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Mau.rlce ¢asey OhloStaie Univ~rslty 1866 North College Road C6himbus; Ohio 43210 VICE-PRESIDENT Official Publication of the American Choral Directors Association Colleen J.Kirk School Of Music Articles are indexed in The Music Index, Music Article Guide, Florida State University . TallahasSee, Florida 32306 and RILM Abstracts of Music Literature. PRESIDENT-ELECT Microfilm and microfiche available from Hugh SanderS, Dean University Microfilms International School of Fine Arts 300 North Zeeb Road West Texas State University Ann Arbor, Michigan, 48106 Box 238 Canyon, Texas 79016 Copyright © 1983 by the American Choral Directors Association TREASURER .. Julie Morgan #4 Arrowwo6d Lane Lynn Whitten, Editor Volume XXIV, No.1 Ronnie Shaw, Managing Editor Russellville, . Arkansas 72801 EXECUTIVE SECRETARY SEPTEMBER 1983
The Falsettists. .Central Division by Robert L. Garretson...... 5 Robert E .. Snyder· 1017 Colony Lane Charleston, Illinois 6192() .. The Changing Voice: A Vocal Chameleon by Robert M. Fowells ...... 11
The Organization, Development, and Function of the Female Choir by Alfred Skoog and David Niederbrach ...... 19
Northwestern Division· Bruce. Browne...... Portland. State Uriiverslty DepartmimiofMuslc· P:O, Box 751 .. Portland, Oregori
SkOfilT subjECTS dllofll.d COLUMNS ACDA Announces Changes In President's Comment's ...... 2 Editorial Board Personnel ...... 28 From The Executive Secretary ...... 3 Children's Choral Corner ...... 18 Research Report ...... 29 News Briefs ...... 33,34 Choral Reviews ...... 37
H. RoyceS~i~~ann University of Oregon Eugene; Oregon 97403 AIb>OUT E COVEfil • Wali~~s: .C:olli~s Harold A:.Deckei: . MorrlsD:Hayes ChariesC.Hirt ..• Helen M. Hosmer Wi,:m~r Imlg .. STATEMENT of ME~lIlb>EfIlSkip Elwood J. Keister The American Choral Directors Association is a non-profit professional organization of choral Theron Kirk directors with active membership composed of directors from schools, colleges, universities, Russell Mathis community and industrial organizations, churches and professional choral groups. Circula tion: 10,500. Dues: Active $25.00, Industry $75.00, Institutional $50.00, Retired $7.50 and Stu dent $10.00. Membership Year: One year from date of acceptance of dues.
CopyriQht 1983 by the American Choral Directors Association, (405) 355·8161, P.O. Box 6310, Lawton, OK 73506. Issued 10 times yearly: September through June. SubSCriptions to libraries only. Rates: U.S., $12.00 a year; Canada: $14.00; Foreign: Surface $21.00; Air Mail $28.00. Single .copy $3.00, Back issues $4.00.
SEPTEMBER 1983 Page 1 ,r;:-:-- -
Affiliated .Organlzatlons· . INDIANA CHORAL ... ' .', DIRECTORS ASSOCIATION Presiclent Eugene.Miller Dept. of Music Anclerson· College , Anderson.Jncliana 46012 TreasiJrer'" ' Geraldine Miiler 8222 CheringtonDr. . Indianapolis.lricliana46227 IOWACHORAL ...... ,DIRECTORS ASSOCIATION President .. Gary Schwartzhoff 909 llthSt. . Charles City. Iowa 50616 Treasurer Bruce Norris 420 Maple Mondamin.· Iowa' 51557 MONTANA.CHORAL DIRECTORS ASSOCIATION President ... ' Donald Goddard 773 First Ave: NE Kalispell. Montana 59901 Treasurer . Dave Heidel , HamilfonHigh School·' 209 South Fifth, During the past summer months I have been reminded time and again about the strength Hamilton. Mdnt 'l, anteed. 9. National Audition Committee Chairperson sends all tapes heard and all ac :~ . Adult gowns from companying forms to the National Office. ! \', $19.95. youth gowns " from $16.95. 10. National Convention Chairperson makes the final decision of performing , ", groups after considering carefully the most effective program which can be LYRIC CHOIR GOWN CO. created from the choices presented. p.o. Box 16954 - AZ 11. National Office notifies all persons who submitted tapes of the action taken by Jacksonville. Florida 32216 (904) 725-7977 the Audition Committee and returns all tapes to senders who have provided return postage. SEPTEMBER 1983 Page 3 ,~ TAPE SPECIFICATIONS American Choral Directors Association A. Concert performance applications should be prepared on Application for Choral Performance superior quality stereo cassette tape. The recording should be 10- 15 minutes in length and should include one selection from each National Convention of the two previous years, one from the current year, and one Salt Lake City, Utah - March 6 0 9, 1985 from any of the three aforementioned years. B. Vocal Jazz and Show Choir performance applications should be Generolln/ormation (Please type or print) prepared on video cassette. C. Recorded selections submitted on this tape: Name of Ensemble ______Selection #1 Title ______S~e ______Composer ______Voicing: OSSA OTIB OSATB OOther ______Year Recorded Type and/or level ______~_------Selection #2 Title ______(university. community college. high school. junior high. children. boys. womens, male. treble, church, jazz/show, etc.) Composer Name of Institution ______Year Recorded Mailing Address ______Zip. ___ Selection #3 Title ______Institution Telephone (__ ) ______Composer ______Name of director ______Year Recorded Selection #4 Title ______Home address of director Zip, ____ Composer Director's home telephone (__ ) ______Year Recorded Member of ACDA DYes ONo Exp. Date ______PROGRAMS Eligibility: Conductors must be current, paid-up members of ACDA. All applicants must submit one program (or Xerox copy) for each of Conductors must have been employed in the same position for the the years 1981-82, 1982-83, 1983-84. previous two years. MAILING INSTRUCTIONS It is understood that ACDA will not assume any financial responsibility Mail this completed form together with your audition tape and pro for travel, food, and lodging for the performance groups. This applica grams to ADCA's NATIONAL OFFICE to be received no later tion implies that the above-mentioned group is prepared to travel to than March 15, 1984. (Include with your tape return postage and an and perform at the convention if accepted. addressed or labeled container if you wish to have your materials returned.) Signature of Director ______SCHEDULE OF DATES Signature of Administrator ______March 15, 1984 -Audition tapes, application forms, and programs (Principal. Dept. Chair. Minister. etc.) received in the ACDA National Headquarters. April 1, 1984 - Tapes received by Division Presidents (from Na tional Office). Proposed Program for Performance April 15, 1984 -Tapes received by National Audition Committee The total time for your program may not exceed 25 minutes. Chairperson (from Division Presidents). Title Composer Perf. Time May 1,1984 -Audition results mailed to National Convention (in minutes and Chairperson; tapes mailed to National Head seconds) quarters. May 15,1984 -Approximate date for notification of audition results and return of tapes. ACDA Division Audition Committee's Recommendation The tape accompanying this application has been selected by the Divi sion Audition Committee and is hereby forwarded to the 1985 ACDA National Audition Committee. Date ______Signed ______ Signature 01 Division President Final Decision By National Audition Committee Invite ____ (Yes or No) Hold for Waiting List, ______-'- ____ TypeofSession ______ Signa lure of National Audition Committee Chairperson ,/ Page 4 THE CHORAL JOURNAL The ancient edict "mulier tacet in ec clesia" - "women must be silent in church" -occurred for various reasons, not the least of which was the feeling that women's voices were something sensuous and a physical distraction. (Women's voices were freely heard, Is ttist, however, in secular music.) With this at titude, singing in the early church was by Robert L. Garretson limited to the voices of men and boys. Professor of Choral Music Schools for the training of choristers had Colorado State University their beginnings as early as the fourth Fort Collins, Colorado century. These scholae cantorum were sometimes called orphanotropia in reference to the orphan children that they sheltered and prepared for partici papal music masters and forced the tugal amusingly expressed her surprise, pation in the solemn services of the Italians into a pact which assured him on discovering that certain high flute church. monopolistic control of the falsettist sup like notes, which she believed to have As might be expected, some frustra ply."5 been produced by some beautiful young tion occurred because of the "rowdi During the sixteenth century an in girl, really emanated from the throat of ness" of the boys and the fact that their creasing number of Spanish falsettists a burly individual with a huge black voices changed too soon after they had were imported to Italy, and many were beard and whiskers!"IO This statement been properly musically trained. This employed in the Papal Choir, where provides some evidence that these may have prompted the practice of men they sang the two upper voice parts. singers were truly falsetti and not singing in their falsetto register, or head They eventually supplanted the boy eunuchs. Even though some of the lat voice, which became known in Europe singers in the cathedrals. 6 They were ter may have participated with cathedral as early as the thirteenth century and exceedingly popular and the supply choirs, their soprano voices were felt to perhaps even before. Roger Bacon (c. could not meet the demand, therefore, exist because of disease or some 1214-94), an English philosopher and in many parish churches it may be boyhood accident, rather than by scientist commenting about the new assumed that boys continued to sing the operation. According to Ardran and polyphony cultivated at Notre Dame in treble parts, with some falsettists reinfor Wulstan, documentary sources indicate Paris while a student there, referred to cing them in instances where they were that "during the sixteenth and early the "use of weak, womanly, falsetto available. seventeenth centuries there were as voices" in a new curious harmony. I It is important to differentiate between many countertenors in choirs as tenors Also, during this same period in the the two types of voices that sixteenth and basses put together. This fact famous Office of Sens, manuscripts in century Italian choirmasters employed makes it unlikely that they were dicated the type of performance desired in their choirs: the voce bianca or eunuchs or enunchoid high tenors."11 - unus, chorus, ad organum, and cum naturale which produces the contralto According to Charles Burney falsetto. 2 voice,. similar to the modern male alto (1726-1814) the celebrated English The art of falsetto singing was known, and the seventeenth-century English music historian, singers in the church practiced, and admired by the Arabians countertenor, and the adult soprano received their cognomens from their as early as the eighth century. 3 When that is developed through method, arte species of voice, for example, Lodovico the Moors invaded Spain during this fatta, that is "made" by a method (i.e., "Falsetto," Gio. Luca' "Falsetto," same century, they carried with them not by operation). 7 Actually, both the Giuseppe "Tenore," and Melchoir this art which was cultivated over the male alto and soprano voices had to be "Basso." He said "singing in 'falset' had years. During the early Renaissance made or developed. It is generally very early admission in the Church, period the falsetto voice was generally understood, however, that the male during times of 'Discant."'12 considered to have a rather strident alto voice is developed from the natural During the sixteenth century Spanish quality, with limited power; however, it baritone voice, while the soprano falset falsetti were preferred above all others was often used at that time to reinforce to is developed from a naturally high, in the Sistine Choir, and among those the boy's voices. The normal falsetto light tenor voice. 8 Some writers refer to employed were the composers voice did not exceed the alto range, the "hooty" sound of the male alto Cristofero Morales, who served from though pitch was generally somewhat (baritone falsetto) versus the clearer, 1535-1545, and Bartolomeo lower at that time. lighter sound of countertenor (tenor Escobedo, who served from 1536 to During the latter part of the fifteenth falsetto). Many of these voices had the 1554. Also included in the list of century, the range of polyphony ex ability to bridge the natural break and to Spanish falsetti was Tomas Luis de Vic panded beyond the range that the nor carry the light falsetto quality downward toria (c. 1549-1611). The Italian com mal falsettists of Italy could sing. The to a pitch lower than normal. One might poser Ludovico da Viadana Spanish, in the meantime, had compare these undetectable register (1564-1645) advised in 1602 the use of cultivated a special system of training changes to an automatic transmission falsetti in the performance of his works, the falsetto voice which both increased on an expensive car versus a manual "claiming that these voices would give a 9 its range and improved its quality. 4 Ac shift. better effect. "13 cording to London, "The canny As to the tonal quality of the Spanish As to the production of sound, or Spanish entrepreneur, however, refused falsettists, Rockstro relates the follow phonation, only the very inner edges of to share his training secrets with the ing: "A lady traveller in Spain and Por- the vocal cords, rather than the entire SEPTEMBER 1983 PageS r vocal folds or cords, are set into vibra back its "lost sheep," gave rise to a eenth centuries, but that is another tion when singing falsetto. The use of the greater splendor and magnificence in storyp8 Synonyms for castrato used dur word falsetto is in a way rather unfor music, painting, sculpture, and architec ing this time, particularly with the tunate, as there is nothing false about ture. While falsettists continued to sing theatre, were musico and envirato. the production. It is simply the use of the alto part, the castrati began to take In the seventeenth century in Italy, only a limited portion of the vocal cords. over the soprano part. "While several falsettists continued to sing the alto part Etymologically, the word is derived writers name castratos in the Sistine while the castrati took over the soprano from falsus, the past participle of the Choir between 1565-98, the first une part. In Northern Europe, however, Latin verb fal1ere-to deceive-and quivocal reference in the Sistine Diary is falsettists singing the alto part continued which in the Italian diminutive is falso or the entry for 22 April, 1599. "15 to be used along with boy sopranos. false. At one point in time, perhaps However, in 1589, Pope Sixtus V This practice continued until the nine someone felt it seemed unnatural for a issued the Bull Cum pro nostro pastorali teenth century when it became accep man to sound like a woman, thus the munere in which he reorganized the table to allow women to sing in Protes word or term came into being as a con Capella Julia, the group of clerics and tant church choirs. At the beginning of demnation of the practice of falsetto singers at St. Peters Basilica. The duties the nineteenth century, the production ,singing. 14 (Doesn't history reveal that of the choir are detailed as follows: of castrati temporarily ceased, but it . ::some person or group is generally op 12 singers: four basses, four resumed in about 1815. The practice ,)~posed to some matter, issue, or group, tenors, and four contraltos (Le., finally ended in 1870. Sometime "~land wishes to take a contrary view?). falsettists), and in addition for the thereafter, the Catholic church in Italy i: The high range of tenors in our present voice which is called soprano, four again advocated the use of boys and :;-day choirs can be developed and the enunuchs, if skilled ones can be men in cathedral choirs. During the Se ; ,:range extended through first developing found; if not, six boys. These cond Vatican Council (1963-65), the " the falsetto voice. This, however, is not singers, according to the custom church finally decreed that it was accep ,~'the most desirable term to use, as it may of the basilica, shall be present at table for women to sing in pa~ish church <'portray to some a certain negative con the whole of the day and night of es proViding there were not an adequate icnotation. Instead, use the term "head fice and at Mass, every day.16 number of boys' voices to appropriately ":voice" which is not only more accurate, To avoid any confusion with the maintain the choir. c.hut more positive. castrati, the falsettists at this time were ,As to the male alto (falsetto), which is ':.' Toward the end of the sixteenth cen referred to as voci naturali. 17 The referred to by some persons as either alto ~'tury, the Counter-Reformation, through castrati ,have an amazing history or countertenor, they prospered par ",;which the church endeavored to gain throughout the seventeenth and eight- ticularly in England in the eighteenth 2": L,~ :.r ~ \.1 ~~ ,'. i!r It It • It .i' New Musicj\for Church 't"j from Carl Fischer ji: ~-. ~ Free reference copies (Select column A or B or both!) Sacred and Concert Music Looking for a tasteful way to get :i, for SATS Choirs into gospel music? ;':y Sanctus J. Haydn (from "Paukenmesse") CM8173 Agnus Dei W. A. Mozart Send for Sounds of Praise &: Celebration special -:: (from "Litany in Bb") CM8174 promotion package. Includes sample chora[s. recordings. :!": He Is Crucified G. F. Handel (from "Saul") CM8175 a very special cantata. music for organ. instruments. solo (- ~ Spirit Divine, Attend Our Prayers voice and piano. J. Brahms (All' Meine Herzgedenken) CM8178 ~ ( A French Noel C. A. Penfield CM8180 Christmas Eve R. A. Regan CM8185 Gloria R. Melrose CM8187 [ Sunny Bank (On Christmas Day) ;.:.: R. A. Harris CM8188 i'_> First Fruits of Bethlehem R. White CM8189 ,c:. Please make request on institutional letterhead for your free reference material to: i_' A CARL FISCHER B Dept CJ-983 1'.) 62 Cooper Square '1:~1 New York. NY 10003 ~;; i Cpage6 THE CHORAL JOURNAL century. According to Burney, a mam about the life and work of these six vocal high degree of performance proficiency. moth Handel Commemoration was held consorts described them as 'six, normal, The conductor's knowledge of perfor in Westminster Abbey in 1784; in the healthy Englishmen'. Let there be no mance practices coupled with the chorus, the male altos (all 45 of them) doubt!" The King's Singers is a highly singer's understanding of the music in its and the three principal soloists were call versatile group with recordings ranging historical perspective can lead only to im ed countertenors. After 1800, however, from Renaissance motets, madrigals, proved musicianship and the achieve the term countertenor gave way to the and chansons to folk music and relatively ment of our basic objectives as choral use of alto; composers of glees wrote for recent pop tunes. Another highly recom conductors. alto lead, and music publishers began to mended recording by the same group FOOTNOTES adopt the term. 19 In England in par has The Lamentations of Jeremiah (Thomas Tallis) and William Byrd Motets 'Nan Cooke Carpenter, Music in the Medieval ticular, the term "alto" seems to have and Renaissance Universities. Norman: University been preferred in church; however, the (Moss Music Group, MMG 1107 of Oklahoma Press, 1958, p. 85. term "countertenor" was utilized in the Stereo). This recording in particular pro 2Manfred F. Bukofzer, Studies in Medieval & theater. The modern use of the term vides an excellent example of how Renaissance Music. New York: W. W. Norton, 1950, p. 177. countertenor, rather than alto, has been Renaissance choirs and singers might 3Ronald Stuart Tatnell, "Falsetto Practice: A credited to the famous English have sounded or could have ideally Brief Survey," The Consort. Volume 22, Sum countertenor Alfred Deller. 20 sounded in the performance of sacred mer, 1965, p. 32. Choral conductors today are concern music. Dear Director: We cordially invite you and your group to perform \ on-site at the 1984 World!s Fair upon acceptance of your application. 'The traditional charm of New Orleans! enhanced by southern hospitality! will create everlasting memories for your performing group. To apply! contact Fiesta, official travel and housing coordinator for educational performing groups. Call toll free for more information: 1-800-453-3273 or write P.O. Box 1984! New Orleans! LA 70158-1984. See you at the Fair! ~~. Petr L. Spurney President and Chief Executive Officer Louisiana World Exposition PageS THE CHORAL JOURNAL "Anthony Milner, "The Sacred Capons," The Negus, V. E., and Owen Jander, "Falsetto," Rogers, FranCiS, "The Male Soprano," Musical Musical Times. Volume 114, No. 1561, March, in The New Grove Dictionary of Music and Quarterly. Volume 5, No.3, July, 1919, pp. 1973. p. 250. Musicians. London: Macmillan Publishers, 413-425. 16Ibid., p. 250. 1980. Volume 6, p. 375. Stevens, Denis (ed) , A History of Song~ London: I7IJ. E. Negus and Owen Jander, "Falsetto," in Quasten, Johannes, "The Liturgical Singing of Hutchinson & Co., 1960. The New Grove Dictionary of Music and Musi Women in Christian Antiquity," Catholic Stubbs, G. Edward, "Why We Have Male Choirs cians. London: Macmillan Publishers, 1980. Historical Review. Volume XXVII, No.2, Volume 6, p. 375. in Churches," Musical Quarterly. Volume 3, 8 July, 1941, pp. 149-165. 1 See, for example, Angus Heriot, The Castrati No.3, July, 1917, pp. 416-427. in Opera. London: Seeker & Warburg, 1956. Rockstro, W. S., "Sistine ChOir," in Groves Dic Tatnell, Ronald Stuart, "Falsetto Practice: A Also see the bibliography with the article on tionary of Music and MusiCiims, Fifth Edition. Brief Survey," The Consort. Volume 22, Sum "Castrato" in the New Grove Dictionary of Music London: Macmillan & Co., 1954, Volume mer, 1965, pp. 31-35. and Musicians. Volume 3, p. 876. VII, pp. 822-825. 19Frederic Hodgson, "The Countertenor." The Musical Times. Volume 106, No. 1465, March, 1965, p. 217. -FOR CHANGE OF ADDRESS- 2DOlive Baldwin and Thelma Wilson, "Alfred Be sure to notify the Editor at: P.O. Box 6310, Lawton, OK 73506 Deller, John Freeman and Mr. Pate," Music and Letters. Volume L, No.1, January, 1969, p. 104: BIBLIOGRAPHY Ardran, G. M., and David Wulstan, "The Alto or Countertenor Voice," Music and Letters. rflww . Volume 48, No.1, January, 1967, pp. ~w ~~ I 17-22. Baldwin, Olive, and Thelma Wilson, "Alfred ~uUicalion(} Deller, John Freeman and Mr. Pate," Music and Letters. Volume L, No.1, January, 1969, pp. 103-110. #431 0 JESU SWEET,} arr. by Robert Leaf. Unis. or 2-Pt., 60ct Bedbrook, G. S., "The Nature of Medieval #436 FATHER IN HEAVEN, WE THANK Music", Music and Letters. Volume XXVI, THEE, Eleanor Pursell. No.2, April, 1945, pp. 78-88. Unis. or 2-Pt., 7O SEPTEMBER 1983 Page 9 Look. See Dick. See Jane. See everyone. They're on a Plea~:::n:;:e-:;O::~i:-~=t:-·- , .. WengerTourmasterRiser: Seeing everyone. That's the o Choral Risers 0 Acoustical Shells I idea. Good for thedirectbr. Good forthe audience. Good Name I for the performers. I Title ______And hearing better? Risers make a difference there too. I School I Because voices carry over heads. Not into them. I~~ I Risers do make a difference.