Standing Tall & Proud 2 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA Contents

Articles 5 The President’s Pen: The Beginner’s Performance by Jonathan Talberg, President 6 Open Your Hearts, Heal Your Minds by Lori Marie Rios, President-Elect 8 Why Jazz Choir? by Christine Guter, Jazz Choir R&S Chair 10 Getting It All In: Teaching “The Other” While Preparing “The Performance” by Christopher Borges, Central Region Representative 12 Embracing Change, Lessons Learned by Steven Kronauer, Male Choirs R&S Chair 16 Losing Elijah, Finding Ourselves by Anna Hamre, Community Choirs R&S Chair

WHEREAS, the human spirit is elevated to a broader understanding of itself through study and performance in Of Note... the aesthetic arts, and 4 Calendar, Advertisers Index WHEREAS, 18 Regional Conference Reports serious cutbacks in funding and support have steadily eroded state 20-21 Top Five for Your Choir institutions and their programs p. 20 - Children and Community Youth throughout our country, p. 21 - Women’s Choirs 23 California ACDA Directory BE IT RESOLVED that all citizens of the United States actively voice their affirmative and collective support for necessary funding at the local, state, and national levels of education and government, to ensure the survival of arts programs for this and future generations. “We are the music makers, and CALIFORNIA ACDA MEMBERS ARE we are the dreamers of dreams.” ENCOURAGED TO PRINT THIS ACDA ADVOCACY RESOLUTION IN ALL PROGRAMS. - Arthur O’Shaughnessy

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 3 Official Publication of the California Chapter American Choral Directors Association Calendar CANTATE Volume 25, Number 2 2013 ACDA National Conference...... Mar. 13-16 David Scholz, editor Dallas, TX [email protected] CSU, Chico Music Dept. All-State Honor Choirs...... Mar. 21-23 400 W. 1st St. San José, CA Chico, CA 95929-0805 530-898-6127 Summer Conference at ECCO...... July 28-31 SUBMISSION DEADLINES Dr. Geoffrey Boers, headliner Fall Issue — August 1 (mailed September 1) Regional Conferences...... September 14 Winter Issue — December 1 (mailed January 1) Locations TBA Spring Issue — April 1 (mailed May 1)

GUIDELINES FOR SUBMISSIONS The editor welcomes the submission of articles, announce- ments, reports, music and book reviews, job vacancies, and any other item of interest to the California ACDA mem- “Music was my refuge. bership. Articles should reach the editor no later than the established deadline and should include the following infor- I could crawl into the space mation: 1. Title between the notes and 2. Author’s name and phone/email address 3. Name of school, church, or organization curl my back to loneliness.” 4. Author biography (50 words) 5. A good full-face photo - Maya Angelou The manuscript should be limited to a maximum of two typewritten pages. Electronic text is preferred and may be emailed to the editor at the above address. The editor reserves the right to edit all submissions. Advertisers Index GUIDELINES FOR ADVERTISING CSU, Fresno...... 2 Charges listed are for camera-ready copy only, submitted electronically by TIFF, PDF, JPEG, or GIF. Cantate is pro- Tuning at Tahoe...... 6 duced in black ink. CSU, Los Angeles...... 7 Advertising copy is subject to editorial approval. The Edi- tor reserves the right to head and/or box any advertisement CSU, Fullerton...... 9 bearing confusing resemblance to editorial content. United Fund Raising Group...... 13

St. Olaf Choir...... 14 ADVERTISING RATES ACFEA Tour Consultants...... 15 Size...... Single Annual 1/6 page (2.5”x5”)...... $55 $110 San José State University...... 17 1/4 page (3.75”x5”)...... $75 $150 USC Thornton School of Music...... 19 1/3 page (2.5”x10” or 3.33”x7.5”)...... $95 $190 University of Portland...... 22 1/2 page (3.75”x10” or 5”x7.5”)...... $140 $280 Forum Music Festivals...... 22 2/3 page (5”x10” or 6.67”x7.5”)...... $190 $380 CSU, Long Beach...... back cover Full page (7.5”x10”)...... $275 $550 Cover photo: Mount Shasta

4 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA The President’s Pen The Beginner’s Performance

Do you remember your voice juries? I’m sure without too much coaxing you can replay the film in your mind: you and a pianist standing on one side of the room, your voice teacher, choir director, or—at some schools—the entire voice faculty on the other.

Jonathan Talberg

You were either prepared and excited or scared tion, intonation might be suspect, or the runs Dr. Talberg is President to death; ready and willing to sing, or horrified might be out of their reach, but they feel suc- of California ACDA. at the prospect of performing for your men- cessful if they’ve enjoyed the music, learned to He is Director of tors. That most basic of human fears, “I’m practice properly, and memorized their scores Choral, Vocal, and not good enough,” was held at arm’s length if in enough time to feel free to perform at the Opera Studies at CSU you had done your work. If you hadn’t, it was jury. Long Beach’s Bob Cole consuming you—keeping you from breathing, Conservatory of Music, from connecting to your core, from remem- The same is true for our beginning ensembles. Director of Music at bering your words. We have to challenge them by providing high First Congregational quality music they can conquer. They must Church of Los Angeles, We just finished two days of juries, and understand the text, physicalize the rhythm, and Artistic Director of throughout the process I was struck by how and engage in the harmonic progressions. the Los Angeles Bach like a choral concert the individual perfor- They need to know their parts backwards and Festival. mances seemed to be. Students with lots of forwards without being bored by too many experience, good training, and years of feed- repetitions. Choir directors are voice teachers; back always seem to do well. They help choose we are constantly building range, reaffirming their repertoire. They know how to stand, they the basics, expanding the knowledge base, and understand their breath support and their vocal engaging the artistic side of our singers. But, mechanism is under control. They’ve had four like all teachers, we must learn to plan more semesters of diction and they sound like pros carefully for our beginners than we do for our in French, German, Italian, or Russian. They advanced pupils. can pull almost anything off—and they know that it doesn’t matter whether they love it or I hope 2013 is an exciting year for you and your not, they treat each piece with respect, learn it choirs. And I hope that the foundations of carefully, and bring their ‘A’ game to the jury. excellence—musicianship, vocalism, ensemble, and artistry—are fostered in every rehearsal for The beginner’s performance, on the other every ensemble at every level of knowledge. hand, depends most greatly on the repertoire Our babies take more work than our big kids. I chosen by the teacher. Success hinges on think we forget that sometimes. ■ whether or not they’ve put in the time, learned the notes and rhythms, understood the texts, and are willing to ‘bring it’ to the performance. If they are engaged by their pieces, and if the music is within their reach, presents them with challenges and demands daily practice, they do well. If they love the melody, connect with a poem, or have learned to enjoy the ensemble between themselves and the pianist, they feel at ease. The beginners may not have perfect dic-

