr. Kirby Shaw, pub. Hal Leonard – This piece is deceptively simple. Just try taking it up to tempo and hit all the angles of the accents in be-bop style. I added a repeat and took the ‘wild scats’ out for a ride. More fun than the coasters of Busch Gardens! Advanced SATB (ballad): I’ll Be Seeing You, arr. Darmon Meader, pub. Shawnee – A cappella, tune-it-or-die, but completely worth every single minute (and there will be many!) spent on this classic ballad. Advanced SATB (uptempo): Solfeggietto, arr. Ward Swingle, pub. UNC – I’m just going to quote www.uncjazzpress.com “SATB, bass and drums. This work is by one of Bach's sons (C.P.E. Bach) and will be familiar to most piano students. It becomes a virtuoso piece for the singers because of its’ fast tempo, difficult rhythmic passages and challenging intervals. When done well, it makes a great impression.” Welcome to the wonderful world of Ward Swingle! Lara Brittain is Choir Director and Music Department Chair at Forest Park High School in Woodbridge, VA and Director of Choirs at Ebenezer United Methodist Church in Stafford, VA.

and remaining unaware that they can “get help” with entrances by looking elsewhere in the music. Ask the tenors a question about the alto part. Or ask the basses about a tonal production issue you gave to the sopranos! Or have the entire choir mark instructions in ALL parts. Anything you can do to make the sections aware of each other will cause them to begin thinking like leaders rather than followers. 6. Take away the piano. People often shy away from this one, but you don’t have to do it all the time. Make it a point to rehearse and perform at least one piece without using the piano, even if it is a simple cannon, a chant, or a part-song. This simple strategy will help your singers become more independent. Remember, the piano can cause your singers to become dependent, and we want to work towards moving them toward leadership. 7. Get off the podium. Self explanatory – make them sing something without YOU. If it is a piece that can be set in motion with body movements, swaying, or snapping on the upbeats, they don’t always need a conductor to keep the beat. Let them struggle with finding a common tempo. It builds ensemble skills and creates a sense of leadership. If the group is small enough they can even learn to stop and start on their own. You will pick out the leaders immediately with this one. 8. Ask Them I am always amazed at the ideas my singers have but fail to share until it is too late. Encourage them to be active participants in the music decision-making process. For example, give them multiple-choice options like, “How should we handle the end of this phrase?” Then play or sing the passage three ways and ask, “Why should we do this or that?” Any time you can get basic input from your singers it gives them a sense of empowerment. A little of this goes a long way and they feel important, validated, and they will easily get on board. 9. Record your rehearsal and play it back. Record a piece, play it back, and ask the group to make critiques. If you have time, get a discussion going about what they hear – they will be harder on themselves than you are. I guarantee that if you open the floor for discussion, hands will go up and feedback will flow freely. 10. Check the Score. Although this one might be tedious, I have found that periodically collecting scores to check for proper markings is essential. When collecting scores at the semester’s end, I was always disappointed by how many scores lacked markings or had none at all. Make sure they are writing in their music and using symbols and marks that make sense. At the beginning of the year, have a set of guidelines for typical score marking procedures and symbols that unify the system. Sometimes singers will forget what their own markings mean unless you help them With a few helpful tips, every choir can grow to become

less dependent on you, so that you can be free to make music. That is the ultimate goal, right? There is nothing worse than a performance where your singers depend solely on you to sing musically. Yes, there is a certain balance and we are responsible for the ultimate product. However, the choristers must also recognize their individual responsibility in tone production, phrase structure, communication, and the list goes on. With a little guidance from us, they can build good, proactive rehearsal habits that will decrease the amount of time spent fixing problems and increase time spent on the process of making music. The result will be a more convincing and satisfying musical experience, an increase in the confidence of your singers, and a sense of group ownership in their performance.

Ryan Hebert is Assistant Professor of Music and Director of Choral Studies at Longwood University in Farmville, VA.

