2 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA 5 | AND A HAPPY NEW YEAR! from the president’s pen · by lou de la rosa

6 | MAKING THE MOST OF MENTORING past president’s report · by lori marie rios

7 | “BECAUSE YOU ASKED....” letter from the editor · by eliza rubenstein

8 | THE YEAR OF ROBERT SHAW memories of a once-in-a-lifetime apprenticeship · by ronald kean

12 | CREATING CHOIRS THAT WELCOME TRANS* SINGERS by jane ramseyer miller

14 | TALE OF THE TAPE what we learn from recording our rehearsals · by buddy james

17 | SUSTAINABLE COMPOSING the composer’s voice · by dale trumbore

19 | SEEN AND HEARD ca-acda members in pictures more photos 21 | CASMEC 2016 SCHEDULE OF EVENTS on page 19! plan ahead for ca-acda’s newest conference

22 | HONOR CHOIR CENTRAL all about ca-acda’s regional and all-state honor choirs

24 | NEWS AND NOTES happenings from around the state

26 | REGIONAL REPRESENTATIVE ELECTIONS meet the candidates

28 | VISION FOR THE FUTURE scholarship fund donors

31 | TOP FIVE: HIGH-SCHOOL CHOIRS by christopher borges

32 | TOP FIVE: MALE CHOIRS by gavin spencer

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 3 CANTATE Volume 28, Number 1

Official publication of the California Chapter of the American WHEREAS, Choral Directors’ Association the human spirit is elevated to a broader understanding of itself Eliza Rubenstein, editor through study and performance in [email protected] the aesthetic arts, and

WHEREAS, GUIDELINES FOR SUBMISSIONS serious cutbacks in funding and We welcome and encourage California ACDA support have steadily eroded state members to contribute articles, announcements, institutions and their programs music and book reviews, job vacancy listings, throughout our country, photographs, and other items of interest to Cantate! BE IT RESOLVED Please send queries and article ideas to that all citizens of the United [email protected]. You are also States actively voice their affirmative welcome to submit completed articles, but please and collective support for necessary note that not all articles received will be published. funding at the local, state, and national Deadlines for publication are as follows: levels of education and government, August 15 (Fall issue); November 1 to ensure the survival of arts programs (Winter issue); March 1 (Spring issue). for this and future generations.

The editor reserves the right to edit all submissions. California ACDA members are encouraged to print this ACDA resolution in all programs. ADVERTISING IN CANTATE Please visit our website (www.acdacal.org) or e-mail us at [email protected] for 2016 EVENTS CALENDAR complete information on advertising in Cantate, including rates, deadlines, and graphics specifications. Advertisements are subject to editorial approval. CASMEC (California All-State Music Education Conference) February 11-14, San Jose On the cover: The Azusa Pacific University Chamber Singers (Dr. Michelle Jensen, director) rehearse with Dr. Charlene Archibeque at the All-State Honor Choirs conference of the National Collegiate Choral February 11-13, San Jose Organization in Portland, Oregon, in November 2015. Photo by Chase Gilley; used by kind permission of Chase Gilley, ACDA Western-Division Conference Dr. Mitos Andaya, and NCCO. February 24-27, Pasadena

Summer Conference at ECCO July 24-27, Oakhurst

4 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA From The president’s pen: and a happy new year!

hings are getting real. It’s 2016, and ductors. I am doing so with the assistance of Twithin just a few weeks, we will have the David Montoya, the State R&S Chair for opportunity to attend two exciting conferences Choral Composition. Many thanks to Magen here in California. I want to give you a glimpse Solomon, Eliza Rubenstein, and Anna Hamre into some of the exciting plans for each. for their suggestions. There will be seven sessions when various The First ACDA State Lou De La Rosa is the Western-Division composers will be in the Chat Conference at CASMEC area near the Exhibits. Unlike the Buttonhole president of California As I have been touting for over a year, this sessions of past conferences, we will have no ACDA and the year’s choral track at CASMEC will be dif- sign-up list; all conference attendees are wel- ferent from any past CMEA State Conference come to drop by. There will be 2-4 composers in Director of Choral you may have attended. California ACDA the Chat area, including Conference Honorees and Vocal Studies was solely responsible for choosing the content Emma Lou Diemer and Kirke Mechem. Be and the concert venue for this conference. The sure to check it out! at West Valley performing choirs represent some of the finest College in Saratoga. choirs in the state; the interest sessions have a A note about NCCO strong music-literacy theme, and three of them He has taught music in This past November I attended my first were chosen for inclusion in the curriculum of National Collegiate Choral Organization con- the San Jose area for the Choral Leadership Academy. ference in the beautiful city of Portland, and I more than 30 years, If you have a student participating in one of was proud that 40% of the performing ensem- the five honor choirs, I encourage you not only bles were from California. Congratulations to including 13 years at to attend the All-State Honor Choir perfor- Azusa Pacific University Chamber Singers, Lincoln High School, mances on Friday and Saturday, but to attend Michelle Jensen, conductor; Riverside City the conference starting on Thursday. While College Chamber Singers, John Byun, conduc- a visual and perform- your students are rehearsing, you can take tor; University of Redlands Chapel Singers, ing arts school. He has advantage of the opportunity to attend interest Nicholle Andrews, conductor; and University sessions and concerts, as well as to observe All- of Southern California Thornton Concert served his peers through State rehearsals. Choir, Cristian Grases, conductor. numerous professional It all begins at the Fairmont Hotel at 11:00 Congratulations also to Dr. Charlene Thursday morning with our first interest ses- organizations. Lou feels Archibeque, professor emeritus of San José sion. The exhibits open at noon, and our first State University, who was honored for her lucky to be married to concert starts at 1:45 p.m. in the Cathedral contributions to the choral art, and for her Mary and is proud to be Basilica of St. Joseph. Thursday night we’ll trailblazing role as the first woman to earn a enjoy a “hometown” concert featuring the San doctorate in choral conducting. the father of Christine, José State University Choirs and The Choral Katherine, and Emily. Project, followed by an After-Hours Jazz Postscript Concert in the Fairmont Club Regent. Over Thanksgiving weekend, a good number He enjoys woodwork- With most of the choral interest sessions of my Facebook friends posted that well-known ing, loathes plumbing housed in the Fairmont alongside those of band, status asking for a one-word response to the orchestra, jazz, technology, general music, and repairs, and is a die-hard question, “How did we meet?” I found myself music advocacy, we’ll be able to network with answering so many with a single acronym: fan of the 2014 World our colleagues across genres while we celebrate ACDA. An extraordinary number of ACDA the excellence of choral music in California. Champion San colleagues have become close, personal friends. Western Division ACDA in Pasadena It is a unique professional association that Francisco Giants. affords one the opportunity to make close President Anna Hamre asked me to oversee friends. I encourage you to keep strengthening a project we’re calling Chat with a Composer, those ties at CASMEC and at the Western which will bring together composers and con- Division ACDA Conference. Happy 2016! 

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 5 past president’s report: Making the most of mentoring

s I approach my 25th year of teaching, • Allow your mentor to take the lead in the AI’m often reminded of how lucky I was to relationship, at least initially. Always act with be mentored by some wonderful, experienced courtesy and respect toward your mentor. choral conductors. I met my first true mentor • Use active listening skills, and don’t fill in the Lori Marie Rios is at Pasadena City College when I was 24. information you think you are hearing. Associate Professor Twenty-nine years later he is still my mentor; • Be prepared to ask for specific guidance and our relationship has changed, but it continues advice on your goals, plans, and strategic ideas. of Music at College to be dynamic, collaborative, and reciprocal. The more specific you can be, the easier it will of the Canyons. Prior Mentoring is a symbiotic relationship aimed be for your mentor to help you. at career satisfaction for both the mentor and • Ask for feedback. It’s difficult to hear at to her appointment the mentee. Being a mentor or a mentee can times, but it’s critical to your personal and at COC, she directed be a rewarding experience both personally and professional growth. Demonstrate that you