· And nobody makes risers City State Zip ___ like Wenger makes them. Sturdy. Safe. Portable. Easy to. I Phone: (a/cl __ / Best day/time I set up. Sizes and options to fit any group. Shipped ready to use. No assembly needed. Send coupon or Call Toll I Wenger Dept. FHA. P.O. Box 448 I LCorporation ______Owatonna. Minnesota 55060_ Free 800/533-0393*. 'In Minnesota, Alaska, Hawaii, and Canada Call Collect: 507/451-3010. J Ever since the junior high school became an established fact in American education over sixty years ago, the boy's changing voice has presented The Changing Voice: both the most elusive mystery in the music curriculum and the favorite ex cuse for poor accomplishment. Musical A Vocal Chameleon physiologists document adolescent growth phenomena in hopes of pro by Robert M. Fowells viding a universal solution for diagnosis 1847 E. Larkwood Street and control, publishers flood the market West Covina, California with new "sure-cure" arrangements every year, and mediocre performance quality is often accepted as an ad mirable condition. Unhappily, the mat students, the teacher is faced with the nearly so much on the state of his ter is so muddled that directors of artful practical necessity of keeping those boys changing voice as on his previous ex junior high school choirs are likely to be involved in the group's activity, so the perience. Did he sing in grade school looked upon as being too exceptional to search goes on for one single range for and, if so, how well? Does he have a be of any practical assistance. all. Statistically, this is akin to deciding family or church background where Actually, rather than being handicap what floor all elevators are on at any singing is taken for granted? Has he ped, the changing voice is a vocal given hour of the day. There may be even sung since last May? Many of the chameleon which is capable of enor some useful reason to know that qualities of the changing voice, like the mous variety and which takes on dif elevators in a ten-story building tend to voice at any other age, are dependent ferent colors according to the stimulus it be on the fifth floor at 9 a.m. {given the upon desire, training, and practice. Let receives. This is why there is such a average and mean with the appropriate us examine the major pedagogical bewildering array of theories afloat as to standard deviations} but the information theories for their basic strengths and how to properly handle and train it. In is useless to anyone who simply needs weaknesses. an English cathedral, a choirboy sings to catch the elevator. The boys' voices soprano until he can no longer produce are all descending at their own in the pitch by any means at his disposal, dividual rates, and the teacher does not Continental Traditions at which time his voice "breaks" and he need satistical groupings but an is put out to pasture until he can return awareness of how to handle the For various reasons, mostly concern as a tenor, bass, or a falsetto alto. In variables. ing an historical distrust of the arts Germany, where the sound of a falset In the first place, there are numerous coupled with concern for the budget, tist is abhorrent, the voices with the variables influencing the abilities of the the American public school system has strongest low notes sing alto as long as changing voice, and most of them have never accepted European traditions for possible, regardless of their age, and are nothing to do with laryngeal physiology. teaching children to sing. The better dismissed when they can no longer sus Dealing with motivation is the teacher's Continental traditions - cathedral, tain that range. With the advent of the most immediate concern. Before a boy Orff, Kodaly - require music specialists junior high school, we first discovered will even make a sound, the teacher who systematically combine recreation the "alto-tenor" who sang only the G may have to create a desire to sing and musical training in the primary octave straddling middle-C. Much later where there is none because of (I) no grades so that the youngsters accept many embraced the "cambiata" concept previous instruction, {2} being in a singing as normal. There is also an wherein the very same larynges sud roomful of strangers, {3} preconceived awareness that basic vocal technique denly could produce two or three more social taboos, or (4) a dislike for the applies to children as well as to adults notes. Within the last few years, three music at hand. Even when he is willing and that all preadolescent children who different authors have divided the junior to try to sing, his abilities will depend not sing properly sing in the soprano range high boys into {I} six ranges!, {2} TTBB 2 ranges , or {3} the entire spectrum from the coloratura whistle register to the EDUCATIONAL TRAVEL, INC. 3 "'rI bass fry tones. All of these theories are , .. 3405 Airport Road Allentown. PA 18103 espoused by dedicated, successful Pbone (215) 264·4320 directors who are expert at getting adolescent boys to sing. Is there any wonder that there is confusion? ... once in a decade! ... include the 350 year Actually, all of the above are possible, anniversal)'performance in your concert tour but the important considerations which impinge on all three, so far as a teacher ... call collect for full information on tickets, is concerned, are {I} how to create a music festival, competitions and tour man desire to sing, {2} how to increase the ability to sing, and {3} how to safeguard agement ... the health of the growing vocal mechanism. Because of the common necessity for teaching boys with chang o BERAMMEKGAU ing voices in mixed classes of 30 to 60 SEPTEMBER 1983 Page 11 . with slightly varying individual ex quality, and the owner's ego may be created a host of laryngeal cripples but a tremes. highly dependent upon that sound. The mass of mUSicianly adult soloists and Why are the cathedral schools blamed voice "breaks" and temporarily loses choral musicians out of all proportion to for the phenomenon of a vocal "break"? pitch control simply because the vocal the actual number trained as mere At the onset of puberty, a boy who has mechanism can no longer support the choristers. Check your record jackets already learned to sing properly can constant use of a singing production and see how many English tenors and easily maintain his ability to sing high by that differs so drastically from the basses received their early training in a simply shifting into his falsetto produc speech voice, which already may have choir school! tion, which differs very little in sound at arrived at its mature level. The choir that age. Within a cathedral choir, the directors keep these boys singing high American Traditions lead sopranos are inevitably older boys both because of their solo qualities and who have rather unconsciously because they are the envy of the smaller Our worst problems with changing developed a silvery falsetto to compen boys who learn more easily and perform voices can be traced directly to our sate for the gradual loss of their ability to more securely when they have idols to founding forefathers who, still caught sing the higher notes with their regular imitate. Contrary to common suspicion, up in the throes of the Reformation, production. The voices are often of ·solo . the English choir schools have not distrusted the purveyors of the fine arts, and choir singers (young papists!) especially. Two hundred or so years later, when music teachers finally did become common in the public schools, they tended to drive music from the cur- ~~~~~~~~~f1' riculum because of an over-emphasis l~ on the mechanics of note-reading as op- posed to singing and musicality. In more recent years, grammar schools have depended upon the self-contained classroom wherein musically untrained, ECHORAL uninterested, and overworked teachers often ignore the subject completely, sending most children, still in a state of vocal and musical ignorance, to their I first real contact with a musically trained WASHINGTON D.C. • DECEMBER 28-30, 1983 • MAY 4-6, 1984 teacher at the junior high school. Ex International Music Festivals prestigious Jubilee Choral Festival now takes place tended disuse is by far the most com in Mexico City in addition to washington D.C. AS always, each festival features mon vocal abuse. IMF adjudication, massed performances and rehearsals, and local sightseeing. ======ADVISORYCOUNCIL======The Alto-Tenor Plan SAMUEL ADLER DAVE BRUBECK WILUAM P. FOSTER LEONARD SLATKIN CORRESPONDING Professor of Composer Director of Bands Music Director and SECRETARY AND Composition Musician Florida A & M Conductor ADJUDICATION The alto-tenor concept developed Eastman School Jazz Artist University St. Louis Symphony COORDINATOR with the advent of the junior high of Music Orchestra GEORGE CAVENDER ARNALD D. GABRIEL JAMES STEFFY PrOfesSOr of Music school. Where there had been singing in WILFRED C. BAIN Professor of Music Conductor CHARLES WEBB Dean (1947-1973) Director of U.S. Air Force Band Dean SUSQuehanna the eight-grade grammar school, it was professor Emeritus Development and and Orchestra Indiana University University Selinsgrove. PA 17870 generally accepted that a boy would SChool of Music School Relations DONALD JOHANOS SChool of Music drop out when his voice changed Indiana University SC~~~I ~f ~~SIC conductor Al G. WRIGHT GRANT BEGLARIAN ~rChI9~~ Honolulu Symphony Director of Bands significantly, not only because his new, President Emeritus National Foundation FREDERICK FENNELL GUNTHER SCHULLER Conductor low voice did not mix conveniently with for Advancement Conductor composer. conductor SymphOnic Band a host of sopranos and altos, but of the Arts Miami. Florida PUrdue University Miami. Florida because he had also become noisy, clumsy, outspoken, and militantly more interested in athletics. Music specialists in the new junior high schools, however, suddenly found themselves faced with rooms full of seventh and eighth grade boys who were required to take general music and who somehow ------were expected to sing. Many teachers Director _____~ ______took complete refuge in the use of the School ______phonograph and social studies correla- Please send free Address Information about the City State__ Zip _____ MAKE THOUSANDS IMF Jubilee Choral TelephOne: (School) nol hundreds, Festivals. (HOme) Make over 55.000 per truckload selling Best contact time oranges and grapefruit from Texas or Florida. Call 800-531-7461 for details or o Washington D.C. 0 Mexico City write Langdon Barber Groves. Box 4428. INTERNATIONAL MUSIC FESTIVALS • P.O. BOX 41 • PARCHMENT, MI 49004 McAllen. Texas 78501. Page12 THE CHORAL JOURNAL tions. The alto-tenor concept was dis either. Just as in a cathedral chOir, a concept except for a few notes added at covered by those teachers who braved musical boy may ignore his new speech the ends of the alto-tenor's statistical their way through and found that the voice by accepting falsetto production average. It has been a success because boys who could not sing soprano, alto . as his most satisfactory option for sing of the infectious enthusiasm of its best or baritone could at least hit the notes ing. Fatigue, a cold, or a summer of not proponents plus the fact that they have within the G octave across middle-C. singing can make a total falsetto produc avoided initial frustration by using ar Some were singing on the top of their tion impossible, even overnight, but the rangements in which the melody is plac voice, some in the middle, and some on voice never goes "thump" unless the ed in the "cambiata" line, thus increas the bottom, but at least they could all lower notes had been possible for some ing the boy's desire, and hence, his sing and they could be kept busy in the time already. Furthermore, restricting a ability to sing. But besides again imply classroom. boy to eight notes without allOWing him ing a "thump," there is a disadvantage The major problem with the alto to experiment with a wider range as it in the constant use of arranged tenor theory, as with every concept that becomes easy contributes to vocal materials of mediocre choral quality. tends to lump changing voices into par fatigue. This eliminates the mass of small classics ticular ranges, is that it gives rise to the which are easily performable by junior "thump" theory - the concept that a high school choirs and which provide boy soprano's voice will go "thump" The Cambiata Concept the whole spectrum of musical styles overnight and become an alto-tenor that are needed to keep not only the tomorrow. No boy's feet ever doubled In regard to range, the cambiata prin boys but the girls interested and growing in size overnight, and no larynx ever did ciple is little different from the alto-tenor musically. Join Us For These ATLANTA SYMPHONY Season 1983--84 ORCHESTRA CHORAL Robert Shaw, Music Director & Conductor HIGHLIGHTS BRAHMS ANNUAL HANDEL FAMILY Ein deutsches Requiem CHRISTMAS Messiah FESTIVAL November 3, 4, 5, 1983 December 7, 8, 9, 10, 1983 IDecember 15, 16, 17, 18, 1983 MAHLER RACHMANINOFF I BRITTEN Spring Symphony .Symphony No.3 Vespers WALTON Belshazzar's Feast February 23, 24, 25, 1984 April 8, 1984 May 24, 25, 26, 1984 Study opportunity available through th~ ASO Chorus and Ga. State Univ. Dept. of Music. For ft:.rther information write Nola Frink, Choral Administrator, I Atlanta Symphony Orchestra, 1280 ~eachtree St. NE, Atlanta, Ga. 30309. SEPTEMBER 1983 Page 13 The TTBB Approach petitive delight in singing higher. tunity to use the best part of their voices. As with the cambiata theory, the Yet another faction advocates using same objections· prevail regarding ar An Aesthetic, Vocal Approach TTBB materials with junior high boys. ranged TTBB materials. Genuine TTBB Even if we could ignore the ad literature tends to be overly demanding To rephrase the opening statements, ministrative snarls that come with on the few low singers and excessively why do we pay so little heed to the out segregated classes, there are even more low for the highest ones. It will always standing junior high school directors musical drawbacks here. Proponents of be a problem to find comfortable who keep boys singing happily in the this method are usually anxious to avoid materials for every voice in the choir, entire range of choral literature through calling the boys "sopranos" but this but this solution is the least desirable their change in spite of the bombard seldom bothers boys unless the teacher because it forces almost everyone to use ment of limiting methodology and gim is overly concerned or unless the his low voice most of the time. All of the mickery? What are the principles by smaller boys are actually seated among soprano boys would have to sing in the which these people manage the chang the girls. Seated in a mixed class in a first tenor range, which is an indefensi ing voices so that they thrive? Why do section of their own -- boy sopranos vs. ble practice from the standpoint of vocal their choirs sing Lassus, Bach, and girl sopranos the boys will take com- pedagogy because there is no oppor- Schubert while their neighbors can hardly keep a class alive? Why do we keep searching for a handy crutch when the problem of the changing voice has been successfully solved over and over again? In the first place, the successful direc tors are well-trained choral musicians who happen to teach junior high school. They understand basic vocal pedagogy and utilize those principles which cause the voice to grow and in crease in beauty. They believe that the choir, like any single voice, requires a balanced and varied diet and that the best growth is likely to come through good music. In addition they are specialists in handling the adolescent student in toto -- not just the growing larynx. The simple, sensible handling of the changing voice begins on the first day of class, whether it be in general music or a FREE OFFER! beginning chorus. Knowing that the first In order to introduce you to this "uncommonly fresh and audition will not be the last, it is essential optimistic" music, Orbiting Clef Productions, Inc., will send any to identify the voice types quickly in director of a group of 20 or more singers just for the asking and order to get them singing comfortably as without any obligation: soon as possible. First of all, since boys (1) FREE REVIEW COPIES of the music to 14 of are usually not aware of all the ramifica Kahmann's choral works, and tions of their growth, the teacher must (2) A FREE FULL-LENGTH STEREO LP ALBUM OR explain that the voice change can be ex CASSETIE (you choose which) containing ten of these pected to happen near their age, that "inspired musical offerings" performed by the they may not be able to sing where they composer. used to, and that the music will be ad In order to obtain your FREE copies of Chesley Kahmann's justed to them. Then each boy should music plus your FREE stereo recording, please fill out the form simply say his name in a good firm below and return it to your participating music dealer or: voice. A spoken, quick audition avoids Orbiting Clef Productions, Inc., 436 Springfield Ave., Summit, N.J. 07901 (201) 277-3881 first-day embarrassment and, since some boys who speak baritone Sing in Please send me my complimentary copies of Chesley Kahmann's music their falsetto in order to stay in tune, it plus my free (check one) assures that changed voices will not be __ Stereo LP __ Stereo Cassette. classed with the unchanged ones. Name Phone Those who still have light, clear Address ______children's voices are still sopranos, those who speak down the octave with City State Zip ____ a baritone sound are almost changed NameofGroup NumberofSingers ______but by no means mature, and the rest Offer Expires Sept. 30, 1983 Orbiting Clef Productions, Inc. are simply somewhere in process. As each boy says his name, the teacher Orbiting Clef Productions, Inc. 436 Springfield Ave., Summit, N.J. 07901 (201) 277-3881 should also observe his physical ap pearance. A soprano will still look like a Page 14 THE CHORAL JOURNAL little boy, complete with silken skin, pro Just as the cambiata people claim, their falsetto. Men teachers should be bably a little baby fat, and he may be the desire to sing a melody is the best able to demonstrate this sound easily among the shortest in the class. The motivational device available, especially and the boys will return it immediately, baritone boys will be more mature in ap to the changing voice. They can sing in usually with some merriment. Women pearance, possibly taller, will have bet unison; they simply cannot do it with teachers may have to ask one of the less ter developed musculature, and may sopranos or baritones. The teacher bashful boys to make the sound he uses have an embryonic moustache. The should be armed with a collection of the to imitate the girls. There is no need to changing boys will be all shapes and most infectious melodies possible - worry about the feminine aspects of the sizes in between. pops, folk-songs, lieder, whatever - moment; it doesn't really sound like a These observations as to physical and be able to present them in about girl. characteristics are supported by the re three separate keys, roughly a third While the exclusive and continuous cent physiological studies of Frederick apart. The different sections of the class use of the falsetto voice causes the Swanson and John Cooksey although will wait much more patiently while one young male voice to seem to "break," they each arrived at very different group sings a two-minute melody in the occasional use of falsetto has two recommendations. Swanson points out unison than they will while a section of distinct advantages. In the first place, it the enormous ranges possible to the inept beginners mumbles through an allows a boy who is having some pro voice but recommends working the ex unmelodious inner part for ten minutes. blem using his upper range to sing easily treme ranges in ways which are normal Pitch control, rhythm, tone control, ex without strain and in tune. In the second enough in the private studio but which pression, ensemble, and every other place, the ease and lightness of the could easily be misunderstood or abused facet of choral technique except singing falsetto production provides a bridge by by an inexperienced teacher working a separate part can be taught in unison which he may discover the light produc with voices en masse, since extreme singing. Once vocal confidence is tion needed to make his light ranges of the changing voice are the developed, the voices adapt to part mechanism (head voice) work in his most easily subject to abuse. Cooksey, singing qUickly and musically, and the new and maturing man's voice. So long on the other hand, recommends using eager, reedy changing voices may well as the adolescent boy does most of his only the few notes that can be sung be the most enthusiastic of the lot. singing in his new range and is not en comfortably upward from the speech Once the initial singing is under way; couraged in excessive dynamics, using pitch which lies near the bottom of the the teacher should instruct the boys that the falsetto is vocally beneficial and is chest register. This practice ignores the they must accept the major responsibili sufficiently satisfying musically to make presence of a perfectly useable light ty for the development of their voices the boy feel content with his contribu mechanism above that, not to mention and their musical comfort. A trained tion to the group. the falsetto above that. Singing in such a director should be alert to the signs and Once the voice is under control, limited range is not only dull, it even sounds of vocal strain, but with 30 to 60 assign it to the section whose part lies contributes to vocal fatigue. Both writers teen-agers on hand, the boys' help is most easily within its tessitura. As the suggest rather awkward and com needed. First of all, the boys should tell school year progresses, the unchanged plicated physiological diagnostic pro the teacher if they are uncomfortable. and changing voices will continue in a cesses which are no more useful than Secondly, they should expand their downward trend, each at his own rate those which can be done in a few singing range by experimenting with according to his individual growth pat- seconds by a musical ear and a trained eye. Once the voices have been identified, at least temporarily, as unchanged, MADRIGAL DINNER SCRIPTS changing, or changed, the boys should Five new Madrigal Dinner Scripts by Paul