Published by the California Chapter of the American Choral Directors Association - Volume Eighteen, Number Three - Spring 2006 ECCO 2006 featuring Jo-Michael Scheibe The 2006 California Summer Conference at ECCO promises to be an exciting gathering of California choral conductors! This year's conference, scheduled for July 30-August 2, features Jo-Michael Scheibe of the University of Miami. A wide variety of interest sessions will be presented by prominent California ACDA mem- bers. Conference participants will have the opportunity to Yosemite National Park. The conference grounds are to earn graduate class credit (one semester unit) available located in the Sierra foothills in an oak forest overlook- from California State University, Fresno for a nominal ing a tranquil pond. Trails and hiking paths are plentiful. fee which may be paid at registration. During the confer- Participants have a choice of accommodations including ence, participants use and leave with nearly 100 copies of dormitory, lodge, or RV campground. Tent camping a wide variety of choral music. Past participants have and outdoor fires are not allowed due to summer fire noted that the summer conference is an excellent way to danger. For more information on the ECCO grounds, recharge and begin preparation for the new school and please visit www.conferencecenter.org. For registration church year. Meals, social refreshment times, and infor- information, watch your mailbox! mal gatherings of friends and acquaintances both old and new make this conference an enjoyable experience for first-time attendees and repeat participants alike. The atmosphere of the conference is one of relaxed learning, FALL READING SESSIONS hands-on experiences, and mutual sharing. The Sat. August 19.....CSU Long Beach Episcopal Conference Center, Oakhurst (ECCO) is a Sat. Sept. 9.....CSU East Bay - Hayward beautiful and serene facility located forty miles northeast of Fresno and just minutes outside the southern entrance Featuring Edith Copley of Northern Arizona University and Ken Rawdon - Steve Clausen - Hanan Yaqub - Polly Vasche - Dan Earl President’s Message the many students she works with. Wouldn’t it be wonderful if we could convince every administrator to just “take a chance” and see Julie Dana, President how things change when the arts are at the forefront of a campus aca- Boy have times changed. As I write this, demic schedule. my husband and I are in the car escap- ing town for our two days off during One thing I really enjoy about going to conventions is the comraderie Spring Break. There are storm clouds present everywhere. The performing groups, the convention attendees, circling in every direction and yet, the exhibitors are all bustling with activity. Everyone with a smile, we’re happy to be getting away. Then ready to have a great time. Salt Lake was a wonderful, and NECESSARY, why am I feeling anxiety and panic at convention for those of us who had the air taken out of our sails by the leaving town? Hmmmm, perhaps it is last national. Edie Copley and the Western Division committee worked the post-spring break onslaught of hard to make every moment count for those of us in attendance. The performances, tour planning, and wonderful performances and interest sessions, the time to easily move auditions?…. Or the Holy Week servic- about, the beautiful weather and the hospitality of our friends in Utah es awaiting my return? …or a Cantate made for one of the best divisional conventions I have attended! Thank article deadline … or, or. So I’ve decid- you Edie for all of your hard work and planning to make this a con- ed that we, the choral directors of vention to remember. America, are the largest group of “multi-taskers” on the planet. Sure, our colleagues in the math, English, physical education and other The great state of California was well represented by some wonderful departments spend some of their “extra” time, reading papers, grading ensembles and colleagues sharing their talents at concert and interest exams, attending school meetings and games etc. But how many of sessions. Please join me in congratulating them: them, are planning their next fundraiser, festival performance, recruit- ing trip? In addition to all of our professional duties, we’re right there “Celebration” Show Choir from Corona – Lawrence Fitz, Patricia with the rest of them….counseling, cheerleading, navigating this Morris choral ship that represents our schools and organizations. The Chancel Choir from Solana Beach – Daniel Bird “Chorissima” from San Francisco – Susan McMane The last time I “got away” and headed out of town, I was boarding a Crystal Children’s Concert Choir from Cupertino – Karl Chang, Jenny plane for Salt Lake City. Enroute I met a wonderful choral director Chiang from a small rural school in the south valley. She was with a couple of Hamilton High School Chamber Singers from Los Angeles – John very excited young people on their first plane ride and ready to join Hamilton other young people in the Division Honor Choirs. I learned about her Mt. San Antonio College Chamber Singers from Walnut – Bruce Rogers wonderful program in a small school where her administrator values New Choir from San Jose – Eileen Chang music and encourages participation in music ensembles. It was so Occidental College Glee Club from Los Angeles – Jeffrey Bernstein refreshing to speak with a director who, because of an administrator “Pacific Standard Time” from Long Beach – Christine Helferich Guter who understands the value the arts, is excited about her program and continued on page 9
Please Call or Write for Application and Scholarship Audition Information
Anna Hamre CSUF Department of Music 2380 East Keats Avenue Fresno, CA 93740-8024 559-278-2539 - [email protected]
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2 Spring 2006 Official Publication of the California Spring 2006 Chapter of the American Choral Directors Association President’s Message 2 Kevin Schieberl, Editor/Designer Julie Dana, President 991 Bellomo Ave. Sunnyvale, CA 94086 ------Around the [email protected] Rhythmic Integrity in the Choral Rehearsal 4 Guidelines for Submissions Thomas Wine, Wichita State University
The Editor welcomes the submission of articles, Choral Gems for Children’s Choirs 6 announcements, reports, music and book reviews, job vacancies and any other item of interest to the JoAnne Stoddard, Children’s Choirs R&S Chair California ACDA membership. Articles should reach the Editor no later than the established dead- Middle School Choir Recommendations 7 line and should include the following information: Are You A FAT Singer? / Rubrics for Choral Success 8-9 1. Title 2. Author’s name and phone/email Peg Hutson, Middle School/Jr. High R&S Chair 3. Name of school, church, or organization 4. A one-paragraph author biography On The Mountaintop Works of Choral Literature 12 5. A good full-face photo Dr. Jonathan Talberg, College & University Choirs R&S Chair The manuscript should be limited to a maximum of two typewritten pages. Articles may be emailed to the Editor at [email protected]. California Music for Life 15 ACDA reserves the right to edit all submissions. Elena Sharkova, Ethnic & Multicultural R&S Chair
Guidelines for Advertisements An Elementary Influence 15 Charges listed are camera-ready copy only, sub- Charles Young, Central Coast Representative mitted electronically by PDF, JPEG, GIF, or TIFF. Cantate is produced in black ink. Representative Reports 17 A check made payable to CA-ACDA must be Cheryl Anderson, Bay Area Representative postmarked by the submission deadline. You will not be billed. Invoices can be prepared upon Lori Marie Rios, Southern Representative request. No copy will run without advance pay- ment. If you would like an ad to run in more than Events Information & Registration one issue, please include full payment at the time of 2006 Summer Conference at ECCO 10 the initial ad. Ad dimensions listed below are examples; rates 2006 Fall Reading Sessions 20 are charged by actual dimensions. For example, 1/3 page is listed at 2.5” x 10” but can be any sim- 2006 Western Division Conference Photo Pages ple rectangle of total area 25 square inches. Featured California Choirs 18 Advertising copy is subject to editorial approval. The editor reserves the right to head and/or box California Members of Honor Choirs 22 any advertisement bearing confusing resemblance to editorial material. Announcements 14 Board Roster 23 Submission Deadlines (All)
Deadline Mailed August 10 September 1 (Fall) December 10 January 1 (Winter) April 10 May 1 (Spring) Advertiser Index Rates: Size Single Annual California State University, Fresno 2 1/6 (2.5”x5”) $55 $110 California State University, Long Beach Back Cover 1/4 (3.75”x5”) $75 $150 California State University, Los Angeles 16 1/3 (2.5”x10”) $95 $190 California State University, San Bernardino 23 1/2 (5”x7.5”) $140 $280 The Choral Project - One is the All 10 2/3 (5”x10”) $190 $380 College of the Siskyous VJ & Show Choir Camp 9 Full (7.5”x10”) $275 $550 Forum Music Festivals 5 Music Celebrations International 8 Shasta College Women’s Choral Festival 6 Sierra College Study Abroad: Vienna 14
Spring 2006 3 AArroouunndd tthhee CCoouunnttrryy Articles of interest from ACDA publications across the nation
This article first appeared in The Choral Range, the publication of the Kansas Choral ward motion of the music. and stop conducting. Tell singers to keep the Directors Association. Metronome. If the singers are having diffi- beat in their heads and when they reach the culty internalizing a steady beat, then try number eight, shout it out. See how much imposing an external beat as a starting point. variation there is in the placement of the end Rhythmic Integrity in the An amplified metronome will make them of the phrase. As the group gets better at Choral Rehearsal aware of when the tempo starts to pull ahead internalizing eight counts, try for 16! or fall behind the beat. Get physical. An ensemble rushes because Bag of Tricks for a “slushy” ensemble. The legendary Robert Shaw was tenacious in they do not have an internalized steady beat. 1. Isolate. his pursuit of exact rhythm in every ensemble Marching in place can be a way to use large 2. Speak-sing. that he conducted. From attacks and releases body movement to internalize beats. A varia- 3. Alternate text and numbers. to the placement of diphthongs and conso- tion is to stand in a circle and face the center. 