the choral program professionally. You can improve your leadership are open to new ideas and suggestions. Ask and communication skills, learn new perspec- for specific details to ensure you understand at La Cañada High tives and ways of thinking, advance your career, specific behaviors. School. Her choirs and gain a great sense of personal satisfaction. • Tell your mentor how you prefer to receive ACDA is focusing on mentoring as a way feedback. Don’t be defensive. Appreciate your have appeared at ACDA to assist our membership in finding allies in mentor for being honest with you. division and national the never-ending task of learning and growing • Always be considerate and respect your men- professionally. Our national leadership has tor’s time as you do your own. conferences and at determined that a mentoring program is one • Return phone calls and e-mails promptly CMEA conferences. of the best uses of our resources, human and and be on time with commitments or meetings. financial, as we seek to inspire excellence in • Seriously consider all advice or suggestions Ms. Rios teaches voice choral music education, performance, composi- you receive instead of explaining why the men- and graduate-level tion, and advocacy. tor’s advice would not work. Is mentoring right for you? Ask yourself • Demonstrate that you have followed advice conducting in the a few questions: Do you want to share your or commitments for action at every opportunity. summer graduate knowledge and experience with others, and do Pointing out that you used your mentor’s help you enjoy encouraging and motivating others? and sharing outcomes is important. program at CSULA. Are you comfortable asking challenging ques- • If you disagree with your mentor’s values, She is also on the tions and prepared to invest your time in men- behaviors, or attitudes, discuss it with him/her toring on a regular basis? How will mentoring directly. Respect your mentor’s confidence and choral-vocal faculty contribute toward your own personal goals and trust. of the Idyllwild Arts your sense of contribution and community? • Express gratitude for what your mentor offers To be involved in a mentoring relationship is to you. Summer Program, a privilege for both participants, and as a result s I write this, I see myself very clearly where she serves as it is important to be gracious and thoughtful towards each other. It is a partnership between Aas a lifelong mentee, but now, as I move Assistant Director. two individuals, the mentor and the mentee. In into the mentor role, I am reminded that it is considering the roles of the mentor, he or she my responsibility to be honest, truthful, and must wear many hats throughout the process. vulnerable. I am reminded that I must pass on The mentee is the student who needs to the knowledge that I have acquired from my absorb the mentor’s knowledge and have the mentors. ambition and desire to know what to do with California ACDA will soon have a mentor- this knowledge. As a student, the mentee needs ing application on our website (www.acda- to practice and demonstrate what has been cal.org). I hope you’ll think about how you learned. A few tips for making the most of the can participate in this new initiative, either as a mentee role: mentor or as a mentee. 

6 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA letter from the editor: “Because you asked....”

ast spring, I adjudicated a choral festival in My own non-traditional choral-conducting LBakersfield alongside Ron Kean. During journey began in 1993, when—after a lifetime a break in the action, we spoke about—among of violin lessons and alto-section membership, other topics—the Bach B minor Mass I would and two years as a miserable English major at Eliza Rubenstein is the be conducting a few weeks later, and the indel- Oberlin College—I knocked on the office door Director of Choral ible experiences Ron and I had had, fifteen of Edward Maclary, Oberlin’s then-director of years apart, with the great Robert Shaw. choral studies, and said something like “This and Vocal Activities at “You know,” he said, “I have Mr. Shaw’s may sound strange, but I’ve been thinking that Orange Coast College, personal score of the B minor Mass in my liv- I might like to try choral conducting, and I ing room. Why don’t you come over later this wonder if you could tell me how someone gets and the Artistic evening and see it?” started with that.” Director of the I wasn’t about to decline. Ron welcomed He could. He did. And he took me on as me into his home that night, pulled the score his apprentice for no particular reason than Orange County from his bookshelf, and sat back with a smile (and you’ll have to forgive another small spoiler Women’s Chorus as I paged through it, silent and reverent, like a for Ron’s wonderful article) because I asked. monk with a Gutenberg Bible or a Shakespeare The web was only beginning, of course. and the Long Beach scholar with the First Folio spread on the din- Ed’s own mentors included Robert Shaw and Chorale & Chamber ing table before her. After fifteen minutes or so, Joseph Huszti, the first of whom I had the I decided it was time to let awe take a back seat privilege of singing with twice, and the second Orchestra. She holds to manners, and I closed the book and thanked of whom welcomed me into the graduate pro- degrees from Oberlin Ron for sharing it with me. gram at UC-Irvine and paved the way for the “Take it with you,” he said. “You can return 20 years I’ve now spent and the hundreds of College and UC-Irvine, it to me later.” musical friends I’ve met in California. And I and she is a former At first I protested, imagining his irreplace- can’t wait to gather with dozens of them—of able score accidentally trampled by my dogs you—in San Jose this February, when some of animal-shelter supervi- or wrecked by my klutziness, but he held firm. California’s finest young singers will have the sor and the co-author “Eliza,” he said, “it’s been sitting on my shelf opportunity to learn from Ed as he directs the for five years, and that’s not where it belongs.” 2016 All-State mixed choir. of a book about dog You’ll find me in the audience, marveling at adoption. Eliza lives didn’t know until later that Ron’s gesture the ways my musical path has led me far from with a beagle mix named I was an echo of something Robert Shaw him- home and right back to where I began, and self had done for him 35 years earlier (you’ll realizing once again that none of us in the cho- Frances, a black lab read about it in the next few pages). But I did ral family is more than six degrees of inspiration named Jackie, and a instantly recognize, and profoundly appreciate, from another. the unique generosity of an act of mentorship— cat named Wilbur, and the wideness of heart and spirit that compels us ow it’s my turn to keep the tree branching, she’s passionate about to share the gifts we have ourselves received, Nto pass around the gifts and the grace oth- and the leap of faith that compels us to entrust ers have extended to me, to welcome an ever- grammar, Thai food, them to those who follow us in our journeys. growing, ever-diversifying cast of new members photography, and the Like most in this profession, I have a diz- into the community. Music alone can’t do that, zying list of mentors to whom I’m indebted but music-making motivated by generosity can. St. Louis Cardinals. for getting me this far, and like most of us, I This issue of Cantate celebrates that spirit realize—more and more all the time—that my of generosity, of mentorship, of inclusion. As choral pedigree is not a line but a web, a family a holiday season gives way to a new year, let’s tree of intertwining connections that wind back share our gifts with a new generation of musi- upon themselves even as they grow upward and cians, just “because they asked”—and if we’re outward. listening, they’re always asking. 

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 7 The year of Robert Shaw

y life completely changed the first time I sang for MRobert Shaw—and not just my musical life. He was conducting the first of three summer workshops at the University of Southern California in 1977, and I was about to em- bark on my second year of teaching as the choir director at Valencia High School in Placentia, California. These summer workshops at USC combined the talents of student singers and conductors from USC and southern California, conductors from all over the United States, and the Los Angeles Philharmonic, all performing at the Hollywood Bowl. The first week we learned and performed

BY RONALD KEAN

8 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA the Berlioz Requiem, and the second week we learned and of their music. Robert Shaw, with one act of trust and gen- performed the Verdi Requiem. The great Howard Swan— erosity, validated my love of learning and created a lasting who I later learned was Mr. Shaw’s high-school history bond between us. teacher—sat in on the first rehearsal, and bowed in homage The third summer at USC, we learned and performed to Mr. Shaw when he was introduced. Beethoven’s Missa Solemnis, and by now I knew for sure Before that summer, I had no idea that Mr. Shaw’s level that I was in the presence of greatness and that somehow I of musicianship or his knowledge of the score, the voice, the- had to expand my studies with Mr. Shaw. I took out a loan ology, and literature were possible. I had discovered a model and flew to Atlanta, not knowing if Mr. Shaw would meet for life-long learning. with me, but certain that I didn’t want to look back at age The second summer we learned and performed music by 50 and see a missed opportunity. I planned a trip that would J. S. Bach: the Magnificat and the St. Matthew Passion. coincide with the Atlanta Symphony Orchestra and Cho- Bach and Shaw were the perfect marriage of rhythm, soul, rus performance of the Brahms Requiem, and arranged to and spirituality, and the all-day rehearsals seemed to pass meet Mr. Shaw’s secretary, Nola Frink. She was protective by in a matter of minutes. of his time, but she fi- Each day at lunchtime, the nally agreed to ask Mr. singers walked off campus Shaw if he would meet to the nearby food court and with me. He agreed— restaurants, but one day I and invited me to sing found that I couldn’t eat in the chorus for the and couldn’t talk to anyone Friday night perfor- following the morning re- mance in place of a hearsal; it had transported missing tenor. me into another world. I sat The performance alone outside of Booth Hall was powerful, but time on the steps with my head in was tight: I had an my hands for five or ten min- early-morning flight on utes, trying to process what I Saturday, so Mr. Shaw experienced. set up a time to meet “Are you all right?” said at 6:30 a.m. I showed a voice next to me. him what I had learned It was Robert Shaw. from three summers of Evidently he couldn’t eat above: Robert Shaw on the podium study with him and ex- either, and we started a con- plained what I wanted versation that lasted on and off for more than twenty years. to learn from him. Much to my surprise and delight, he in- During the dress rehearsal of the St. Matthew Passion, vited me on the spot to become the copyist of the Atlanta I noticed a discrepancy in ornamentation between the vio- Symphony Chorus and to sing in the chorus. lins and the sopranos and brought it to the attention of Mr. The meeting went longer than expected, so he drove me Shaw. He asked me to take his score to the copyist to make at breakneck speed to the airport, arriving in the nick of time. the change, and a day later, he suggested that I borrow his Once aboard my flight, I finally took in what had just hap- choral and orchestral scores of the St. Matthew Passion for pened. The plane soared through the clouds, and I was right a month so that I could study how he edited and studied his there in the clouds with it. I resigned my teaching position at scores. I was stunned, and I mentioned on my way out of Villa Park High School at the end of that school year and his dressing room that I didn’t know his address. “I am sure moved to Atlanta in August of 1980. you’ll find a way to return them to me,” he replied. “If not, you’d better try another profession!” r. Shaw put me to work right away. One day he called I didn’t just study his scores; I copied every last detail Mme to his home and showed me his music library, into my choral score and spent money I couldn’t afford on a which was stuffed with more scores than it could hold. He Bärenreiter full score so I could transcribe his edits into my asked if I would build him more shelving and organize all his copy. (I once heard a radio interviewer ask him: “Every time scores while he was out of town for a week; I said yes, and you conduct a choir the product is miraculous. How do you with some help from the local hardware store, I went to work. do this?” Mr. Shaw responded, “I just make the singers do I knew that Mr. Shaw was a stickler for detail, so I spent days what the composer indicated in the score. The composition constructing brick-and-board shelves and carefully centering is the miracle!”) I recalled the stories of J. S. Bach copying them according to the spot where he sat at the piano. the scores of others to better understand the inner workings When he came home, he sat on his piano bench, looked