Brandvik, author of The be seated in sections so that they can Compleet Madrigal Dinner Booke. sing together with mutual support. It is 14-78 A Knight to Remember amazing how many general music 14-79 He Who Has the Crude classes mix all sizes and shapes of boys 14-80 What Dead Carrier Chicken? and girls together even though only the 14-81 A Little Knight-Shtick most sophisticated choirs sing in a 14-82 To Play or Replay, That is Out of the Question homogenous grouping. The uncertain Scripts include: ALL DIALOGUE for the Greetings, Toasts, or timid singer who is a stranger to the Festivities, Concert, Farewell, And humorous Renaissance sketch, school, the teacher, and most of the PLUS suggestions for music for the Ceremonies and the Concert. class needs the support that comes from being surrounded by as much mutual The cost of fifty dollars per script includes royalties for mutiple per aid as possible before he will sing con formances and limited duplication rights. fidently. Timidity, for whatever reason, To order (or to request more information): causes the withdrawal of breath sup KNIGHT·SHTICK PUBLICATIONS port, and no voice can sound its true BOX 614 tones without a confident flow of air. BEMIDJI, MN 56601 Given two or three weeks to get used to (218-751-2148) new surroundings and to sing in the anonymity provided by a group, a voice "Having lived through our third year of doing Madrigal Dinners, I appreciate will grow in confidence and in range. If even more the genius of your scripts. There is a strong dynamic at work that is a more careful placement is needed, an ajoy for the performers and the audience." (J.G., Washington) audition at this time will be much more accurate than on the first day of school. SEPTEMBER 1983 Page 15 Each week more than one million performs and records regularly with the people sing under the leadership of New York Philharmonic and otherworld Westminster Choir College graduates. class orchestras, or singing in the re The influence ofa small college that offers nowned Westminster Choir, the chorus a balance of music study, performance in-residence at the Spoleto Festival of experience, and career training is being Two Worlds. felt throughout this country and around Bachelor ofMusic degrees are offered the world. Westminster Choir College in music education, church music, organ, graduates are working professionals - piano and voice performance, and piano music leaders in churches, colleges and pedagogy. Our Master of Music degree schools, and in professional and com includes these programs as well as curri munity organizations. cula in choral conducting, and piano Choir. Our middle name and a part of accompanying and coaching. every Westminster student's musical Learn more about Westminster by growth. Everyone sings and everyone writing: Director ofAdmissions, Box R, conducts at the Choir College. The Westminster Choir College, Princeton, choral experience is a vital part of the New Jersey 08540 daily life of every student, whether as a Or call: 609-921-7144. member ofthe Symphonic Choir, which Princeton, New Jersey Ray Robinson, President Page 16 THECHO~ALJOURNAL tern. Maintaining an atmosphere in The first and most important thing we which changes are expected and treated can do for a changing voice is to provide with a certain. amount of light a desire to sing. After that we can use heartedness puts the boys at ease and our musicianship and knowledge of gives them a special interest in their own vocal technique to make sure that the development. Although the steady fluc boy sings comfortably without strain or tuation towards lower voice parts is a undue fatigue, and we can give the boy fact of life in the junior high choir, the a desire to care for his own instrument. gradual changes that occur due to Beyond this we can give all of the laryngeal growth are minor compared youngsters a musical diet that is to the transformations that occur as the challenging and appealing but which voices respond to good basic vocal does not demand extremes in range, technique, regular practice, and grow volume, and dramatic delivery - not ing musical excitement. just because of the changing voices but because all of the voices are maturing, Conclusions girls included. Given this much concern It is time that we consigned the fears for the growing voice, a well-trained surrounding the changing voice to the director, armed with a good ashcan. Any voice has a short range background in adolescent psychology, when it is unused and ill-managed. A can soon discover that junior high changing voice i~ inflexible for the same school singers, including boys with reasons that an adult voice is inflexible changing voices, can be wonderfully in - unwillingness, inexperience, and teresting and exciting persons to teach. lack of technique. In singing as with any They can make beautiful sounds, they other athletic activity, developing can build solid musicianship, and they muscles and cartilages are especially can sing artistic performances. susceptible to strain and fatigue - or permanent damage if used carelessly. The most common and most crippling practice affecting the adolescent singing FOOTNOTES voice, however, is utter disuse. We must quit documenting the 'John M. Cooksey; "The Development of a Contemporary, Eclectic, Theory for the Training phenomenon of the voice change by and Cultivation of the Junior High School Male statistical tables which merely show the Changing Voice" IV, Choral Journal; Vol. XVIII, limited abilities of inexperienced and No.5; pp. 5-17. unmotivated singers in September, 2Bobby Siltman; "Breaking the Vicious Circle," Choral Journal; Volume XIV, No.3; pp. 9-10. because these describe the singer's ig 3Frederick J. Swanson; The Male Singing norance rather than significant vocal Voice, Ages Eight to Eighteen; (Cedar Rapids, states. Iowa: Laurence press, 1970). • Musical Growth and Cultural Enrichment u4lr'~C uVt"Sl' :FCSHVAI o International Competitions and Festivals if Desired • Directors - FREE fAstcl·1984 Call or Write TODA Y CoS TRAVEL SERVICE, INC. IN AUSTRIA I~ 8222 West 95th St. • 10 DAYS FOR $999 PER PERSON INCLUDING AIR & LAND Hickory Hills, Illinois 60457 (312) 737-0269 o INTERNATIONAL BAND AND CHOIR COMPETITION • CONCERTS AND TOURING IN AUSTRIA, SWITZERLAND AND Type of Group ______GERMANY • SKIING AND SIGHTSEEING IN THE ALPS DURING EASTER WEEK Name ______For information: ALPINE MUSIC FESTIVAL Address ______INTROPA INTERNATIONAUU.S.A. Clty ______1066 Saratoga Avenue, Suite 100 Slale ___ Zip ______San Jose, CA 95117 Phone ______(408) 247·5574 SEPTEMBER 1983 Page 17 Recognizing that the quality of their performance was indeed childREN' 5 professional beyond their years, the assembled convention ;;;;;;;;;;;;;;;;;;;;;;;;;;;ChORAl CORNER members rose to their feet to This column is part of the work of the National Committee on Children's Choirs. Contributions, sug gestions, and correspondence are welcome and should be sent to Lucinda Mosher, Pomfret School, honor the young chorus with a Pomfret, Connecticut 06258. Phone (203) 928-7693. standing ovation. The Nashville Convention - Its Significance As we begin a new season with our own young singers, let us think back on for Children and Choral Music the inspiration we received as we heard Those of us actively involved with Moore describes their contribution thus the Honors Chorus and the other fine children's choral music found last ly: children's choirs which performed in spring's ACDA Convention stimulating Over 130 children from across the Nashville. What applications can we indeed. More than ever before, we were United States came together to find for ourselves in all that happened given interest sessions, reading ses sing works of Praetorius, there? As Ms. Moore states: sions, and performances geared directly Schubert, Kodaly, and Faure. Those of us involved with children to our needs. The Children and Choral Their concert concluded with an and choral music are seeking to Music Luncheon, coordinated by exceptional piece by Michael Hen raise the artistic standards and en Marilyn Killian, provided for interaction nagin commissioned in honor of courage more participation in this Wayne Hugoboom by the among our colleagues as well as the op particular area. A unique portunity to learn from Michael Hen American Choral Directors challenge is offered to the choral nagin how a composer approaches the Association. Under the expert director who will pursue the phe task of writing for children. direction of Jean Ashworth-Gam, nomenon of the child-voice and conductor of the Toronto the sponge-like absorption of the Perhaps most significant was the con Children's Chorus, the young child-mind. Clearly we are limited cert by ACDA's first National Honors chorusters articulated beautifully not by the children's abilities but Children's Chorus, brought into being the Latin, French, German, and by our own attitudes. Excellence by the efforts of Doreen Rao and the English texts. Their clear, ringing, and artistry are possible with National Committee on Children's bell-like timbre demonstrated art children. Choirs. In an article for the Tennessee fully the marvelous uniqueness of ACDA Fall Newsletter, Martha Ruth the children's choir sonority. Submitted by Lucinda Mosher r~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ GENE GRIER CHORAL MUSIC FOR CHRISTMAS ~. I NOW AVAILABLE FROM YOUR FAVORITE MUSIC DEALER I I tqe 1lieBenn of tqe Page 18 THE CHORAL JOURNAL Alfred Skoog is the Director of Choral Activities and David Niederbrach is Associate Professor of Voice at Arkansas State Univer sity. This article was part of a lec The Organization, ture demonstration presented at the ACDA Southwestern Division Development, and Function Convention in March, 1982. Organization of the Female Choir of the Female Choir (Alfred Skoog) by Alfred Skoog and David Niederbrach Female choirs are to be found in public schools, parochial and private schools, communities (churches, music clubs, etc.), as well as in colleges and mixed choirs (a kind of SUPER-BOWL periences, etc. Audition singers and . universities. The percentage of excellent for music). I, too, have been affected by potential singers and place them in female choirs is quite small compared to this syndrome but wonder why we groups where they can develop more the "sea" of mediocre and below should not strive to make each of the fully. At all times have something to of average choirs. Existing problems are three choral ensembles (mixed choir, fer your singers that will cause them to many and vary from director to director male chorus, women's choir) of equal want to participate. Show individual in and from school to school. Some choirs importance. Would not our over-all terest, and convince the student that exist out of necessity, some because choral program be more productive in you need her, and she needs you. Be there are not sufficient males to have a the long run? In each area there is great willing to establish new traditions. Sell mixed choir, some because the girls did literature to be sung. One can learn your program to your administration. not make the auditions for the select more about the individual singer and his (This is very often the largest under mixed choir, et cetera. There are those various problems and then find solu taking of all, and it requires a great deal few choirs that have that special quality tions to those problems. The Singers of patience and understanding on your of excellence and "sparkle" that we all would do more singing in the outer part.) Allow time for your program to admire, but for some reason there does vocal ranges, and both genders would become established. Nothing of value not seem to be the "glory" in a female develop true concepts of the male can occur overnight. choir, compared to the mixed choir and ensemble sound and female ensemble It is important to have a female choir, male chorus, to cause us to want to ex sound. Would not our entire choral pro male choir, and mixed choir on all cel in this media. Here directors gram have more "sparkle" if we treated levels: junior high, senior high, and col (teachers) must examine themselves each choir as if it were of great impor lege. It is particularly valuable on the and find ways to develop this important tance? junior high level, where there are so aspect of the choral programs. The Organization requires considerable many vocal, physical, and psychologi following comments are addressed to thought and personal research, will cal problems. These three types of this purpose. ingness to experiment, individual time ensembles have different problems, and 1. Of the choral "sounds," the treble in the study of literature and methods of these problems cannot be approached sound is usually the least desirable of teaching in the different situations, and in the same manner. Your awareness those to which one wants to listen. the sharing with other directors who and willingness to comprehend and 2. The mixed choir has a full spectrum want to achieve the same goals. Female understand these problems will help of vocal color. voices are abundant in each school. Ex greatly in their solution. 3. The male chorus is a masculine amine student records. Counselors One of the most common yet seem sound that produces over-tones that have records of students' I.Q.'s, ingly monumental tasks is in scheduling can be quite exciting. It is also one of backgrounds, previous musical ex- choral groups, but this can be achieved the more difficult choral ensembles to develop and maintain...... ----RECENT CHORAL PUBLICATIONS-----. 4. The women's choir takes exceptional by skill in developing that "special" Jerry Weseley Harris sound. First, the conductor should JUSTUM DEDUXIT DOMINE ...... Mozart/Harris understand how to sing himself and S.A.T.B. - Lawson-Gould Pub. be able to impart good vocalism to JESUS WALKED THIS LONESOME VALLEy ...... Folk/Harris S.A.T.B. Lawson-Gould Pub. each of his singers. He must have I HAVE BEEN yOUNG ...... '...... Schein/Harris that "sound" as a mental image in his S.A.T.B. - Lawson-Gould Pub. #52125 own thinking before it can be CHERUBIM SONG ...... Glinka/Harris developed in his singers. He must S.A.T.B. - Lawson-Gould Pub. OUR THANKSGIVING SONG TO GOD ...... Haydn/Harris have LOVE and understanding for S.A.T.B. - Music 70 Pub. his choir, a great deal of enthusiasm, COME, MY FRIENDS ...... Jerry Weseley Harris and a sincere desire to achieve high S.A.T.B. - Music 70 Pub. LOOK HE COMES WITH CHOICEST CROWN ...... Handel/Harris goals. S.A.T.B. - Music 70 Pub. The great problem today is that the AVE MARIS STELLA ...... " Monteverdi/Harris mixed choir takes the number one place S.A.T.B. Plymouth Music Co. in the choral program. Some conven These and other publications by Jerry WeseLey Harris may be found at your LocaL retail music store. tions seem to be a glorified contest for SEPTEMBER 1983 Page19 if you can sell the importance of the parts. A choir cannot properly develop is easy to sing, easy to sell. If we as varied choral ensembles within the unless its members have a knowledge of choral directors will demand quality lit choral program to your administration. the vocal instrument and its proper erature, composers and publishers will This involves your willingness to work function in the body, how to breathe for supply it. Publishers produce that which with them as you endeavor to under singing, and how to continually control will sell. We determine what quality that :;tand the problems of the particular and develop a mental concept of an product will be. school situation. individual's sound and its relation to the One, then, must develop pride in his Voicing the choir should take con other voices. Of equal importance are own work, as well as impart pride to siderable time, thought, and one's the development of discipline in the each of his singers. An awareness of knowledge of the singers. Each section singers and the ability to concentrate finance and an understanding of the should have a variety of voices, ranging and increase the concentration span. promotion concerning one's product is in tonal color, and the singers should be The choice of literature will serve to of vital importance in making a program able to handle the vocal ranges of that enhance the capabilities of the singers, successful. Above all, one must become particular part. Realizing that choirs are as well as stimulate growth in the afore a life-time student, looking for new and at times short of sufficient voices for mentioned aspects. This includes lit better ways to serve his students and his each part, mid-range voices must be erature that embodies the emotional art. used to assist in the outer parts and vice aspects of music, providing ways to versa. Directors must be constantly develop musical expression. There Breathing for Singing aware of the changing voice as it seems to be more "choral trash" (David Niederbrach) develops and change the voice classifi available for the treble choir than for the cation of the singer accordingly. This is male chorus and mixed choir. This is Breathing, as it pertains to singing, is a time-consuming responsibility that will because there are so many ineffective comprised of three stages: inhaling, benefit the singer and choir considerably treble choirs with directors who buy this phonation (exhaling), and recovery or if undertaken with intelligence and sin trash because it is easy to sing. This preparation for the next inhalation. cerity. music often incorporates musical "gim Ideally, these should be thought of as The development of singers is depen mics" rather than musical continuity. A stages in what should be a single contin dent upon one's ability to teach director must take the time to study the uous action rather than separate en rhythmic skills, interval recqgnition fine literature that is available. Pub tities. We should think of breathing as a (ability to hear and sing intervals), and lishers often rely on trash in order to continuous, circular function unless the relation of one part to the other make their business profitable because it there are long periods of rests in the c L IFITS FOR BOYS D IRLS At Southeastern Career Apparel our first commitment to our customer is quality. We feel the workmanship of our apparel is second to none. We also take great pride in offering our customers a wide variety of styling, colors, and sizes. We can fit anyone. SOUTHEASTERN CAREER APPAREL OFFERS: 1. Long and short gowns in all sizes. 2. Suits, sport coats, shirts and ties for young men in qjl sizes. 3. Matching outfits for boys and girls in all sizes. 4. Girls shirts and blouses in all sizes. REASONABLE PRICES 4 WEEK DELIVERY For more information call or writeJ. E. Saliba. Southeastern Career Apparel, 58 Porter Square/800 West Main Street/Dothan, Alabama 36303/(205) 794-0565. Page 20 THE CHORAL JOURNAL music and, thus, long periods of vocal times think. Singers are susceptible to the lungs silently. The latter is a key inactivity. This occurs less often in taking in too much air which over word. Inhalation must be silent since choral music than in solo literature. extends the lungs and breath-control this indicates freedom and total lack of Before discussing the stages of con muscles to the point that they become resistance to the inhaling. If sound is tinuous breathing, it is absolutely tense and Virtually impossible to use effi made, we are resisting the air either with necessary to establish correct posture ciently while singing. The second effect the abdominal muscle!? or the vocal and the physical readiness to receive of a correct inhalation - the physical cords. Either of these will create a situa breath. Without it, the application of readiness - includes a dropped, slack tion of tension from which we must try correct breathing techniques is im jaw, relaxed tongue, open throat to sing. We should never have to fight possible. Correct posture consists of (lowered larynx and raised soft palate or gasp for our air. The dropping of dia standing with feet apart (never together) much as in a yawn), and reasonably ex phragm extends the abdominal muscles and one foot slightly ahead of the other panded abdominal and lower chest so that we feel "fat," and we are ready for good balance; legs should never be muscles caused by a relaxed "dropping" to sing. locked or tight; the chest is held of the diaphragm. If all of this happens The phonation, or beginning of comfortably high and expanded (so we as we inhale, then we are physically sound, should take place without ever do not have to force it open with air); ready to produce sound. The third ef feeling like we have stopped inhaling. It and all the abdominal muscles above fect is more of a side-effect. The deep is as though we were singing before we and below the waist are completely limp expansive inhalation which produces have quite finished our intake of air. and relaxed (no figure control here), the relaxed, open throat can give us a Otherwise, we must stop and hold our thus causing the lower back muscles to strong psychological feeling of positive breath; this must never happen. assume responsibility for holding the well-being and therefore, confidence, Note: This business of holding the breath a mo body up. Failure to relax the lower ab without which a singer cannot possibly ment before starting the sound is one of the dominal muscles prior to inhaling is one succeed. Of all the physical require greatest problems I encounter with young singers. It is caused by "jerking" the breath in against tight of the most common reasons for faulty ments for life, we can do without air for muscles which in turn creates the need to pause so breathing. the shortest possible length of time - a we can mentally change to the exhalation idea. Now we are ready to describe the few seconds at most. Even fue feeling of Then the vocal chords are closed tight, and sound breathing cycle itself. We need to keep difficulty in breathing can cause mild can only be made by "popping" them open, re sulting in a tense tone which is far from full, reso- in mind what we are trying to accom anxiety in humans. Therefore, the deep nant, or free. . plish with our intake of air. Obviously, relaxed and unrestricted inhalation we inhale to provide the air needed to serves to give a deep feeling of con The impetus for beginning tone make sound; but we also are going to fidence that all is well, and we can pro comes from a slight downward and out set all parts of the anatomy involved in duce a free, solid vocal sound. ward surge of the diaphragmatic ab- singing in their proper positions or con For the actual process of inhalation, ditions to get physically ready to make keep in mind the previously described PosmONOPEN The Music Deparnnent ofDavidson College has sound freely; and finally, we breathe to posture. The air should be taken in a tenure-track