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 5 Open Your Hearts, Heal Your Minds

I am always asking myself, “Is being a musician We are all interconnected. What I don’t know, and educator a choice?” According to a book someone else will. That is comforting. Knowing that I have been reading titled Change Your Mind that I don’t have to have all the answers makes and Your Life Will Follow by Karen Casey, it is it easier to navigate through lesson plans, select that we have only two real choices in life. The music, work on classroom management skills, first is to fall into despair, become numb, and write student learning objectives, find good and let fear have its way with us. The second is to wonderful multi-cultural music, or even look Lori Mari Rios open our hearts to those around us, to heal at some newly introduced Debussy partsongs. ourselves and each other by changing how we Whatever you’re looking for, we may have it Ms. Rios is President- respond in every interaction we have. for you. And if we don’t, we will try to find someone who does. Elect of California Much like our musical rehearsal every week: ACDA. She is associate we may often respond harshly to our music- This coming year alone we have several activi- professor of music at College of the Canyons, making as we look at the negative instead of ties. Look on page 4 for those events, and put Valencia, where she is the positive. And we ultimately spend many the dates on your calendar. Make them a pri- the music director of the hours trying to be better at what we are ority. You deserve it, and so do your students. Chamber Singers and doing. We are all teachers and students in each And so do WE!!! ■ Voices of the Canyons other’s lives. From some teachers, tolerance Community Chorus. is learned; from others, patience. Someone may learn what letting go means from us. In every interaction we are privileged to learn or teach something of value. What I appreciate about my colleagues and friends is that they teach me to be a better teacher, musician, and human being. The best rule of thumb is to assume there is always something to learn—thus something to be grateful for— and that others are looking to us as teachers whether we or they are fully conscious of it or not. California ACDA is working hard to provide YOU with opportuni- ties to meet new people, share your thoughts, and gain a better understanding of who you are and who we are as an association.

6 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA College of Extended Studies and International Programs

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 7 Why Jazz Choir?

If you’re looking for inspiration to include Vocal jazz is a relatively new trend in choral jazz in your choral curriculum, or already have music education, having existed in an academic a jazz choir and need help defending its value setting for only thirty years or so. It can be an and significance in your program, I hope this important factor in putting your program on information will assist you. the “leading edge.” There are a multitude of reasons why jazz Jazz can serve the community as an ambassa- should be a part of every choral program in dor for your school. It is appealing to a wide Christine Guter America. I have listed a few below and would range of listeners and could help expand pub- be happy to speak with you personally if you licity for your music program and the school as Mrs. Guter is Director need more information or my aid in justifying a whole. It is quite likely that a jazz ensemble of Vocal Jazz at the its inclusion to your administration. will become a popular part of your choral pro- Bob Cole Conserva- gram, and help recruit more students to your tory of Music, CSU Jazz is an American art form. It is our unique program. Long Beach, and is a musical contribution to the world. Jazz is art professional jazz vo- music and is taken very seriously by those who If you’re hesitating to add jazz choir because calist and studio singer. study, perform, and enjoy it. It represents a you’re not sure how to teach it, understand that myriad of American music traditions. you don’t have to be an expert jazz musician She is the California to teach jazz. The basics of melody, rhythm, ACDA R&S Chair for Songs written by American song writers make form, timbre, and expression are present, just Jazz Choirs. up the majority of our jazz repertoire (George as in other musical styles. You just need to apply Gershwin, Duke Ellington, Richard Rodgers, these fundamental elements of music in a jazz Irving Berlin, Cole Porter, etc.). It is crucial setting. Concepts that set jazz apart, such as that we honor and preserve the artistry of our improvisation, stylistic nuance, and harmonic great American composers and lyricists. and rhythmic complexity, can be taught if you Jazz teaches musicianship skills that cannot be understand how they work in context. Jazz is learned through other types of choral music. a musical language, and listening is the key to The rhythms, harmonic complexities, and understanding. stylistic elements will develop students’ aural In closing, I want to share this quote by saxo- skills and improve their overall musicianship in phonist and NEA jazz master Dave Liebman: countless ways. Experiencing and performing jazz makes your students’ education even more “Playing jazz combines instinct, honesty, con- valuable. fidence, experience, trust, imagination, and a positive attitude. No matter what walk of life Jazz teaches improvisation, which is neglected one enters in the future, these are qualities that when teaching most other types of music. will serve any human being well.” Improvisation is a very important part of learning and experiencing music, and to over- look this concept in education leaves a gap in students’ musical understanding. Jazz broadens the students’ musical experience. The more well rounded the singer, the more marketable he or she will be when professional music opportunities arise.