4. Softer. nants, Shaw instilled a sense of rhythmic Instead of marching in place (Left-right left- 5. Start somewhere else. integrity into all of the musicians under his right), step sideways (left-feet together, left- 6. Get visual. direction. The key to his success was that his together) so that the circle rotates in a clock- 7. Where’s the consonant? choirs didn’t just “feel” the rhythm, they wise motion to the beat. 8. Diphthongs! thought carefully about what defined the Telegraph. Have singers place their right rhythmic aspects of the performance. The hand on the shoulder of the person beside Isolate. Eliminate some of the confounding use of “count singing” became a tool for them. Gently use the fore- variables present when developing group musicianship. finger of the right hand to singing. Singers have to Count singing is the practice of rehearsing a tap the beat on the shoulder worry about pitch, rhythm, choral piece on counts rather than singing of the person next to you. and text. By isolating a sin- text. Singers use a number on every beat con- This can also be done in a gle element, the singers are taining a pitch, thus engaging the singer for circle with consistent effect more likely to achieve suc- the entire length of long notes. When subdi- so that singers get both cess. Then gradually add in viding rhythms for eighth note patterns in kinesthetic and visual rein- each of the other variables. duple time, singers are asked to sing: 1 & 2 &, forcement as they sing. Speak-sing. Speak the etc. Shaw replaced the number “three” with When the ensemble has suc- rhythm on a neutral syllable the syllable “tee” to make the tongue move cess “telegraphing” the beat that has a percussive attack. faster and not slow down the rhythm on that to other members, then they “Tah” and “dah” work better beat. For greater rhythmic definition, singers can internalize the beat by than “la” because of a faster will count sixteenth notes (1 ee & ah, 2 ee & moving the tapping finger to tongue. Sing the rhythm on ah, 3 ee & ah, etc.). To sing a cut-off more their own chests. a single note. For variety, accurately, singers place the appropriate con- Recording. Record your Tom Wine have the ensemble sing on a sonant on the rest following the last pitch. rehearsal. Often, singers are not aware that chord that defines the tonality of the music. (For example, 1 & 2 & 3 & “t”, if the rest is on they are having tempo problems until they Now try singing the written notes on a neutral 4 and the concluding consonant is “t.”) hear the recording of the concert. Don’t wait syllable. Try the same sequence using the Variations on this method are employed for for the concert! Record rehearsals and let the text. Speak the text in rhythm, sing the text compound meters. singers hear what is happening. They are on a single note, and finally try the text with Understanding and having a method for solv- more likely then to work on the techniques the pitches. ing counting problems is vital to the musical that lead to good rhythmic singing. Alternate text and numbers. To rein- health of an ensemble. Slow down. When a group is rushing, they force rhythm, have part of the ensemble sing may need to focus more on the subdivision of on text and the other part of the group count Bag of Tricks for rushing or dragging the beats. Changing the tempo and forcing sing with numbers. There are as many com- tempos: singers to internalize sixteenth notes instead binations as the director can imagine that will 1. Accent “ee.” of eighth notes will allow them to concentrate give this exercise success. The men can count 2. Metronome. on placement of the downbeats. while the women sing text. The back row of 3. Get physical. Less Beats. When tempos are dragging, try each section can count while others work on 4. Telegraph. conducting the music “In two” instead of four words. Random groupings such as students 5. Recording. beats to a bar. With triple meter, try conduct- wearing blue, or students wearing glasses is 6. Slow down. ing “In one.” The visual change for the another way to divide the ensemble into 7. Less beats. singers will lead to a different feel of the counting and singing groups. 8. Count 8. phrase and help to pull the tempo forward. Softer. The louder a singer is performing, This is certainly preferable to doing the same the less likely they are to focus on what they Accent “ee.” Start with count singing. By pattern “bigger.” A bigger four pattern takes hear from other members of the ensemble. accenting the second sixteenth note in a beat longer to execute than a simple two pattern Singing at a softer dynamic will help focus pattern, it takes the stress off of the down beat and will actually contribute to the tempo attention on group consonants. and forces the singer to think about the for- problem. Start somewhere else. Singers will memorize Count 8. Give a down beat to the ensemble certain habits if the group always starts in the
4 Spring 2006 same place. Don’t always start at the begin- it had its own rhythm. If the word “My” is a 5. Syncopation: Syncopated rhythms almost ning of a page or a phrase. Try isolating a half note, divide the vowels so that the choir always start with a short note followed by a rhythm problem until one measure is perfect. sings “Mah” for a dotted quarter note and long note. Make the short note even shorter to Add a measure on each side until the entire “ee” for an eighth note. Count sing the first anticipate the change in stress. Prepare the phrase is correct. vowel in the diphthong and sing the second rhythmic “resolution” of the syncopated pat- Get visual. Put problem rhythms on the vowel where it should occur in the measure. tern by marking in the music the beat where board. Write out the subdivisions for dotted the melody returns to regular metric stress. rhythms. Create a warm-up containing the Cheat Sheet for common counting 6. Dotted rhythms: Use the short note that fol- trickiest rhythms from the music you will problems: lows the dotted note as the subdivision to rehearse; then start the rehearsal with that 1. Entrances early or late: Count sing, pulse count the entire pattern. warm-up. For a variation, put an incorrect the tempo, write beats in the music. 7. Hemiolas: Write in the three against two rhythm in front of the ensemble and see if 2. Note duration too short: Clap and sing the meter and count sing the music in both duple they can identify what is different from the music. Pulse the breath with every beat. and triple meters. rhythm clapped or played by the director. 3. Contrapuntal entrances: Sing individual 8. Tempo changes: Watch the director! Keep a chart or poster handy to point out lines only until a new voice enters. Add a common rhythmic problems. phrase to the theme with each repetition. Singing the correct pitches at the right time is Where’s the consonant? Determine if the Listen while singing. only the start of an “artistic” performance. singer should place the consonant on the beat 4. Ties: The note after a tied rhythm is often The ensemble must incorporate appropriate or in anticipation of the beat so that the vowel late. Imagine an eighth rest at the end of the tone quality, dynamics, phrasing, and style is on the beat. With percussive consonants tie as a stepping stone to anticipate the into the presentation. It is important to (t, p, b) phonating on the beat is not a prob- entrance. Think of ties that begin on an off- review the impact of rhythmic integrity on lem. With more sustained consonants (s, v, z) beat as a pick-up into the next beat. each of these elements of the performance. the tendency to wait for the beat before mak- ing a sound tends to put the rest of the phrase out of rhythmic sync. Practice singing the music with only the vowel sounds. Anticipate the placement of each consonant before Tom Wine is a past president of KCDA, Professor of Music and Director adding it into the choral texture. of Choral Activities at Wichita State University. He directs the Chancel Choir at Eastminster Presbyterian Church. Diphthongs! Because diphthongs require the singer to phonate two vowel sounds on one word (“night” = nah – eet) the placement of the second vowel should be as precise as if
Spring 2006 5 Choral Gems for Children’s Choirs Middle School Choir Recommendations JoAnne Stoddard, R&S Chair Children’s Choir Peg Hutson, R&S Chair for Middle School/Jr. High
Just like all of you reading this article, I am constantly search- She Sings. . . ing for new “Choral Gems” for the choirs I teach/direct at school. Amy F. Bernon, SSA, Heritage 15/1863H-3 You know… those no-fail pieces that every choral group falls in "Far away in a far-off land lives a child who love with and learns so much in the process. Finding these treasured loves to sing. . . She cries for those who have pieces of music takes years of searching and exploration. Some of never loved, and for those who never sing." the best pieces of music in my library have been suggested to me by This piece has beautiful weaving, intercon- trusted colleagues and friends. I would like to begin a new tradition necting lines, with the melody often in the SII of including a list of four tried and true “Choral Gems” in each voice. issue of the Cantate. It is my sincere wish that these suggested pieces Jeune Fillette (Maidens, Remember) would be as successful for you as they have been for my students Dalayrac/Arthur, SSA, BriLee BL300 and I. "Maidens, remember, swiftly time doth wing! In searching for this issue’s four “Choral Gems”, I turned to my Violets bloom but then they fade and die. 12-year-old daughter. I am lucky to say she has been one of my stu- Love, in your youth doth pass as swiftly by." dents for the past three years and is developing into a very fine This piece may be sung in French or English and has a light, madrigal- singer! I was very pleased and proud of her suggestions and share like feeling. Optional flute part included. them with you. Amani - A Song of Peace Reflections of a Lad at Sea by Don Besig and Nancy Price J. Papoulis, SSA, Boosey & Hawkes M-051-47502-5 (Shawnee Press # E-267). This is a collection of three songs that can "Sing strongly for peace throughout the world. With one voice, we will be performed individually or together. (Performance time is about 8 all sing together." A capella; rhythm instruments added. Sung in French minutes if performed together.) The first piece, titled “The Captain’s and Swahili (a listening CD is available for pronunciation help). Mate”, is a spirited song about a young lad who lands a job work- Occasional divisi into 4 parts, but always with a major chord. This piece ing on a sailing ship. The text portrays the excitement and passion looks much harder to learn than it actually is. The parts are well written this youngster feels for his new adventure. “Working in the wind and harmonic. It is a great closing piece when you add choral move- and the salty spray, oh, a sailor’s life is fine. And I hope I’ll live to see ment to energize your singers and your audience. the day when a ship like this is mine!” In the second piece, Rorando Coeli “Thoughts of Home”, the young boy’s previous enthusiasm turns to Vodnansky, arr. Lon Berry, SATB, BriLee BL487 melancholy. His feelings of homesickness take him somewhat by Double choir, but not too hard surprise. He has enjoyed the wonderful adventures but now wishes In the Arms of Winter more than anything that his ship was headed home… R. E. Schram & J. Parker, SATB, BriLee BL486 The third piece, “The Ghost Ship”, tells the story of a cold, Spinning Jenny windy night at sea when the boy was standing watch for the night. Dick Thompson, SA, Gentry JG2332 In a flash of lightening he saw a deserted ship floating by and he Festival Sanctus heard a mournful cry. The next morning when he tells his frighten- Lightfoot, SA, Heritage 