7 Virginia HarmonyVirginia Harmony

Spring Cleaning Sandra Kailhofer, WI-ACDA NE District Rep

skailhofer@seymour.k12.wi.us

I believe that you will be reading this article as the school year is drawing to a close. We have a checklist at our school that we are required to complete before the end of the year. You know, the usual….”Are your cupboards clean? Is the chalk board clean and is the chalk put away?” As I clean out my cupboards to prepare for these questions, I sort through items, evaluate them, and decide what to keep and what to throw out. Often I take this time to evaluate my teaching as well. Let’s think about this end of the year process. I am a fan of the cable show called “Clean Sweep.” The show features a room or home that is VERY cluttered and the “Clean Sweep Team” comes to the home and helps the owners organize their rooms and their lives. The organizing specialist is Peter Walsh, and be becomes an analyst for some people as they fight with him, because they don’t want to, or cannot, give up the baggage of their possessions. The rooms are totally emptied first. The items begin to be separated into three categories: keep, donate and throw away. The “keep” area is made smaller, and the owners and Peter play games and have lively discussion as they try to sort through the clutter of their lives. We can think of this literally, “Let’s get my classroom clean…” and figuratively, “Let’s get my mind and attitude clean as well.” So I have moved EVERYTHING out of my office. There are several filing cabinets, which are full! I have files full of music, files full of ideas I might use “someday,” files with warranties, old programs, budget items, employment items….The list goes on. Let’s get to the KEEP pile: I want to keep: Great music that will enrich the lives of students in future years. The idea of submitting a tape of your choir to

WCDA…maybe this IS the year to try! Looking for new ways to reach students. Loving kids because that is truly the reason I am here. A file of “feel good” notes—there are days when you truly need these affirmation notes! Sending kids to SIW [Singing in Wisconsin-The All State Choral Festival]. Plan now so you will be ready for that early fall registration. A positive attitude in the face of trials and adversity.

Here are some ideas for the DONATE pile: It would be great if we could share: Ideas and expertise with new teachers. Your love of kids with your church or community. Old textbooks to a needy school (I have donated old texts to a local parochial school. There is also a company that will buy used texts.) Your dedication to WCDA by telling others about our organization.

Let’s think about the THROW AWAY pile. Let’s: Throw away VHS tapes—do we even have a VHS player? Throw away old music that is not worthy of performance! Throw out the egos…it is about kids and the music —NOT you! Throw out ineffective rehearsal strategies. Discard old-fashioned attitudes about how to reach kids… Maybe I should go to a workshop, a class, or perhaps “Singspiel!” Happy Spring and Summer Cleaning! Sandy Kailhofer teaches middle school choir and K-6 general music at Black Creek Elementary/MS in Black Creek, WI. This article is reprinted from the WI-ACDA newsletter with the author’s permission.

As a teacher, my whole life is based on understanding others, not on making them understand me. What the student thinks, what he wants to do—that is the important thing. I must try to make him express himself and

prepare him to do that for which he is best fitted. ---Nadia Boulanger

8 Virginia HarmonyVirginia Harmony

Special Thanks to Bonny Tynch and Christine Nguyen for providing these wonderful photographs

IMAGES FROM ACDA NATIONAL CONFERENCE, OKLAHOMA CITY 2009

A Note from the Editor…. As the new editor of Virginia Harmony, I am thankful to follow in the footsteps of Jerry Myers. I am grateful to him and to those board members who have helped make the transition so easy. As I continue to build upon the fine work that Jerry has done I would like to hear from you, the members. I welcome your comments and suggestions about how we can continue to make Virginia Harmony more engaging and relevant to our members. Please send your thoughts to Emi Eiting at emi.eiting@gmail.com. I look forward to hearing from each of you.

-Emi

May 1 - June 30, 2009

Place your order NOW and take advantage ofup to 25% off on many titles*

Flexible billing options - order now, pay with 2009-2010 fundsOrders shipped before your �rst fall rehearsal

Ask about our special pricing on instrumental accessories, metronomes and tuners

Call or Email Us Today!1-800-2SOURCE

(800-276-8723)

202-387-7415 fax

�ndit@musicalsource.comwww.musicalsource.com

1409 15th Street NWWashington, DC 20005

*Offer extended ONLY on printed music from many domestic publishers. Discounts awarded on a case-by-case basis. Other restrictions may apply. Please inquire before ordering.

Let your budget dollars buy more than ever before!

Virginia Harmony is published three times a year by the Virginia Chapter of the American Choral Directors Association.

For inclusion in any issue, articles and advertisements must be submitted to the editor via email by the published deadline. The editor reserves the right to alter any article or advertisement.