8 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 9 Getting It All In: Teaching “The Other” While Preparing “The Performance”

How many times have you programmed a concert, picked your repertoire for your singers, and then felt like there just isn’t enough time to “get it all in”? Christopher Borges

Mr. Borges is the By “all,” I mean the “other” stuff: music pieces on their own, an Italian aria or other Central Region Repre- theory, sight-reading, aural skills, listening, solo piece, and two combined with all the music history, and many of those meaningful choirs: the National Anthem and a “closer” sentative of California and important aspects of music education. (something easy, upbeat, and fun). While ACDA. He is the cho- When I started teaching high school in 2000, that’s still five pieces, three are combined with ral director at Bakers- I felt a need to “prove” myself and ourselves other students and generally easy (the solo, the field High School and (as choirs), with an emphasis on learning three National Anthem—which returning singers conducts the choir to four new pieces every quarter/performance already know—and the closer), with the other at Grace Episcopal period to present a “quality” concert. However, two being a little more substantial for the sing- Church in Bakersfield. I found that I was constantly running out of ers’ musical/vocal education. time to teach all of that “other” stuff that I was also passionate about having my students 2. There is no rule (anywhere!) against sing- learn. So I decided to take a look at what I was ing something from one concert in another doing—how productive (or not) it was—and concert during the year (and, in fact, if you ask “Why?” choose the right piece to repeat, the audience builds a certain attachment to it). If I planned The answer was plain: I didn’t know. I it out right, I could use something from our couldn’t answer why I felt so much pressure fall concert in our winter concert as well (a to put together an hour-and-a-half concert of “Gloria,” “Ave Maria,” etc.). One year this entirely new repertoire sung by five ensembles included a Latin piece learned in the fall that of completely different experience and ability was then used in our winter concert, entitled levels...every six to eight weeks. No wonder I “Un Invierno Latino” (A Latin Winter). Also, felt frustrated! When I realized that the only repeating a selection gives the students time to one making those rules for me was myself, I get to know it better, allowing them to appreci- decided to look for other ways of program- ate a challenging or complex work that is not ming so I could include time for “the other.” immediately accessible (one year we worked on Here’s what I found out: Arvo Pärt’s “Cantate Domino” for three quar- ters until it was really polished for the spring— 1. A choir does not need to learn four or five something we could never have accomplished new “masterpieces” in six weeks in order to in just six weeks—and the kids still talk about be accomplished. In fact, two (maybe three) the thrill of learning it), which leads to No. 3. really well-performed pieces (emphasis on well-performed) are much more enjoyable for 3. My students enjoy their repertoire more me, the ensemble, and the audience (who I when they’re not pressured by “Get it memo- personally believe have about enough stamina rized!” or “Practice your _____(insert foreign for an hour-and-a-half of choral music before language here)” or “Tenors, it’s still out of they get restless), while also allowing me to tune!” (Ok, so maybe that last one is always a teach “the other.” Our fall concert, which pressure.) Working on two or three new pieces always includes a BBQ dinner beforehand and a raffle between choirs, is over in about an hour and fifteen minutes, and each choir learns two - continued on page 11

10 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA - continued from page 10

each performance period gives them time to be judged. They have had time to learn the rubric for choral performance sing them in solfege for weeks (memorizing adjudication (tone, intonation, balance, blend, etc.) and they understand what them, in fact, in solfege—leading to better they’ve learned well and what still needs attention, which brings me to my sight-reading due to the memorization of last point... those intervals), to learn them a cappella (no piano pounding notes), really to internalize 5. I can teach the “other”! Perhaps because I was a theory major in college, the work and know it in performance (where, or maybe just because I have a strange love for it, I spend 5-10 minutes as we know, “anything can happen”), and to daily on music theory work. In my large advanced ensemble, this sometimes experience the piece in a way they otherwise involves three different levels being taught/worked on at the same time might not. We have time to discuss the poetry (HOW I do that is the subject of another article). And my students (and their or lyrical references in a piece. We can look at future professors) repeatedly thank me for spending so much time on music the culture from which the piece comes and theory with them. They feel that choir is not just about performing, but also even do some research and (English teachers, about all the “other” aspects of musicianship. They also spend 5-20 minutes gasp!) write a reflection on it. In other words, a day on sight-reading (either in repertoire, which we try to learn a cappella, we have time to study our repertoire in depth. or from other sight-reading sources), 10-15 minutes/week on listening (a Admittedly, this doesn’t happen with every recording or a video, also exposing them to other composers and ensembles), piece. But some pieces are chosen precisely 20-25 minutes/week on aural skills (mainly singing in solfege/tuning skills, because they are “lighter” (requiring less time/ etc.), and 10-15 minutes/week on vocal skills for an end-of-semester assess- need to study), balancing out the weightier ment (usually singing scales, such as a chromatic scale with Curwen hand works. signs, scales in letter names in multiple keys/modes, a whole tone scale, or learning to give pitches from a tuning fork). Fortunately, because I choose 4. Festival adjudications are very low-stress! less repertoire to get more learning in, I feel I can also spend 15 minutes one Since I’ve chosen repertoire for the previous week looking at Renaissance performance practice, teaching International concerts that can be used all year (note: our Phonetic Alphabet, or reinforcing geography or history by plotting our rep- Winter Concert is just that—light on Christmas ertoire on a world map or history timeline, not to mention those days when and heavy on more-versatile repertoire that I just must get on the soapbox! can be used at other times of the year), our repertoire for festivals in early spring usually The point of all this is that by putting less pressure on quantity and by being includes a piece from the fall and winter quar- more creative with how I program repertoire, I am able to focus not only ters (and thus, well-memorized and available on quality, but also on “the other.” Both my students and I feel that choir is for a lot of polishing: crisping up the diction a more academic experience—that it involves so much more than “singing or choreography or tightening the intonation a bunch of songs” (although that is still our public face). We all feel like or blend or balance or really homing in on our 55 minutes together are jam-packed with learning. I get the satisfaction expression, phrasing and dynamics...) as well of having students say things like “Hey, Mr. Borges, I think this song is in as one “new” piece from the January-March A harmonic minor!” or “My college sight-singing audition was so easy!” or season. The students are comfortable, relaxed, “Mr. B, you’re really deep.” (all real quotations!). And when our students are and—isn’t this our goal?—highly prepared to learning, there’s a satisfaction that doesn’t go beyond an amazing concert performance—it supports it. ■ Repertoire & Standards The fourteen national Repertoire & Standards (R&S) Committees provide support, vision, and resources for every major area of choral work in ACDA. R&S Chairpersons, appointed at the national, division, and state levels, serve members who share similar interests by providing resources that promote excellence in the performance of choral music in: • Leadership • Information and networking • Excellence among colleagues • Professional growth • The lives of people These are the state R&S people you should call if you have questions about your particular area of music. See inside back cover or www.acdacal.org for contact information. ■