15/1754H ing tale to the other men on board, they laugh at him (or so he thinks) and joke that he is making it all up! Students can relate to the story and emotions shared in this gem of a piece. The melodies are easy to learn, very singable, and will be remembered for a life- time. 6KDVWD&ROOHJH To Music arranged by Betty Bertaux (Boosey & Hawkes #OCTB6573). This piece is based on a 16th century German :RPHQ V&KRUDO)HVWLYDO Chorale Melody. It is set for unison voices with optional descant on the third and final verse. It requires a piano accompaniment, but there are also string parts available through the publisher. Betty Bertaux’s arrangement is also available in an SSA version (OCTB6373). The text of this well-known piece praises the gift of music and encourages all humankind to raise their voice in song. Yo Le Canto Todo El Dia by David L. Brunner (Boosey & Hawkes #M-051-46932-1). This piece is well worth the effort required to learn it. There isn’t a great deal of Spanish text to learn because the text repeats. There are some difficult intervallic pas- sages and the challenging hand clapping must be precise and clean. You will also need an excellent accompanist. :HGQHVGD\1RYHPEHU The Rhythm of Life arranged by John Leavitt (Warner Bros. DP QRRQ #SV9674). There are other arrangements of this piece but I prefer 0DVVHG6LQJLQJ SP this because it includes parts for Orff-Schulwerk instruments, if )HH desired. This is a high-energy piece that requires excellent articula- Contact Dr. Elizabeth Waterbury tion and precise rhythm. This is another one of those pieces your Shasta College Music Dept. students will ask to sing year after year! (530) 225-4941 [email protected] If you have any “Choral Gems” you think should be included in a future list, please e-mail me: [email protected]
6 Spring 2006 ARE YOU A FAT SINGER? The FAT Singer acronym and the rubrics on pages 7 and 8 were sent in by Peg Hutson, who has a poster- is an acronym that means: sized version of each in her Live Oak Middle School FAT choir room. She wrote them herself and posted the rubrics online. You can find them along with others Fair to Self and Others for all different areas of education at Aware of the Corporate Sound FEELINGS http://rubistar.4teachers.org/ Totally Committed to the Best You can even log in and create or upload your own to share. The Vocal Music Performance rubric below aithful is #1208910 while the Daily Rehearsal Technique is F #1107862. Available ATTITUDE
Rubrics really help inexperienced and developing Teachable musicians remember what’s expected of them and lead to better performance and better classroom dis- Full, Free Sound cipline. Versions of these are going up in my new classroom in August! --Ed. Articulate Diction TONE QUALITY Tonally Pure
Vocal Music Performance - Individual : VOCAL PERFORMANCE CATEGORY 4 3 2 1 Tone Quality Tone is consistently Tone is focused, clear, Tone is sometimes focused, Tone is often not focused, focused, clear, and and centered through the clear, and centered, but clear or centered, but centered throughout the normal range of the sometimes the tone is rather breathy or over range of the voice. voice. Extremes in range breathy, uncontrolled, or edgy, regardless of the sometimes cause tone to strident in the normal singing range being sung, be less controlled. Tone range. Extremes in range are significantly detracting from quality typically does not usually uncontrolled. the overall performance. detract from the Occassionally the tone performance. quality detracts from the overall performance. Rhythm The beat is secure and the The beat is secure and The beat is somewhat The beat is usually erratic rhythms are accurate for the rhythms are mostly erratic. Some rhythms are and rhythms are seldom the style of music being accurate. There are a few accurate. Frequent or accurate detracting sung. duration errors, but these repeated duration errors. significantly from the overall do not detract from the Rhythm problems performance. overall performance. occasionally detract from the overall performance. Pitch/Intonation Virtually no errors. Pitch is An occasional isolated Some accurate pitches, but Very few accurate or very accurate. Intonation error, but most of the there are frequent and/or secure pitches. Intonation shows tall vowel colors and time pitch is accurate repeated errors. Intonation is is covered or bright rather pure head tone. and secure. Intonation poor, with wide rather than than focused on tall shows open vowel colors focused color. vowels. and good head tone. Dynamics Dynamic levels are Dynamic levels are Dynamic levels fluctuate, but Attention to dynamic levels obvious, consistent, and an typically accurate and can be discerned. is not obvious. accurate interpretation of consistent. the style of music being sung. Phrasing/Breathing Phrasing is always Phrasing is usually Phrasing is usually consistent Phrasing is rarely consistent and sensitive to consistent and sensitive and occasionally sensitive to consistent and/or rarely the style of music being to the style of music the style of music being sensitive to the musical sung. Breaths are only being sung. Breathing is sung. Breathing is shallow style. Breathy tone shows taken at rests, marked usually accurate, silent, and/or noisy. breathing problems phrases, or at director's and deep. throughout phrase. indications. They are deep and silent. Attention in Class Student is focused and Student is usually Student is sometimes Student is rerely focused attentive throughout class focused and attentive focused and attentive during and attentive during class. and follows directions to during class, but class, but is easily distracted Sometimes student is the best of his/her ability. sometimes is distracted by others and sometimes disruptive to rest of class. Student listens to other by others. Student listens distracts others. sections rather than to other sections or sits chatting. quietly when not singing.
Spring 2006 7 Daily Rehearsal Technique CATEGORY 4 (FAT) 3 (FAT) 2 1 At the Tardy Bell Student is on the risers Student will be on the risers Student is in the room and Student enters room noisily quietly, with no gum, seeds, quietly, with no gum, seeds, preparing to go to the risers or late. He/she may be or candy, and working when or candy, and ready to hear at the bell. He/she is talking chewing gum, etc. He/she the tardy bell rings. He/she is instructions when the tardy or chewing gum, and has has not begun studying the prepared with the sight bell rings. He/she is not completed the sight sight singing exercise. singing exercise listed on the beginning the sight singing singing exercise. board. exercise on the board. Prepare To Sing Student stretches using Student stretches using tall Student is quietly chatting Student is unprepared or off strong body placement and body. Does not disturb during physical stretching or task during preparation time. good energy. He/she warms others by bumping them is not prepared to work. . up using correct vocal He/she warms up vocally He/she is not focused placement and tone. using good vocal placement during vocal warm ups. Student puts the warm-up and tone. time to his/her best use. Musical Student has music prepared Student has music prepared Student has music folder Student has not spent any Awareness for rehearsal. He/she has for rehearsal, and has out and has numbered all time outside of class practiced at home and numbered measures. He/she measures. He/she has working on music. Music is knows part on covered has practiced covered parts, worked on parts that have not practiced, Measures are sections. Student has sight and is ready for direction. been covered. not numbered. read new music, and all measures are numbered. Listening to Student is aware of the Student is aware of the When singing, student is When singing, student only Corporate Sound corporate sound. He/she sound nearby. He/she only aware of his/her own thinks about his/her voice. modifies volume based on modifies own volume based voice and/or section. He/she He/she does not always director, score, and balance. on director, score, and does not listen to other sing, but rather, talks on the He/she listens to other balance. Student is quietly sections while singing. risers and/or is disruptive to sections, and silently places focused on music when other Student talks quietly with the learning process. his/her part within the sections are singing, and others when not singing. rehearsing sound. does not cause distraction. Take Ownership Student has taken a Student is prepared to take a Student allows others to Student shows an "I don't leadership roll, and actively leadership roll by lead by following the care" attitude about choir assists in choir whenever demonstrating good directions given. He/she most of the time. necessary. modeling behavior. Student tries to show good behavior, tries his/her best and never but sometimes talks or does distracts others from not focus. learning. Riser Manners Student is aware of his/her Student stands in "Lock & Student sometimes stands Student often stands or sits position on the risers for Load" position or tall and powerfully on the in a disruptive manner while both standing and sitting. "Performance Position" when risers while singing. He/ She on the risers. Student uses body in a standing on the risers. may stand with arms professional and courtious Student is usually self- crossed or hands in manner at all times while on controlled while sitting. pockets. Student may annoy the risers. others.
International Youth Choral Festival at Wells Cathedral July 9-13, 2007 for Treble and SATB choirs
Artistic Director Dr. Z. Randall Stroope with Ronald Corp Music Celebrations International 1.800.395.2036 [email protected] www.musiccelebrations.com
8 Spring 2006 President’s Message continued from page 2
In addition to the performing ensembles, several colleagues shared their expertise in interest and reading sessions: Daniel Afonso, Heather Bishop, Tom Carter, Vance George, Josh Habermann, Patrick Hawkins, Daniel Hughes, Anna-Marie Katemopoulos, Ron Kean, Eliza Rubenstein, and Jeff Seaward.
Our profession is so much better because of folks like these that give back to the organization by preparing ensembles and interest sessions for our confer- ences and conventions. Thank you one and all for your contributions to ACDA!
I marvel at the wonderful opportunities we have to share the choral art. I had the pleasure of attending the Central Region Honor Choir Concert conducted by Iris Levine and Don Kendrick in November and the All-state Honor Choir Concert in March conducted by Charlotte Adams and Bruce Rogers. I sat in the audience amazed at the amount of talent these young people present to us after such a short time together!!! WOW! These were both wonderful con- certs and kudos to Curtis Mannah, Brad Hayashi, Genevieve Sagi, Ken Rawdon and our friends at SCVA for the time they spend volunteering to make these events happen! Thank you one and all for your time spent in coordi- nating, chaperoning, and assisting in the audition process for this wonderful opportunity for our singers statewide!