Ad rate for the Fall 2009 newsletter: Full Page: $100.00 (7.5” x 10”) 1/2 page: $50.00 (7.5” x 4.5”) 1/4 page: $25.00 (3.75” x 4.5”)

Articles must be submitted as a Microsoft Word attachment to an email. Ads must be “camera ready” and fit the dimensions stated above.

Payment for ads must be received by the treasurer—check made payable to Virginia ACDA—before the publication deadline.*

Send articles and ads for the Fall 2009 edition to emi.eiting@gmail.com no later then

September 1, 2009.

*Ads purchased for the Fall 2009 print newsletter receive three months of advertising on the Virginia

ACDA website for no additional charge.

Virginia Harmony is Going Green!

Beginning in Fall 2009 we will

offer the option to receive Virginia Harmony via online subscription. Information will be posted on www.vaacda.org soon. Please check the website for e-subscription registration.

Calling All ACDA Student Members!

We are seeking five student member volunteers to assist at the 2009 Voices United Conference.

Volunteers will be granted free conference registration and a conference reading packet.

For more information and to download the application please visit www.vaacda.org

Application Deadline is June 15th

Summer Opportunit ies and AnnouncementsSummer Opportunit ies and Announcements

Virginia Harmony is Going Green! Beginning in Fall 2009 members will have the option to receive Virginia Harmony by online subscription. Information will be posted on www.vaacda.org this summer. Please check the website for e-subscription registration.

11 Virginia HarmonyVirginia Harmony

Membership Type Pre-Registration *Postmarked by July 1

On-Site Registration

*After July 1

Active ACDA $150 $170

Student or Retired (circle one)

ACDA ID required at check-in

$85 $90

Spouse/Guest (music packet NOT included) $65 $75

Non-Member (includes year-long membership) *See Special Instructions

$235 $255

Non-Member Student (includes year-long membership) *See Special Instructions

$120 $125

Saturday Boxed Lunch Due to Saturday’s 1:30pm concert: pre-order lunch option

Pita (check one), Chips, Cookie, Water, and Fruit

___ roast beef ___smoked ham ___turkey ____veggie

$8 $8

Credit Card Payments:

___ MC ____ Visa ____ AMEX ___ Discover

Name on Card: ________________________

Card Number: _________________________

Expiration Date: _____________

Signature: ___________________________

Total Payment $_____________

Total Payment $ ___________

*Special Instructions: Include a completed ACDA membership application form with registration;

form available for download from www.acda.org/members/join

Registration Deadline July 1, 2009

Mail To: Lisa Pennington 8420 Gaylord Rd Richmond, VA 23229 lpenning@collegiate-va.org Check Payable to: VA-ACDA

WHAT TO EXPECT AT VOICES UNITED 2009 INTEREST SESSIONS INCLUDE… From Score to Performance When Words Sing: Commodity, Integrity, Delight Female Adolescent Voice: A Framework for Understanding Emotional Geographies: Connecting with our students, each other and ourselves READING SESSIONS FOR… All specific voicings and age groups AS WELL AS… Panel discussion with Miller, Gackle & Brunner Conductors’ chorus work with Dr. Miller Friday night Banquet for clinicians, singers and conference participants Shopping with the Musical Source

For complete conference details and registration information visit www.vaacda.org!

_______________ __________________ ACDA Member # Name _______________________ ___________________________ Home Street Address Church/School _______________________ ___________________________ City, State, Zip Code Church/School Street Address _________________________ ___________________________ E-mail for Registration Confirmation City, State, Zip Code

The Friday night banquet is included in your registration cost.

Please check here if you plan to attend the

banquet.

Whereas, the Human spirit is elevated to a broader understanding of itself through the study and performance in the aesthetic arts and

Whereas, serious cutbacks in funding and support have steadily eroded state institutions and their programs throughout our country,

Be it resolved that all citizens of the United States actively voice their affirmative and collective support for necessary funding at the local, state, and national levels of education and government, to ensure the survival of art programs.

ACDA members are encouraged to print the ACDA Advocacy Resolution on all programs.

ACDA Advocacy Resolution

Virginia Harmony Emi Eiting, Editor 1622 N. McKinley Road, #4 Arlington, VA 22205

PRESORTED STDUS POSTAGE

PAIDPERMIT 320DULLES VA