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 11 Embracing Change, Lessons Learned

I would like to share some thoughts on what I One thing of great importance is that at this have learned about working with experienced age—12, our youngest, and 18, our oldest— singing young men as they progress towards one can expect that the development of the settling into their adult instrument, the final voice will go through phases. The middle voice phase of vocal change starting in middle school may shift up towards the tenor middle range, and in some cases high school. I am now in my from F to F, or to the baritone range from D fourth season with the Young Men’s Ensemble to D. In the ensemble I watch very closely how Steven Kronauer (YME) of the Los Angeles Children’s Chorus. the boys are singing and walk between them, This journey has been fascinating for me as a looking to help each find well balanced vocal Dr. Kronauer presently conductor and voice teacher, as well as a learn- production. I pay close attention to tension in teaches voice at Cali- ing opportunity as I see how each voice has its the neck and laryngeal position, and I will then own independent way of developing—a point fornia State University, try to demonstrate healthy, free vocal technique that is vital when working with this age group for them to emulate. I also take note of how Long Beach, and con- (12-18). each student is progressing so that if need be, ducts the Young Men’s I will ask the student if he feels that his range Ensemble of the Los The parents of these fine young men some dictates that they should be singing in a differ- Angeles Children’s four years ago worked diligently with Rachel ent section or, simply put, how do they feel in Chorus. He is the Fines (executive director at the time) and the section at this time. It is not uncommon California ACDA R&S Anne Tomlinson (Music Director) to create that I will tell a singer that it is best to be aware Chair for Male Choirs. this ensemble in order to facilitate a home of how they feel and not to sing anything that for talented young men whose treble voices does not feel healthy to them. I also explain to were changing. Before this time the boy would them the concept of being the “CEO” of their find himself having to leave the organization, own sound, owning all choices they make, and missing experiences of singing wonderful knowing that they must own their instrument, sophisticated music as well as leaving longtime working towards allowing the voice to settle friendships. either up or down through conscious choices At the Los Angeles Children’s Chorus, Anne and to be patient and gentle with this precious Tomlinson (General Music Director of LACC) gift of singing. and I have found that it is best to keep the If there is anything that these young gentlemen boys singing in the treble range until it is in can learn, it is the life lesson: There is noth- the best interest of the singer for them to start ing more sure in life than change! Never is this to explore this new lower range. The signs are more clear than in adolescence. Sometimes I more than voice breaks and instability with the myself feel that if I could remember this fact it instrument; it is vital to be observant of the would bring much grace into life. habits of the singer and to keep underpinning the importance of proper alignment, freedom So the question I was faced with the first year in the neck, good vocal habits, and, of course, with YME was, “How can I protect the vocal an understanding of breathing for singing. well-being of each guy in my ensemble?” What I have learned is that it is important to educate I have found it most effective to listen for what all the time about very specific priorities that each singer in the ensemble requires in their potentially each young man can embrace as development in order best to serve the prog- they develop. ress of the group while prioritizing the vocal health of each individual. As YME is a TTBB One interesting facet of this ensemble is the group, the voices that are most often unac- age range being very vast, which creates a customed to their new range find themselves series of challenges in itself. The youngest of placed in the baritone or second tenor section. these men are often shy and sometimes a bit At the earliest point possible, I meet with the intimidated by the older seniors in high school. each boy and listen for “middle voice.” - continued on page 13

12 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA - continued from page 12

As a director I strive to create an atmosphere of mentorship In rehearsal I have found it is most important to begin with between younger and older singers, and a sense of dedication some exercises on voiced sounds on consonants, of Z or the to professionalism during rehearsal. This is a constant disci- ‘ng’ of the word “hung”; also in each warm-up we practice dif- pline that has to be set between singers delicately but with a ferent fricative sounds or noises to wake up the body and get firm commitment to excellence. Parent assistants sometimes the voice moving. I use either consonants or any sound I wish help with a gentle reminder to behave well. Earlier at our them to copy on the spot while changing meters; sometimes I retreat we had important opportunities to get to know each other and to bond. We spent times playing games requiring - continued on page 14 cooperation and trust between each other. The young men sat in a circle and each had to say their name and something that they like, and as each stated these things they had to review everyone else’s details one by one. We also had a guest, Suzana Guzman, a wonderful singer, radio host and generous spirit. Her clinic was on building confidence and self-expression by having each boy sing anything that came up that they wanted to sing, as if they were in the shower. She also had each guy tap their head with enough strength to feel the point on the top of each head and lift a “circle of energy.” She also had them all bring their fist to their chests while saying “I Rock.” This opened up the body and gave a sense of being open to being expressive and confident, learning alignment and open- ing up the body at the same time. We do her exercise in every rehearsal. In working with this ensemble I choose to be their only vocal Are you looking for an easy coach in order to keep a sense of continuity and connection FUND RAISING PROGRAM with each singer, and to share with every singer a vocabulary that saves TIME that can be taken from group lessons (of 3 or 4 singers in a room together) into the choir rehearsal. With almost every and produces one of the youngest members of the ensemble, I find myself phenomenal working to help them understand the natural energy of results for your projecting the voice. I will often put singers across the room 2013 tours? from each other and have them sing to each other as if in a conversation, explaining to them that the best singing comes Frustrated with from a sense of heightened alertness, and communicating from across the room without shouting, but making sure we too many Choices? can be heard. I’ll often demonstrate, using a silly sentence like, “If you can’t hear me, please stand up!” This is very UNITED effective as they sing and respond to each other as I move them further apart. This is very important to do out of the Fund Raising Group’s context of rehearsal, in a private/group lesson setting, and online program is safe, also helps with bonding and knowing that they are singing for secure and completed in each other as well as with each other. less than 20 minutes. With each singer I find it is important to develop good breath- ing habits and we work with many sources for understanding For more information, visit our web site this. I often use books to help explain some of what we are at www.unitedfundraisinggroup.com going for, e.g. Barbara Conables’ The Structure of Breathing and or email [email protected]. Katharin Rundus’s Cantabile. Both books contain many help- For immediate assistance, ful diagrams, and Katharine’s includes helpful vocalizes and call 1-855-342-6331. exercises. I discuss elements of both books in detail with the young men, and I find even the younger of our gentlemen We empower singers are fascinated with the information as we tie these elements together from the studio into rehearsal. to fulfill their dreams!