As we “wrap up” another year, so we bid farewell to ACDA board members who have exhausted their terms on the board. Two regional representatives will be stepping down from the board, from the Central Coast, Charles Young and from the Northern area Mark Teeters. Both have been wonderful lead- ers on our board for the past 4 years and we wish them well. Also leaving the board will be Gene Peterson, Jennifer Kelly and Curtis Mannah, thank you for your willingness to serve and we wish you all well in your future endeavors.
Have YOU ever thought about getting involved on the ACDA board? If you have, please let us know, by e-mail or phone, we would love to have some new faces and new ideas brought to the board. Our job is to serve YOU…our col- leagues! Please drop us a line if you are interested in getting a little more involved in the state ACDA board!
Our summer/fall events are coming together nicely as we prepare for the end of the school year. ECCO with Jo Michael Schiebe is sure to be one of our best and the Fall Reading Sessions with headliner Edie Copley will be a wonderful start to our school year. Make your plans to attend now!
Yes, times really have changed! I can sit in my Victorian B&B and connect to the internet without a cable now!!! And like today, the storm clouds can break up and we’ll find a beautiful blue sky up there. Being united with oth- ers who are involved in similar experiences can often give us the “lift” we need to focus on our singers and propel us to great end of the year activities. As we head down the “home stretch” I wish you all wonderful experiences with your students and time away for yourselves. Don’t forget to get away now and then. You deserve it, your family deserves it and your students will thank you later! Best wishes for the end of the school year! See you at ECCO!!!
Spring 2006 9 ECCO 2006
Jo-Michael Scheibe, professor and Program Director of Choral Studies at University of Miami (Florida), received B.A. and M.A. degrees from California State University at Long Beach, and a D.M.A. from the university of Southern California. Scheibe held positions in California and Arizona before his arrival at the University of Miami. He conducts the University of Miami Chorale. Ensembles under his leader- ship have sung at state, regional, and national conventions of the ACDA and MENC. In addition, his ensembles have performed with some of the world’s greatest singers, including Luciano Pavarotti, Jose Carreras, Marvis Martin, Jon Aler, Richard Zoeller, and Henrietta Schellenberg.
Scheibe has served as the artistic and music director of the Florida Philharmonic Chorus, a 130-voice Symphonic Chorus, the official chorus of the Florida Philharmonic Orchestra, under the baton of Maestro James Judd. Scheibe is a frequent guest conductor of all-state choirs, honor choirs, and high school and collegiate festivals. He is past president of the ACDA Western Division and a guest lecturer at ACDA conventions, state music edu- cators conventions, and universities throughout the U.S. and Australia. He serves as an editor for Colla Voce and is the associate publisher for Walton Music, where choral compositions are published in a choral series under his name.
Hailed by theSan José Mercury News as "a Bay Area jewel" and extolled by theBay Area Reporter as "pure balm for the ears." The Choral Project joins forces with Stephen Schwartz, award-winning composer ofWicked , to create the most anticipated performance of the season. One is theAll
Sat., June 24 • 8:00 p.m. A fully-staged theatrical work portraying Sun., June 25 • 4:00 p.m. our human experience through song, movement and visual media. Tickets $15-$40 The California Theatre 345 South First Street, San José Expect to be affected!
For info and tickets: www.choralproject.org The Choral Our vision is to heal our world through music and words. Project
10 Spring 2006 California ACDA - 2006 Summer Conference Registration
Name (as you wish it to appear on your name tag) ______Please print clearly.
Mailing Address ______
City ______State ______ZIP Code ______Home Phone ( ) ; Work Phone ( ) .
E-Mail Address ______
Choral Institution ______(as you wish it to appear on your name tag) ACDA Member Number ______Roommate Request ______
FEES PLEASE NOTE: All registrations are for the entire conference and include tuition, music packet, accommodations and meals. Day use fees do not include accommodations but do include meals. We are not able to accommodate part-time or partial registrations. Spouses attending must register and pay full fees. Deposit of $75 (not refundable) is required to hold space. Sorry, we are not able to accommodate special dietary requests. Lodge accommodations are double and quad rooms with bath. Dorm accommodations are separate menís and womenís large sleeping areas with bunk beds and community bathrooms. RV sites have hookups.
ACDA Members Registration with lodge housing and meals $394.00 $______Registration with dormhousing and meals $349.00 $______Registration with RVsite and meals $329.00 $______Day use (includes meals but no housing) $304.00 $______ACDA Student Members Registration with lodge housing and meals $319.00 $______Registration with dormhousing and meals $274.00 $______Registration with RVsite and meals $254.00 $______Day use (includes meals but no housing) $229.00 $______Non-Members or Members Needing to Renew (includes membership fee) Registration with lodge housing and meals $469.00 $______Registration with dormhousing and meals $424.00 $______Registration with RVsite and meals $394.00 $______Day use (includes meals but no housing) $369.00 $______Spouse/Partner Not Attending Any Conference Sessions With lodge housing and meals $219.00 $______With dorm housing and meals $174.00 $______With RV site and meals $154.00 $______Day use (includes meals but no housing) $129.00 $______California ACDA Membership Directory $ 5.00 $______Total Amount Due $______Less Non-Refundable Deposit ($ 75.00) Balance Due at Conference Registration Desk $______Make checks payable to California ACDA. Sorry, we cannot accept purchase orders or credit cards. Mail form with payment to California ACDA, 2348 Clay St., Napa, CA 94559 ï Phone & FAX: 707-255-8012 On-time registration must be postmarked by July 8, 2006. Registrations postmarked after July 8, add $50.00 per person (music packet NOT guaranteed).
Spring 2006 11 On the Mountaintop Works of Choral Literature Dr. Jonathan Talberg, R&S Chair College & University Choirs
It is with Alyssa’s permission that we print it here:
ON THE MOUNTAINTOP WORKS OF CHORAL LITERATURE By Alyssa K Briden Purpose: There are thousands upon thousands of pieces written for mixed chorus. They range from the small four-part motets to major cantatas, oratorios, symphonic movements, and the like. There is some consistency in which pieces are considered to be “mountaintop” works, however there is precious little documentation to back up what may be considered a fairly subjective preference. The purpose of this study was to document those works which choral conductors, music educators, and performers consider to be “mountaintop,” or the best of the best. Assessment may have been based on how well the work typifies a period, quality of vocal writing, quality of orchestration, mass popularity, etc.
Method: I first researched those universities and colleges that offered a graduate degree in music, using the Peterson’s Graduate Schools in the US and Guide to American Graduate Schools, 9th Edition. This resulted in a list of 323 schools. I then researched each school individually via the Internet to get names of choral directors and instructors. Those schools Dear Conductors: whose programs are now defunct were not included; likewise, those schools that did not offer There are works we know, and there are contact information for their professors were also eliminated. This resulted in a final list of works we need to know. This column is about the 423 professors at 268 schools. I emailed each professor individually, then did mass reminder works we need to know. emails two weeks later and again one month later. Ultimately, I received 47 completed sur- In William Dehning’s Chorus Confidential veys and 33 responses from those who declined to participate. A list of participating profes- (Pavanne Publishing, 2003) he repeatedly points sors and their respective schools is attached. out that the conductor who fails to program principally from the repertoire of our shared Results: past is abdicating their responsibility to educate After receiving all completed surveys, I listed each composer included and tallied their singers and their audiences. Since reading for each work. Based on number of “votes,” I discovered the ten most popular works and his short tome, I’ve made a conscious effort to composers for each stylistic period (Medieval/Renaissance, Baroque, Classical, Romantic, program at least 50% classics with both my 20th Century, and Contemporary). Although it is a bit of a stretch, I also drew out the ten University and Community choruses. In so doing, most popular composers and works from all of the periods combined. These lists are also I have found a richness and joy that is unsur- attached. passed by many of the newer, trendier works. That being said, it is difficult for many of us Additional Notes: to discern the best pieces in the canon from those A few composers were listed in more than one stylistic period (i.e., Monteverdi, that are performed frequently---simply because Poulenc, etc.). I moved these composers to one period or the other based on the frequency people know them. Consequently, I was pleased he (or she) appeared in each period. Thus, there may be some disagreement with classifica- when Alyssa K. Briden, a graduate student at the tion. In addition, ranking is based on number of “votes,” not number of works. For some University of Florida, who was doing a survey of lists there are fewer than ten selections. This is because of huge disparities between the top collegiate conductors to determine the works and the “next-to-top” works. (See listing of Top Composers in Classical as an exam- “Montaintop Works of Choral Literature”, con- ple) tacted me last November. When the final survey was completed---as part of a class project for Participants Alyssa---she sent copies to all who participated. After reading her findings, it was clear to me that Dr. Dale Miller, Arkansas State Prof. Karen Keating, Shenandoah this list of the “mountaintop” works would be Dr. Jeffery Ames, Baylor Prof. Bruce Borton, SUNY-Binghamton Dr. Giselle Wyers, Boise State Prof. Gerald Gray, SUNY College-Fredonia beneficial to both teachers and students alike. Dr. Anna Hamre, Cal State-Fresno Dr. Kevin Hibbard, University of West Georgia After all, if you can get 47 University professors Dr. Jonathan Talberg, Cal State-Long Beach Prof. Jeffrey Cornelius, Temple to agree on anything, it must be worth sharing. It Prof. Vijay Singh, Central Washington Dr. Darryl Nettles, Tennessee State is my hope that reading this will remind many of Dr. Keith Jones, Converse Prof. Joseph Huszti, UCal-Irvine Prof. Scott Tucker, Cornell Dr. Lon Dehnert, U Central Oklahoma us of favorite works that we’ve neglected in our Prof. Jason Paulk, Eastern New Mexico Dr. John Leman, U Cincinnati, College-Conservatory own programming, and favorite works that we Dr. Jameson Marvin, Harvard of Music need to revisit for the sheer joy of listening and Dr. Jon O. Carlson, Jacksonville Dr. Joan Conlon, U Colorado-Boulder Dr. Kenneth Fulton, LSU-A&M Dr. Will Kesling, U Florida reading the score. I’m especially hopeful that Dr. Peggy Dettwiler, Mansfield (PA) Dr. Timothy Dickey, U Iowa young conductors and students will see this list Prof. Jonathan Reed, Michigan State Dr. Jefferson Johnson, U Kentucky and think, “I need to buy a score of that work. I Dr. Kenneth Bowles, Minot State Dr. Matthew Mehaffey, U Minnesota-Twin Cities don’t know it.” Prof. Stephen Caracciolo, Ohio Dr. Jerry McCoy, U North Texas Dr. Christopher Kiver, Penn State Prof. William Parberry, U Pennsylvania Prof. Anthony Leach, Penn State Dr. Larry Wyatt, U South Carolina Dr. Susan Marchant, Pittsburg State Dr. Matthew Harden, U South Dakota Prof. Andrew Megill, Rider Prof. Geoffrey Boers, U Washington Dr. Stephen Fuller, St. Cloud State Dr. Gary Schwartzhoff, U Wisconsin-Eau Claire Prof. Lee Nelson, St. Cloud State Dr. Sharon Hansen, U Wisconsin-Milwaukee Dr. David Conte, San Francisco Conservatory Dr. Christopher Peterson, U Wisconsin-Milwaukee Dr. Charlene Archibeque, San Jose State Dr. Michael Krueger, U Wyoming
12 Spring 2006 All Periods Combined Top Works 20th Century Bach – Mass in b minor (29) Totals: 61 composers, 143 works Top 10 Composers Handel – Messiah (26) Bach – 46 works, 182 “votes” Bach – St. Matthew Passion (25) Top Composers Mozart – 25 works, 123 “votes” Bach – Magnificat (17) Britten – 11 works, 51 “votes” Haydn – 30 works, 115 “votes” Bach – St. John Passion (17) Vaughan Williams – 11 works, 34 “votes” Brahms – 30 works, 105 “votes” Vivaldi – Gloria (12) Stravinsky – 4 works, 31 “votes” Handel – 25 works, 72 “votes” Bach – Cantata 4 (11) Durufle – 4 works, 23 “votes” Beethoven – 10 works, 64 “votes” Schutz – Musikalische exequien (9) Bernstein – 4 works, 18 “votes” Mendelssohn – 19 works, 51 “votes” Bach – “Motets” (8) Schoenberg – 3 works, 17 “votes” Britten – 11 works, 51 “votes” Bach – Singet dem herrn (8) Barber – 5 works, 16 “votes” Monteverdi – 15 works, 50 “votes” Bach – Jesu meine freude (8) Orff – 1 work, 14 “votes” Palestrina – 11 works, 48 “votes” Penderecki – 3 works, 14 “votes” Thompson – 7 works, 13 “votes” Top 11 Works Classical Brahms – Ein Deutsches Requiem (33) Totals: 12 composers, 87 works Top Works Bach – Mass in b minor (29) Britten – War Requiem (26) Mozart – Requiem (29) Top Composers Stravinsky – Symphony of Psalms (22) Handel – Messiah (26) Mozart – 25 works, 123 “votes” Durufle – Requiem (17) Haydn – Lord Nelson Mass (26) Haydn – 30 works, 115 “votes” Orff – Carmina Burana (14) Haydn – Creation (26) Beethoven – 10 works, 64 “votes” Bernstein – Chichester Psalms (13) Britten – War Requiem (26) Billings – 8 works, 11 “votes” Vaughan Williams – Dona Nobis Pacem (11) Bach – St. Matthew Passion (25) Britten – Rejoice in the Lamb (10) Verdi – Requiem (25) Top Works Schoenberg – Friede auf Erden (10) Monteverdi – Vespers of 1610 (23) Mozart – Requiem (29) Barber – Reincarnations (9) Mendelssohn – Elijah (23) Haydn – Lord Nelson Mass (26) Martin – Mass (9) Haydn – Creation (26) Beethoven – Missa Solemnis (22) Medieval/Renaissance Mozart – Mass in c minor (19) Contemporary Totals: 55 composers, 175 works Beethoven – Finale, Symphony 9 (16) Totals: 88 composers, 159 works Beethoven – Mass in C (15) Top Composers Mozart – Ave verum corpus (14) Top Composers Monteverdi – 15 works, 50 “votes” Mozart – Solemn Vespers (12) Lauridsen – 8 works, 19 “votes” Palestrina – 11 works, 48 “votes” Mozart – Regina Coeli (11) Rutter – 9 works, 15 “votes” Byrd – 13 works, 36 “votes” Whitacre – 7 works, 15 “votes” Victoria – 8 works, 36 “votes” Part – 5 works, 14 “votes” Tallis – 4 works, 29 “votes” Romantic Hogan – 9 works, 11 “votes” Josquin – 9 works, 25 “votes” Totals: 31 composers, 134 works Clausen – 8 works, 9 “votes” Di Lasso – 17 works, 22 “votes” Adams – 2 works, 8 “votes” Morley – 8 works, 18 “votes” Top Composers Stroope – 7 works, 8 “votes” Gabrieli – 5 works, 13 “votes” Brahms – 30 works, 105 “votes” Tavener – 5 works, 8 “votes” Mendelssohn – 19 works, 51 “votes” Top Works Bruckner – 12 works, 39 “votes” Top Works Monteverdi – Vespers of 1610 (23) Poulenc – 12 works, 34 “votes” Whitacre – Water Night (8) Victoria – O magnum mysterium (22) Verdi – 6 works, 33 “votes” Part – Magnificat (7) Palestrina – Sicut cervus (17) Faure – 2 works, 26 “votes” Adams – Harmonium (6) Palestrina – Missa Papae Marcelli (13) Schubert – 10 works, 24 “votes” Lauridsen – Lux Aeterna (4) Byrd – Ave Verum Corpus (12) Berlioz – 4 works, 20 “votes” Lauridsen – O Magnum Mysterium (4) Tallis – Spem in alium (11) Rachmaninoff – 4 works, 18 “votes” Rutter – Requiem (4) Tallis – Lamentations of Jeremiah (9) Schumann – 6 works, 11 “votes” Josquin – Ave Maria (8) Josquin – Missa Pange Lingua (7) Top Works Tallis – If ye love me (7) Brahms – Ein Deutsches Requiem (33) Verdi – Requiem (25) Mendelssohn – Elijah (23) Baroque Faure – Requiem (22) Totals: 27 composers, 140 works Berlioz – Requiem (16) Poulenc – Gloria (12) Top Composers Rachmaninoff – Vespers (11) Bach – 46 works, 182 “votes” Handel – 25 works, 72 “votes” Schutz – 13 works, 30 “votes” Purcell – 11 works, 25 “votes” Vivaldi – 2 works, 12 “votes” Buxtehude – 7 works, 7 “votes” Praetorius – 3 works, 7 “votes”
Spring 2006 13 AANNNNOOUUNNCCEEMMEENNTTSS Sierra College presents… The ACDA National Headquarters has moved to a new location (545 Couch drive in Oklahoma City) and has a new mailing address as well: ACDA Music in PO Box 2720 Oklahoma City, OK 73101-2720 The San Dieguito United Methodist Church in Encinitas, California is looking for a Director Vienna, of Music to supervise the total music program of the church. Duties include conducting the chancel choir, coordinating and supervising other church choral and instrumental organizations, and coordinating with the pastors regarding the worship service. Fifteen to Austria twenty hours per week, salary negotiable. An application and complete job description can be obtained until July 15, 2006 by contacting Joyce Calvin, Administrative Assistant, at July 26—August 16, 2006 [email protected] or: SDUMC 170 Calle Magdalena Encinitas, CA 92024
Vocal Jazz Opportunities in South America [Sent in by Michele Weir - Ed.]