faculty position open for the fall of prepare ourselves psychologically to through the nose and mouth together 1984. The position will carry the rank ofinstructor make a beautiful, free, and confident - the nose for moisture and the mouth or assistant professor. An applicant should have sound. for volume of air. The mouth and completed at least the Master of Music degree. In addition, he or she should be in sympathy with the The first of the above needs little pharynx are in a mildly yawning posi values and purposes of a liberal education and the discussion. It is simply physical fact that tion which lowers the larynx and raises functions that music must fu1fill in a liberal arts we must have air in the lungs in order to the soft palate. The vocal cords are institution. Some previous teaching experience is produce a vocal tone, although it does open. All we need to do is let the dia required. not require as much air as we some- phragm drop and air will be pulled into An applicant should be fully competent to carry out the following responsibilities: 1) to teach the applied music program in voice; 2) to direct the choral organizations, including the preparation and execution of at least one tour BUILDING THE VOICE per year; 3) to teach a major course in conducting and AS AN INSTRUMENT general courses in music appreciation as needed; with a 4) to perform yearly vocal recitals of high artistic STUDIO REFERENCE HANDBOOK quality. All applicants must include with their applica by Pearl Shinn Wormhoudt tions cassette recordings of recent performances which demonstrate their singing and conducting skills. Evaluation of applications will begin on A book for vocal pedagogy classes, singers and teachers. The October IS, 1983. instrument and its logical development, combining science and Davidson College is a small churdI-related, lib tradition. Vowel acoustics, first lessons, registers, repertoire, voice eral arts college with high academic standards, located near Charlotte, North Carolina. The care, psychology. The Handbook gives vocalises, IPA, diction, majority of its graduates go on to graduate or resources and addresses, bibliography. professional schools. DAVIDSON COLLEGE IS AN EQUAL OPPORTUNTIY EMPLOYER. Please address Reproduced typescript inquiries and applications to: 193 pp. illus., $8.95 postpaid Wilmer H. Welsh, Chairman Davidson College Music Deparnnent Write for brochure or order from Wormhoudt, William Penn College, P.O. Box 356 Oskaloosa, Iowa 52577 Davidson,.North Carolina 28036 SEPTEMBER 1983 Page 21 Ninth Annual CHURCH MUSIC EXPLOSION January 11 - 15, 1984 Coral Ridge Presbyterian Church, Fort lauderdale, Florida Dr. D. James Kennedy, Senior Minister Join us for five days that will renew your enthusiasm and expand your vision for church music! ., Discover new ideas, techniques, and insights in workshops ROGER McMURRIN led by outstanding educators and church musicians. DlANEBISH Conference Df'an/Conducfor Organ Virtuoso Dirf:'ctor of Mu",k~CRPC • Expand your knowledge of the latest choral repertoire Organi .. Participate in specialty workshops on organizing a church concert series, sound production system basics, piano techniques and more . ., Enjoy recital on 117-rank Ruffatti pipe organ by finalist in HOWARD SWAN national organ competition (see belowL plus "Concerto DONALD ALLURED Conductor I Master Tpacher Concert" on Wednesday, featuring Stephen Nielson Handhell Spedalisl performing a Mozart piano concerto with orchestra . • Perform Bach's Magnificat in Friday concert, also featuring DIANE BISH performing works for solo organ as well as organ with orchestra . .. Observe the 200-voice Chancel Choir of CRPC in rehearsal HELEN KEMP and performance. ALLEN POTE Children'", Choir'i Youth Choirs The Small Church Choir .. Share ideas with other church musicians. For complete brochure write to: Daniel Miller, Chairman CHURCH MUSIC EXPLOSION 1984 Coral Ridge Presbyterian Church 555S North Federal Highway STEPHEN NiElSON Fort Lauderdale, Florida 33308 CAROL WILSON Pidno Accompanying [3051 771-8840 Conn~rt SPriP" Director and Arranging 2nd Annual ANNOUNCING 1985 CHURCH MUSIC EXPLOSION DIANE BISH INTERNATIONAL ORGAN COMPETITION BACH FESTIVAL FIRST PRIZE $1500 Winner featured in concert at Church Music Explosion Workshop John Nelson, Clinician Deadline for submitted tapes - Dec. 1, 1983 St. Matthew Passion - CRPC Choir Final competition - Jan. 10, 1984 st. John Passion - Workshop Choir Bach and Bish Concert For information and application write: Diane Bish International Organ Competition, Coral Ridge Presbyterian Church, 5555 North Federal Highway, Fort Lauderdale, Florida 33308 dominal muscles. At the same time, the pressure for as long as possible. (The through encouraging our singers to sing vocal cords are adjusted together by the word "support" suggests helping the air a full, moderately loud sound than we mental image the singer has of the cor out, and I do not like it for that reason.) can through a mezza voce, light tone. It rect vowel, pitch, and resonant feeling. So in "controlling" the air (diaphragm) is easier to develop the voice from The sound begins and the pressurized we must look for a sense of pushing strong to soft than from soft to strong. column of air is maintained against pro down against it from within - much like The former aids in the strengthening of perly tensed vocal cords by the ab the sensation of "grunting" although not the musculature of singing and the latter dominal muscles resisting the dia quite to that extreme. This is where the inhibits it, and it also inhibits the singer. phragm's natural return to its relaxed real work and effort occur in singing, Soft, correct singing is the last stage and position. Thus the proper feeling of which is not an activity for lazy people. perhaps the hardest in the total breath-control, in my opinion, is one of The recovery from a phrase comes development of a complete singer. a downward and outward thrusting of just as we cut-off the tone. We strive to the low muscles of the torso. Just keep do this by actually inhaling again. Female Voice Classification in mind that the air in our lungs needs Reverse the air flow and the tone ceases (David Niederbrach) no help in coming out any more than - clearly! At the same time, we relax the air in a balloon does. So pulling up the abdominal muscles completely; Proper placement of each singer in an tensely with these big muscles of the drop the diaphragm, maintaining the ensemble into her correct voice part or body merely forces a large volume of air low larynx and high soft palate we had at least the voice part which will be best against the larynx and creates a "bottle during phonation, maintaining the high suited to her and will allow the in neck" of air at the vocal cords, which chest which has never moved through dividual's voice to grow naturally is pro can only result in either a tense, tight out the entire cycle, and we are ready to bably one of the single most Important throat - as the throat muscles fight to attack the next phrase. steps toward a successful choir and cer hold back that violent rush of air-or a Although it has taken a lot of words to tainly to the teaching of singing. Unfor very breathy tone as the cords succumb attempt to describe this process, the tunately, it is a step which'is all too often to the log-jam and simply relax to let the process takes just seconds from initial done in a cursory manner, and the ex air flow through unhindered. We must relaxation - through deep inhalation amination of each individual is not done instead resist that air being pushed up through yawning pharynx, then immed thoroughly enough to really find out the by the natural rebound of the dia iately into sound from a downward true nature of the voice. In testing a new phragm with properly tensioned vocal pressure on diaphragm throughout the young singer for our group, we must cords and resist the natural rebound of total musical phrase to cut off by re concern ourself not only with her im the diaphragm by trying to keep the ab laxation and inhalation through open, mediately available range, but, to the dominal muscles stretched out and yawning pharynx into attack, etc. The down. We are literally trying to sing and cycle goes on. hold our breath at the same time! Very It may sound very complicated and little air is required to produce a singing stiff and even unnatural, but be assured tone. Less is required on high pitches it works and when done properly allows 20%t)~ than on low and less on loud tones than a very relaxed yet positive feel of tone soft. The important word is "control" of and energy in the voice. As directors we (#t fflO4t ffl«4ie air keeping it in the lungs under can develop this air control more Additional savings on stock orders tates Air Force CAll TOll FREE 1-800-858-3000 'A~'~eants (in Pa. 1-800-372-7000) )~"i,wr; ;:~.I' Fast, professional service Music of all publishers Charge accounts invited Military Benefits - 30 Days Paid Vacation ng Grade E·5 (Contact Local Recruiter For Pay Scale) UNIVERSITY for more information and to (lrran~}e for (m audition contact: MUSIC Major James M. Bankhead SERVICE Deputy Commander The U.S. Air Force Band P.O. Box 354 Bolling Am, Washington, D.C 20332 Hershey, Pa. 17033 AC (202) 767·4224 SEPTEMBER 1983 Page 23 best of our abilities, we must listen with The female voice has two natural range with some fullness and ease, an ear toward the possible future trend registers - head and chest. In their although this is more unusual. of the voice. Obviously, this is not easy. pure form they occur only in the most In assigning these types to our choir, Therefore, the director-teacher con extreme pitch ranges. Consequently, we initially must follow the obvious stantly must be listening to the in the singers spend most of their time route. Type A will have to sing low alto, dividuals, not just once a year in the fall. singing in a pitch range which, by type B will be our first soprano, and The female adult voice as it begins to necessity, must be a blend of the two type C singers will fill out the middle emerge in adolescence is more difficult registers. As we listen to our singers, we parts - soprano II or alto I. Type D to identify than the male voice because generally encounter about four types of singers will be assigned to whichever the girl's voice change is not as singers. For purposes of this article, we part seems to suit their quality the best traumatic. It merely consists of a gradual shall refer to them as types A, B, C, and - but experience has shown they most "maturing" of sound and does not sud D. Type A will have a strong, low chest often are sopranos. denly change octaves as in the boy's voice which is a little harsh sounding, This initial assignment is only the first voice. Furthermore, there is a greater and she tends to carry this chest voice step in what must be a continuing. pro similarity of voice quality among the up into the middle of the clef where it cess of training, testing, and reassigning various female voice types, i.e., becomes pinched or strident sounding as the true voice begins to emerge. We soprano, mezzo, alto, than among the and finally breaks off into a weak, little must keep in mind that there are three ."1': males, even after the delineation has sound which is 90% air. Type B is the basic voice types in females. These are , begun to be more obvious. This, coupled opposite. She will have this lovely, little mezzo-soprano (the most common), ~. with the fact the voices do not develop high head voice that goes up so easily, soprano (the second most common) at the same rate of speed, makes the job but she carries this little head voice and alto (indeed the true alto is most of proper classification a difficult job in down into mid-clef, and it finally disap rare). In well-trained voices the ranges deed. Perhaps our greatest responsibili pears in a flood of air. Type C (perhaps of the three are quite similar. What are ty as teachers is to avoid at all costs the most common) is a voice of neither the determining factors are the tone casting a young singer permanently into exaggerated chest or head voice; she quality and the tessitura each can main a part that will keep the voice from sings weakly or strongly, but only within tain for long periods of singing with developing as much as possible in the staff - no low range, and certainly relative ease. high school years. Naturally, it would be "chickens out" on anything high. Type As teachers, our primary objectives ideal if each member of the group could D is unfortunately all too rare. This with voice types A, B, and C should be: take individual voice lessons from a singer we call the natural singer; she Type A - teach them to use the head good private teacher. This is seldom presents a voice with a round, fairly full resonance of the soprano and learn to possible, so we must do as much group tone and sings easily into low voice with blend it into the already developed voice teaching in our rehearsals as a pleasant sound up through the middle chest register; Type B - teach them to possible. and may even go on up into high voice use the chest register and blend it into the already present head voice (this should result in a strengthening of the high voice also); with Type C we must work to develop awareness of the high International Choral and low registers and develop con fidence through proper breathing techniques. The methods for doing these things * Kathaumixw are many. Here are just a few sugges tions: 1. Spend a certain amount of time each July 3-6, 1984 day doing vocal exercises - not just to warm up, but to train. Powell River, British Columbia, Canada 2. Use many descending scales en couraging the use of proper breathing and resonance with big, A competitive choral festival for round Oh to buzz the whole head - children and youth choirs on the shores of don't separate the altos from this Canada's magnificent Pacific Coast. either (especially Type A) - en courage them to sing "like" sopranos in the higher range. TELL ME MORE!-----, For further information contact: 3. Do the same with low scales, either Don James, Director, The Powell descending or ascending/descend River Academy of Music ing' and encourage all sopranos to Box 334 get down in low voice and work at Powell River B.C. Canada U8A5C2 Tel. (604) 485-7662 gradually transferring from middle (blended voice) to low (chest voice) without a big "break." Keeping -FOR CHANGE OF ADDRESS Be sure to notify the Editor at: P.O. Box 6310, Lawton, OK 73506 Page 24 THE CHORAL JOURNAL larynx low at all times and throat just "singers" who are assigned tem more than achieving -mechanical ac yawny throughout entire range will porarily to a given part. curacy, ensemble sound, and well aid in these transitions. The above observations are based on executed p's and f's. It is that ability to 4. Encourage full, louder tones which many years of working with individual perceive and develop the aesthetic and are free, of course, to develop singers from the eighth grade through dramatic content of the composition to physical strength in the vocal college graduates. I have seen, for ex be sung. To obtain expression in music mechanism. The voice, being made ample, a type A singer, who for two the director must be understanding and up of muscles, cartilages, and the years was the number one-rated second sensitive to the composer and his work. like, will never strengthen or coor alto in the state, graduate from college The following are steps that will help in dinate if nothing is ever demanded of as a tremendous soprano. Conversely, I acquiring that which is beautiful in it, i.e., by singing everything "lightly" have worked with a twenty-seven year music: and softly. old "soprano" who had a light, little 1. Little can be accomplished until the 5. Try section rehearsals which are ac "wiggly" voice that would go nowhere, discipline of concentration can be tually group voice lessons. This re and we finally discovered a beautiful full utilized. It is the responsibility of the quires the teacher to understand contralto that would sing full low Gs and director, beginning with the first good singing techhique, but this full, solid high B-flats. These rehearsal, to make this a constant should be a primary requirement of misclassifications occur too frequently challenge to himself and to his the job. and at best serve to hold up de singers. 6. If possible teach individuals who velopment of the voice and at worst ruin 2. One must understand the singing have the more extreme problems of it completely. The knowledgeable junior voice, its capabilities, and how to using the "whole" voice. and senior high school teacher can develop and control it. 7. Periodically throughout the year, try alleviate most of these problems 3. Good unison singing must be to move through your group and through understanding the vocal instru developed and maintained at all become familiar with the voices. ment and concentrating on the natural times. This is one of the most dif Hear what changes are going on. development of the young voice based ficult aspects of choral singing to 8. I would also suggest that in rehear on this understanding. achieve. Most problems are a result sals you have some pieces of music of poor vocal technique, insufficient which lack range extremes and have Steps Towards Developing control of breath release, inability to sirgers switch parts - second altos Expressive Singing for sing in outer vocal ranges, "chew to soprano II or alto I and soprano I the Female Choir ing" of vowels, uncontrolled vocal dpwn to other parts. There is no bet (Alfred Skoog) "wobble," and being unaware of ter way to encourage the develop the other singers within the section. ~ent of the whole voice. After organizing the choral program, After one can sing correctly within 9. R!etest the voices every semester or selecting the various choral groups, his own section, each section must e~et1y nine weeks. There should be establishing basic musicianship, and always sing in relation to the other adjustments for some. But particular possessing a working knowledge of sections. ly, every year the singers should be good vocalism, one is ready to ap 4. One must be able to recreate and reheard because there should be proach the element of EXPRESSION, maintain the mechanical structure development some of the Type one of the most elusive aspects a direc of music (rhythm, intervals, har As will have begun to use the higher tor and his singers have to grasp. It is mony, melody, etc.), without losing voice, some of the Type Bs will have begun to use some low voice, and some of the Type Cs will begin to Use lifjUJ.l-l!(2HW masterworks assume some characteristics of either alto or soprano and get out of the to celebrate REFORMATION, middle muddle. Thus we will begin LUTHER'S SOOth to observe the emergence of the real and ADVENT •.••.. musIc company voice of each. Ein feste Burg ist unser Gott (BWV 80) * J. S. Bach Reformation cantata on Luther's hymn. SATB choir, SATB soli, orch. In summary, I wish to emphasize the German only. HV 10.126. Score $10. 00, choral octavo 1.35. 27 min. following reminders: Ein feste Burg ist unser Gott Telemann SATB motet, opt. continuo. Ger & Eng. HV 1.547. $1.30. 8 min. Missa Brevis "Allein Gott in der Hoh sei Ehr"* J. Nikolaus Bach 1. Voices are classified ideally by type Luther's German hymn with Latin Missa Brevis. SATB & CF choirs, of sound not range - this requires us SATB soli, strings. Score 16.50, choral octavo 2.75. HV 30.701. 17 min. to teach them how to use the whole Nun komm. der Heiden Heiland I (BWV 61)* J. S. Bach voice. Advent cantata on Luther'S hymn. SATB choir, STB soli, chamber orch. Ger & Eng. Score 7.45, choral octavo 85~. HV 31. 061. 20' 2. Altos can sing high. Nun komm. der Heiden Heiland II (BWV 62)* J. S. Bach 3. Sopranos can sing low. SATB choir, SATB soli, horn, 2 oboes, strings. Score 9.20. pocket 4. Voice classification is a constant on score 2.90, keyboard score 3.15, choral octavo 85~. HV 31.062. 24 min. Wachet auf. ruft uns die Stimme (BWV 140) J. S. Bach going process due to the fact that the Favorite cantata for Advent. SATB choir, STB soli. chamber orch. real voice will not emerge until the Ger & Eng. Score 11.15, choral octavo 1.40. HV 31.140. 44 min. singer is taught how the whole voice Wachet auf. ruft uns die Stimme * J. C. F. Bach should function correctly. SATB motet, opt. strings or ~rg. Ger & Eng. Score 4.55.HV 34.102. 16' *A vailable in quality Hiinssler recordings conducted by Helmuth Rilling. 5. Discourage the use of permanent Order scores today. Sorry, no Hiinssler references or on-approvals. labels such as Alto I, II, etc. Instead, MARK FOSTER MUSIC COMPANY Box 4012 Champaign IL 61820 treat all singers as though they are all SEPTEMBER 1983 Page 25 the artistic content. Renaissance compositions of multi the execution of this aspect with 5. One must be aware of intervals, ple parts, one must emphasize the emotional and artistic understand both horizontal and vertical, and inner-rhythms in order to achieve ing. know how to execute them both the rhythmic "life" of the piece. 15. One must be aware that music must mentally and vocally. There are 10. Notes that are sustained or go from one point to another and numerous reading methods to assist reiterated should be sung with the that the intensity of an exciting in this endeavor. feeling of crescendo, particularly crescendo cannot be effective 6. One must be able to adhere to the when they complete a strong accent without the controlled use of dimin rhythmic feeling given in the time or are proceeded by a higher note uendo to its pOint of repose. Both signature and learn to modify ac on a strong beat. elements are essential in portraying cents through the use of subtle 11. Notes that are part of a dissonance the emotions of music and are dif pressures and swells; we will then or notes that resist harmony notes ficult to achieve (particularly dimin be able to create the needed con should have more emphasis. uendo) without some method. trasts between dynamic and emo 12. There should be a feeling of accen There are directors who use tional accents. tuation on the first note of triplets. numbers to achieve an increase and 7. It is possible to maintain time 13. After mastering vowel formations decrease of sound in the smaller signature rhythm without overem and the articulate formation of con and average cres.