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 13 - continued from page 13

have them mimic my hand gestures, learning conducting pat- movements, both voluntary and involuntary. I pull out The terns and rhythm—making spontaneous fermatas, etc. I then Structure of Breathing and speak about the movement of the move on to lip trills—not every boy can do these at first but ribs in correlation to preparing the oral cavity with an open with time they make progress, especially as they find a deeper throat and verticality. I will also often work in the middle reg- connection to the body. I generally do this on the pattern do ister, starting on B-flat—the upper middle voice for baritones mi so fa re ti do. I instruct the singers to work towards buoy- and middle voice for tenors—and work on descending scales ancy, and to get a sense of how the muscles from around the on the vowels mi me ma mo mu, talking about agreement that abdomen down to the pelvis engage. I strive to help the sing- we all must be consistent, especially in the middle voice of ers understand the structure of the body and its reflexes and each vowel, being pure, clear and in the center of each pitch. Also important is to help develop the head voice by singing scales starting in head voice around A towards the top of the tenor range, starting on the in concert vowels “i, e, a, or u” on a descending fifth always in a head voice or falsetto. Before doing this exercise I say, “What is the game?” at which they reply, “Seamlessness,” and “What are we doing as we descend?” at which point they respond, “Defying gravity.” This can be tricky for some of the younger ones as the mucosa (the light outside edge of the vocal folds) must learn to stretch elastically and find inclusion within their fuller singing, finding a balance of including the light part of the mechanism while singing with the full sound. If the voice cracks, it west coast tour is a natural release of tension. I often have them make sniffing noises to feel 2013 the reflexive action of the muscles california around the belly button and down, which often helps with connection or support, helping intonation. I walk around and look for any type of ten- sion in each singer, suggesting adjust- Sacramento- February 4 ments in alignment, seeing that knees are not locked, heads are dynamically San Francisco- February 5 balanced on the top of the spine, while observing and correcting San Luis Obispo- February 6 tongue position and jaw tensions. Santa Barbara- February 8 The flexibility needed as the boys develop is important as they age and Pasadena- February 9 their bodies change. It is vital to have a dialogue with each singer to assess and hear how they are doing and developing. The first times I walk around they may be a bit shy as I do this, but quickly they understand and feel comfortable, as they know it’s in their best interest and they are not being judged. This dialogue includes

- continued on page 15

14 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA - continued from page 14

asking how they feel as they are sing- ing and how their range feels. I also listen for shifts in the speaking voice, and, when working in vocal coachings, listen for the bridges of the instru- ment. If the approach from B-flat in the middle voice up to D sounds as if there is an adjustment needed, Quality that tells me a great deal. If I hear the adjustment from D-natural to F# or For over fifty-five years, we G, this indicates to me that the voice have customized tours to fit may be settling towards the tenor each group’s unique interests, range. I have switched students around at any time during the year to assure abilities and expectations. Many vocal health, and as I hear these details satisfied ensembles return year and watch each singer to assure that he is singing in the healthiest manner after year, knowing that we can possible. Often we will all use sheet provide them with a memorable music, as some guys must switch parts experience every time. in midterm. We also discuss not sing- ing anything that does not feel healthy and coming to me anytime after or before rehearsal if they need guidance. Over these last seasons of working “This was such a fantastic tour. “All the tour planning was with the Young Men’s Ensemble of ACFEA did such a wonderful job excellent. ACFEA staff was the Los Angeles Children’s Chorus, of planning. I love to travel, but I always friendly, available, I have learned how vital it is to help go on these trips to hear the kids professional and returned all calls these young men keep singing. We at sing and be with them, and my and emails efficiently. A delight to LACC work to give them an education expectations were far exceeded.” work with you all!” that will feed their understanding of Barry Kerr, Director, Stephen Sano, Artistic Director, how they are in a perfect place in their Nevada Union High School Choir Stanford University Chamber Chorale lives and that this change is just one of many which they will experience on the path of singing and in life. It is vital for the music director to help each singer become all he can be, and to strive to bring each of them towards the level of the most experi- enced and advanced in the group. This ACFEA Tour Consultants is not always an easy task but one that 800-886-2055 CST 2063085-40 777 Grand Avenue, Suite 206 gives each singer something towards Photo: Fullerton University Singers San Rafael, CA 94901 which to strive. I have learned that performs in the Chiesa Santa Maria www.acfea.com each voice—each singer—is different, Trastevere in Rome email: [email protected] that each is an individual with a unique instrument that cannot be found any- where else, and that this gift is worth polishing and training in order to become the best one can be. ■

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 15 Losing Elijah; Finding Ourselves