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 9 around, and said to me, “You centered the library on the Woods, then-president of Telarc and the producer for the room, didn’t you?” CD, reminded him of the importance of keeping the record- “Yes,” I said, pleased that he’d noticed. ing under 79 minutes and 42 seconds so that it would fit onto “I would prefer that it be centered on the light fixture,” a single disc; Mr. Shaw’s rendering clocked in at 79 minutes he replied. and 39 seconds.) My college president allowed me to miss I measured the difference, which amounted to about a class for a week and a half to make the trip, and it was this quarter-inch on each end; Mr. Shaw saw the look of disbe- opportunity that helped me to finally become comfortable in lief that I tried to hide. He went upstairs and returned in my own skin. I was in the midst of developing a repertoire of his traditional blue French farmer’s uni- multicultural music that would represent form. Together we took the library apart, my student population, the majority of moved it to where he wanted it, and put it whom came from non-western traditions. back together. This took most of the day, Rekindling my relationship with Robert and that quarter-inch turned out to be a Shaw reminded me that non-Western blessing: It gave me the opportunity to music demanded the same level of mu- ask him every musical question I could sicianship, score study, and performance think of while we hauled shelves and practice as Western art music. scores together. Back home in Porterville, our pro- His sense of space was matched only gram and our abilities grew. And me? by his sense of time. One day I went for For the first time, I was content to know a walk with his wife, Caroline, in the area that although I was not going to be ex- where she and Robert lived. “When I actly the same as Robert Shaw, I could take this walk with Robert,” she said, take what he’d taught me and grow where “we stop at this exact spot on the street. I was planted. He picks up a rock and throws it about fifteen yards at that hole in the pave- his year marks the centennial of ment. I’ve never seen him miss the hole... TRobert Shaw’s birth. His legacy as oh, and when he wakes up in the middle a teacher remains as strong as his legacy of the night, he can tell you exactly what as a conductor. He shared everything he time it is without looking at a watch.” knew, and I have spent my entire adult As his copyist, my job was to copy the Above: ron kean in the life as a conductor using what I learned edits from his choral score to twelve mas- early 1980s from him. When I asked Mr. Shaw why ter copies so that the 240-voice chorus he accepted me as a student (when thou- could have these edits in their score by the first or second sands in our profession would line up for such a chance), he rehearsal. I copied three scores per section. On the first one, said, “Because you asked!” I double-checked every measure as I went. The second score Robert Shaw was a self-taught man who spent a lifetime was easier, and by the third one I understood why he edited learning his craft. When I returned his orchestra score of the parts the way that he did and I no longer needed to dou- Bach’s Mass in B minor to his home after studying it for ble-check my work. It was a fantastic education and a true a month and copying the edits into my score, he gave me a apprenticeship. That year I worked on scores ranging from funny look and said, “Well, what did you learn?” Bach’s Mass in B minor to Schoenberg’s Gurrelieder, from I talked about balance, articulation, form, phrasing, tem- Beethoven’s Ninth Symphony to Britten’s War Requiem. pi, and bowings, and said, “...but I don’t really understand Every choral rehearsal was a master class from one of the all of this.” greatest musicians of our time. I could have stayed forever, He replied, “What makes you think I do?” but the time had come for me to put into practice what I If Robert Shaw was still learning and growing, I figured had learned. I returned to USC to complete my M.M. and there was hope for me too.  D.M.A. in Choral Music. Dr. Ronald Kean, Emeritus Profes- turned 40 in the middle of my fourth year as Director of sor of Music at Bakersfield College, I Choral Activities at Porterville College, and though I didn’t recently retired after completing his have a full-blown mid-life crisis, I did sense that I needed to 30th year of teaching in California. “recharge my batteries.” I phoned Robert Shaw’s secretary, He is a past president of ACDA Western who suggested that I come to Atlanta; the choir needed more Division and the Music Association of men to record Mahler’s Symphony No. 8. (Mr. Shaw’s su- California Commnunity Colleeges, and pernatural sense of time played a part in this recording: Bob a prolific arranger and composer.

10 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA “Well, what did you learn?” r. Shaw’s rehearsal techniques have been documented On tempo Mby many other conductors and in Carnegie Hall videos. • Rehearsal tempi should be calculated to prohibit the Below are some of my notes from my first-hand experience singer from making a mistake. Errors should not be allowed in rehearsal, performance, and workshops, and as his copyist to happen, or they will accumulate and require un-learning. and a member of the chorus who received his weekly “Dear • There are three tempos in every choral-orchestral piece: People” letters. —Ron Kean One in your inner hearing during score study, one when On blend rehearsing the choir, and one that best suits the ensemble in • Don’t ever sing more loudly than you can sing beautifully. the acoustics of your performance hall, which becomes the “real tempo” of the piece. • Try for a little less singing and a little more listening. • After four seconds of singing, gravity and lack of blood On text flow will cause the pitch to sag and the tone to be thin. Con- • “Stay away from text until notes and phrasing are right stantly refresh the air supply by staggering your breathing. and ineradicable!” • Enjoy every sound of every word. On phrasing • Energize weak beats to maintain tempo and to generate • Delight in the physiological sound of the text and explore forward motion. This is especially important in triple meter. text as color. • Short notes should lead to their next longest “brethren.” On warm-ups Therefore, slightly separate a dotted note from the next • Yawn before vocalizing and rub the sides of your jaw to shorter note so that the shorter note has an exact place in create a relaxed atmosphere for the air to resonate. time. Then energize the shorter note with same energy as the • Learn music at a piano dynamic to hear the tonality. dotted note. • Sing quietly enough to maintain a good unison. • Invite the tone, sing through each note, and “blossom” the • In warm-ups, focus on pitch first and sonority second. sound. • Unifying the vowels will unify the pitch. • Each phrase should have a sense of urgency and mission. • The experience of singing unison is more instructive than • Repeated notes may need a slight crescendo to keep the warming up the voice, and warming up the brain is more line moving and to keep the pitch from sagging. important than warming up the voice. • Energize the lower note of a melodic leap and arrive elegantly at the higher note. On conducting • Make the phrase sound inevitable by understanding its • Mr. Shaw’s gestural language indicated proper breathing shape and color. and phrasing. The ictus of the beat was clear and compara- tively small; the energy of the inner pulse of the music gener- On rhythm ated by the “weak” beats was fuller and conducted horizon- • Begin the learning process by “count-singing.” This tally with the elbows. This conducting style is related to the technique accomplishes extraordinary things for intonation chironomy of Gregorian Chant. The vocal line is always in because it requires the singers to initiate the pitch of each motion; there is always ebb and flow. As a result, there was note multiple times. It does even more for rhythms: it makes never a rehearsal or performance that didn’t leave me feeling it impossible for a singer to sing through a rest, and lines up vocally stronger afterwards. every measure vertically in terms of the smallest unit. When • And finally, when asked to name the most important skill the appropriate dynamics are added, the singer is forced to for a beginning conductor, Mr. Shaw replied: “You must consider where, how much, and how rapidly a change in like people. And if you don’t, then pay a professional to dynamics is to be accomplished. find out why you don’t!” 