Hey friends. Below is info about two GREAT opportunities for one of your students, past stu- dents (or you) to teach in South America for a year (or more.) In both cases, the need is for a vocal jazz specialist. See below for more specifics about job requirements. If you have a student just graduating (or a past student or friend or yourself) who has the skills for either of these positions, and would be interested in a fabulous cultural experience not to mention a giant dose of great work experience, PLEASE pass on this email to them. I just returned from Peru, know the singers and situation there, and can tell you I wish I could go do the job myself! Thanks very much, and see info below. Michele Earn up to 6 transferable units in music PERU Just wanted to let you know that we will be actively seeking an intern to run our Vocal Jazz with Professor Fred Weber Group "Voces del Jazz" in Lima 2006-2007. This is a very demanding internship as it involves working with vocal students of varied back- Program includes: grounds and experiences. The position starts in July 2006 and will run 12 months through • round-trip airfare July 2007. Room and board is provided for the intern as well as a monthly stipend of $350 • accommodations for transportation, incidentals and personal expenses. We are after a TOTAL self-starter who is enthralled by the idea of working in Peru under very • overnight excursions to Prague, demanding circumstances: low budget (lower than ever imaginable in the States), long hours Munich, Salzburg and more and a rigorous schedule is the norm. We will provide a very worthwhile professional expe- • venues for Sierra College choral rience and a resume builder for sure, but this internship is not for the faint of heart. group performances* ---Gabriel Alegria [email protected] • and much more ECUADOR I've been teaching for the semester at the University of San Francisco in Quito Ecuador. They * Performance portfolio $200 are affiliated with Berklee and just this year became the 14th international 'Berklee College of (for students in choral group) Music.' It's a great program that's really growing. They're planning a new building and new facilities and equipment are on the way too. This is the first year they've had a jazz voice fac- Program fee $3495 ulty, vocalist Deadra Hart was here last semester, and I took over for the Spring. It's a won- derful opportunity to check out a different culture and really make a difference in a nascent jazz program. The deal more or less is teaching about 15 hour long private lessons per week, 1 or 2 jazz choirs, a weekly improv class and a weekly workshop for working on songs with the students. This is what we're planning now, but things are very flexible. The pay is not amazing, but they do include a very well-situated furnished apartment, expenses included, and a nice studio plus airfare. There are also professional opportunities here, gigs, concerts, studio work, and I'd be happy to pass on my contacts to anyone interest- For more information contact ed. Christine Vona, Study Abroad Coordinator, Skills that would be helpful are: good piano skills, some Spanish language skills, experience Sierra College, 5000 Rocklin Road, with a jazz choir, good knowledge of vocal technique and pedagogy. They are accepting Rocklin CA 95677, (916) 781-7198 applicants for any time length: temporary (one semester), short term (2 years), or long term... ---Alexis Cole [email protected] [email protected]
14 Spring 2006 Yet, we can’t afford to simply “teach songs.” In the end, the students Music for life will spend more time learning the music and the way to interpret it Elena Sharkova, R&S Chair Ethnic & Multicultural if we, teachers, fail to teach concepts. Working on Handel, Bach or Mozart, we are likely to spend hours teaching articulation in melis- A recent conversation with a dear mas – there is an awful lot of those!—unless we teach the concept friend and former classmate stirred up (here is this word again!) of the articulation that they can apply a whole array of thoughts and independently. inspired this article on one of my favorite subjects: how can we teach What if we could teach our students to hear and understand differ- music and singing so that the skills and ences in performance practices of the Classical and Romantic, knowledge stay with our singers for Baroque and Renaissance choral music? How about keeping it in life, and, more importantly, continue perspective for them by discussing how each piece fits into a bigger to grow? picture: piece_composer_music of the country_musical period_social, political, cultural events of the time. What a huge dif- My friend, Alexander Polianichko, ference it would make in the way the singers connect to the music, shared an amazing tale of his recent the text and the message of the piece! conducting experience. A successful orchestra and opera conductor, he had an engagement with the With every rehearsal and every piece of music we are helping our Danish National Radio Symphony Orchestra this fall. The contract, singers create strong foundations on which their future involvement signed 2 years in advance, listed 3 orchestral pieces on the program, in musical performance will be based. We want them to continue one of them being the 10th Symphony by Shostakovich. singing – beyond high school, beyond college. We want our students to have this music for life. Let’s help them fall and stay in love with On the day of the first rehearsal (roughly 72 hours before the con- the choral art. For life. cert) and just off the plane, he passes by the concert hall marquee which announces him conducting Shostakovich’s….6th Symphony! Nobody is able to explain the error but there is a situation at hand: 80 musicians have been practicing the parts of a “wrong” sympho- ny; tickets are sold, and the first rehearsal is 20 minutes away. The embarrassed manager hands to my friend the only full score of the An Elementary Influence symphony they have – a pocket book version (you know, the kind you Charles Young, Central Coast Region Representative need a magnifying glass to read!) The last two years I have had the A loud gasp from me: “What did you do?!!” pleasure of having a full time choral “What could one do in such a situation? Get out the baton and start teacher at the elementary schools. the rehearsal.” Unfortunately she is spread out to all “A three hour rehearsal on a piece you never conducted before?! This six, but her influence is undeniable. is not exactly the Nutcracker suite.” Her singers began signing up for (Here comes my favorite part of the story.) classes for two middle schools and I -- I performed it with the conservatory’s student orchestra my first will see 50 folks walk through the year of grad school. door come September. In past years “Sasha, that was more than 15 years ago, and you were the last stand the district spread out 5 different of the violin section.” teachers with varying levels of choral -- True. I guess they taught us those concepts really well. Remember, experience. Some who have never every concert program was a study of compositional styles, interpre- taken choir or others with a great deal tation, performance practices, form. of k-4 experience, but with a shaky concept of how to get the kids to You forget the notes, but the concepts and principals stay while you apply their acquired skills. This year for the first time I had students grow as a performer and broaden your repertoire. There, on stage in who understood how to read rudimentary rhythms and could sight- Copenhagen, as the orchestra started to play the symphony, my read a simple melody when they walked in the door! If the students memory continued to open up the “hidden pockets” of information cannot read better in High School, then I will be the one to blame. and experiences from 15 years ago. In my mind, I could see the bow- Already they perform relatively difficult music and learn their music ing markings I made in my part back then. Quite amazing….” twice as fast as previous groups. This is all attributable to my ele- mentary choir teacher, Cynthia Baum-Linquist. I am excited what Patterns, interpretation, performance practices, traditions… These will be next year. The students aren’t freaked out about the demands are empowering words: knowing how to apply these concepts will I make on them and the music they perform. This year she brought make our students into independent and informed performers as her kids to the Central Coast Choral Festival. For the first time in well as appreciative and involved audience members and supporters recent memory, Paso Robles Public Schools was able to bring evey of the arts. choir to festival. What a joy to see her walk on the with 150+ singers on the stage of the beautiful Performing Arts Center at Cal Poly. It is We must use every octavo we hand out to our choir as a great teach- a singular experience to see talented young people make such a pos- ing tool. We must take the time to analyze with the singers the form itive impression. She spends time not only teaching music, but plug- of each piece, write down chord progressions, discuss compositional ging her kids into choir at the middle school. I am fortunate to have techniques, details of poetry setting, diction etc, etc. a determined and capable person taking care of the elementary school vocal music program. Yes, it sounds like a lot of work. With many concerts to give and lots of music to learn, who has the time to analyze the counterpoint in a fugue or discuss why a Brahms motet should be performed different- ly from a Palestrina motet? Spring 2006 15 ;OYLL:\TTLY 0$67(5RI086,& PU
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16 Spring 2006 Representative Report Cheryl Anderson, Bay Area Representative Dear ACDA, house down. Risking no sleep, I visited with old friends and col- Recently a singer gave me a quote from Gian-Carlo Menotti: leagues after concert hours and then went to all the Round Tables at "Hell begins on the day when God grants us a clear vision of all that 7:00 am. Evidently no one else slept either, because they were all we might have achieved, of all the gifts which we have wasted, of all completely crowded and extremely well-organized. A couple of that we might have done which we did not do." With a laugh, she exceptional workshops I attended involved "Funding Community said, "Is that what you're afraid of!?" In my experience, Choruses," and "Music in Worship: Facilitating the those of you I know out there seem to live, as I do, in hope Dialogue," with Milburn Price, past ACDA National of not wasting a single gift of your own or anyone else's. I President, as clinician. Cheryl Dupont, New Orleans have had the pleasure of meeting many of you this year, Childrens Choir, conducted the Children's Honor Choir, working with your singers, talking to you, watching you and this was her first concert since Katrina had destroyed work, and hearing the great music you are teaching and their community. Many of the West Virginia students performing. Menotti would be happy to know of all the were still suffering under the memory of the mine disas- stones being turned in search of superior literature, pro- ters, and the irony of that conductor and those children gram building, voice building, and contributions to the singing brilliantly was a personal sidebar of triumph ris- lives of your singers and communities. ing out of tragedy. The "Convention Sings" in Southern Starting with the Regional Skills Workshops in were all Appilachian folk song settings. February, people from the Bay area gathered for the The Northwest Division drew my TA's because they insights they could gain in the areas of conducting, voice wanted to be saturated with the music of Velio Tormis. building, children's choirs, high school programs, record- They were not disappointed, and actually got to meet him, ing techniques, and music and worship. I left the day with bathing him in their adoration of his music. They loved new inspiration I could use Monday morning as I entered my Theory the Northwest convention, and we noted the regional literature class and long-range ideas which I will use along the way in all I do. choices from the three Divisions. Western Division was, of course, One of the best parts of the day is always seeing everyone, all of you, fantastic. I was immensely proud of all of you from California and and hearing your enthusiasm about what you are doing. your brilliant work. I had the opportunity to sing a rehearsal with Reconnecting as professionals helps remind us of our purpose and the Mormon Tabernacle Choir, which was something I will never gives us tools to do our jobs better. forget. I learned that everyone auditions for that group, and if you As luck would have it, I had the pleasure of attending both pass the first audition you then progress to the theory class. If you Southern and Western Division Conferences, and my TA's attended pass the theory class you are advanced to a training choir, then pro- Northwest. We have really benefited from comparing notes, litera- bationally accepted into the 350-voice ensemble for three months ture, impressions, thoughts for improvement. Southern Division was before completing your trial period. It was a very impressive group in Charleston, West Virginia, and held primarily in a beautiful Clay of musicians, and the organization is laudible in its training program Center for Arts as Sciences. Some concerts were in beautiful local as well as artistry. For inspiration, the Western Division was hard to churches, and the Civic Center held exhibits and interest sessions. beat. My Cabrillo Choruses Administrator was with me and she was The concerts were stunning, all the honors choirs were quite out- bursting with enthusiasm, ideas, reverence for the place music holds, standing, and the male ensemble Cantus absolutely brought the and for the music makers. At the risk of leaving anyone out, I would only highlight the speech made by Frank Pooler, Convention Honoree, was a memorable example of oratory at its best. For that Representative Report and for his legacy of excellence, we were all glad to show our appre- Lori Marie Rios, Southern Region Representative ciation. The concerns I find many of you expressing as I work with you I am always amazed at how fast our and your groups involve balancing work and private life, program year goes by. We in Southern Cal. have cuts, finding ways to do new and unusual literature, money, and such wonderful musical events that retaining excellent singers. Somehow you seem to be accomplishing occur. First , congrats to Dr. Jonathan great music-making. I am often immensely impressed with the Talberg for hosting the Southern challenges which you choose to enable your students to advance California Skills workshop. It takes musically, responsibly, and personally. Kathy Smith recently reflect- many volunteers to put together some- ed to me the concept that choral music is centered in the develop- thing like this. Thank you also to the ment of the person. The organization exists to serve the growth of Congregational Church who allowed the individual and is dependent upon that singer's growth. I also us to use their facility. remember Dan Jackson saying once that when we lose sight of the In March we celebrated the gift of joy of watching a student develop then our program will suffer. Both Music in Utah. For all of you who went these ideas help me remember to invest in the people around me. to the division convention we have Students will be leaving your programs as they graduate this much to be happy about. Southern California was very well repre- June. I know you are working hard to help them get into their choice sented and the concerts were not only full on integrity, they were colleges and universities, as I am with my students. As the entrance music making at the highest level of art. Bravo to those choirs that requirements become more and more rigorous and students make worked so hard to prepare performances that will stay in our hearts their choices, help them remember that a great student can emerge and souls for years to come. from any school. The qualities of personal integrity, excellence, and For the church musicians, the Easter season is elevated because of enthusiasm count more than where the degree is from. Encourage what you re doing with your choirs. We applaud you for your serv- them to believe in and honor themselves. After all, they've had YOU ice and dedication to leading people in worship. as their teacher! As our musical year seems to be slowing down (heading towards June) I would once again applaud all the great music that is being Hope to see you soon! Have a great spring. made. Congrats to all of you.