“Are you sitting down?” It was a frightening tuned in the weekly community rehearsal. opening line in the phone call from the choir Consequently, I feel significantly more pres- manager of my community chorus. “Our sure when approaching the community chorus Elijah has canceled. He has a blister on a vocal practice than I feel when I work with my stu- fold.” Eleven months earlier we had contracted dents on a more frequent basis. a wonderful baritone from Texas to sing the title role in Mendelssohn’s epic work. Our first In these last days before the Elijah concert, other pressures were materializing. We were Anna Hamre dress rehearsal was one week away, and sud- denly we didn’t have the main soloist. still short two players. The union contacted us (also one week before the first dress rehearsal) Dr. Hamre is Director The season had been going well, but it was with the announcement that it was expect- of Choral Activities not without bumps. We had continually raised ing significantly higher instrumental salaries. at CSU, Fresno and the bar in our community chorus, working to The vice president removed herself from Artistic Director of recruit skilled singers while dealing with some the concert; her mother (a former member the Fresno Commu- aging voices and a membership possessing of our ensemble) was dying. Then came the nity Chorus. She is the widely varying ability levels. We had instituted usual requests for other absences from dress California ACDA R&S auditions designed not only to admit qualified rehearsals (some business, some personal, Chair for Community singers, but to help guide less-capable musi- some church conflicts). But the worst problem Choirs and also serves cians (sometimes long-standing members) to was weak ticket sales. We typically rely on free as the Choral Chair for other outlets. Of course, we also felt the con- publicity, such as human interest items in the the California Associa- stant tension of raising money for the desired newspaper and announcements on the local tion for Music Educa- orchestra and hall while looking for volunteers NPR station, none of which had come yet. tion. to move equipment, proofread programs, and house visiting artists. And now, we were facing an Elijah-less Elijah. We were a week away. In the space of a few days, Community choruses are significantly different all of the pain of running a community chorus from choral ensembles connected to schools. came to a head. But then I was reminded of The members tend to have a joy of singing the joys of a community chorus. These folks that extends back many years. While they not only sing well; when they are motivated, have some loyalty to the group, it is basically their money, incentive, and clout appear. In that love of singing (and maybe an enjoyment this case, we generated funds for some paid of the social environment) that keeps them advertising and we called in markers for other returning. But they don’t fill out course evalua- publicity. We negotiated with the union for a tions; they vote with their feet. If they are not delay of the new salaries. We worked around having a good time, they leave. They don’t need attendance issues. And we located and flew in a passing grade or the class credit. If they don’t a new Elijah, who turned out to be spectacular. like Honegger or Stravinsky, that season may be the one that finds them on a Mediterranean We had a sold-out house that was on its feet cruise during the concert date! after the final cut off. The choir had performed admirably, and the singers were appropriately Every rehearsal with every group is vitally proud of themselves. The best summary important, of course, and I certainly want all came via an email from a board member: singers to feel the fulfillment of making prog- “Yay, team!” Given all the worries about the ress on great literature. But I can hold students’ upcoming Elijah performance, for a week I had “feet to the fire” when it comes to attendance concluded each sleepless night with, “This ain’t and work ethic in a way I can’t quite do with worth it.” After the performance, I still didn’t my older community group. The balance of sleep. But this time my brain was alight with, work and fun, of stretching growth versus “What can we do next?” ■ comfortable status quo, is much more finely

16 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA School of Music & Dance

MUSIC AND SCHOLARSHIP AUDITIONS

Sat 01/26/13 Sat 02/16/13 Sat 03/02/13

PERFORMANCE OPPORTUNITIES

Concert Choir Choraliers Women's Chorus Men's Glee Club Opera Theatre Listening Hour Series .   Director of Choral Activites

DEGREES OFFERED

BA in Music BM in Composition Performance Jazz Studies Music Education MA in Conducting Music Education Performance

      www.sjsu.edu/music One Washington Square San José, CA 95192–0095 [email protected] Main office 408.924.4673 Recruitment 408.924.1377 Perfomance hotline 408.924.4662

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 17 Regional Conference Reports

Southern/Far South Regional Conference

This fall we collaborated to offer the 2012 (Azusa Pacific University). The day concluded ACDA Southern/Far South Regional at 3:30 PM after the final general session. An Conference on Saturday, September 8th on after-conference social was hosted by Jonathan the campus of California State University Talberg at his home in Long Beach. Much fun Long Beach. The headliner was Paul D. Head, was had by all. Director of Choral Studies at the University of Delaware. He presented interest sessions Mark your calendars for next year’s fall con- on choral music and choral music education ference on Saturday, September 14, 2013. that were very well received. Other sessions The headliner will be Jerry Blackstone from included a choral reading session for women’s the University of Michigan, and the venue is choirs led by Eliza Rubenstein (Orange Coast tentatively set for California State University, College), a session for SATB high school and Fullerton. college choirs led by Patrick Walders (San Christopher Peterson, Southern Representative Diego State University), a session for develop- Christopher Borges, Central Representative ing choirs led by Paula Riley (Leland Stanford Merryl Nelson, Far South Representative Middle School), and a reading session dedi- cated to music for worship led by John Sutton

Northern Regional Conference

The Northern Regional Conference was held Reading sessions were presented by Jeffrey on September 8, 2012 at Carlmont High School Benson (SATB), Karyn Silva (Unison/ in Belmont on the San Francisco Peninsula. Developing Choirs), John Knutson (Jazz), The clinician was Jerry Blackstone, University Ron Kean (World Music), and Buddy James of Michigan, who presented three stellar (Women & Men), assisted by Travis Rogers, sessions on the creative process, rehearsal Mary Hamilton, and Michael Di Giacinto on techniques, and analyzing common elements piano. of a series of memorable performances. Entitled “Building the Conductor’s Dream: The day ended with a get together at a Mexican From the Score to Rehearsal to Performance,” restaurant just down the street from Carlmont “Working with Male Voices,” and “Compelling High School. Many thanks to Genevieve Tep Performances,” these three sessions gave each for hosting the event at her school. Be sure of the attendees a good amount of food for to make plans for the next conference in thought. An indication of the appreciation for September 2013 with headliner Robert Istad the morning sessions with Dr. Blackstone was from CSU Fullerton. André Thomas from the fact that practically everyone stayed for his The Florida State University is scheduled for final session at the end of the day. September 2014. Lou De La Rosa, Bay Area Representative Dana Alexander, Northern Representative John Knutson, Central Coast Representative

18 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA University of Southern California Thornton School of Music Imagine Unique among the premier music schools of the world Being Here

Generations of distinguished faculty have made USC Thornton a global destination for the world’s most gifted musicians.