Save the date: April 24, 2016 marks the premiere of Robert Shaw, Man of Many Voices. This feature-length documentary takes an in-depth look at Robert Shaw’s life and legacy as one of the world’s most beloved classical music icons, from his serendipitous introduction into the world of music through the many challenges and remark- able successes in his 60-year career. Interviews with collaborators, students, choristers, music critics, and friends, along with Shaw’s biographer, Keith Burris, provide insights into Shaw’s complex character and distinctive approach to music-making. The photos in this article are from the film’s website (www.robertshawfilm.com) and have been used with the generous permission of the producers.

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 11 not affect voice range. We may audition a singer who has wanted to live as a woman for perhaps her entire life, and Creating choirs has finally transitioned—but she may not be able to sing in a treble range. You can support her by listening to her voice that welcome and helping her to sing in a range that is healthy for her. In One Voice Mixed Chorus today, around 10% of my singers identify as trans* or gender-queer. Our bass trans* singers section leader is a trans woman with a rich low-bass range. I have several cisgender women who sing in the tenor sec- by Jane Ramseyer Miller tion because that is their most comfortable range. I have a variety of genders in every voice part, so as a conductor I simply refer to my singers by voice (soprano, alto, tenor, ifteen years ago, Jan Michael, an alto in my chorus, ap- bass) rather than by gender (men, woman, boys, girls, la- proached me to share that s/he identified as transgender F dies, gentlemen). I also ask any guest conductor or clinician and was beginning his physical transition by taking testos- working with my chorus to also refer to voice parts rather terone. I was clueless about the process but suggested that than genders when working with our singers. we check in every few months for a range check. Within the I asked several trans* singers to help me create a list of next year, to my amazement, Jan’s voice moved seamlessly twelve tips for making a chorus more welcoming of trans* from alto through tenor and eventually settled at a solid bass people. There are many ways that we as conductors can 2. Aside from learning to read a new clef, he experienced make simple changes to ensure that, as we create beautiful relatively few vocal issues in the process. music, we are also creating choruses where people of all A year later, another singer in my chorus transitioned; gender identities feel safe and welcome.  this time, however, the process was much more complicated and included vocal fatigue, hoarseness, and serious dif- ficulty singing. I was fascinated by the experiences of these two singers, and I felt helpless to address their vocal issues. Gender 101 I began reading and talking to vocal experts, and finally found one who had worked with transitioning singers. As a What does “transgender” mean? Broadly result of these conversations, my chorus, One Voice Mixed speaking, transgender people are individuals whose Chorus (Minnesota’s lesbian, gay, bisexual, transgender gender expression and/or gender identity differs from and allies chorus), hosted the world’s first Transgender conventional expectations based on their physical sex. Voices Festival held in St. Paul, Minnesota, in April 2004. The word “transgender” or “trans*” is an umbrella The day-long event included vocal workshops for term that is often used to describe a wide range of iden- transitioning voices, individual voice coaching, workshops tities and experiences, including transsexuals, Female- exploring identity and voice, and training for voice teachers to-Male, Male-to-Female, cross-dressers, drag queens and conductors. A few trans* singers flew in from both the or kings, two-spirit, gender-queer, and many more west and east coasts for our festival, and out of the event we expressions of gender. birthed TransVoices, a new Twin Cities chorus for transgen- der singers. *Why the asterisk? The use of the asterisk Through these experiences, and through years of reading (“trans*”) stems from common computing usage, and conversations with trans* singers, I have come to un- where it represents a wildcard used to search multiple derstand that there are both similarities and differences be- derived words from a prefix. tween transitioning voices and the voices of cisgender boys in puberty (see sidebar: The physiology of trans* voices). Is being transgender the same as being But perhaps more importantly, I began to understand gay or lesbian? Transgender people can be gay, that voice is incredibly important to transgender people. straight, lesbian, bisexual, or anything in between, just The pitch of someone’s voice can determine whether or not like all other people. Sexual orientation is different from they “pass” as their identified gender. Because transgender gender identity and cannot be assumed about anyone. voices do not always “match” outward gender expression, trans* people may be silenced from speaking or singing out What is “cisgender”? “Cisgender” is a term for a of fear or embarrassment. person whose self-identity matches the gender they were The situation is particularly sensitive for those transition- assigned at birth; not transgender. ing from male to female (M2F). While synthetic estrogen creates some physical changes for a trans woman, it does

12 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA 12 ways to make your choir more welcoming 1. When posting for singer auditions, keep language alto or soprano. However, unless she’s lucky enough to about voice parts gender-neutral. be a countertenor or has the finances to undergo vocal adjustment surgery, singing in a treble range is likely an 2. In the audition setting, ask new singers their preferred unrealistic goal. You can support her by listening to her pronouns, especially if a singer presents with an ambigu- voice and helping her sing in a healthy range and part. ous gender. 6. Post signs for gender-neutral bathrooms in rehearsal 3. If a singer shares that they are transitioning via testos- and concert spaces. Educate your chorus and audience terone, ask when they started and how the transition has regarding the protocol and importance of gender-neutral affected their vocal range, etc. It will typically take 8-12 restroom space. months for an adult singer’s voice to settle to a consistent range and it can take up to two years for the voice to 7. Use gender-neutral language in rehearsal and ask that stabilize. section leaders and singers also follow these guidelines. 4. Assign voice sections for each singer dependent on 8. Update your guest artist and musician contracts to ask their voice range and color rather than gender. If a singer that guests use gender-neutral language when working is transitioning, check their range every 3-4 months and with your chorus. assist them in moving to a new part as needed. 9. Adopt a gender-neutral language statement for your 5. You may encounter a trans* woman who wants to sing organization. 10. Invite all singers to audition for below: One Voice Mixed Chorus, St. Paul, Minnesota any solo that fits their vocal range. 11. Include trans* and gender- non-conforming individuals, artists, speakers, composers and song writ- ers as guest artists in your concerts. 12. Examine requirements mandat- ing gender-specific concert attire. Requiring singers to wear gender- specific clothing may be seen as a devaluing of identities and communi- cates indifference to the spectrum of gender identity and expression.

The physiology of trans* voices: Singers who take testoster- Jane Ramseyer Miller lives in Minneapolis one as they transition from female to male (F2M) will experience a voice- and has served as the Artistic Director of range transition much like the one that occurs for boys during puberty. In One Voice Mixed Chorus, Minnesota’s LGBTA puberty, the vocal folds lengthen and thicken, producing a lower voice. chorus, for 20 years. She also serves as Artis- An F2M adult who takes testosterone experiences a thickening of the tic Director for GALA Choruses, a network vocal folds, which lowers the pitch of the voice, but the vocal cords will not lengthen. As in puberty, it is helpful if F2M singers sing gently and of 180 LGBT choruses across North America. consistently through the transition process. For singers transitioning from She has a BA in Psychology from the Univer- male to female (M2F), professionals disagree on whether taking estro- sity of Waterloo (Ontario) and a Masters in gen can reverse the thickening of vocal folds, but the younger a singer is Choral Conducting from when she begins taking estrogen, the more likely that her range will move upward through a thinning of the vocal folds. Many M2F individuals are the University of Minne- able to train their voice to speak at a higher pitch and some singers are sota, but attributes much able to train their voices to sing in falsetto, although this is more challeng- of her musical training to ing and requires a skilled singer and voice teacher. For more informa- growing up as Mennonite, tion about trans* voices, search “transgender voices” on the surrounded by four-part GALA Chorus Resource Center (www.galachoruses.org). harmony.