-dim.: phasizing the accent of the first sonants, one can proceed to por 5 6 7 8 9 10 10 9 8 7 6 5 beat; this can be achieved when tray the various mental conditions, ~~ more attention is given to the beat the wide range of moods, and that precedes the "down beat." First whimsical impulses that are to be beat accentuation can be most ef found in the music. Knowledge of This is very effective in the earlier fective for special effects and when the text is enhanced by the handling stages------of execution, because it pro one is developing a fortissimo of words. The dramatic content of vides a workable means of measur climax. "key words" is made meaningful ing controlled exhalation. The long 8. Emphasize all syncopated notes with proper verbal emphasis, varia crescendos and diminuendos can and other conspicuous sections of tion of tone color, and the in be more effectively achieved by en rhythm that are irregular. telligent use of subtle syllabic compassing a series of smaller 9. When singing cross-rhythms, let stresses. crescendos and diminuendos alter each single rhythm be distinct and, 14. Music, drama, and poetry must nately with the other vocal lines. at the same time, maintain the basic possess the element of ebb and flow 16. At times, pianissimos are nebulous momentum of the composition. In (rubato). One must be sensitive to and breathy; fortes are literally • ~ze " I'm your treighbor. Products of the highest quality and value-trusted by families for over 50 years-because they're fully I'm one of 40,000 Stanley Dealers nationwide ... guaranteed by Stanley and by me. and I'm a professional. I'll help you organize and run your fund-raising drive from beginning to Get in touch with the Stanley fund-raising professional end, with expert program guidance and continuous in your neighborhood. Just complete this personal service. Because I'm local, many of coupon, or call Fund-Raising Manager, the people in your community are my 1-800-332-3831 (In Mass.), or friends and customers. 1-800-628-9032 (Outside Mass.). I offer you flexible '------, programs. I Mail to: Stanley Home Products I Choose from a variety of plans that I Division of Stanhome Inc. I can be tailored to fit your special I 333 Western Avenue Westfield, MA 01085 I needs. They're simple. . . and Yes, I would like to learn more about Stanley profitable-so you'll have your Fund-raisers. most successful fund-raising campaign ever. All my products Club ::a~~~~~!~~d. r;,,,,,"';;1 Phone No. ucts offers customers City State Zip products they need and use daily Our Fund-raising goal is $ _____ for home and o I would like to receive sample products personal care. Page 26 THE CHORAL JOURNAL blasted (screamed). This can be brought into proper perspective by AcdA lEAdERSitip STRUCTURE realizing pianissimo is relative to for tissimo. In singing a forte, sing 80 to 90 percent of maximum sound which will give the feeling of control and the ability to hear others within the ensemble. The pianissimo should be sung with considerable control of exhalation (a feeling of holding breath with lower ab dominal and back muscles) while maintaining a forward and bright tone. So many pianissimos are sung with a breathy tone and are Chnlr. • Central Stnndlng K.y controlled from the neck. A well CommlUeeon -Eastern Repertoire and • NorthCenlrnl I Elected office controlled pianissimo can be as ex StnndnnfsS I Constitutionally mnndllled'5uccession fromPresident..elect citing as singing a forte, particularly J Constitutionally mandated succession from President NaUonnl Commlttee ChainS 4 Constitutionally mandated succession when it is controlled and relates to Bof~Choin from Vice President Childttn'sChoMeS , Appointed office Chor::.IMIIlic:inIhcOum:h the forte. The amplitude of one by Colkg~&. Unh1:nill' 'Appointed Music Commlll'lilyChcru$ Publishers Association choir will vary to that of another, Elhnle& MinnrilyC=rm Slule CommJUee ChnlrsS 1 Slnnding Commiuce Responsibility Junl!ll'&.CommunilyCoUcgc Comprise Division Committee Assigned by Constitution Juni!ll'U1~hSthwl • Executive Commiuee Member depending upon the singers' age, Seni!ll'lf!~hSd!ooI VOCIlIJ;w;&'Sh"""Chnirs Communication lines WllttlClt"sO!nruKOl - Responsibility lines vocal development, and understan Youlh.tSludenlAtliviliu State Commluee ding. M"koChon"e'I l\tembersS 17. Each vocal line in a choral song is a vital part of the composition in its structure. These lines, composed of notes and rests alike, are musical thoughts and should be sung with -FOR CHANGE OF ADDRESS- the same continuity as one would Be sure to notify the Editor at: P.O. Box 6310, Lawton, OK 73506 speak the written word. Rests are not to be utlizied as places to relax; they are used for effect and as part of the basic "design." Relaxation occurs before and after a piece is CHORAL MUSIC sung. 18. Create beautiful "line" through the FROMMARGUN controlled and discreet use of tonal intensity to enhance each note, phrase, or section. BE SURE TO HIGHLIGHT YOUR 19. A director is responsible for bringing out, with taste, each voice leading, CHRISTMAS CONCERT WITH particularly in contrapuntal- music. So many times this most effective device of composition is lost, because it is not subservient to the T IGHT leading of the other parts. in its origiriaJ.1820 orchestration by Franz Gruber for soprano and alto soli, SATB chorus, 2 horns, guitar and strings IMPORTANT NOTICE TO ALL ICDA MEMBERS! a most beautiful and simple setting! Complete set $8.00 Until July 1984, Geraldine Miller will be acting Treasurer for ICDA. • ••• ******* •• *************.***.** ••• ******** ••• ***** ••• Please send all bills, checks, and two anthems by Gunther Schuller: correspondence concerning o SPIRIT OF THE LIVING GOD membership to: o LAMB OF GOD Geraldine Miller for SSAATTBB chorus 8222 Cherington Drive Indianapolis, IN 46227 Write for FREE catalogue and newsletter (This does not include pre-registration for the Summer Conference. This MARGUN MUSIC Gunther Schuller, President should still be mailed to Kay Grove.) 167 Dudley Road, Newton Centre, MA 02159 617/332-6398 SEPTEMBER 1983 Page 27 ACDA Announces Changes In• Editorial Board Personnel This issue of The Choral Journal public school and college teaching, he His conducting experience has been brings to conclusion the outstanding con has had extensive experience in church gained in New England, New York, the tribution of Dr. James McCray as music. He holds the degree of Doctor of East Central States, the Midwest, and Editor. Having been elected to the office Musical Arts (choral and church music), Texas. of Colorado State President-Elect, Jim conferred by the University of Southern Two other new members have been submitted his resignation as Chairman California. added to the Editorial Board. They are of the Editorial Board. President It is with utmost confidence that we Sandra Chapman and Conan Castle. Maurice Casey accepted that resigna welcome Lynn Whitten to the position Sandra L. Chapman holds the tion with reluctance, and we all express of Editor of The Choral Journal. Bachelor of Music degree in applied continuing appreciation to Jim for his Dr. John Silantien, Director of Choral music from Baylor University and the fine work as Editor. Activities at The University of Texas in Master of Arts degree in music literature From the well-qualified applicants San Antonio, has accepted the appoint from the University of Iowa. Her exten responding to the announcement in ment as Associate Editor. Dr. Silantien, sive choral experience has been gained viting applications which appeared in a newcomer to the Editorial Board, in Iowa public schools and in Parsons the May issue of The Choral Journal, holds the D.M.A. degree in choral College. She serves frequently as con Dr. Lynn Whitten has been appointed music (with minor in musicology) from test adjudicator, workshop clinician, to the editorship. Dr. Whitten's scholar the University of Illinois. He brings to and festival guest conductor. ly and experiential record is impressive. the associate editorship a breadth of ex Since 1977 Sandra Chapman has His wide range of qualifications includes perience which includes choral work in serving on the Editorial Board over a a wide range of areas - junior high, been editor of The Sounding Board, period of nine years. He has been one senior high, church, community, col newspaper of the Iowa Choral Directors of two Associate Editors since lege, and university. Dr. Silantien has Association. She is a member of the IC September, 1980. been responsible for graduate and DA Board of Directors and has served Lynn Whitten heads the Division of undergraduate ensembles, madrigal ACDA in various capacities including Choral Music and serves as Director of singers, symphonic choir, "pop" choir, Division Hospitality Chair (1982), Na Choral Activities at the University of barbershop quartet, adult church choir, tional Hospitality Co-Chair (1983), and Colorado in Boulder. In addition to men's glee club, and women's glee club. State Summer Convention Chair (1983). Conan Castle is Professor of Music and Coordinator of the Voice/Choral Area at Central Missouri State Universi ty in Warrensburg, Missouri. Dr. Castle attended Doane College and holds bachelor and masters degrees from Northwestern University and the Doctor If you are looking for something traditional for of Philosophy degree in mUSicology from the University of Michigan. His CHRISTMAS doctoral dissertation was The Grand yet not overly familiar - how about this? Motets of Andre Campra. Dr. Castle conducts the Concert A CHRISTMAS COLLAGE Choir and the Madrigal Singers at assembled by Marshall Bialosky· for SATB. CMSU. He has been active in ACDA, MENC, and has held state offices in ·Prof. of Music, Calif. State University, Dominguez Hills, both the Missouri Music Educators and Pres., National Association of Composers. Association and the National Associa Ten well-known carols done in quodlibet or tion of Teachers of Si"nging. He is direc canonic fashion. A guaranteed audience tor of the Summer Music Camp at Cen pleaser, and easy to do if your choir tral Missouri State University and has already knows the carols. been Choirmaster of the Worlds of Fun Approximately 9 minutes. Festival of Choirs in Kansas City since $2.50 per copy its inception in 1975. Available from the: The addition of these highly qualified people, named to the Editorial Board to C SANJO MUSIC CO. Box 7000-104 serve under the chairmanship of Lynn Palos Verdes Peninsula, CA. 90274 Whitten, bodes favorably for continued strengthening of ACDA's publication, The Choral Journal. Page 28 THE CHORAL JOURNAL Leipzig Town Council on August 23, the Mass in B Minor which he recorded, 1730, requesting appropriations for ad Rifkin says: ditional singers. (This memorandum ap The experience has also shown pears in English translation in The Bach that the music itself creates RT Reader by Hans T. David and Arthur something of an aural illusion in Mendel, New York: W. W. Norton and the fully scored passages: solo RICHARD COX Company, 1945, p. 120.) Even though voices in ensemble, especially School of Music Bach in this memorandum states that when doubled or intricately ac University of North Carolina one must have at least twelve singers Greensboro, North Carolina 27412 companied by instruments, and that sixteen would be better, Rifkin become all but indistinguishable surmises that the request might not from a larger chorus. In fact, one. Some of the most provocative mater have been granted and that in any case really loses nothing by wiping ial on choral music to appear in the jour performances with fewer than eight away the overlay of ripienists that nals in recent years is the exchange be were probably normal. we have so indiscriminately ap tween Joshua Rifkin and Robert L. Mar In reference to the performance of plied to Bach's finely wrought tex- shall concerning the appropriate size for choruses in the music of J. S. Bach. Joshua Rifkin, "Bach's 'Choruses' - Less Than They Seem?" High Fidelity .European Concert lours Vol. 32 (September 1982), p. 42. _____, "Bach's Choruses: A ...-. . Preliminary Report," Musical Times Vol. 123 (November 1982), p. 747. "If I takerny.choir to Europe, can we perform masterworks in Robert L. Marshall, "Bach's 'Choruses' the chLJrcheswhere they were first sung? Will we;have good Reconstituted." High Fidelity Vol. 32 audiences? How will we find the best air fare? and what about (October 1982), p. 64. our accommodations ontourf' _____, "Bach's Choruses: A Preliminary Reply to Joshua Rifkin." Find theanswerstotheseque~tionsand~ore with\a simple ... Musical Times Vol. 124 (January phone ,call tOiCliltourlnc.'s ()ffice in Northbrook, Illinois; 1983), p. 19. The two pairs of articles are, indeed, Our ex~erienced Cj.nd musicall~~~~~ledgeablestaffiS in daily almost identical, except that the Rifkin contact with our offices on.the continent and in Great Britain~ article is somewhat expanded in Musical They can give you up-to-date information on every aspect of Times, where the Marshall article is your European concert tour. somewhat reduced. In addition, Rifkin has replied to Marshall in the December 1982 High Fidelity and in the March A Cultour.'European concert tour includes: 1983 Musical Times. .. a personalized itinerary Rifkin's thesis, which he originally • concert bookings and promotion presented at a November 1981 meeting • comprehensive land arrangements (hotels, meals, transpor of the American Musicological SOciety and which he has illustrated in a recor tation, citY, tours,. tour conductors, optional highlights) ding of the Mass in B Minor (Nonesuch -all air transportation . 79036), is the astonishing one that • complete ~r~gram integration many of Bach's choral works may have been intended for solo voices rather than choral sections on each part. The Call us collect 'for further inform tio .. documentary evidence for this thesis is fl l1r the presence of single copies of perfor 'learmine Packel, President. ming parts. Rifkin takes great pains to demonstrate the improbability that Bach's singers may have shared parts in performances and calls attention to ad ditional parts for some works in which ripienists (according to Rifkin, only one ·w~~ additional singer on a part) are clearly required. Historical evidence includes' a memorandum written by Bach to the 666 DUNDEE ROAD SUITE 1608 -FOR CHANGE OF ADDRESS- NORTHBROOK,IL60062 Be sure to notify the Editor at: P.O. Box 6310, Lawton, OK 73506 - (312) 272~9260 SEPTEMBER 1983 Page 29 has composed a joyful new SATB anthem j" and Hope has a free copy for you. Write on church or school letterhead to Hope Publishing Company Dept N.S. Carol Stream, IL 60188 Please also include copies of the indicated octavos by Natalie Sleeth. D A 508 CALYPSO CHRISTMAS SATB D A 527 CHRIST IS ARISEN, INDEED SATB D F 955 JOY IN THE MORNING SATB-Opt Brass D AG 7257 JUBILATE DEO Easter Anthem-Combined Choirs & Brass D A 480 LOVE ONE ANOTHER 2-parts D CF 190 WERE YOU THERE ON THAT CHRISTMAS NIGHT? 2-Parts tures; the music sheds some put undue, almost inhuman, choral pillars enclosing the more weight, perhaps, but takes on new strain on the singers, who have to intricate arias and duets with the flexibility and incisiveness. This sing not only all the arias and obbligato instrumental and vocal itself does not prove such a perfor duets but also every single note of solos. (p. 94) mance historically correct; but for every chorus .. , and (2) to com those who accept the interpreta promise the very design of this In response, Rifkin calls attention to tion of the evidence that I have monumental masterpiece variant translations of passages in the outlined here, the musical gains obscuring its careful formal ar 1730 memorandum and, in the High come as a decided - and chitecture consisting of majestic Fidelity reply, suggests that the remarks decidedly welcome - bonus. (High Fidelity, p. 44; Musical Times, p. 754) QUALIlY CHOIR Marshall remains unconvinced. His APPAREL own reading of the same memorandum of 1730 indicates that Bach specifies the SINCE need for four concertists and eight ri 1946 pienists for proper choral performances. For information write or call collect: Marshall also cites the evidence of the first four Leipzig cantatas, which show the kind of solo/tutti alternation that, according to Marshall, seems clearly in dicated in subsequent works for which the specific instructions (or performing parts) are lacking. Marshall's summary of these practices on p'. 22 of the Musical Times article is a valuable guide ~~I to this practice. ~cabtmic In the High Fidelity article, Marshall CHURCH AND CHOIR GOWNS makes this strong statement: MANUFACTURING What such a rendition (the Mass in COMPANY INC. B Minor with solo voices) ac 1125 North Highland Avenue complishes, moreover, is ... 1) to Hollywood, California 90038 (213) 469·6339 Ithaca College I Ithaca, New York School of Music Strong professional Divers.ified career options for programs in profes~ional musicians in • Education • Musical Theatre • Performance • Jazz Degree programs also available in Composition, Theory, • Mttsic in Combination Combination of Education/Performance, Bachelor of. /.:11'-, ~J with an Outside Field l Arts in Music, and Bachelor of Fine Arts in Music. '"-":"': ·-C;-:-'-'-'7~~-"--·· SEPTEMBER 1983 Page 31 quoted above are influenced by in The Sound of Pipes dividual taste in the same way that one Recreated by might, after early and continued ex posure to Stokowski's transcription of the Toccata and Fugue in D Minor, come to prefer this to a rendition on a ~autllt JUt. baroque organ. As Rifkin rightly points <@rgaus out, one's preference for what may be a 3046 No Meridian historically questionable performance Wichita, Kansas 67204 medium should not mislead one into believing it to be historically authentic. Still, inasmuch as the question of historic validity seems at the moment Out state watts (both Rifkin and Marshall have 1·800·835·1341 1·838·2545 promised further words on the subject) to be a matter of interpretation of various documents, the taste of the con ductor and even of the listener seem sure to influence their reactions to the COLLEGIATE performances. Rifkin's recording therefore seems at least as persuasive as CHORAL his articles. With virtuoso vocal and in strumental soloists, impeccable ac curacy of execution and clarity of ar FESTIVALS ticulation, and unusually brisk tempi, LONDON: , the recording elicits from this listener at . APRil 18';25· AT least a reaction much closer to the view ,MEXICO;CITY: point expressed in the Rifkin quotation 'APRIL 18·25 ' EASTER above than to that of the Marshall WASHINGTON D.C.: quotation. There is of course some loss APRll20~22 " ,. of dynamic impact, probably less than in a live performance. One wonders whether the loss would be less noticeable if the solo voices, beautiful and perfectly-controlled as they are, were capable of more variety of sound, and whether the addition of a really "SAMUEL ADLER GEORGE CAVENDER small group of ripienists (two or three on Professor of " .Professor of Music Composltl.on 'Dlredorof a part) would substantially destroy the 'Eastman School De,,,,elopm~nt and clarity achieved here. Still, one must 01 Mosle ' School Relations , WILFRED C: BAIN Sdioolof Music -_- '," also wonder whether dynamic impact is , D ••o (1947-1973) , . Unl\"~!s_ltV ~! Mlch!~a~_ , P"rofessor Emeritus FREDERICK FENNELL, really an essential ingredient in this ,School of Music C~nductor music or whether the sense of its - In~lan~ ~nl~erslty , " Miami. Florid. " • ,GRANT BEGLAiUAN ",WILUAM P. FOSTER absence stems from the same kind of President Director of Bands ", National Foundation FloridaA&M . , experience that would lead to a "'or-Advancement _ ~ U~I\1erslty - . ' .. ".. ' preference for Bach-Stokowski over the of the Arts 'ARNALD D,'GABRIEL : Miami. FI!Jrlda -. Conductor real thing. DAVE BRUBECK , U.S. Air Force Band Composer. and Orchestra', Certainly Rifkin has produced a ,"Musician' DONALD JOHANOS scholarly and well-documented thesis -Jazz Artist Conductor ~onolulu Symphony and has illustrated it more presuasively CORRESPONDING SECRETARY AND in a brilliantly-executed recording. No ADJUDICATION COORDINATOR ' : JAMES STEFF'Y ' serious choral musician preparing per Professor of Music formances of Bach's music can afford to Susquehar:tna University. Selinsgrove. PA 17870 ignore these articles and this recording with their implications. , Dlreclor_:....:.....:..:....:..-'______"'-:....:..:....:.._~:....:.. ___~ This publication School Address ______~ ______is available in microform. , CIty State __ ZIp _ _'_____ ~ Telephone: (School)!..(_-2 __ ~ ____--:..:..._...:..... ____ University Microfilms International (Home) L(~-L ______~ ___'__~ _____ 300 North Zeeb Road 30-32 Mortimer Street Best contact time _____~_~ ______Dept. P.R. Dept. P.R. Ann Arbor, Mi. 48106 London WIN 7RA o london 0 Me"ico City 0 Washington D.C. U.S.A. England MUSIC FESTIVALS. P.O.BOX4t,. PARCHMENT.MI49004 I. Page 32 THE CHORAL JOURNAL NEWS bRiEfs •• ______ Plans for the XVIth World Con many), Huddersfield Polytechnic Brass group appearances pending final confir ference of the International Society for Band (England), Cumann Naisiunta mation. Music Education to be held July 8-14, Choir (Ireland), II Virtuoso Ritrovo (Ita 1984, at the School of Music, University ly), Kinder Choir Grossvolderberg For further information, contact Mor of Oregon, Eugene, Oregon 97403, (Austria), Royal Opera Group rette Rider, Conference Chairman at USA, are underway. Approximately (Sweden), State Academy Choir, Eric the address above in Eugene, Oregon. 3,000 delegates are expected to attend Ericson (Sweden) , with many other from more than sixty different countries. The program will include 15 major speakers, more than 100 exhibitors and show case sessions, seventy workshops, hurch !iusic special interest sessions and demonstra tions, and more than thirty select youth performing groups. Plenary Session speakers will include 11 nternational Professor Ton de Leeuw of the Netherlands speaking on the topic "Music, an Instrument of Dialogue Bet horal1J1estival ween Cultures"; Dr. William Anderson from Kent State University, "Music of A Competitive Festival for the Americas, Its Influence on a Multi Cultural SOciety"; Professor Nellie Amateur Choirs and Zhaknazarova from the USSR, "Inter cultural Music Education Within a Na Choral Groups tion"; Professor Akira Kojima, Japan, "The Impact of Mass Media on Musical March 16, 17 and 18, 1984 Taste and Practice"; Dr. David Elliott, Canada, Professor Karel Pech, LIMERICK, IRELAND Czechoslovakia, Dr. Paul Lehman, University of Michigan, speaking on For information and "The Role of Music and the Musical Ex brochure contact: perience in Modern Society." Addi SHANNON DEVELOPMENT CO. tional Plenary Session speakers will be announced later. 