Spring 2006 17 California Choirs at ACDA Western Division Conference
Chorissima of the San Francisco Girls Chorus San Francisco Susan McMane, Conductor
“Pacific Standard Time" California State University, Long Beach Christine Guter, Conductor
Crystal Concert Choir Cupertino Jenny Chiang and Karl Chang, Conductors
Celebration! Celebration Entertainment Academy, Corona Lawrence V. Fitz, Conductor
Hamilton High School Chamber Singers Los Angeles John Hamilton, Conductor
18 Spring 2006 Salt Lake City March 2006
Mt. San Antonio College Chamber Singers Upland Bruce Rogers, Conductor The Occidental College Glee Clubs Occidental College in Los Angeles Jeffrey Bernstein, Conductor
New Choir, San José Eileen Chang, Conductor
Solana Beach Presbyterian Church Chancel Choir Paul Salamunovich conducts Duruflé Requiem Solana Beach Libby Gardner Hall at the University of Utah Daniel Bird, Conductor
Spring 2006 19 LEARN FROM LEADING CONDUCTORS… 2006 Fall Reading
Discover accessible, practical literature suitable for a wide variety of voicings, ages and ability levels. The California ACDA Fall Choral Reading Sessions are an exciting way to begin Sessions the fall, plan for the year and network with your colleagues. Mark your calendar and mail in your pre-registration immediately! ------other sessions ------SCHEDULE (please note the new earlier release time) MULTICULTURAL MUSIC IN A VARIETY OF VOICINGS 8:00 a.m. - 8:45 a.m. Registration Edith Copley 8:45 a.m. - 9:00 a.m. Group Warm-Up Northern Arizona University 9:00 a.m. - 10:00 a.m. PLENARY SESSION #1 with Dr. Copley 10:00 a.m. - 10:20 a.m. Swan Award, Announcements, Composition SSA/TTB MUSIC 10:20 a.m. - 10:40 a.m. Break Dan Earl & Polly Vasche 10:40 a.m. - 11:35 a.m. PLENARY SESSION #2 with Dr. Copley retired high school choral directors • Advanced High School/College 11:35 p.m. - 12:05 p.m. Lunch 12:05 p.m. - 1:00 p.m. INTEREST SESSION #1 POP & SHOW MUSIC •Multicultural Music with Dr. Copley Ken Rawdon •Unison to 3-Part Mixed with Steve Clausen Mt. Eden HS, Hayward •Pop & Show Choir with Ken Rawdon 1:00 p.m.- 2:00 p.m. INTEREST SESSION #2 WORSHIP MUSIC •Worship Music with Dr. Hanan Yaqub Hanan Yaqub •SSA/TTB Music with Polly Vasché & Dan Earl Trinity United Presbyterian Church, Santa Ana
UNISON TO 3-PART MIXED/SAB Steve Clausen EDITH COPLEY Hughes Middle School, Long Beach Northern Arizona University
Dr. Edith A. Copley joined the Northern Arizona University music faculty in 1990 and is the Director of Choral Studies. She conducts the highly acclaimed Shrine of the Ages Choir and teaches graduate courses in conducting and choral literature. NAU choral ensembles under her direction have toured western Europe and the Peoples Republic of China. The Shrine of the Ages Choir performed at the 1998 MENC National Convention and the 2000 ACDA Western Division Convention. In 1999, Dr. Copley received the Centennial Teacher of the Year award in the NAU School of Performing Arts. In addition to her responsibilities at NAU, Dr. Copley conducts the Master Chorale of Flagstaff, an auditioned 110- voice community chorus that performs major choral/orchestral works each year with the Flagstaff Symphony Orchestra.
Dr. Copley earned the master of music and doctor of musical arts degrees in choral conducting from the College- Conservatory of Music in Cincinnati, and the bachelor of arts degree in music education from Luther College in Decorah, Iowa. She is a life member of the American Choral Directors Association and is currently past-president of the Arizona chapter of ACDA. She also serves on the faculty and board of the VoiceCare Network in Collegeville, Minnesota.
Prior to her appointment at NAU, Dr. Copley was the assistant interim principal conductor of the Cincinnati Symphony Orchestra Chorus. She also served as the Fine Arts Coordinator for four years at the American International School in Vienna, Austria. Dr. Copley is in high demand as a choral adjudicator and clinician. She has conducted numerous honor choirs, including all-state festivals in seven states. In March 2001 she conducted the 26th annual Association for Music in International Schools Honor Choir in Berlin, Germany, and conducted in The Hague, Netherlands, in 2004. 20 Spring 2006------other sessions------
MULTICULTURAL MUSIC IN A VARIETY OF VOICINGS Edith Copley Northern Arizona University SSA/TTB MUSIC Dan Earl & Polly Vasché retired high school choral directors POP & SHOW MUSIC Ken Rawdon Mt. Eden HS, Hayward WORSHIP MUSIC Hanan Yaqub Trinity United Presbyterian Church, Santa Ana UNISON TO 3-PART MIXED/SAB Steve Clausen Hughes Middle School, Long Beach California ACDA - 2006 Reading Session Registration
Long Beach pre-registration deadline is August 1, 2006. Registrar – Jo Anne Stoddard
East Bay (Hayward) pre-registration deadline is August 20, 2006. Registrar – Peg Hutson
Please check: Long Beach East Bay (Hayward)
Name (as you wish it to appear on your name tag) ______Please print clearly.
Mailing Address ______
City ______State ______ZIP ______Home Phone ( ) Work Phone ( ) .
E-Mail Address ______
ACDA Member Number ______
FEES
ACDA Member (includes lunch) $ 70.00 $______Non-Member or Renewal (includes lunch & membership) $145.00 $______Spouse (includes lunch; no packet) $ 30.00 $______ACDA Student Member (includes lunch) $ 40.00 $______Student Non-Member (includes lunch & membership) $ 60.00 $______
Total Enclosed $______
Check here for vegetarian lunch
Please help us order sufficient music packets and lunches by pre-registering. California ACDA cannot mail music packets or provide refunds. We cannot guarantee music packets and/or lunch availability for those who do not pre-register.
Full payment must be received by the above deadlines—one check per registrant. (Sorry, we are not able to accept credit cards or purchase orders.) Late registration, add $25.00 per person (music packet NOT guaranteed).