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 13 Tale of the tape: what we learn from recording our rehearsals

hat our singers hear in rehearsal is 2. Is my head position conducive to healthy Wdirectly related to the manner in which singing? Would I want my singers to sing with we choose to communicate. my head position? When I video- or audio-record my rehearsals, 3. Are my shoulders down and relaxed? Dr. Buddy James is focusing on myself rather than the choir, I dis- 4. Is my conducting low and centered? Professor of Music at cover a great deal about communication. Some of my recurring themes—and my solutions to California State Univer- them—are as follows: often get as much, if not more, out of audio- recording my rehearsals with no visuals sity-East Bay, where I Eye contact because I can focus on my voice and words. he is the Director of These are some of my challenges: The most effective communication occurs when Vocal Studies and the we make direct eye contact with those to whom Tone Director of the School we are speaking. We may find that we look at the score as we are talking (time to know I was mortified by the sharp and angry-sound- of Arts and Media. He the score better!), or that we look off into the ing tone I recently used that was in no way a reflection of the warm and lovely feelings I had holds degrees from The distance. Effective eye contact can soften a criti- cism or hammer home a point. Most teachers toward my choir. When my tone is calmer, more University of Southern quickly perfect the disciplinary “sinister glare,” nuanced, and softer, rather than hard and edgy, my choir produces a completely different sound California, UC-Irvine, yet we can all do better with also perfecting our encouraging look. and we achieve better rehearsal results. and the University of Clarity Akron, and his teach- Breath Simply put, “Am I saying what I really mean, ers include William The conductor’s breath is a valuable tool for in the fewest amount of words possible?” Our encouraging good tone and our first and last Dehning, Joseph Hustzi, rehearsals should be filled with singers sing- line of defense for vocal health. Some questions ing rather than us talking. If we offer more Edward Maclary, and I ask myself are: than three things to correct each time we stop, Robert Page. Buddy 1. Am I breathing with my singers? something will be lost. Stop them, offer them a

grew up in Ohio and 2. Am I breathing while they sing, or do I hold maximum of three things to fix, AND be sure my breath? to offer solutions, and then try it again. Repeat. currently lives in Palo Simple and effective. 3. Do I release my own breath as they release Alto with his wife and their tone? No two children. Improvement in each of these areas will improve I often fall into the trap of stopping my choirs the sound of my choir and what I am able to with “No, that’s not correct. Fix it and do it hear from and communicate with them. again.” Let us challenge ourselves to have more rehearsals without “no” and “don’t.” If our aim Posture is to change a behavior that is not yielding a A choir will likely take on the posture of the desired result into a behavior that does yield conductor, so our ensembles may improve desired results, we can do that in a positive and simply by implementing a strong conductor’s productive manner that elevates the spirit in the posture from the first rehearsal. Some good room, or in a negative one that depresses the post-video viewing questions to ask are: room and makes singers fearful of making the 1. Is my posture tall when I am seated behind next mistake. Which would you choose? the piano? Give it a try. Record yourself this year. 

14 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 15 16 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA the COmposer’s Perspective: SUSTAINABLE Composing

premiere at each ACDA performance. Five but the process is more specific, less scatter- A new publications out each season. A hit shot. Before I accept a commission, I’m asking piece that every choir in the country programs, myself whether it feels like a gut-reaction yes, seemingly all at once. whether the timing is right, and whether I’m Dale Trumbore has the best composer to write this piece for this his is the kind of fame that defines having ensemble. Instead of trying to compose the per- received commissions, T“made it” as a choral composer: our name fect “opener” or “closer,” I’m aiming instead performances, and on every conductor’s mind, our music on every for a catalogue of strong work behind me. It’s concert. Ever since I started pursuing a career not up to me to decide which pieces make for awards from orga- in composition over a decade ago, I’ve been a great opening to a concert, anyway; it’s the nizations including pushing for this kind of success to happen as job of each conductor who decides to program quickly as possible. I’ve been e-mailing perusal my work. ACDA, ACME, Center scores to every conductor whose e-mail address City Opera Theater, I could find; I’ve been applying to every call for he kind of success I now aspire to hinges scores for which my music was even remotely on relationships rather than score sales, on Chanticleer, Inscape T eligible. cultivating connections with conductors whose Chamber Orchestra, the Though my career grew slowly, but musical mission aligns with my own. In striving

Kronos Quartet, and steadily—a few more commissions and per- to cultivate relationships rather than pushing, formances and score sales each season—I pushing, pushing for quick success, I’m asking VocalEssence, and she constantly berated myself for not having “made myself before I promote a piece: Why should has been hailed by the it” yet as a composer. I wasn’t supporting anyone care about that piece in the first place? myself full-time, and my music wasn’t being Does it match that conductor’s aesthetic? Is it a New York Times for her programmed at every—or, for a long time, at good fit for an upcoming program? “soaring melodies and any—ACDA convention. I had yet to have any I’m not saying composers shouldn’t push to one score sell more than 200 copies. Constantly get our music into the world; we should. But beguiling harmonies.” pushing, pushing, pushing for success was prov- maybe the way most of us go about it is wrong. Dale is orginally from ing to be completely exhausting and endlessly Maybe it’s wrong to view the flash-in-the-pan frustrating. accomplishment of having a “hit piece” as the New Jersey and now A little over a year ago, though, a discus- best measure of success. Maybe the business lives in Los Angeles. sion about choral fame and success with of being a musician isn’t a race to the top as composer-conductor Eric Banks changed my quickly as possible, but a longer quest to find Hear her music at entire approach to my career. Eric’s perspec- the people who are our people, the ones with www.daletrumbore.com. tive on fame? “Climb that ladder as slowly as whom we’ll collaborate to bring gorgeous new possible.” music into the world. I’ve mulled over these words this past year, In building a life-long, lasting career, there and they continue to resonate. These words call is no rush. This is the beauty of climbing the for a career grown deliberately and sustainably: ladder slowly: suddenly, whether or not I have a career approached not as a rapidly ascending a “hit piece” this year doesn’t matter. My goal line, no shooting star, but as something built is no longer to get to the top as fast as I can. If steadily over time. Something tangible; some- I’m focusing on building a sustainable career in thing substantial. Something with really deep composition—and I am—then my job is simply roots. to compose the best music I can while cultivating Lately, rather than gunning as fast as I can relationships with those I respect and admire. If for success in all things, I’ve been consciously I continue to make choices with that in mind, nudging the areas of my career that matter the rest of my career will evolve organically. The most. I’m still actively promoting pieces, yes, roots are already there. 

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 17 18 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA SEEN & HEARD Counterclockwise: California ACDA members enjoy the Fall Northern Regional Conference at San José State University (photo courtesy of Jennifer Perier); Dr. Charlene Archibeque is honored for her lifetime of service at the National Collegiate Choral Conference in Portland, Oregon, in November (photo by Chase Gilley); Dr. Nicholle Andrews leads the University of Redlands Chapel Singers in performance at the NCCO conference (photo by Chase Gilley); and CA-ACDA members pose with guest clinician Dr. André Thomas at the Fall Southern Regional Conference at CSU-Fullerton.

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 19 20 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA CASMEC 2016 Schedule of Events

THURSDAY, FEBRUARY 11 1:45-3:15 p.m.: Concert Session D, Cathedral Basilica of St. Joseph 11:00-11:50 a.m.: Interest Session 1 • Clark Intermediate School Sotto Voce (Tami Spurgeon, • Tune Up Your Diction Toolkit (William Sauerland) director) • University of Redlands Chapel Singers (Nicholle 12:00 p.m.: Exhibits open Andrews, director) • Fountain Valley HS Troubadours (Kevin Tison, director) 12:30-1:20 p.m.: Interest Session 2 • Working with Developmental Choirs (Angel 3:30-4:20 p.m.: Interest Session 5 Vázquez-Ramos) • No Longer Breathless (Katharin Rundus) • Developing a Comprehensive Curriculum for Music • To Read Or Not To Read...There Is No Question! Fundamentals and Ear Training Using Sonic Fit (Jeff (Anne-Marie Katemopoulos) Morton) 4:30-5:20 p.m.: Interest Session 6 1:45-2:45 p.m.: Concert Session A, Cathedral • Safe and Beautiful Belting Technique (Lisa Popeil) Basilica of St Joseph • Developing the Audiation Skills of Choral Musicians as a • RJ Fisher MS Women’s Choir (Lauren Schlueter Diez, Means for Improving Musicianship (Joseph Schubert) director) • Serra HS Men’s Chorus (Jay Jordan, director) 5:30-7:30 p.m.: CMEA Cocktails and Awards Banquet, Flames Restaurant 3:00-4:20 p.m.: CMEA General Session 8:00-8:35 p.m.: Honor Jazz Concert, San Jose 4:30-6:00 p.m.: Concert Session B, Cathedral Center for the Performing Arts Basilica of St Joseph • All-State Jazz Choir (Kate Reid, director), followed by • Santa Susana HS Abbe Road A Cappella (Bevin Abbe, performances of the All-State Jazz Bands director) • Clovis East HS Women’s Chorale (Dan Bishop, director) 9:00-10:00 p.m.: Concert Session E, Cathedral • Riverside City College Chamber Singers (John Byun, Basilica of St. Joseph director) • Young Women’s Chorus of San Francisco (Susan McMane, director) 8:30-10:00 p.m.: Concert Session C, Cathedral • Fullerton College Concert Choir (John Tebay, director) Basilica of St. Joseph • San José State University Concert Choir & Choraliers SATURDAY, FEBRUARY 13 (Jeffrey Benson, director) • The Choral Project (Daniel Hughes, director) 8:30-9:20 a.m.: Interest Session 7 • From the Court to the Concert Hall: What conductors 10:30-11:30 p.m.: After-Hours Jazz Concert, can learn from great coaches and sports psychology (Buddy Fairmont Hotel Club Regent James) • American River College Vocal Jazz Ensemble (Art • Songs for Classroom and Stage (Gemma Arguelles) Lapierre, director) • San José State University Jazz Orchestra (Aaron Lington, 9:45-11:15 a.m.: Honor Choir Concert, Cathedral director) Basilica of St. Joseph • Junior High Mixed All-State Choir (Judy Bowers, director) FRIDAY, FEBRUARY 12 • Women’s All-State Choir (Deanna Joseph, director)