590 Fifth Avenue Calls for papers, demonstrations, and New York, N.Y. 10036 special interest sessions have been 212 581-2081 issued, and the program will be com .' pleted following the recommendations of the various national committees from throughout the world by the end of 1983. Student performing groups apply to the local selection committee in each nation or, where no committee exists, directly to the Conference organizers in Eugene. Many of these national com mittees will not complete their selection process until November, however a number of nations have completed this process and have selected groups that will participate in the Eugene con ference. Among these are: The Patch way Primary School Handbell Choir and the Nottinghamshire Symphony Orchestra (UK), Bisschoppelijk College Broekin Ensemble (The Netherlands), The Puellarum Pragnensis Str-ing Or chestra and Childrens' Radio Choir (Czechoslovakia), Radio Chorus (Bulgaria); CEDAR Orchestra (Zaire), Maroi Dance Group (Rotura), mixed chorus (Trinidad), Baden Wurttenburg Mixed Choir (Federal Republic of Ger- SEPTEMBER 1983 Page 33 NEWS bRiEfs ••• The Musicwriter ® fine quality typewriter, - preparing the world's music for a quarter VOCAL ARTS FESTIVAL century. And the IN MID-AMERICA TEMPOWATCH® KANSAS CITY, MO-The Conser the exact tempo as it happens. vatory of Music at the University of Musle PrInt ~rporatlou Missouri-Kansas City is hosting a Vocal for Information contact 2450 Ceutnd Ave. Arts Festival Oct. 23 and 24, under the Boulder, ~Iorado 80301. direction of Dr. Eph Ehly, chairman of 303-442-5500 the UMKC's Conservatory choral ac tivities and one of the nation's leading choral clinicians and conductors. Two full days of instruction, motiva CHRIS~MAS . ~POCialistsinChO'al~ tion and fun are scheduled for high school juniors and seniors, featuring massed choir rehearsals and concert, IS a-cumm . musIc COmPRny private mini-lessons, perfor mance/demonstrations and entertain MAKE WE JOY by Williametta Spencer MF 545 $4.00 ment. New cantata, somewhat medieval in atmosphere. SATB choir, organ, piano, opt. instruments. 15 min. For further information, contact Dr. FOR UNTO US A CHILD IS BORN by J. Kuhnau MF 544 $2.50 Eph Ehly, UMKC Conservatory of Usually published as Bach Cantata 142. Easy. New English Music, 4949 Cherry Street, Kansas Ci text. SATB choir, soli, organ or chamber orch. 15 min. ty, MO 64110 or call (816) 363-4300. A CHRISTMAS MADRIGAL DINNER AT THE HOME OF CHARLES WESLEY Celebrate 1984 as the 200th anniversary of the founding of the Methodist Church in America. Write for complete info. -FOR CHANGE OF ADDRESS Write for free copies of other new octavos, the Spencer & Kuhnau cantatas. Be sure to notify the Editor at: MARK FOSTER MUSIC COMPANY Box 4012 Champaign IL 61820 P.O. Box 6310, Lawton, OK 73506 AN EVENT OF INTEREST TO HIGH SCHOOL CHORAL DIRECTORS National Choral Festival ApriI23-29, 1984 In 1984, the National Choral Festival will again be sponsored by the American Institute For Foreign Study (AIFS) and Brigham Young University in cooperation with the Mormon Tabernacle Choir. It is not too early to consider your choir as a potential participant. This year, 160 singers from different parts of the United States will comprise the Festival Choir under Dr. Weston Noble. The musical standards are high, though completely non-competitive. Highlights of the week include a concert under Dr. Noble, a joint rehearsal with the Mormon Tabernacle Choir under Dr. Gerald Ottley and the Festival Finale under Dr. Robert Bowden; this year featuring the Mozart Grand Mass in C minor, with the Mormon Youth Symphony and Chorus. Please consider a 1984 invitation for a group from your school. Write or call collect and we will discuss the possibilities. I believe this Festival is unique in its musical and educational content. Ron Koehn, Vice President, AIFS 3661 Buchanan Street, San Francisco, CA 94123 415-563-3322 Page 34 THE CHORAL JOURNAL CJlm ~ m \ :s: FRANGIPANI PRESS is pleased to announce .... a NEW CHORAL SERIES IIIm ::J:I ..... '" by the outstanding American composer and arranger ""Co> JAMES MULHOLLAND .~.···...~~.~:o:--.~~~~!.~o:--.~!.~o~.~!.~o~~!.~o~.~!.~o:--~!.~o:--.~!.~o:--.~~~.·· ..... : ,.. ;;CU't(.Jju HCU't(.JjHCU't(.JjHrot(T.);;~H~HrormHCU't(.JjH ~ : ~~~~~~~~~~~~~~~~ ~ ( 1 ~ ~ A Choral Celebration of The Psalms ~ t' J'Rree Jtmerican 40llt cfJC!lmns F ~...... ~ fir 1ft ~.~w-un t· 1 0 f iPSU 1 ~ ~ Oh, How I Love Jesus F tr r ms ~::" Amazing Grace ,,::1:: ~ Mixed Voices (SATB) and Plano ~ (~ 'Tis the Gift to Be Simple (Simple Gifts) ) ~ with ~~ ,,~ Instrumental Ensemble Parts Available ~ r , it 3 Horns, 3 Tru.mpets, 3 Trombones and Tuba ~ .::,.... Arranged by ~ ~ available separately: rtslb ~ ~ ~ JAMES MULHOLLAND F :"~(,J PSALM 23 - SATB with Plano ~ ~ PSALM 27 - SATB with Plano I'JJ'W: ~ PSALM 84 - SATB with Plano ~I\)'~ ~ B.A.T.B. and Piano (Organ) .~) ,,~ PSALM 103 - SATB with Plano ~i(~~i(~~~~~~i(~~i(~~~~ ~ ~ :;pq;l;:,a~," ******************** and a MAJOR FESTIVAL PRESENTATION: * ! IMil~Cli lli lilll~fll ! ~ * Mixed Voices with Piano/Organ * FRANGIPANI PRESS optiOl~al SMALL BRASS ENSEMBLE or FULL CONCERT BAND P.o. Box 669 -0 * * Bloomington, IN 47402 (.Q '"CD Co> UI ******************* ACDA PUBLICATIONS AVAILABLE FROM THE NATIONAL HEADQUARTERS MONOGRAPH No.1 The GUIDE FOR THE BEGINNING CHORAL DIRECTOR was prepared to provide guidance of a prac tical nature to the college senior, the beginning choral director; The information is to be supplemen tary to the course work a student may have completed or to their other choral experiences. MONOGRAPH No.2 AN ANNOTATED INVENTORY OF DISTINCTIVE CHORAL LITERATURE FOR PERFORMANCE AT THE HIGH SCHOOL LEVEL by Margaret Hawkins is designed as a useful supplement to the choral director's own knowledge of choral repertoire. The publication is concerned primarily with literature for the mixed choir. MONOGRAPH No.3 THE CHORAL JOURNAL: AN INDEX TO VOLUMES 1·18 by Gordon Paine is an important sourceof information on nearly every topic of concern to the profession. It is the hope of the author that it will make The Choral Journal more accessible to researchers. MONOGRAPH No.4 A CLASSIFIED, ANNOTATED BIBLIOGRAPHY OF ARTICLES RELATED TO CHORAL MUSIC IN FIVE MAJOR PERIODICALS THROUGH 1980, edited by Lynn Whitten, was compiled as a source of data retrieval for choral conductors seeking to strengthen their rehearsal and performance routines in stimulating and scholarly ways. This volume contains annotation of articles for the following five major periodicals: The American Choral Review, Church Music, The Journal of the American Musicological Society, Music and Letters, and The Musical Quarterly. Mail Orders To: Quantity The Choral Journal P.O. Box 6310 Mono raph No.1 ($3.50) Lawton, OK 73506 Mono Mono Mono From: (Name) (Address) (Apt. No.) (City) (State) (Zip) , MAKE CHECKS PAYABLE TO THE CHORAL JOURNAL ' Page 36 THE CHORAL JOURNAL changes. This arrangement of "Silent Night" will appeal to all high school and many cit church choirs attempting it. 5 _____ Rose Mary Owens AGAPE Publishers this Issue: Chill of the Nightfall, Gaelic melody, arr. Aberdeen Music. Inc. Deseret Music Lorenz Industries by Hal H. Hopson, SAB with keyboard, 170 N.E. 33rd St. (address unknown) 501 East 3rd St. #HH 3919, 60¢. Ft. Lauderdale. FL 33334 Dayton. OH 45401 Easy Christmas number for junior high or E. C. Schirmer Agape 112 South St. North American Liturgy Resources small high school or church youth choir. 380 S. Main Place Boston. MA 02111 (address unknown) Nice flowing accompaniment with same tune Carol Stream. IL 60187 as the popular song "Morning Has Broken." Galaxy Music Corp. Plymouth Music Co. Jane Dilling Griffith Alexander Broude. Inc. 131 West 86th St. 170 N.E. 33rd St. 225 West 57th St. New York. N.Y. 10024 Ft. Lauderdale. FL 33334 ALEXANDER BROUDE, INC. New York. N.Y. 10019 Gentry Publications c/o Richmond Music Press The Christmas Rag, David Eddleman, Alfred Kunz Music Hinshaw Music P.O. Box 465 365 Dale Crescent P.O. Box 470 Richmond. IN 47374 multi-chorus Christmas Series, SA, SAB, or Waterloo. Ontario Chapel Hill. NC 27514 SATB chorus with keyboard accompani Canada N2J 3Y6 Sacred Music Press c/o ment, #CP 155, 65¢. GIA Publications Lorenz Industries No doubt about Eddleman's debt to Scott Associated Music Publishers. Inc. 7404 S. Mason Ave. 501 East 3rd St. 866 Third Ave. Chicago. IL 60638 Dayton. OH 45401 Joplin, andit is as tuneful as any of the old New York. N.Y. 10022 master's works. The listing for any kind of a G. Schirmer. Inc. Shawnee Press. Inc. chorus is a direct result of that stylistic skill: it Augsburg Publishing House 866 T/tlrd Ave. Delaware Water Gap. PA 18327 is so catchy that it could be sung in unison or 426 S. Fifth St. New York. N.Y. 10022 Minneapolis. MN 55415 Sonshlne Productions c/o in any combination of the above categories. Hal Leonard Lorenz Industries His main departure from Joplin's rags is not Belwin-Mllls Publishing Corp. 8112 W. Bluemound Rd. 501 East 3rd St. ending in the subdominant key but simply a 25 Deshon Dr. Milwaukee. WI 53213 Dayton. OH 45401 half-step higher. As he indicates, "the tenor Melville. N.Y. 11746 Harold Flammer. Inc. Studio PR part lies well within the range of changing Bourne Co. Delaware Water Gap. PA 18327 224 S. Lebanon St. voice tenors." All dynamics and tempo 1212 Ave. of the Americas Lebanon. IN 46052 marks enhance the performance and should New York. N.Y. 10036 Heritage Music Press c/o be duly obeyed for a sure-fire hit! Lorenz Industries Tetra Music Corp. c/o Bradley Publications c/o 501 East 3rd St. Alexander Broude Stephen H. Prussing Columbia Pictures Pub. Dayton. OH 45401 225 West 57th St. 16333 N.W. 54th Ave. New York. N.Y. 10019 Good People All, This Christmas Time, Hialeah. FL 33014 Hinshaw Music German Carol, edited and arranged by P.O. Box 470 Theodore Presser Co. Robert Gray, SATB, piano, #AB 996, 70¢. Broadman Press Chapel Hill. NC 27514 Presser Place This carol is of medium difficulty with a 127 Ninth Ave .• North Bryn Mawr. PA 19010 Nashville. TN 37234 Hope PUblishing Co. rhythmic 6/8 tune. All sections have a 380 S. Main Place Triune Music chance to sing the melody "while other parts Carl Fischer. Inc. Carol Stream. IL 60187 824 19th Ave .• South have simple countermelodies. The piano ac 62 Cooper Square Nashville. TN 37203 companiment provides light chordal support New York. N.Y. 10003 Jackman Music 733 E. 840 North Circle Unicorn "Music Co. without detracting from the melody or the Chester Music c/o Orem. UT 84057 P.O. Box 141 moving harmonic parts. Upper ranges in Alexander Broude Dayton. OH 45406 clude several f2s for sopranos with octave 225 West 57th St. Jenson Publications. Inc. leaps twice at the beginning of the phrase, New York. N.Y. 10019 2880 S. 171st St. Walton Music Corp. c/o 2 New Berlin. WI 53151 Lorenz Industries three f s for tenors with one octave leap, Choristers Guild 501 East 3rd St. and a few middle c's for bass with octave P.O. Box 38188 Kendor Music. Inc. Dayton. OH 45401 leaps twice. None of the upper notes are sus Dallas. TX 75238 P.O. Box 278 tained, but come in a line of moving notes Delevan. N.Y. 14042 Waterloo Music Co. Ltd. Coronet Press c/o P.O. Box 366 which should make them less difficult to sing. Alexander Broude Kjos Music Co. Lewiston. N.Y. 14092 The traditional sacred text adapted by Mr. 225 West 57th St.• 4382 Jutland Dr. Gray would be appropriate for school or New York. N.Y. 10019 San Diego. CA 92117 Word Music P.O. Box 1790 church choir Christmas concerts. Curtis Music Press Lawson-Gould Music Publishers Waco. TX 76703 Marilyn Anderson P.O. Box 19320 866 Third Ave. Minneapolis. MN 55419 New York. N.Y. 10022 BACK IN PRINT!!! ALL MUSIC PUBLISHERS SHOULD SEND THEIR OCTAVOS FOR REVIEW TO: Jack Boyd's ACDA National Headquarters. P.O. Box 6310. Lawton. Oklahoma 73506 TEACHING CHORAL SIGHT READING ABERDEEN MUSIC Two modulations of a semi-tone each sectionalized this arrangement into three $10.95 Silent Night, Franz Gruber, arr. Rhonda L. distinct passages. Ladies voices sing the first Polay, two-part mixed, piano, #1027, 60¢. passage and men begin the second passage Now published by This arrangement. of "Silent Night" is in a with women joining in after only a brief rest. blues style and is full of rhythmic and har There are, in addition to the lush piano ac Mark Foster Music Company monic variations not usually found in a more companiment, fine opportunities to use a Box 4012 Champaign IL 61820 traditional setting of this Christmas favorite. wide spectrum of dynamic and tempi SEPTEMBER 1983 Page 37 ALFRED KUNZ AUGSBURG PUBLISHING HOUSE BELWIN-MILLS PUBLISHING CORP. MUSIC PUBLICATIONS A Christmas Hymn, Alec Wyton, unison Let All the World This Day Rejoice, Glimpses, Alfred Kunz, SAB a cappella, with keyboard, #11-2095, 60¢. Rodger Strader, arr. Bob Krogstad, SATB #6004, no price listed. Using a text by Richard Wilbur, Alec with keyboard, #LOC 6049, 60¢. This short piece is an excellent addition to Wyton has composed a simple, effective This is a fanfare piece: the fanfare recurs SAB literature. The changing meter follows Christmas song suitable for young voices. as a ritornello among three verses of the the natural pulse of the text. Although each The range is an octave (0 to OJ. A descant same 12/8 rollicking melody that is free of line is a melody unto itself, the combination for upper voices or an instrument on the last any chromatic complication. It is quite easy of voices provides some lovely dissonances. verse adds interest. The third verse could be to learn Strader's tune, and there is ample This would be a fine piece for a small sen sung as a solo. The melody is rather easy variety of treatment by Krogstad. Even sitive choir. with each new phrase being repeated: this though there is divisi, it does not require a Allan J. Andrews would help children's choir learn it qUickly. large chorus to handle the fullness of texture; The keyboard part is supportive of the the fullest sound is in six parts. The title does ASSOCIATED MUSIC PUBLISHERS melody and has a nice freshness to it. not imply Chrisfrnas or Easter, but it merely Nunc Dimittis, John Harbison, TB with Robert E. Snyder emphasizes the importance of "this day" as a piano, #A-821, 85¢. day to worship. The accompaniment ap This is a difficult number demanding a From Heaven Above, arr. James Engel, pears to have been composed for a piano but mature male chorus to achieve the alterna SATB, organ with 3 trumpets, #11-2025, is easily adaptable for organ. It is healthy, tion between the advanced accompaniment 70¢. simple, and jubilant. and a cappella choral sections without in This festive choral setting of Luther's well tonation problems. The harmonies are not known chorale, Vom Himmel hoch, for Hark! the Herald Angels Sing!, Felix easy, but this would be a real show piece for chOir, organ, trumpets, and congregation, Mendelssohn, arr. Winnie Swaim, SATB a well-trained chorus with a very good ac will be particularly useful in churches where with piano and organ, #LOC 6051, 60¢. companist. Careful attention to dynamic the chorale is well known. If not well known, Clearly meant for festival occasion, it con levels is very important as are the changes of this setting could be used to teach the con tains only two verses of the famous carol, the tempo. The text is suitable for Christmas. gregation this strong Christmastide hymn. first of which only touches on the melody at Hoover Fisher The melody, sung by the congregation on six the third phrase. The opening is a sustained of the ten stanzas, is always doubled by organ F major chord under bell-imitating -FOR CHANGE OF ADDRESS trumpets or the choir. A fitting conclUSion for chords in the piano followed by a trumpet Be sure to notify the Editor at: a Christmas Concert. like fanfare from the chorus. The second P.O. Box 6310, Lawton, OK 73506 Dale Peterson verse is in canon at one measure and employs some augmentation. There is a coda from measure 65 to the end at 76 with a 7 -part chord cadence of 0 flat major to F major. The piano and organ play identical parts during the second verse, with the piano returning to its bell-like chords at the coda. After the coda, turning the page one finds an accompaniment for a handbell choir of 35 notes. This is not explained as an optional accompaniment to replace the organ and 315 Federal Plaza W. (216) 746-7666 piano. However. it would seem that the Youngstown, OH 44503 Toll Free in Ohio piano and organ would be too much for the 1-800-362-2032 bells, but the bells might accompany the • chorus either alone or with the organ. Masters Professional Stephen H. Prussing Performers Service BOURNE CO . • Christmas Fanfare, Ross Hastings, two Formal Wear· Rentals & Sales part chorus, optional trumpets, and organ. This is a short song suitable particularly to Formal A ttire for Choirs, Bands, Orchestras boys' voices. The whole work requires a good resonant tone with a most majestic ending. It has a good range for young voices • Check Our Prices: but could be done equally well with adult Black Tuxedo Rentals for School Year as low as $35 for Coat & Trousers voices. Black Adventurer Coats Available Out-of-Rental Purchase $35 per Coat Also included is the same arrangement for B flat trumpets, and this could be used as a "NEW" AFTER SIX BLACK TUXEDO $100 (10 or more) Coat & Trousers fanfare without voices. • Plan Now for the Coming School Year. Jessie R. Murray • Buy Direct from One of America's Largest Tuxedo Wholesalers. • Masters has Formalwear at a Price Your Organization BRADLEY PUBLICATIONS Can Afford. A Carol for Our Times, Richard PurViS, • Let Masters Coordinate the Formal Look for Your Musical Group. unison or two-part choir with organ and • Order Early for Best Selection. harpsichord, celeste, harp, or piano, BAC03MC, 55¢. Call or Write for "FREE" Catalogue and Price List Based on a text that speaks of the peace that the Holy Child can bring into this world Page 38 THE CHORAL JOURNAL of clamor and strife, this anthem is suitable CHESTER MUSIC / This Christmas selection will appeal to for the Christmas and post-Christmas ALEXANDER BROUDE directors of children's choirs in both church season. The vocal parts are easy. The men The Western Wind Mass, John Taverner, and public school system. The captivating sing, then women, and then both together. edited by Anthony G. Petti, SATB a cap melody modulates sequentially. Arpeg The anthem is in ABA form. The organ ac pella, $6.50. gio figures comprise the keyboard accom companiment is of moderate difficulty for six This extended work of approximately 25 paniment. Verses one and two are sung in measures in the "B" section where a -28 minutes in length has only four sections unison with instrumental parts: handbells or chromatic ostinato passage occurs. The col - Gloria, Credo, Sanctus-Benedictus, and Orff instruments are added on the second oration that the second instrument would Agnus Dei. The Kyrie is not included verse. Verse three, where a nicely composed bring to the total texture makes this piece at because this part of the Mass was usually antiphonal effect is arranged, divides into tractive for a worship or carol service. performed in plainsong. two choral parts. Ranges of both parts are Robert E. Snyder Of the four publications of this Mass, Mr. excellent for youthful voices, and the in Petti appears to have edited this publication strumental accompaniment is easy. Directors BROADMAN PRESS very painstakingly. of choirs involving students from the fourth The melody is set in the Dorian mode and grade through the sixth grade will want to Hark! The Herald Angels Sing, Felix is undisgUised throughout, mainly without consider this selection in your Christmas pro- Mendelssohn, arr. Ted Nichols. SATB, brass augmentation, though occaSionally or gramming. and harp, or keyboard (instrument parts in namented. The melody is derived from a Rose Mary Owens cluded). love lyric "Westron Wynde When Wylie This is a delightful arrangement of the Thou Blow." There is much word painting in CORONET PRESS well-known Mendelssohn tune, using the melody: it varies with the mood of the unison, two-parts, and four-parts. The open text. There is much rhy'thmic Vitality in the Jesus Is Born in Bethlehem, Kent A. ing is unison and we find unison interspersed work. Newbury, SSA with solo voice, CP-226, with harmony throughout the song. Verse Those good groups from high school 65¢. two is a repetition of Verse 1 (musically). In through college should have no problem This Christmas spiritual is a good vehicle Verse three, unaccompanied four-part choir with ranges. Most certainly the Mass will be for the beginning girls chorus just beginning and instrumental bars alternate for the first enjoyed by the performers as well as the to sing in parts and learning to listen for half, and then voices and instruments listeners. blend and balance. The parts are com together build up to the final climax. A very Billy N. Davis paratively very simple, following harmonies satisfying arrangement. which move in a straight forward I-IV-V-I CHORISTERS GUILD fashion. The rhythms are moderately syn The First Nowell, traditional English In a Manger, Jody W. Lindh, two parts, copated and easily learned. In fact, the Carol, arr. Ted Nichols, SATB, brass and keyboard, optional handbells or Orff in greater problem will likely be syncopating the harp, or keyboard (instrument parts includ struments, #A-235, 55¢. rhythm only as shown in the score. ed). This is a fairly straightforward arrangement of this well-known carol. It opens with tenor and bass in two-parts for Verse one and moves into four-parts for the refrain. Verse two is given to soprano and alto, mostly in DING. ALL YE [3EL~S unison; the refrain is omitted, and the same NEW! N-=--~::::?Tr:?;:-..:~:~;~;:;.,;;; "'i~:,--.,,;, voices move on to Verse three - again the refrain is omitted; then Verse four is unison Ring, All Ye Bells for the full choir. The refrain is here introduc Judy Hunnicutt ed by the basses. With the words "Born is the Unison and 2-part anthems with hand King" repeated in four-parts, the piece moves to a very quiet ending. bells (2 octaves) or keyboard. Contents: Jessie R. Murray Come, Thou Long-Expected Jesus; IlY JUDY HUNNICUTT Ukrainian Bell Carol; Away in a Manger. CARL FISCHER, INC. 11-2183 .80 Star Carol, Hal H. Hopson, two-part chorus, keyboard, #CM8 124, 45¢. This selection is melodically and har monically appealing. The flowing six-eight This Is the Day Which the lord Has Made meter lends itself well to the joyfulness of the Sam Batt Owens text. The beginning section is in unison while Verses and offertories for unison voices and opt. insts. Texts chosen for this the second section indicates that there are at least three possibilities for perfor collection are spaced throughout the usual choir season. Young singers mance-unison choir, unison section, or were a primary consideration in the selection of texts, but this collection solo. When the part-singing is introduced, it could easily be used by singers of any age. simply is a combining of two sections of the 11-8472 2.50 unison melody previously sung. This tech nique of composition should appeal to direc tors of younger choirs just beginning part 426 S 5TH ST • BOX 1209 • MPLS MN 55440 singing. An optional descant can be used for 3224 