M a k e c h e c k s p a y a b l e t o C a l i f o r n i a A C D A a n d m a i l t o :
California ACDA 2348 Clay Street Napa, CA 94559 (707) 255-8012 [email protected] Spring 2006 21 California Members of Western Division Honor Choirs All Saints Episcopal Church, Pasadena Ellen Banks Kyla McCarrel Clare Duncan Sarah King Our Lady Queen of Angels Church, New Port Beach Hannah Bannan Olivia Grabowsky Marisa Jue Jr. High Honor Choir Megan LeFebvre Children’s Honor Choir Monson-Sultana School Holland Enright Vanessa Skaggs Thersa Kesser Kaelee Atteberry Hannah Douglas Clara Goldstein Annie Flynn Logan McKay Nelson Courtney Dull Nathan Chapman Jesse Crum Hannah Herold Mia Nitsche Atascadero Fine Arts Academy Michael Lucatero Alex Messenger Mickey Cox Elementary, Clovis Hannah Pond Delaney Scott Castilleja School Templeton MS Ryan K. Beatty Santa Barbara Children’s Hanna Stevens Arielle Fishman Elaina Jardini Leah Burnett Chorus Katie Nisbet Maya Maniar Drew Glickman Michael Gennaro Maggie Langhorne Quinn S. Ricigliano Mona Matsumoto-Ryan Jonah Yamagata Olga I. Almaraz Austin Abrams Daniel Salas Virginia Phelps La Joya MS Elizabeth Howard Anjuli Das Stephanie Tonegato Oluwatobi Amos Heather Anne Rater Dannah Jenay Lemon Maaya Hensman South Bay Children’s Chorus, Margot Gerould Christopher Campos Lexie Glaser Nathaniel Hodson Manhattan Beach Hanna Lauritzen Arlington HS James Tice Chip Hubert Morgan St. Jean Michaela Wetter Josh Jurado Los Angeles Children’s Chorus Michael Sikich Templeton MS, Templeton Crystal Springs Upland School Christian Koshay Hayley Bowyer Hannah Sylvia Egar Emily Thurston Taylor Grossman Folsom MS Isaac Calvin Kaylor Erickson Natalie Maloney So. Cal. Children’s Chorus Derek Luscutoff Nikitas Dimopoulos Melissa Georgi Camdon Muncy Elizabeth J. Hughes McFadden Intermediate Alyssa Mancia Shaunessy K. Grant Suzanne Wells Emerson Jr. High Andy Madrid Zoe Merrill Katie Langhorne St. Michael’s Church, Poway Heather Kerr Clark Intermediate Arpineh Minasyan Molly Marshall Ryan M. Jones Carmel MS Tyler Mahnke Julian Vischer Ragazzi Boys’ Chorus, Los Altos Aida M. Smith Kristin King Stephen Schiefer Courtney Foxwell Williams Tyler Polen Davis Children’s Chorale Chaparral MS Mira Costa HS Twin Peaks MS, Poway Carsten Stann Sierra Zellmer Katie Luke Matthew MacFarland Allison G Boyle Clark Int. School, Clovis Sea Crest School Atascadero Fine Arts Academy Ragazzi Boys Chorus Elizabeth R. Chagnon Alissa Salvatore Carlo Izzo Marlena Mack Abram St. Amand Poliakof Tayo Grasham Michelle Strong Private Voice Studio, Riverbank St. Michael’s Church Harrison Nida Courtney Burroughs Emily Schloeder Nathan Wilen Alexander Garoutte Fresno Christian School Twin Peaks MS Adam Casuga Odeliah Dorko Buchanan HS Manhattan Beach MS Larry Cushman
Arlington HS Corianne Little Ryceejo Nordstrom Bakersfield HS Elizabeth Provencio Katie Faris Men’s Honor Choir Hannah Whyte Monterey HS Crescenta Valley HS York School Alice Rosenthal Elliott Adams Mytheos Holt Brittney Kessler Doug Bush Georgiana Bruce Kirby Women’s Honor Choir Century HS Fullerton Acad. of the Arts Henry Johnson Sally Valencia Bennett Billard Aaron Kaswen Dane M. Morris Ramona Convent Maggie Changala Gunn HS Carmel HS Modesto HS Templeton HS Secondary Sarah Orchard Stephanie Hoffman Katie Carroll Marcos Guillermo Lopez Michael Cava Genevieve A. Ayala Fullerton Union HS Crescenta Valley HS Murrieta Valley HS Arlington HS Eric Hamm Leilani Valenzuela Elyse Deming Stacy Oh Chelsea Mayfield Jeffrey Morris Nick Moore Stephanie-Elyse Han Anna Schubert Chelsea Johnson Vista Murrieta HS Crescenta Valley HS Jeff Moody Cindy Marie Varghese Amy Jones Hesperia Sara Giron Jae Park Buchanan HS Madera HS Madison Palmer Nadia Padilla Mira Costa HS Bakersfield HS Bryan Wesley Carlson Amy Botlon Golden West HS Yosemite HS Britain Fleming Charles Provencio Ragazzi Boys Chorus Royal HS Noel Grace Frost Valerie Woolard Erica Olsen Davis Senior HS Daniel Crowley Emily Candish Carlsbad HS Tawni Jackson Los Alamitos HS Michael Reinhard Alexander MacQuitty Tiffany Bickford Amy Garner Sarah Harian Gabrielle Levy Century HS Jared C.Wells Kira Conley College Preparatory Modesto HS Jurupa Valley HS Daniel Trujillo Royal HS Sara Pulsipher School Rachel Johnson Ariel May Cathedral City HS Rochelle Kitzmann Emily Blakeslee Hecht Jennifer Hiemstra Cathedral City HS Jonathan D. Geersen James Velasquez Bradley P. Meyer Templeton HS Julia Metzner Audrey McHale Shantel Robinson
22 Spring 2006 California ACDA Board Central Coast Boys’ Choirs Sr. High School Choirs EXECUTIVE BOARD Financial Advisor Charles Young Minh Thai Gene Peterson Art Huff 4435 San Jacinto Avenue 166 S. 30th St. 1812 Trinity Ave. #221 President 5536 North Seventh Street Atascadero CA 93422 San Jose CA 95116 Walnut Creek CA 94596 Julie Dana Fresno CA 93710 H: 805-464-0449 H: 408-295-4847 H: 925-930-2349 610 East Pine Avenue H: 559-449-8827 W: 805-237-3350 [email protected] W: 925-376-5986 x230 Fresno CA 93728 arthur_e_huff@ [email protected] gpeterson@ H:559-233-3887 csufresno.edu Community Choirs acalanes.k12.ca.us W: 559-442-4600 x8465 Central Donald Kendrick [email protected] [email protected] Northern Daniel Afonso 8188 Plumeria Ave Mark Teeters 563 Garden Gate Way Fair Oaks CA 95628 Two-Year Colleges President-Elect 2148 South Terrace Drive Turlock CA 95382 H: 916-966-4917 Jennifer Kelly Ken Abrams Napa CA 94559 H: 209-632-7763 [email protected] 3006 Colorado Ave #207 41 Picardy Court H: 707-290-6036 W: 209-667-3530 Santa Monica CA 90404 Walnut Creek CA 94597 W: 707-253-3601 x188 [email protected] College & University W: 818-947-2348 H: 925-939-7562 [email protected] Choirs [email protected] W: 925-552-3041 Far South Jonathan Talberg [email protected] Bay Area William Hatcher 4546 E. Broadway Women’s Choirs Cheryl Anderson 3095 Colley Lane Long Beach CA 90803 Karen Garrett Vice President 270 Sundance Lane Escondido CA 92025 H: 562-673-9600 2350 Bloomfield Lane Kathryn Smith Watsonville CA 95076 H: 760-747-1471 W: 562-985-5112 Corona CA 92882 2796 Dos Rios Drive H: 831-786-0565 [email protected] [email protected] H: 951-272-3432 San Ramon CA 94583 W: 831-479-6155 W: 951-739-5600 x2109 H: 925-831-8860 [email protected] REPERTOIRE & Ethnic & Multicultural [email protected] W: 510-885-3858 STANDARDS CHAIRS Elena Sharkova [email protected] Southern 845 Calero Ave. Youth & Student Lori Marie Rios Children’s Choirs San Jose CA 95123 Activities Executive Secretary 2850 Montrose Ave. No. 22 Jo Anne Stoddard H: 408-363-1992 Anna Hamre Jan Lanterman La Crescenta CA 91214 2295 Alice Place W: 408-924-4645 34279 Old Mill Road 2348 Clay Street H: 818-248-2803 Paso Robles CA 93446 [email protected] Auberry CA 93602 Napa CA 94559 W: 828-952-4261 H: 805-237-8042 H: 559-855-8747 H: 707-255-4662 [email protected] W: 805-434-5888 Jazz W: 559-278-2539 CA-ACDA Office: [email protected] [email protected] John Hamilton [email protected] 707-255-8012 www.cachildrenschoir.com 825 N. Alfred Street #2 [email protected] Los Angeles CA 90069 EVENT CHAIRS H: 323-445-7183 W: 310-836-1602 CMEA Liaison [email protected] Mary Purdy 23705 Sarda Rd. Men’s Choirs Valencia CA 91355 Travis Rogers H: 661-254-3410 112 Moss Lane W: 661-252-6110 x445 Napa CA 94558 [email protected] H: 707-256-3488 W: 707-253-3705 Honor Choir Chair [email protected] Curtis Mannah 9344 Pioneer Circle Middle School/Jr. High Stockton CA 95212 Peg Hutson H: 209-473-3402 2500 West Sweet W: 209-953-8918 Visalia CA 93291 [email protected] H: 559-739-1587 W: 559-730-7681 Summer Conf. Chair [email protected] Travis Rogers www.mschoralforum.org (See Men’s Choirs R&S)
Music & Worship COMMUNICATIONS Douglas Lynn 3517 Simsbury Court Cantate Newsletter Editor Carlsbad CA 92010 Kevin Schieberl H: 760-434-5915 991 Bellomo Ave. W: 760-758-4100 x140 Sunnyvale CA 94086 [email protected] H: 408-245-9276 [email protected] W: 408-394-0440 [email protected] Show Choir Ken Rawdon Website Coordinator 24620 Diamond Ridge Dr. Joel Pressman Hayward CA 94544 6528 Olympic Place H: 510-264-9796 Los Angeles CA 90035 W: 510-8539 x530 H: 323-933-0117 [email protected] W: 323-551-5100 [email protected]
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Cantate c/o Kevin Schieberl, editor 991 Bellomo Ave. Sunnyvale, CA 94086