9:30-10:20 a.m.: Interest Session 3 11:30-12:20 p.m.: Interest Session 8 • Singing the Same Language: Choral Director as Voice • Solfege and Sonority: Teaching Music Reading in the Teacher (Jeffrey Benson and Layna Chianakas) Choral Classroom (David Xiques) • Middle School Madness (Roger Emerson) • Sing, Shout, Stomp: Early American Music (Honey Whiskey Trio) 10:30-11:20 a.m.: Interest Session 4 • Diversifying Your Pedagogy Toolbox: Using the Wheel of 2:00-3:30 p.m.: Honor Choir Concert, Cathedral Pedagogy to Build Effective Rehearsals (Jeshua Franklin) Basilica of St. Joseph • Sight-Singing Success for Every Ensemble in the Statewide • Men’s All-State Choir (Eugene Rogers, director) System of Rated, Tiered Choral Festivals (Karen Garrett) • Mixed All-State Choir (Edward Maclary, director)

11:30-12:20 p.m.: ACDA General Session, Fairmont 8:00 p.m.: Taping of National Public Radio’s Hotel program From the Top, Hammer Theatre (featuring KDFC Classical Radio’s “Local Vocals High School Choir 12:30-1:30 p.m.: Lunch—Pizza with the Presidents Sing-Off” (CA-ACDA, CMEA, CBDA, CODA, CAJ)

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 21 HONOR CHOIR CENTRAL: All-STATE choirs are around the corner!

xciting news for music educators and students in 2016: ACDA Junior High All-State Choir Eeach of the five All-State Honor Ensembles will be Dr. Judy Bowers (Florida State University), Director rehearsing and performing during CASMEC this February William Boyce, arr. Proulx: Alleluia Round in San Jose. Of the 1500 students who auditioned for Trad. American Folk Song/arr. Silvey: 900 Miles regional high-school honor choirs in the fall, 340 have been Trad. Spiritual, arr. Schram: Somebody Got Lost selected for an All-State ensemble, and 133 different schools Acadian Folk Song, arr. Brumfield: La Violette state-wide will be represented. This year, we’re also intro- Giulio Caccini, arr. Moore: Dona Nobis Pacem ducing a Junior High All-State choir. These four choirs will Ben Allaway: Sahayta join the California Alliance for Jazz All-State High School Jazz Choir. Many thanks to all the conductors and teachers who have made this opportunity possible! Saturday, February 13, 2016 ∙ 2:15 p.m. We’re thrilled to welcome five amazing guest conductors Cathedral Basilica of St. Joseph who have chosen an incredible variety of repertoire designed 80 S. Market Street, San Jose, CA 95113 to challenge and excite our students, and we hope you’ll be Tickets: $10 at the door there to hear the results! ACDA All-State Men’s Choir Dr. Eugene Rogers (University of Michigan), director Friday, February 12, 2016 ∙ 8:00 p.m. San Jose Center for the Performing Arts Greg Simon: Spirit 255 S. Almaden Blvd., San Jose, CA 95113 Juan Perez Bocanegra/arr. Rogers: Hanacpachap Cussicuinin CAJ All-State Jazz Choir (partially sponsored by Juan García de Zéspedes/adapt. Rogers: Convidando California ACDA and SCVA) Daniel Elder: Ballade to the Moon Kate Reid (University of Miami), director Franz Schubert/ed. Shaw: Widerspruch English Sea Shanty/arr. Parker & Shaw: Haul Away Joe Peter Eldridge and Lauren Kinhan: The World Keeps Cuban Folk Song/arr. Hatfield: Son de Camaguey You Waiting Traditional Spiritual/arr. Waddles: Come and Go to Arr. Michele Weir: Sophisticated Lady That Land Arr. Sherrine Mostin: Crooked Creek Arr. Rosanna Eckert: Mad Heaven ACDA All-State Mixed Choir Arr. Tim Brent: In a Mellow Tone Dr. Edward Maclary (University of Maryland), director Hans Leo Hassler/ed. Capozza: Hallelujah, Laudem Dicite Saturday, February 13, 2016 ∙ 9:50 a.m. Henry Purcell: Hear My Prayer, O Lord Cathedral Basilica of St. Joseph Eriks Ešenvalds: Stars 80 S. Market Street, San Jose, CA 95113 Franz Joseph Haydn/ed. Rutter: Die Himmel erzählen Tickets: $10 at the door die Ehre Gottes Claude Debussy: Dieu! qu’il la fait bon regarder ACDA All-State Women’s Choir Norman Dello Joio: Come to Me, My Love Dr. Deana Joseph (Georgia State University), Director Traditional Spritual/arr. Burleigh: My Lord, What a Mornin’ C. Hubert H. Parry/arr. Andrews: I Was Glad When Traditional Spiritual/arr. Barnett: My Soul’s Been They Said Unto Me Anchored in the Lord Tomás Luis de Victoria/ed. McMane: Duo Seraphim Clamabant Giovanni Pergolesi/ed. Rao: Pergolesi Suite Gwyneth Walker: I Thank You God Trad. American Folk Song/arr. Silvey: 900 Miles Rosephanye Powell: Still I Rise

22 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 23 Send news of hirings, retirements, awards, News and notes commissions, premieres, collaborations, or projects to your regional representative from around the state or [email protected]!