BEVERLY BLVD' BOX 57974 • LA CA 90057 the final verse of this composition. The piano 57 E MAIN ST • COLUMBUS OH 43215 2001 3RD AVE' SEATTLE WA 98121 or organ part is not demanding. This selec tion will be challenging to choirs of younger children while giving something new for the Christmas season to its listeners. Rose Mary Owens SEPTEMBER 1983 Page 39 Ranges in this simple, straightforward the neutral syllable of "100." A rubato style is taken from Numbers and Isaiah, is beautiful piece are very reasonable, with an occa carefully notated throughout the piece and is ly and knowledgeably written for the singer. sional demand for clear, clean high notes in essential to the overall success of the music. The parts are carefully placed in optimum the first soprano part. The use of resonator bells will greatly in areas for the four voices. The alto line is The piece is also arranged for SATB crease the impressiveness of this tasteful, ap ideally SUited for the opening melodic state chorus (CP 183). propriate Christmas number. Although the ment in e minor. The soprano tessitura lies Ronald J.Staheli piano part is not difficult, it will require an ex comfortably in the head voice area yet uses tremely sensitive musician. the full range of soprano capability in an· in Here on a Christmas Morning, David Rose Mary Owens teresting and challenging way. The tenor Peninger, SAB, piano (optional resonator and bass parts are used in unison and part bells), #CP 126, 65¢. CURTIS MUSIC PRESS voicings intelligently. Suitable for any SATB This seasonal selection could be sung combination from boys' and men's choir, either by a junior high choir or good church There Shall a Star from Jacob Shine, junior high mixed choir, to the collegiate youth ensemble. The harmonies are close English folk, arr. Joy F. Patterson, SATB a level. and require careful preparation on the part cappella, #8213, 65¢. George Bragg of the singers. The composition begins with a A tasteful, simple, straight-forward setting solo voice supported by the choir singing on of an English Christmas carol. The text, DESERET MUSIC Whence Is That Goodly Frangrance, French Carol, arr. Thomas L. Durham, SATB a cappella, #UT84057, 50¢. This is a straight forward setting of a lovely French carol in verse form. The first and third verses are for SATB chorus, with the second verse written for baritone solo ac companied by the choir humming. It is not difficult and is easily accessible to high school, church, and older junior high, New Sacred Music although the bass range may prohibit many junior high choirs from performing it. , for the Fall Season Bill Burrows Any 5 reference copies at NO CHARGE!! E. C. SCHffiMER o A CHILD IS BORN, SATB [Roff] a Christmas carol from Lorraine The Seasons, Richard Felciano, mixed arranged for SATB choir (A 6051) .65 voices unaccompanied, #E.C.S. No. 3049, o A CHRISTMAS QUODLIBET, SATB [D. Wagner] gentle quodlibet of Away in a Manger and 0 Come, Little Children (A 6050) .65 $1.40. o LISTEN TO THE BELLS, SATB [Carnahan] lively, spirited Christmas This is a set of four songs portraying each piece with organ & 2 octaves hand bell accompaniment (A 6068) .85 of the four seasons as the composer o MY GOD, HOW WONDERFUL THOU ART, SATB [Po Young] general perceives them. The songs are not separate anthem to the tune Pilgrim from the Sacred Harp (A 6054) .70 selections that will stand alone. Just as the o THE SHEPHERD'S QUEST, SATB [Carr] snappy Christmas piece with seasons blend into each other, each song opt. brass accompaniment; some 3-part voicings (A 6071) .70 does the same. The piece is a contemporary o SING JOY, SATB and unison [D. Wagner] festival anthem combines orig expression using contemporary symbols inal Wagner tune with Hymn to Joy; opt. brass and 3 octave hand bells (A 6033) .85 along with standard notation to com o SING PRAISE TO GOD, SATB [Handel/Hopson] true to form Handel municate the composer's wishes. It is college anthem for general use; based on Psalm 147 (A 6053) .85 level literature and probably would be a o THREE EARLY AMERICAN HYMN TUNES, SATB [Burroughs/Davis] rather extensive project. The cantata lasts new arrangements of Holy Manna; Come, Thou Fount [Nettleton] and When about 14'15". I Can Read My Title Clear [Pisgah] (A 6032) .85 Lee A. Spann o TO GOD ALL PRAISE AND GLORY, SATB [Lantz] majestic festival arrangement of Mit Freuden zart; opt. brass and timpani (A 6081) .80 GALAXY MUSIC CORP. DYE SERVANTS OF GOD, SATB [Pasquet] setting of Lyons as a con gregational hymn or anthem; opt. brass accompaniment (A 6062) .70 o SLUMBER, INFANT JESUS, SAB [Englert] gentle quodlibet with The A Garland of Dowland, John Dowland, First Noel (0 5339) .70 ed. by Thurston Dart and Nigel Fortune, o LULLABY FOR A KING, SSA [D. Wagner] soft Christmas lullaby; lovely 3- SATB, optional lute or keyboard part writing (B 5164) .65 accompaniment, #1.5220, $1.25 o SHOUT FOR JOY, 2-part mixed [Kirk] quick, joyful praise song for any Here is a relatively inexpensive way to in voice combination (EA 5042) .75 troduce your students to the music of this o REJOICE AND BE MERRY, unison [Hopson] new arrangement of a Ger period and to some of Dowland's best works. man melody, set with Christmas text (F 5016) .65 On page ten there is a copy of "My Mail this entire coupon to receive any 5 selections at no charge. Any addi thoughts are winged with hopes" as it tional titles you check will be sent on 30-day approval. appears in the 1597 edition of The First Offer expires Nov. 15, 1983 Booke of Songs or Ayres. NAME (Please print) This collection contains six ayres to be per formed as a group or individually. The songs ADDRESS ===-______======are short, with two to six stanzas, and the vocal ranges are good, so a young choir could feel successful in a short amount of ______ZIP _____ rehearsal time. The collection includes: CJ 9/83 1. Awake, sweet love ~. __ ------_------J 2. Come again Page 40 THE CHORAL JOURNAL Educational Tour Consultants, Inc•. .. Since 1967 the leader in the field of educational and musical tours! Here's how to make an. ETC PROGRAM happen. for you in. '83-'84! CALL ETC FIRST ... At no obligation, please send me Toll free 1-800-336-2515. In Virginia, Alaska, Hawaii, information on the following and Canada, call collect, 703-667-7814. Our staff will festivals and tours: save you valuable time by helping you "zero in" on exactly the tour of your choice with all its component The Only Official Six Flags Festivals: parts and price. Your application form will be sent that o Six Flags Over Texas same day. Dallas, TX o Six Flags over Georgia Atlanta, GA o Six Flags St. Louis St. Louis, MO 1983-84 FESTIVAL AND TOUR o AstroWorld Catalog of CATALOG ... Houston, TX Feslivals o Six Flags Magic Mountain & Tours The festival or tour, the philosophy, the destination, Los Angeles, CA the inclusions, the dates. " Select the best program to o Six Flags Great Adventure fit your needs! Call or return the card for your applica Jackson, NJ tion form and detailed information. o Six Flags Atlantis Ft. Lauderdale, FL ETC Festivals and Tours: o National Heritage Festival APPLICATION ... Washington, D.C.lVA Send in the Application Form right away, so we can o Mid-Atlantic Band Festival schedule your group for the tour, the festival, or the Washington, D.C. performance time of your choice! o Bahamas Cruise Festival Nassau, The Bahamas o Festival International de Musique Quebec, Canada o Three Worlds of Florida Festival COMPLETE KIT ... Orlando, FL You will be sent detailed information on the tour of o Independent Tour in U.S.A. your choice! Cities ______o Independent Tour in Europe Cities __--:- ______o Festival Tour in Europe BUT REMEMBER ... IT ALL STARTS WITH YOU, AND YOUR Country --:-_--:-______PHONE CALL TO ETC! CALL TODAY AND MAKE IT o Homestay Exchange in Europe Country --:-______HAPPEN! Your Name o Concert Tour in: __ Europe Title ______Korea __Taiwan Group's Name ______Philippines Thank you for answering __Indonesia our ad! Directors' response School Name ______Thailand received by october 1. __ Japan will be sent a __ Peoples Republic of China customized travel bag School Address ______Kenya 05 a token of our appreciation. City ______India __Brazil State Zip ___ __ Mexico __Jamaica School Phone ( )1 ______The Bahamas __Bermuda Home Phone ( ) __ Canada 1 Educational Tour Consultants, Inc. 16 North Braddock Street.lP.O. Box 2018/Winchester, Virginia 22601 1 I I. SEPTEMBER 1983 Page 41 .. ,~\G MAESTRO PL~ ~v . ~~S I"t:. ----....:--+--TI- I a .T.M. Find out why your colleagues have called these the fine music festivals in America! 1984 FESTIVALS All festivals are adjudication festivals by well-known professional musicians and educators. (Names of participating directors available upon request.) Orlando- ttSunshine Florida Festival"TM March 2-5. March 30-April2. April 6-9. April 13-)§.. > Colorado Springs- tWirmer in the Rockies Festival"Tl\i March 9-12. March 23-26. March 30-Ap~\2 Philadelprua- ttLiberty Bell Festival"TM .., April 27-30. May 4-7. May 11-14. May 18"':'2r:~\~,a(\":" New York City- ttNew York, New York Festival"TM '~)Yj;;\~,'; ;z.r .... April 27-30. May 4-7. May 11-14. May 187 21;:May 25-28 . Chicago- ttMid_ West Festival"TM May 4-7. May 11-14. May 18-21. May 25-28 Colorado Springs- ttPike's Peak Festival"TM May 18-21. June 1-4. June 8-11 James W. Herbert • Festival Artistic Director Conductor/Performer/Educator; Founder and Former Director. Department of Bands • Temple University "Music Maestro Please Festivals have become the most unique schools and junior high school groups." musical events in the nation!" ROBERT LOWDEN, Arranger/Composer PAUL LAVALLE, Conductor/Composer; founder, Band of "I recommend that any musician who participates in these fes America and McDonald's All-American Band tivals will benefit greatly from the experience!" "I think Music Maestro Please is to be congratulated for excellent FRED WARING, Conductor/Composer; star of stage, planning and honest value on all of their festivals offered to high screen, television, radio and recording Music Maestro Please, Inc. Member of American Choral Directors Association; National Band Association; Music Industry Council, Assn. of Music Educators National Conference For additional information please fill in and mail today! Return to: Music Maestro Please. 26 West Mt. KirkAvenue. Norristown, PA 19403 (If you prefer call (215) 630-811 0) Please send me festival information on the event(s) I have checked: Name ______D Orlando D Colo. Spgs. (Winter) D Philadelphia D New York City School ______D Chicago DColo. Spgs. (Pike's Peak) Admess ______Check area(s) of interest: o Symphonic Band 0 Jazz Ensemble o Swing Choir o Wind Ensemble 0 Concert Choir o MarChing Band City State Zip, ______o Orchestra 0 Madrigal Choir o Other o Chamber Choir Phone Number of Performers ______Page 42 THE CHORAL JOURNAL 3. Wilt thou, unkind, thus reave me HAL LEONARD who shy from singing parts will revel in this 4. Say, love music as they find they really can sing parts 5. Flow not so fast Just a Closer Walk with Thee, adapted and sing them well due to the voice range. 6. Five knacks for ladies and arranged by Ed Lojeski, SAB, Perry E. Taylor Pat Stewart #08330751, 75¢. An old favorite that never loses its flavor, HAROLD FLAMMER GENTRY PUBLICATIONS this particular arrangement is very well done, challenging, yet not so difficult but that un Three Songs of Isaiah, Richard Dirksen, Doodlin', Larry Farrow, SATB, opt. ac trained singers can enjoy it. The three-part published separately. companiment, GA83, 65¢. arrangement allows smaller choirs without I. Surely, It Is God, SSAATTBB a cap This work is dedicated to a professional too many four-part singers (youth choirs) to pella, A-60l8, $1.75. vocal ensemble. Although the text is not dif sing an enjoyable anthem and feel confident II. Seek the Lord, SSAATTBB a cappella, ficult (syllable "doo" throughout entire in their performance. . A-6019, $1.25. piece), the vocal lines and harmonies require By all means, try to have the string bass III. Arise, Shine, SATB with organ, mature singers. The optional accompani and percussion accompaniment. The added A-6020, $1.25. ment is for keyboard: the addition of a string touch is zesty to the overall flavor! A major addition to sacred choral bass to the vocal bass part will help. The voice range is also well-done. Men literature, the three canticles were written by James A. Bohart GIA PUBLICATIONS Praise, My Soul, the King of Heaven, JustPublishtd! Henry Purcell, arr. Hal H. Hopson, SATB, piano or organ, #G-2551, 60¢. This anthem is based on the hymntune New GhoralMusic "Westminster Abbey" by Purcell. The first verse is for four parts, the second is for treble unison with a lively but not difficult keyboard SACRED accompaniment, the third is for unison voices with soprano descant, and the ending BENJAMIN BRITTEN returns to four parts. It is well within the Deus in Adjutorium Meum ... - S.A.T.B., unacc ... 6109 $ .85 grasp of most church choirs and could be ROBERT HARRIS sung by either junior or senior high choirs. Benediction - S.A.T.B., opt. keyboard ...... 6091 $ .55 May the Beauty of the Earth - S.A.T.B., organ ... 6092 $ .65 Pleasant Are Thy Courts, Sam Batt May the Grace of Christ Our Saviour Owens, SATB, organ, #G-2559, 60¢. - S.A.T.B., unacc ...... 6093 $ .65 A flowing anthem that is not difficult, o Come, Let Us Sing Unto the Lord although the tessitura for the basses is fairly - S.A.T.B., organ ...... 6094 $ .85 low. The melodic line lends itself well to the Three Children's Prayers - S.s.A., unacc ...... 6095 $ .55 peaceful mood of the text taken from Psalm NED ROREM 84. A good number to set a pleasant tone for the service. Mercy and Truth Are Met - S.A.T.B., organ ...... 6101 $ .65 Bill Burrows Praise the Lord, 0 My Soul - S.A.T.B., organ ..... 6105 $ .95 Prayer to Jesus - S.A.T.B., unacc ...... 6096 $ .55 G. SCHIRMER FISHER TULL A Verse of Solace - S.A.T.B., handbells, (or any March of the Kings, French folk song, arr. keyboard instr.) ...... 6104 $ .65 Margaret Vance, SAT (B) with piano and finger cymbals, #12333, 70¢. SECl'LAR The steady rhythmic march of this simple but interesting setting of the familiar French RICHARD CUMMING Christmas tune plus the comfortable, varied Row After Row - S.A.T.B., opt. piano ...... 6102 $ .65 vocal writing should prove appealing to RON NELSON young choirs. The range of the tenor/baritone line (c to d flatl)may be a pro Dreams - S.A.T.B., piano or organ; with blem for some changed voices because the opt. instr. acc ...... 611 0 $ .95 grading of dynamics from piano to forte is Three Settings of the Moon - Treble voices, piano; essential to the effect required by the piece. It with (optional) instr. acc.: is not difficult and might also be effective for The Moon Does Not Sleep ...... 6098 $ 1.50 adult church choirs with limited male Autumn Lullaby for the Moon ...... 6099 $ .85 resources. Again, the tenor/baritone line Ask the Moon ...... ' ...... 6100 $ .85 grades the piece. ALEC WILDER Dwight Gustafson Lullabies and Nightsongs, Set I (arr. Donald Lang) - S.A.T.B., unacc ...... 6089 $ .65 THE CHILDREN'S CHOIR CHRISTMAS BOOK Reference copies available upon request from: Four beautiful. reproducible arrangements with piano accompaniment. Ideal for el. age children. "An English Christmas Medley" "What Child Is This?" "Jolly Old Saint Nicholas" "Alleluia" Make copies of entire arrangements or just children's parts located at the back of the book. To order send b008EY 0HAWKE8 $9.95 (Mich. residents add 40') to: Nathan Allen 200 Smith Street, Farmingdale, New York 11735 Publishing Co., P.O. Box 151·R. Milford, MI 48042 SEPTEMBER 1983 Page 43 the organist-choirmaster of Washington parts. Split voicing occurs in only 22 of the form. The melody is repeated in the verses Cathedral for the 1982 Biennial Convention 115 measures in Surely, It Is God and spar with each verse having a different arrange of the American Guild of Organists. The ingly in Seek the Lord. All three settings are ment. The first verse is traditional, four parts, pieces combine demanding but singable long (each piece lasts about five minutes) with an additional six measure section to tie choral writing with a sensitive compositional and demand singers with good voices and the verses together. The second verse begins style that has a rhapsodic quality in its soar rhythmic accuracy and a conductor with a with an optional soprano solo with choir ing lines and flowing rhythms. Surely, It Is sense of long line and structure. For those below in counterparts. The verse then shifts God is vigorous and bold. Seek the Lord, willing to try any of these marvelous pieces, to the men in unison with treble above in probably the most accessible of the three, the rewards will be great. nice harmony concluding with a repetition of has an urgent legato diatonic momentum Conan Castle the main idea. The parts and ranges are not and a beautiful quiet ending. Arise, Shine is difficult for a four-part choir. The accom electric with excitement. All display a keen THE HERITAGE MUSIC PRESS paniment is well constructed with a nice ef sense of tension and release, expressed in fect being made by several treble sections. changing sonorities, in wide dynamic expec Little Tiny Child, Gene Grier and Lowell This piece will work well in both school and tation, and in judicious use of dissonance Emerson, SATB and piano with optional church Christmas programs. within a tonal harmonic idiom. Ranges are soprano solo, H246-2, 75¢. wide, but the tessitura is reasonable in all This is a very sweet lullaby in a basic AB All I Want to Do Is Dance, Dan Schwartz, SA(T)B and piano, optional bass and percussion, H240-2, 75¢. This is an exciting, fast moving Latin rock song that should prove to be a challenge due to the involved rhythms and tempo. The piece is introduced by a repetitive figure us ing the title, with the same figure being used again in the middle section moved to a key change, and also used again in the conclu sion. There is an abundance of syncopation with triplets against dotted quarter notes. The parts and ranges are not very difficult, rhythm being the point of interest. The piece should also lend itself well to simple danCl~ movements which should add to the excit-.~ ment. The optional instrumental parts, which if used, will make for a nice presenta tion, are proVided. Wallace A. Huey HINSHAW MUSIC, INC. Only a Baby Came, Natalie Sleeth, two part choir with keyboard, #HMC-598, 70¢. This piece, written in a minor key, has a haunting melody and Christmas text that can easily be learned by any choir and will be remembered by the audience. This two-part number can be done by any group from a young school choir to an experienced adult church choir. The three verses are in unison, with the suggestion that the women sing the first verse and the men sing the second verse to add some variety. The few measures of harmony in the middle and at the end of the song are more like a second melody line than a harmony line. This song will enhance any type of Christmas program and become an instant hit with your group. Sharon A. Kraus Christmas Bells, Ed Harris, mixed voices, SAB (optional four-part) with keyboard. This is a lively, straightforward three-part song in 3/4 time. At times there is an op tional division of voices in bass line which gives the four-part harmony. The joyous spirit of the song gradually builds up, and it finishes with the well known "We wish you a Merry Christmas" being brought out by the alto line with the soprano and bass on counter melodies. The range of vocal lines makes this very suitable to groups without any really high sopranos or low basses. Jessie R. Murray Page 44 THE CHORAL JOURNAL HOPE PUBLISHING CO. The Legend of the Bells, Joyce Eilers, two KJOS MUSIC CO. God, Who Stretched the Spangled parts, keyboard, 402-12032, 65¢. Heavens, arranged by Douglas E. Wagner, For the young choirs looking for a sen From Heav'n Above, Martin Luther, arr. SATB with keyboard, #A536 , 60¢. timental Christmas story song, this should fill Dede Duson, TBB, opt. keyboard, string The melody for the updated text is set in the bill nicely. Joyce Eilers has adapted the parts available, ED 5563, 60¢. the traditional "Holy Manna" from the famous story of why the chimes rang and A good number for H.S. Men's Glee Southern Harmony. While the arranger has come up with a pleasant selection the au Club. The unison statement of the theme at suggested section solo passages intermingled dience and youngsters will enjoy. Two parts beginning is quite effective in 'giving the state with SATB sections, this could also provide with much unison. Nice for elementary ly feeling called for by the arranger. The good opportunity for solo voices to replace grades. rhymthic difficulties make this an excellent some of the section solos. Tessituras for all John P. Ribble teaching piece. The harmonies are not very four parts are easily within the range of a difficult, and except for unison sections the high school choir. The text by Catherine ranges of the baritone and bass parts are Cameron speaks well to the world situation KENDOR MUSIC, INC. quite good for younger voices. The for both high school personnel as well as Christmas text helps fill a need for male church choirs. While our technologies have Masters in This Hall, arr. Frackenpohl, chorus literature other than carols or brought us into undreamed of worlds, Ms. SA(C)B with piano, #4175, 70¢. spirituals. The accompaniment is listed as Cameron states, they have also forced us to This familiar French carol is arranged by optional but is quite necessary. The string face the fact that this could bring about our Mr. Frackenpohl for the junior high parts are available as #5563X. destruction or our finest hour. The melody freshman chorus. I would prefer that the Hoover Fisher and harmonies are easily singable, and there cambiata part be written one octave above are no rhythmic patterns to hinder the the actual singing pitch like a standard tenor LAWSON GOULD, G. SCHIRMER singers qUickly picking up and understan part. I believe young men must become ding the piece. familiar with this method. The arrangement Magnificat, Richard Kent, SSA with wood Bill Ross is full of unisons and two- to three-part wind quintet or keyboard, #52046, 75¢. writing. He has included some vocal accom Duration, 4'30". JACKMAN MUSIC paniment on "Ia" to add rhythmic interest. A most sensible and interesting combina Christmas Is a Time of Joy, arr. The melody is passed around to different tion of forces. The texture is homophonic Laurence Lyon, SATB, piano, #JMC-7036, voices. The young singer should feel good throughout except for one line for Soprano 75¢. about singing this arrangement. I. A soprano soloist is called for, however, Here is an arrangement of several Lee A. Spann the part could be sung by the section. Christmas tunes along with some original writing. The tunes used are "Joy to the World," "Christmas Night," "Away in a Manger," and "0 Come All Ye Faithful." The harmonies are refreshing and the piano Handel's accompaniment is tastefully written. If you are interested in a Christmas medley, this deserves a look. ESSI Bill Burrows in the superb WATKINS SHAW ·edition from JENSON PUBLICATIONS, INC. The Runaway Snowman, Jill Galina-John Higgins, unison, #415-18032, $1.95 (singer's edition). VOCALSCORE-SOFrCOVER ...... 