USC Thornton offers preeminent students of choral and sacred music the E. Jason Armstrong DMA candidate advantage of studying, performing, and networking in one of the most Music Director, progressive and vibrant musical centers in the world. Los Angeles Gay Men’s Chorus

Faculty Jo-Michael Scheibe (chair) Donald Brinegar Nick Strimple Mary Mattei Karen Cooksey Cristian Grases Suzi Digby Alumna Morten Lauridsen Associate Chorus Master, LA Opera Degrees offered: BA, MM, DMA

Christopher Eanes Alumnus Artistic Director, The Bachelor of Arts in Choral Music offers a multitude of choices Cincinnati Boys Choir for the serious choral singer: • Concentrations in choral conducting, early music, sacred music, composition, vocal jazz, music industry, and more Christopher Haygood • Our unique music education option: add a fifth year of study for a Master’s ABD Assoc. Dir. of Choral degree and California Teaching Credential Studies, • Second major and/or additional minor in any area of study Oklahoma State University • Transfer Students are welcome

Application deadline December 1, 2012 for fall admission in 2013. Iris Levine Alumna Extensive financial aid available. Director, Vox Femina

Department of Choral and Sacred Music USC Thornton School of Music (213) 821-5756 [email protected]

usc.edu/music | facebook.com/uscthornton

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 19 Top Five for your Choir

I’se the B’y (Newfoundland Folk Song) How Can I Keep from Singing Arr. John E. Govedas Robert Lowry, Arr. Robert Hughes SA with Piano SSA a cappella Gordon V. Thompson Music VG 267 Boosey & Hawkes 48004608

This lively piece has universal appeal. Based on If you need something in the inspirational low a folk dance, it has been set for two equal voices. key, audience pleaser department, this is a great Peggy Spool I like to include this so my altos get a chance choice! This lovely a cappella setting opens to sing into their upper range. Each verse of with a solo verse. Hughes adds countermelo- the song takes on a new rhythmic character, dies to the original and in the last verse brings imitating various elements of the story—a bad in Amazing Grace as a fourth voice. Parts are dancer, a very audible kiss, an alternation of 2 not difficult to learn as they are all counter- and 3—all the while keeping the movement of melodies, and have a moderate vocal range. the dance underneath.

The Song of Mister Toad Yo le Canto (from “The Wind in the Willows”) David Brunner Brian Holmes SA with Piano SSA with piano and baritone saxophone Boosey & Hawkes 48004843 Roger Dean Publishers 10307681

Based on a Venezuelan music tradition, this Brian Holmes’ piece “Roger Bobo Plays the outh original song has a strong, dance-like rhythm. Tuba,” for treble choir and tuba, is well known. There is a clapping percussion part that I have This is another piece in that vein. It depicts often left to a small number of singers. There the swashbuckling adventures of Mr. Toad are hallmarks of David Brunner—angular with great wit and style. Choral parts are of melodic movement and beautiful dissonances medium difficulty with a lot of meter changes, between the parts. The piano part really moves and some chromatic writing. The baritone and creates a feeling of restlessness in the tex- saxophone provides humorous commentary ture. Since our choir has boys and girls, I look on the story. You will need a good player to do for things I think will appeal on a number of this, but it is necessary. The publisher offers a different levels—the excitement and drive in bassoon part as a substitute. this piece make it a favorite.

Bist du bei mir (from Anna Magdalena Bach Notebook) J. S. Bach, BWV 508 (Attr. G.H. Stolzel) Unison with Piano (parts available for String Quartet) Gordon V. Thompson Music VG 183

I heard the Toronto Children’s Chorus sing C hildren ’ s and this and had never heard anything so beautiful for a treble choir. It’s a great piece for working

C ommunity Y on a unified tone and beautiful vowels, as well as a good introductory piece in German.

20 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA Top Five for your Choir

Stabat Mater Les Sirènes Sulpitia Cesis Lili Boulanger SSAA with accompaniment ad lib SSA with piano; soprano solo Artemisia Editions Treble Clef Music Press, TC-115 (www.artemisiaeditions.com) Boulanger was only 18 when she penned this This motet, written by an Italian nun in the work, which is as mysteriously, alluringly beau- early 1600s, makes a fascinating counterpart to tiful as its subject matter! Lush impressionist Eliza Rubenstein the later, longer, and much better-known Stabat harmonies, a challenging piano part, and a Mater by Giovanni Battista Pergolesi. The darkly seductive text will keep your perform- lowest vocal part may be performed by your ers and your audience engrossed, and music- contraltos or transposed up an octave, and the history buffs will enjoy the musical allusions to work can be doubled by organ or strings and Debussy’s Nocturne inspired by the same topic. continuo. W Ave Maris Stella Three Madrigals Ka Nin Chan

Ernst Krenek SA with piano (also available for SSAA ’ s C hoirs omen SSA a cappella with instrumental ensemble) Broude Brothers BB.RM3507P Contact the composer for music: (also available separately) (www.chankanin.com)

Think of Krenek’s “Madrigals” as the treble- Though originally written for children’s voices, chorus companion to Britten’s “Five Flower this haunting piece is equally suited to women’s Songs.” The texts—by Shakespeare, Herrick, voices (the Elektra Women’s Choir recorded and Tennyson—are charming and summery, it on their album Legacy, and you’ll find more and the music is humorous yet wise. These are information on the work at their website, as a wonderful addition to a springtime program. one of their “Thirty Top Picks”). The vocal parts are interesting but not difficult, and the piece has an austere and spacious feel that Igraj Kolce demands intelligence and sophistication. Slovenian folk song, arr. Jakob Jez SSA a cappella Earthsongs Music ES.S-208

This energetic round dance has a distinct and delicious Eastern-European flavor, and it’s lots of fun to sing. Earthsongs sells an inexpensive CD to help with the Slovenian diction, which is easy to master with practice, and you can hear a clip of the piece on their website.