NORTHERN REGION The San Jose State University Cho- SOUTHERN REGION raliers, under the direction of Dr. Ron Slabbinck, formerly of Christian Jeffrey Benson, recently sang two Congratulations to Keith Hancock of Brothers High School in Sacramento, performances at The Masonic in San Tesoro High School in Rancho Santa succeeded Elaine Schaefer at College Francisco with Josh Groban as part of his Margarita for being selected as one of of the Siskiyous and is building a terrific World Tour. five finalists for the 2016 Grammy Foun- program of concert, chamber and jazz dation Music Educator Awards! The ensembles. CENTRAL COAST REGION teachers were chosen from a pool of over 4,500 nominations nationwide. With the demise of CMEA-sponsored The Arab Music Ensemble of Cal Poly- festivals in Siskiyou County, Greg East- San Luis Obispo (Ken Habib, direc- The Long Beach Camerata Singers man at Mount Shasta High School tor) presented a concert on November celebrated their 50th anniversary with is making a concerted effort to bring in 21 in collabo- the premiere clinicians from out of the area. The stu- ration with of a choral- dents miss “going” to the festivals, but it the award- orchestral piano is a tremendous bang for the buck when winning concerto by it comes to enriching the singers’ musical Chookasian experiences. Armenian Jenni Brandon. Folk Music The chorus per- Roger Emerson is planning a work- Ensemble and formed the work shop with Lynne Secrist’s middle- by renowned in October with school students in Willows during the Arabic pianist Timothy Durkovic and month of April, and he’s volunteered to violinist Adel Cal Poly SLO’s Arab Music Ensemble offer hour-long workshops at no charge Eskander. conductor Rob- to other under-served schools in the ert Istad. Northern Region. Contact Roger at CENTRAL REGION [email protected]. The documentary Big Voice, featuring Mike Dana, Director of Jazz Studies the Santa Monica High School choirs BAY AREA at Fresno City College and husband and director Jeffe Huls, won Best of CA-ACDA Past President Julie U.S. Premiere Documentary Feature at Dr. Charlene Archibeque presented Dana, was selected as one of 25 semifi- the 2015 Heartland Film Festival in In- a session at the National Collegiate nalists for the 2016 Grammy Foundation dianapolis, and Best Family Feature Film Choral Organization’s conference in Music Educator Awards. at the South Dakota Film Festival. Portland, Oregon, in November, and was honored with a lifetime achievement Mentoring is in full swing in the Sonora- The Los Angeles Master Chorale is a award from NCCO. Modesto-Turlock area, with Candy grant recipient of Bloomberg Philanthro- Chamberlain, John Carter, Linda pies’ Arts Innovation and Management The Bay Area has been full of festivals Lovaas and Polly Vasché among those (AIM) program. LAMC will use the and honor choirs! Lou De La Rosa observing and advising various programs grant to help expand and diversify its recently hosted his 14th Annual West both new and established. Please let audience base, and to connect with new Valley College Choral Invitational with Polly ([email protected]) know of audiences in exciting, innovative ways. Lori Marie Rios as guest clinician. mentoring work going on in your part of Lou was also the director for the inaugu- the Central Region. Pacific Chorale released its new record- ral Marin Music Educator’s Association ing, The Radio Hour, on Delos, and Junior High Honor Choir, hosted by The 8th annual Messiah Singalong available on iTunes and Amazon. The White Hill Middle School (Susie Mar- took place on Sunday, November 22, at release features the world premiere tone, director). At Santa Clara Univer- Trinity United Presbyterian Church in sity, Dr. Scot Hanna-Weir hosted the Modesto. Dr. Ginger Covert Colla, recording of the choral opera The Radio inaugural California Catholic Collegiate a former Swan Award recipient, was the Hour, created by American composer Choral Festival in October. conductor. Jake Heggie and librettist Gene Scheer,

24 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA performed by members of the Pacific Symphony, with John Point Loma Nazarene University hosted the 5th annual Alexander conducting. The recording includes four addition- ACDA High School and Community College Choral Festival al works by Heggie. The Radio Hour was co-commissioned by on Friday, November 6 on the PLNU campus. The festival Pacific Chorale, VocalEssence, Conspirare, and The Phila- included performances by several notable San Diego choirs, delphia Singers. each of which received an on stage clinic with Dr. Tim Sharp, Executive Director of ACDA. FAR SOUTH REGION As part of ongoing community outreach, the choral ensembles at the Bishop’s School are focusing their attention on the In March 2015, Brad Nelson’s “How Can I Keep From homeless population in San Diego. The project will culmi- Singing?” received its world premiere by 1000 voices under nate in a concert titled “Images of Home.” The students are the direction of Patrick Walders as part of the the Choral being encouraged the to help choose music that answers what Consortium of San Diego for “San Diego Sings! Festival “home” means to them, along with their director, Dr. Chris- 2015,” celebrating the Centennial year of Balboa Park. tine Micu. This project also includes a commissioned work The USC Thornton Chamber Singers, conducted by Dr. focusing on the meaning of “home.” Jo-Michael Scheibe and the USC Thornton Concert Sacra/Profana, under the direction of Juan Carlos Acosta, Choir, conducted by Dr. Cristian Grases, performed at the will present a School Choral Invitational Concert on January First United Methodist Church of San Diego. Their program, 23rd in collaboration with the Chula Vista High School for titled “Hope, Life, Love,” included music by Jeffery Van and the Performing Arts. Mario Castelnuovo-Tedesco, among others. Thanks to our Regional Representatives (Roger Emerson, On Sunday, January 24 the renowned Nordic Choir of Lu- ther College, conducted by Allen Hightower III, will perform Jeffrey Benson, Polly Vasché, Carolyn Teraoka-Brady, Stacy at the First United Church of San Diego as part of their con- Kikkawa, and John Russell) for collecting and sharing news cert series. The performance begins at 7:00 p.m. and is free to from their areas! Send your news and notes to your regional any student age 25 and under. representative or [email protected]

BACH’S B MINOR MASS journey into the sublime Saturday, March 12, 2016 • 8:00 p.m. OUR LADY QUEEN OF ANGELS CATHOLIC CHURCH, NEWPORT BEACH Forty singers from Pacifi c Chorale join forces with acclaimed Baroque orchestra Musica Angelica to present the crowning achievement of Bach’s life’s work, the majestic Mass in B Minor, in a magnifi cent journey of beauty and transcendent artistry.

For tickets and information:

(714) 662-2345 www.pacifi cchorale.org

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 25 Regional Representative Elections watch your E-mail for your ballot!

Northern Region Candidates

Roger Emerson is a professional Jenny Bent, DMA, is the Director of composer and arranger with over 900 Choral Activities at Sonoma State Uni- choral titles in print and over 30 million versity, where she serves as conductor copies in circulation. He is the most of the University Chorus and Chamber widely performed composer/arranger of Singers. She is a graduate of Boston popular choral music in the world to- University (BM in Voice Performance, day. Mr. Emerson has been the recipi- MM in Choral Conducting, MM in ent of ASCAP’s Standard Award for Voice Performance) and the Univer- 20 years running and his works have sity of Illinois at Urbana-Champaign been performed at the White House, Carnegie Hall, and (DMA in Choral Conducting and Choral Literature). She the Kennedy Center. He is in constant demand as a lecturer has ten years of experience as a high school music educator, on pop music and the changing voice and has appeared at most recently having served as the Director of Vocal Music numerous MENC and ACDA conferences. His contribution at the Marin School of the Arts. From 2002-2007 she was to the Teen Series Musicals was recognized by inclusion in the artistic director and conductor of the award-winning teen the Grammy balloting for 1987. In that same year Quincy treble choir, Chantons. Dr. Bent also served on the voice Jones applauded him for his work on Hot Summer, a tribute faculty of the Boston University Tanglewood Institute. She to Donna Summer. Joe Preposo of Sesame Street fame gave serves as an adjudicator for CMEA and ACDA, and a clini- Roger the supreme compliment on his arrangement of the hit, cian for choirs throughout the Bay Area and beyond. Due to Sing when he said, “Finally, someone has done something her love of research, Dr. Bent enjoys shedding light on various creative with my song!” He received his degree in choral aspects of choral music history, and she hosts the radio show music education from Southern Oregon University. The Choir Loft on KRCB, the Sonoma County National Public Radio affiliate.

Central Coast Region Candidates

Carolyn Teraoka-Brady is enjoying Brandon Elliott is a conductor, her fourteenth year as Director of Vocal tenor, and music educator. He has Music at San Marcos High School and led ensembles of all backgrounds her thirty-second year as an educator in ranging from children to adults. He is the Santa Barbara Unified Schools Dis- the Founder and Artistic Director of trict. She directs the Madrigal Singers, the Choral Arts Initiative, which has A Cappella Choir, Advanced Women’s quickly garnered regional and na- Ensemble, Men’s Ensemble, Girls tional attention. Under his leadership, Chorus and is also the vocal director for Choral Arts Initiative has been ranked the spring musical. The San Marcos as one of Orange County’s “Best Madrigal Singers have consistently received superior ratings Choirs” (CBS Los Angeles), and was at festivals, and last year were selected as a showcase choir for named the 2014 Winner for the American Prize in Choral the Western Division ACDA Conference in Santa Barbara, Performance (American Prize Foundation). While experi- California. Prior to teaching choral music she enjoyed 18 enced in a wide body of repertoire, Mr. Elliott has a strong years working with junior high marching band, percussion, passion for 20th and particularly 21st-century literature. He guitar and choir. Carolyn was named the Santa Barbara has conducted and premiered dozens of choral compositions County Teacher of the Year in 1999, and in 2014 she by emerging composers throughout the globe. He has been received the Crystal Apple Award for her work in secondary named a Finalist for the 2014 American Prize in Choral education in the Santa Barbara County. Conducting, and is also a proud recipient of Pacific Chorale’s Elliot and Kathleen Alexander Memorial Scholarship for “outstanding choral conducting.”