5.95 This one act musical is suitable for the FUU. SCORE-HARD COVER, BOUND IN 1M. LEATHER. . .. 118.25 elementary school choir. There are eight SCORE/SET (STR.2-2-2-2) ...... 172.50 lively rock-style songs, well-written, and SET ALONE (EXTRA PARTS AVAILABLE SINGLY) ...... 94.90 withil1 acceptable ranges. Additionally, you STUDY SCORE ...... 31.50 ' are provided with production suggestions. MESSIAH OVERTURE-ORGAN...... 2.25 You may purchase accompaniment tape BEST-SELLING OCTAVOS package, stereo album, posters, T-shirt WORTHY IS THE LAMB SATB ...... 1.75 transfers, and program covers. If you are in AND THE GLORY OF THE LORD SATB ...... 1.10 to seasonal rock musicals, write the FOR UNTO US SATB ...... 1.35 publisher for more information and addi HAU.ELUJAH CHORUS SATB ...... 1.35 tional prices. Duration: extended'work - 30 RECENT BOOKS minutes. THE STORY OF HANDEL'S MESSIAH-SHAW...... 8.25 Gerald J. Luongo A TEXTUAL COMPANION TO THE MESSIAH-SHAW ..... 20.50 Available from your favorite dealer or direct from DEPT. 13CJN. NEW ORLEANS FOR GROUPS Sole distributor: - FREE BROCHURE - SEND GROUP NAME TO: GROUP TOURS OF AMERlCA® DEPT CJ • P.O. BOX 8686 NEW ORLEANS, LA 70182· (504) 529·5500 "THE MARDI GRAS CITY" SEPTEMBER 1983 Page 45 Ranges are a bit wide with g2, g#2, and a2 re refreshing break. This selection is within the harmonies for the two-part and three-part quired of the Soprano l. The harmony is iri grasp of any choir and can add a spirit of singing are simple; however, there are teresting with diatonic movement worship to the service. enough accidentals to keep both singers and predominating; the text is appropriate for the Perry E. Taylor audience listening carefully. The keyboard traditional Christmas program and this work part is not difficult, and the ranges of the in with a duration of 4'30" should fit nicely. NORTH AMERICAN dividual voice parts are not wide. Because LITURGY RESOURCES this selection is scored for equal voices, it will Larry D. Wyatt be useable in several choral situations. This Endris Night, Harry V. Lojewski, Rose Mary Owens LORENZ INDUSTRIES three equal voices, keyboard, #LO-02, 65¢. This charming Christmas number uses as PLYMOUTH MUSIC CO., INC. Gracious Lord, Come Meet Us Here, its text a Medieval English verse, and the Lani Smith, SA(TB), #A662, 60¢. very lilting three-four meter lends itself to the Sanctus, Brent Pierce, SATB, a cappella, This is a lovely new selection for Commu gentleness required of that text. The selec #BO-116,60¢. nion Service. The melody is very singable, tion begins in unison and alternates unison Traditional text from the ordinary portion and the accompaniment line is flowing and and two-part writing until the final three of the Mass receives twentieth-century har melodic. The minor mode interlude offers a pages where three-part scoring begins. The monization. The first two scores consist of men and women in two-part canon. Each entrance in the four-part polyphonic treat ment is logical in harmonic progression, but introducing ... do not expect dominant-tonic cadences. A monastic-like quality is provided by a tenor the New melisma and a short homophonic portion in the middle. The use of syncopation and hemiola gives glorious impetus to the final Music Library "Hosanna." A good contest selection for the advanced high school choir. Many university Associates directors will find Sanctus challenging. It is an exciting number! LOQKINGTO S-T-R-E-T-C-H Marjorie Malone YOUR MUSIC BUDGET?? RICHMOND MUSIC PRESS - - here's a golden opportunity!! Deep Peace, David N. Davenport, SATB a Shawnee Press, Inc., introduces the new new choral music. From the Bulletins, cappella, #MI-200, 60¢. Music Library Associates, designed you select and order regular-edition Easily within the capabilities of most especially for YOU!! copies of the music -yours to keep at no church chOirs, this straightforward composi Membership in the Music Library Asso charge! You will continue to receive bul tion also has potential for a very musical per ciates entitles you to select full-size, letins for as long as you are active in formance. The quiet and calm setting regular-edition copies of our new choral choral music. Also, as a Library Asso enhances the original text and will enable a ciates member, you will receive special music for your personal reference. group to move quickly beyond the notes and We offer two plans: discounts on selected larger choral works. on to the music. . The Concert and School Music Library Jo Ann D. Poston Associates. This plan entitles you to sin The cost? Just $10.00 for each plan you gle copies of new choral music pub choose to join: and you only pay once for lished by Shawnee Press, Inc. a career-full of free reference copies and SACRED MUSIC PRESS The Church Music Library Associates. other musical benefits. This plan entitles you to single copies of Join the more than 13,000 current Music Guide Me Ever, Great Redeemer, Dale new sacred choral music published by Library Associates members! Clip and Wood, SATB with keyboard, #S-300, 75¢. Harold Flammer, Inc., and GlorySound. mail the coupon below. This arrangement of the Sacred Harp DON'T WAIT!! Make one of the best pro hymn tune, "Beach Spring" is typical, warm As a member, you will receive the Music fessional investments of your musical Dale Wood harmony which never-the-Iess Library Associates Bulletin, providing lifetime - join the new Music Library preserves the open, fundamental sound of descriptions and partial scores of our Associates TODAY!! the original tune. Accompaniment is adapt able for piano or organ. Short a cappella sec ~ tions can be doubled by accompaniment. ~ ~- Easy, rewarding anthem. Clay H. Dawson f ~ESL~B~~D~:~A~~: ~:~~;::.r:~r:!~~!' ~=~27 ...... ; SHAWNEE PRESS, INC. Il'm convinced! Please enroll me as a member of 0 I'm almost convinced. 0 Concert/School Music Library Associates ($10.00) Please send further Blue Christmas, Billy Haynes and Jay 1 0 Church Music Library Associates ($10.00) information and Johnson, arr. by Robert Sterling, SATB with .. o Both ($20.00) membership application ... piano and optional guitar, bass, drums, 0 Payment enclosed CJ 9/83 vibraphone and orchestra bells, A-1639, ! I 65¢. 0 Charge my account Name ------i This is an appealing setting of a familiar 0 Charge to MasterCard or 0 Visa Add 1 Credit card number ress ------I secular tune for the Christmas season. It begins in unison and breaks into parts on the I Expiration date (month & year) City ______.. Interbank number (for MasterCard) ____ third phrase. The second stanza begins with the men singing melody and women singing Your Signature State Zip 1\ I a simple obligato. The rhythmic drive and 1 ••••••••••••••••••••••_ ...... - mood of the song are enhanced by a key Page 46 THE CHORAL JOURNAL change for the last stanza and a nice rubato phrase for tenor solo that includes five gl s .. ~ UNICORN MUSIC CO. unaccompanied section near the end. The optional handbell part is very simple. It The accompaniment is gentle country would be a very effective number for In Early Light, John David Earnest, SATB swing, and for those of us who don't teach Medieval or Renaissance dinners and pro a cappella (piano reduction for rehearsal), much vocal jazz, here is a way to vary a cessionals with high school or adult voices. #1.0501.2, 55¢. Christmas presentation and at the same time Marilyn Anderson Word rhythm setting utilizes changing vary our student's musical experience. Dura quarter-note meters which flow easily from tion: 4 minutes. THEODORE PRESSER CO. one to another. Many "close" harmonies in Pat Stewart the "Singers Unlimited" style. This is a mood To Us a Child Is Born, Heinrich Schutz piece portraying "the serene and peaceful SONSHINE PRODUCTIONS Walter Ehret, SSATBB a cappella, awakening of a new day." Moderate difficul #312·41365, 75¢. ty with much opportunity for musical inter Thou, the Tender Shepherd Art, John In Excellent Christmas selection written in pretation. nes, SATB and Keyboard,.tfSP-161, 60¢. contrapuntal style with limited voice ranges. Clay H. Dawson Although there are frequent meter Cello and bass may double the bass lines, or changes throughout this piece,. they occur all voice parts may be doubled, preferably by WALTON MUSIC CORPORATION naturally and will not pose a problem for strings. The text is based on Isaiah 9:6-7. church choirs. The texture is thin - only Duration 1'30". Any choir that can be divid Silent Night, Franz Gruber, arr. Paul rarely is the harmony fuller than two parts - ed can use this lovely number. Sjolund, SATB with organ or piano and op and the voice lines move basically in parallel Jane Dilling Griffith tional oboe or flute, #W2345, 75¢. sixths. This is a beautiful arrangement of the old The accompaniment is just contrary 1'RIUNE MUSIC carol that we know and love. Sjolund has in enough to the voice parts to be interesting cluded three verses in this arrangement and without being distracting and will work Follow the Star, Susan Elliott. has approached each in a different manner. equally well on piano or organ. An interesting short Christmas play. The The first verse features the altos and second Jo Ann D. Poston choir sits in the choir area while the solo sopranos on the melody with the tenors sing characters take the stage and form the ing an echo-type harmony. An alto semi STUDIOPR tableau. Two are needed to be the camels, chorus or solo provides the melody on the three, wise men, one, a messenger from second verse. The choir and keyboard pro Carols for Caroling (Set II), arr. Donald King Herod's court, and a person to carry vide a quarter-note chordal accompaniment W. Crouch, TB or two parts, unaccom the Star. Instructions for performance and for the melody line. The third verse is written panied, #SV8222, 70¢. staging are given. The music is simple and in beautiful four-part nontraditional harmony "We Three Kings of Orient Are," "It Came mainly unison with occasional rounds and with the solo taking the melody for the last upon a Midnight Clear," and "Deck the one solo voice. phrase. The song ends with a very soft four Halls" are the three carols in this collection. Jessie R. Murray part chordal statement of "Silent Night." All of these carols are unaccompanied and harmonized with a simple counter-melody. Also, the first two carols have descants. The obvious intent of the arranger to pro vide functional and uninvolved settings of traditional carols for the unexperienced or less-skilled choral group was accomplished for CH in an inventive and entertaining manner. 1ST A John V. Sinclair Plan ahead for the year's program. Write DEPT. 12CJ today for a FREE reference copy of any five There's Another Christmas Coming Soon, Al Cobine, SATB, piano, optional of our new Christmas octavos for 1983. Please in bass, drums, and bells/vibes, #SV8219, clude serial numbers. Offer expires Sept. 30, 1983. 90¢. Here's a bouncy tune to liven up a junior BENEATH THE STAR'S LIGHT SAY, WHERE IS HE BORN? or senior high Christmas concert. There are Ronald Kauffman Mendelssohn/Ehret three sections, the first and last being in a SATB, pn. (362-03349) .65 SSA, pn. (312-41393) .50 bright and spirited two while a contrasting GLORY, GLORY BE! THE RISING OF THE STAR middle section is in a slower four. The op Ronald Kauffman Mary Peacock tional instruments would add to the enjoy SATB, pn. (362-03348) .55 SSA, pn. (312-41413) .55 ment of both the audience and the singers. HAIL THE TIDINGS THE SHEPHERDS HAD AN ANGEL Bill Burrows Puerto Rican/Hardwicke Philip Hagemann SA, bells, pn. (312-41421) .55 SATB, sop. solo, pn. or org. (312-41410) .55 TETRA MUSIC CORPORATION IN THE BLEAK MID-WINTER Ronald Kauffman THERE WERE SHEPHERDS THREE The Boar's Head Carol, 16th-century SATB, fl. (362-03346) .55 A-WATCHING Spanish/Ehret English Carol, arranged by Judith Otten, SSA, opt fl., vln. or ob. (312-41420) .65 ROCKING HYMN SATB with optional TB soli, a cappella with Sydney Hodkinson WINTER'S SNOW optional handbells, #AB 988, 65¢. SATB, hndbls., opt keybd. Sydney Hodkinson (342-40142) .65 This is a simple arrangement of the tradi (342-40141) .55 SATB, S/A/T solos, hndbls., opt keybd. tional carol mostly for solo and unison, with simple four-part harmony at the end of each of three verses. Two sets of words are given: one from the 1521 collection by Wynkyn de Worde and one from the 1470 Ritson manuscript, the earliest known sources. Ranges are easy for all voices except one SEPTEMBER 1983 Page 47 The song is arranged in a slow flowing from the beginning with full choir coming in This is a wonderful selection for the" good style with the loudest dynamic marking being with a forte "Great is our Lord!" in the key of church choir desiring to expand its Christmas mezzo piano. The keyboard accompaniment C major. The text is taken from Romans repertoire. The music follows' the format of is not extremely difficult but is one that con 11:33-35. The descending bass and ascend using a soloist for each of the three verses sists of an eighth-note pattern in the first and ing soprano lines make the opening state with the full choir singing a refrain-like sec third verses which gives the song an in ment powerful. A nice contrast is made in tion. There is no specific designation for the teresting feeling of movement. the next section by having the men sing, solo singing, and the range and text would All four parts do divide at some point in answered by unison women, followed by allow a great deal of latitude here. Warm, the song but never for more than a few unison choir. Section C is a recapitulation of lush harmonies support the simple melodic measures. The tessitura lies comfortably the opening section. The final phrase of the lines of the solo. When the full choir enters, within the range of most high school and piece is marked ff allargando molto, in which the same harmonies are present in the choral church choirs. the text "Great is our Lord!" is repeated parts. There are divided female parts but on I feel that Paul Sjolund has done a very twice, giving one the feeling that we are in ly for a few measures. This music will appeal tasteful and creative arrangement of Franz deed reaching out as the piece ascends to to performers and listeners in a very positive Grubers "Silent Night" and highly recom the final C major chord. The piece should be way. mend it for further review and performance. in the grasp of most choirs. A larger number Rose Mary Owens Noel Sylvester of voices will be necessary to give the piece the power it deserves for a truly exciting ex- WATERLOO MUSIC CO. perience. James B. Council, Jr. AdVERTisERS iNdEX Great Is Our Lord!, Eric Wild, SATB and Academic Church and piano, no price given. WORD MUSIC Choir Gowns ...... 31 If you are looking for a powerfully exciting Air Force Singing Sergeants ...... 23 praise anthem of celebration, here it is! A Candle in My Heart, Clayton Erb, American Institute for Marked maestoso, the piece moves right SSATB, keyboard, CS-3064, 60¢. Foreign Study ...... 34 AMSI ...... 9 Atlanta Symphony Orchestra ..... 13 Augsburg Publishing House ...... 39 Boosey and Hawkes ...... 43 Carl Fischer, Inc ...... 6 REViEWERS Tllis iSSUE: Coral Ridge Presbyterian Church ...... 22 Marilyn Anderson Jane Dilling Griffith, Retired Stephen H. Prusslng C·S Travel Service ...... 17 Director of Vocal Music Lindsay Public Schools The New York Ave. Cultour, Inc...... 29 Hillcrest High School Vocal Music Dept. Presbyterian Church Davidson College ...... 21 4050 West Bogard Lindsay, OK 73052 Washington. D.C. 20005 Dickson-Wheeler, Inc...... 9 Springfield, MO 65802 Educational Tour Dwight Gustafson, Director John P. Ribble. Vocal Director Consultants, Inc...... 41 Allan J. Andrews University Concert Chorale Doyle High School Educational Travel ...... 11 Choral Director Bob Jones Unlv. Knoxville. TN 37920 Iowa Park High School Greenville, SC 29614 Fiesta ...... 8 Iowa Park, TIC 76367 Bill Ross. Director Frangipani Press ...... 7, 35 Wallace A. Huey, Choral Director Vocal Music Group Tours of America ...... 45 James Bohart Jordan Vocational High School Port Washington High School Harold Flammer ...... 40 Oglethorpe Unlv. 3200 Howard Ave. Port Washington. WI 53074 Heritage Music Press ...... 18 Atlanta, GA 30319 Columbus, GA 31995 Hope Publishing Co ...... 30 John V. Sinclair Hulsizers ...... C4 George Bragg Sharon A. Kraus. Choral Director Director of Choral Activities International Music Festivals .. 12,32 2613 Benbrook Blvd. Fred F. Florence Middle School East Texas Baptist College Ft. Worth, Tx 76109 1625 N. Masters Marshall. TIC 75670 Intropa InternationaI/U.S.A...... 17 Dallas. TIC 75217 Ithaca College ...... 31 Bill Burrows Robert E. Snyder Jerry Weseley Harris ...... 19 Choral Director Gerald Luongo Director of Choral Activities Kathaumixw ...... 24 Fayetteville High School 2880 E. Chestnut Ave. Eastern illinois Unlv. Kendor Music, Inc...... 44 Fayetteville, AR 72701 Vineland. NJ 08360 Charleston. IL 61920 Knight·Shtick Publications ...... 15 Langdon Barber Groves ...... 12 Conan Castle Marjorie Malone Lee A. Spann.-Dlrector Lyric Choir Gown Co ...... 3 Professor of Music Choral Director Abraham Lincoln High School Central Missouri State Unlv. Tahlequah High School Council Bluffs. IA Margun Music ...... 27 Warrensburg, MO 64093 Tahlequah. OK Mark Foster Music Co ...... 25,34,37 Ronald J. Stahell Masters Tuxedo ...... 38 James B. Council, Jr. Jessie R. Murray Director of Choral Activities Mollard Batons ...... 33 Choral Director Director. Linnet Girls' Choir Brigham Young Unlv. Music Maestro Please ...... 42 Osbourn Park Senior High School Carllngford. N.S.W.• Australia 2118 Provo. UT 84602 Music Notes ...... 7 8909 Euclid Ave. Music Print Corp ...... 34 Manassas. VA 22111 Rose Mary Owens Pat Stewart, Choral Director Nathan Allen Publishing Co ...... 43 Dept. of Music De Soto High School Orbiting Clef Productions ...... 14 Billy N. Davis Southwest Missouri State Unlv. De Soto. MO 63020 Director of Choral Activities Springfield. MO 65802 Richmond MUSic Press, Inc...... C3 Angelo State Unlv. Noel Sylvester Sanjo Music Co ...... 28 San Angelo, TIC 76909 Dale Peterson, Minister of Music Vocal Music Director Saville Organs ...... 32 Auburn, First Baptist Church Newton High School Shannon Development Co ...... 33 Clay H. Dawson P.O. Box 1191 Newton. KS 67114 Shawnee Press, Inc...... 46 Director of Choral Activities Auburn. AL 36830 Southeastern Career Apparel ..... 20 Northeast Missouri State Unlv. Perry E. Taylor Stanley Home Products ...... 26 Kirksville. MO 63501 Jo Ann D. Poston Asst. Minister of Music Head of the Music Dept. Prestonwood Baptist Church Suzuki Corp ...... C2 Hoover Fisher. Coordinator Davidson County Comm. College Dallas. TIC 75248 Theodore Presser Co ...... 45, 47 Choral Activities Box 1287 University Music Service ...... 23 Oklahoma State Unlv. Lexington. NC 27292 Larry D. Wyatt. Choral Director Wenger Corp ...... 10 Music Dept. Loyola Unlv. Westminster Choir College ...... 16 Stillwater. OK 74074 New Orleans. LA 70118 Wormhoudt Publishing ...... 21 Page 48 THE CHORAL JOURNAL What More Can One Say??? Robert Thygerson, Eugene Butler, Douglas Wagner, David Davenport, John Carter, Mary Kay Beall, Suzanne Paterson, Lloyd Larson, Theron Kirk, Winnagene Hatch, Gordon Young, Eugene Englert, Phillip Cooper, Ann Ker Please Send For These New Choral Reference Copies ...-- SATB Christmas Star ...... ;.Douglas Wagner-David Davenport (Christmas) Gloria In Excelsis Deo ...... Robert Thygerson (Christmas-General Sacred) Shine Bright Star ...... Robert Thygerson (Christmas) For Joy My Heart Is Ringing ...... Eugene Butler (Sacred) God Bless The Child ...... Lloyd Larson (Sacred) Galilean, The ...... Douglas Wagner-David Davenport (Sacred) At His Feet ...... David Davenport (Sacred) Let All The Nations Sing For Joy ...... , ...... Gordon Young (Sacred) Jubilate Deo ...... Theron Kirk (Sacred) o Come Sing Unto The Lord ...... Eugene Englert (Sacred) Ask Not For Yourself ...... Robert Thygerson-David Davenport (Sacred) One Glorious God ...... Ann Ker (Sacred) Don't Listen To The Hammer Ring ...... Douglas Wagner-David Davenport (Spiritual) Behold The Man ...... David Davenport (Sacred) Immortal Love ...... Winnagene Hatch (Sacred) Choral Statements of Note ...... Phillip Cooper (Secular) SSA I Leave You With A Song ...... John Carter-Mary Kay Beall (Secular) Whisper To Me My Love ...... John Carter-David Davenport (Secular) Tell Me, Tell Me ...... Eugene Butler (Secular) TWO PART With A Friend And A Song ...... Suzanne Paterson-Mary Kay Beall (Secular) Santa Claus! Santa Claus! ...... Robert Thygerson (Christmas) Happy Christmas ...... David Davenport-Robert Thygerson (Christmas) Walk On The Water Peter ...... David Davenport-Robert Thygerson (Spiritual) Do You Know Where God Lives? ...... Suzanne Paterson-Mary Kay Beall (Sacred) Sing A Song For All Creation ...... Douglas Wagner (Sacred) Morning Prayer ...... Winnagene Hatch (Sacred) RICHMOND MUSIC PRESS, INC. P.o. Box: 465 Richmond, Indiana 47374 ,-~-----:- American Choral Directors Association Non-Profit Organization P.o. Box 6310 US Postage Lawton, Oklahoma 73506 PAID Oklahoma City, Oklahoma Permit No.1 88 150 D'EVEREAUX DR NATCHEZ MS ~5 ~~tt:::~:;::::::::::;:;:::-·:·:·;·:::::::::::::::::::::::::::::::;:::;:::;:;:;::::::::}:::;:::;:::::=:::::::::::::::::::::::::::d::::::::::::::::::::::::::::::::};::: -;:::::t:: ii~@jIfII~):::: ;:;:;:::::;::;:::;:;:::;:;:;:;:;:;:;:;::::::;;::::;:;:;:::::::::::::~ Address Correction Requested 1984 DIVISIONAL CONVENTION DATES Central Division North Central Division Southern Division Western Division February 23-25 March 1-3 February 23-25 February 16-18 Chicago, Illinois Sioux Falls, South Dakota Atlanta, Georgia Los Angeles, California Hotel Continental Holiday Inn Downtown Ramada Inn Central Amfac Hotel- Los Angeles Airport Eastern Division Northwest Division Southwestern Division February 9-11 March 29-31 April 4-7 Baltimore, Maryland Portland, Oregon Dallas, Texas Hyatt Regency Cosmopolitan Hotel Dunfey Hotel .' . r-j}~ . (;(\ 0:,~~"'-Z14 "'v ...7 ~'I"'l""~":>' ,~. (!:...~ odS) , ~ FIRE RETARDANT Artificial foliage that is durable and long lasting ~'t: :! ~Y'J2,. 4' ::~~{< ~2':~~It\~ For more information and samples contact: HULSIZER'S INC. P.O. BOX 249 ANKENY, IOWA 50021 TELEPHONE AREA: 515/964-0631 (call collect) First Baptist Church Fordyce, Arkansas ~'.&""~<4h~~~~~~~~~~~~~~~"?"