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 21 MUSIC AT UNIVERSITY OF PORTLAND

MUSIC @ UNIVERSITY OF PORTLAND

Located only minutes from downtown, the University of Portland combines personal attention with challenging academics in our nationally a ccredited music program.

2013 ENTRANCE & SCHOLARSHIP AUDITION DATES January 14 • February 18 • March 2

FOR MORE INFORMATION up.edu/music • [email protected] • 503.943.7228

INTIMATE CLASSES. INNOVATIVE PROGRAMS. OUTSTANDING ENSEMBLES.

FESTIVAL PERFORMANCES IN Weekly Festivals From March Through CONCERT-QUALITY VENUES June 2013 in Quality Venues THROUGHOUT CALIFORNIA ANAHEIM | SAN FRANCISCO | LOS ANGELES | SAN DIEGO ONE-DAY PACKAGES • Constructive, positive feedback from Include adjudicated festival, awards ceremony, and theme park admission. nationally known adjudicators • Flexible payment plan – “only pay for those who play” • Friday or Saturday festivals • Great venues set the stage for your ensemble to perform with confidence • All ages & abilities are welcome: high • Enjoy any theme park or attraction on any festival date. Awards are at the venue, not the park! school, middle school, elementary school • Motivational awards ceremony at the MULTI-DAY OVERNIGHT PACKAGES venue, not at the park Include adjudicated festival, awards ceremony, lodging, breakfast, and attraction • Design your trip with our experienced staff. We’re up-to-date on details that make • Student scholarship program for returning your trip fun, suitable for your age group, and within your budget. schools and directors • Comprehensive itinerary makes your trip picture perfect and hassle-free • Safe, secure lodging at a great value! Breakfast always included. Affordable meal ideas that work for student groups! • Motor Coach quotes & educational activities of all types can be added!

DATES & DETAILS ON OUR WEBSITE OR REGISTER ONLINE! WWW.FORUMFESTIVALS.COM

To request a Directorʻs Guide or for more information, Call us toll-free. 1-888-76-FORUM (763-6786)

22 • Cantate • Vol. 25, No. 2 • Winter 2013 California ACDA California ACDA Directory

Executive Board Repertoire & Standards President REGIONAL Boychoirs Senior High School Choirs Jonathan Talberg REPRESENTATIVES Joyce Keil Gavin Spencer 562-985-5112 650-678-2001 530-241-4161 [email protected] Bay Area [email protected] [email protected] Lou De La Rosa President-Elect 408-206-7192 College & University Children’s and Lori Marie Rios [email protected] Choirs Community Youth 818-679-7463 Robert Istad Peggy Spool [email protected] Central 562-822-5952 408-979-9997 Christopher Borges [email protected] [email protected] Vice President 661-204-2689 Travis Rogers [email protected] Community Choirs Show Choirs 707-253-3705 Anna Hamre Genevieve Tep Central Coast [email protected] 559-278-2539 510-928-9108 John Knutson [email protected] [email protected] Executive Secretary 805-546-3195 California ACDA Office [email protected] Ethnic & Multicultural Two-Year College Choirs Jan Lanterman Perspectives Julie Dana Far South 2348 Clay Street David V. Montoya 559-233-3887 Napa CA 94559 Merryl Nelson 626-419-8031 [email protected] 707-255-8012 619-463-5316 [email protected] [email protected] [email protected] Vocal Jazz Junior High/Middle Christine Guter Northern School Choirs 562-985-8138 Dana Alexander Heather Gold [email protected] 707-328-6718 310-320-1170 [email protected] [email protected] Women’s Choirs Eliza Rubenstein Southern Male Choirs 714-432-0202 x21072 Christopher Peterson Steven Kronauer [email protected] 562-453-9851 310-800-0099 [email protected] [email protected] Youth & Student Activities Tammi Alderman Music in Worship 970-988-5193 Julie Ford [email protected] 925-283-9990 x224 Event Chairs [email protected] Summer Conference Regional Honor Choirs Dana Alexander, Chair Central 707-544-5598 Mel Carrillo Communications [email protected] [email protected] Newsletter Editor Website Coordinator Cantate Mark Alberstein Regional Conferences Coastal Contact Regional Tony Dehner David Scholz 559-623-1149 Representative [email protected] CSU, Chico Music Dept. [email protected] 400 W. 1st St. All-State Honor Choirs Southern (SCVA) Chico, CA 95929-0805 Tammi Alderman Tina Peterson 530-898-6127 [email protected] [email protected] [email protected]

Leading the Way Cantate • Vol. 25, No. 2 • Winter 2013 • 23 PRSRT STD AUTO California US Postage Paid Riverside, CA California Chapter, American Choral Directors Association Permit 1528 David Scholz, editor CSU, Chico Department of Music 400 W. 1st St. Chico, CA 95929-0805

January 13, MiraCosta College CONCERT HALL, Oceanside January 14, Red Hill Lutheran Church, Tustin January 15, First Methodist Church, Santa Barbara January 16, Aptos High School Performing Arts Center, Aptos January 17, Trinity Baptist Church, Belmont

All Concerts at 7:00PM/ free with a free-will offering

Come hear a diverse concert including Dominick Argento’s I HATE AND I LOVE, Music from Opera, and the Downbeat award winning, 12 member vocal jazz ensemble Pacific Standard Time.

More information? Facebook search BOB COLE CONSERVATORY CHORAL