26 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA Far south Region Candidates

Dr. John Russell is the Director of Keith Sattely is a pianist, con- Choral Activities at California State ductor, organist, vocalist and choral University, San Bernardino and the music educator. After earning his Music Director of the San Diego Master B.M. at Mason Gross School of Chorale. At CSUSB he conducts the the Arts at Rutgers University, he Chamber Singers and Concert Choir, taught AP music theory and vocal teaches applied voice, choral methods, music (grades 7-12) in the New choral conducting, and choral literature, Jersey Public Schools for 11 years and conducts the opera. As Music before moving to the west coast to Director of the SDMC, Dr. Russell earn his M.M. in Choral Conduct- conducts and coordinates all artistic activities of the chorale, ing at San Diego State University. which include preparing the chorus for multiple performances He currently serves as Organist and Music Director at St. with Maestro Jahja Ling and the San Diego Symphony. Peter’s Episcopal Church in Del Mar, Director of Choral In addition, he is the Music Director for the newly formed Activities at Del Norte High School in the Poway Unified San Diego Pro Arte Voices. During the summer he serves School district, and adjunct professor at the University of San on the conducting faculty at Westminster Choir College in Diego, where he is co-director of the Concert Choir. He sings Princeton, New Jersey, and the San Diego Summer Choral with the San Diego Pro Arte Voices and is an active member Festival. Dr. Russell was previously the Director of Choral of the Association of Anglican Musicians, California Music Activities at Albion College in Albion, Michigan, and has Education Association, Southern California Vocal Associa- held similar positions at Los Angeles City College, Long tion, and National Association for Music Education. Beach City College, Cypress College, and the San Diego Children’s Choir.

Remarkable teachers. Extraordinary performance opportunities.

Bachelor of Arts • Bachelor of Music Master of Music • Artist Diploma Music Scholarships & Graduate Assistantships Available Dr. Nicholle Andrews Director of Choral Studies Dr. Joseph Modica Associate Professor of Choral Music Information and applications [email protected] 909-748-8014 www.redlands.edu/music

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 27 Vision for the Future Scholarship Fund Donors We regret any errors or omissions, and we appreciate your e-mail to us at [email protected] to advise us of corrections. Thank you for your support!

Founders’ Circle Stephanie Grogg, in honor of Sam Barkman Matthew D. Netto, in honor of Dr. Chris Peterson Cricket Handler ,in honor of Dr. Thomas & Dr. Robert Istad (Gifts of $100 or more) Somerville Fides May Orpilla-LeRoy, in honor of Daniel R. Afonso, Jr., in honor of Dr. Eph Ehly Daniel Hughes, in memory of The Orpilla Family Tammi Alderman Daniel Lee Hooper David M. Ortiz, in honor of Christopher Jeffe Huls, in memory of Lynn Bielefelt Borges, Dr. Robert Provencio, Dr. Rene Ferrell, Andrew Ball, in honor of Joseph Huszti & Don Brinegar Peg Hutson, in honor of Dean Semple Jeffrey Benson, in honor of André Thomas Daniel Paulson, in honor of Don Brinegar & Cindy Beitmen & Kate Sibley, in honor of Robert Istad, in honor of William Dehning & William Belan John Alexander Edie Copley Susanna Peeples, in memory of Germán Aguilar John Jacobson, in honor of My Music Express Kids Jack Bertrand, in honor of Dr. James Bass & Bret Peppo, in honor of Audrey Kamprath Dr. Kimberly Dunn-Adams Brendan Jennings Jennifer Perier-Champeaux Ryan Board, in honor of Andrew Megill & Kristy Juliano, in honor of Donald Brinegar Joseph Flummerfelt Christopher & Tina Peterson, in honor of Rodney Ron Kean, in honor of Rodney Eichenberger Eichenberger Don Brinegar, in memory of Charles Hirt & Carolyn Kelley, in memory of Frank Pooler Howard Swan Mary and Wally Purdy, in honor of John Beth Klemm, in honor of Gordon Wilder Alexander & Richard Knox John Byun, in honor of Joseph Huszti John Koza, in honor of Dr. Charlene Archibeque Paul Raheb, in honor of Larry Warden, Julie L. Carter, in honor of William Dehning and Arlie Langager, in honor of Adele Armstrong Robert & Barbara Hasty, & William Hall in memory of Douglas McEwen & Donald Bailey Jan Lanterman, in honor of Ralph Wadsworth Shawn Reifschneider in honor of Colleen Chester, in honor of Dr. Robert Istad, Dr. David Stein Dr. Christopher Peterson, Travis Rogers, Dr. Iris Levine in honor of Alan Harler and Jamie Butler Anthony Lien, in honor of Joseph Huszti Lori Marie Rios, in honor of Don Brinegar and Bruce Mayhall Edith Copley, in memory of Charles Hirt & Cherrie Llewellyn & Charles Suntra, in Paul Salamunovich honor of Dr. Ginger Colla, Richard Colla, & Antone Rodich, in honor of Dennis Smith, Rob Istad, & Chris Peterson Mike and Julie Dana Dr. Daniel Afonso Trais Rogers, in memory of Curtis Sprenger Lou De La Rosa, in honor of Charlene Duane & Linda Lovaas, in memory of Archibeque and in memory of Kenneth Hannaford Robert Wing & Alvis M. Autrey Eliza Rubenstein, in honor of Joseph & Melinda Huszti Sally Husch Dean, in honor of Dr. David Chase MaryClare Martin, in memory of Lena, Art, Sister Anastasia John Russell Andrew Del Monte, in memory of Curtis Sprenger Marcelo M. Martinez, in honor of Rob Istad, Sabrina Schick, in honor of Gary Gilroy Jill Denny, in honor of Jack Lindsay Chris Peterson, & John St. Marie David Scholz Janine Dexter, in honor of Dr. William Dehning, Richard Messenger, in honor of Weston Noble & Donald Brinegar, & Dr. William Belan Joseph Schubert, in honor of Dr. David Norman in memory of Howard Swan David Skaff & Will Xiques, in honor of Vance Kathryn Donovan Campbell, in memory of Joanne Mizutani-Neuffer, in honor of Polly Vasché, Joaquina Calvo Johnson George, Don Brinegar, & Bill Belan Sandra Bengochea, Anastasia Legatos, & Jennifer John Sorber, in honor of Clark Skogsberg Kelli Dower, in honor of Lynn Mauzer Perier-Champeaux Roger Emerson, in honor of Kirby Shaw Jonathan Souza, in honor of Dr. Charlene Mary Monaghan, in honor of Polly Vasche Archibeque, Dr. Harley Mulenberg, Julie Ford, in memory of Perla Warren David V. Montoya & Family & Dr. James Stanard Yesenia Garcia, in honor of Joseph Modica, Rayvon T. J. Moore, in honor of Donald Brinegar Peggy Spool, in honor of Signe Boyer Desiree LaVertu, & Lori Marie Rios & Robert Istad and in memory of Joel Pressman Shawna Stewart, in honor of Paul B. Smith & Jeffrey E. Gilbert, in honor of Barbara Harlow Musicnotes.com William Dehning Christopher G. Gravis, in honor of Kristina Nakagawa, in honor of Lois Carah, Nick Strimple, in memory of Charles C. Hirt John Alexander Joe Huszti, & Charlene Archibeque Jonathan Talberg, in honor of William Hall & in Steven Gray, in memory of Paul Salamunovich Kim Nason, in honor of Rob Istad & memory of Roger Wagner Chris Peterson Nancy V. Gray, in honor of John Alexander & Genevieve Tep, in honor of David Stein Lynn Whitten

28 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA Carolyn Teraoka-Brady Dan Doctor Jeff Morton André Thomas, in memory of Harold Decker Eric Dyer, in memory of Lynne Dyer Fernando Muñoz, in honor of Christopher Borges Jim Tompkins-MacLain, in honor of Michael & Jamie Fenton Christine Patrikian, in honor of Tammi Alderman Dr. Albert McNeil Juan-Jose Garcia, in honor of Dr. Christopher Molly Peters, in honor of Lori Marie Rios Burt and Polly Vasché, in memory of our Peterson, Mr. Jeremy Wiggins, & Dr. Robert Istad Valerie Poon musical and encouraging parents Alan Garcia, in honor of Tim Lutz Ranelle Prescott, in honor of Jennifer Angel M. Vázquez-Ramos Jennifer Garrett Perier-Champeaux William A. Zinn Shamiram Ghashehpour Valerie Quiring, in honor of Dr. Roy Klassen Nina Gilbert, in honor of Bruce Browne Michael Reilly, in honor of Donald Brinegar & Gifts of up to $100 Eric Graham, in honor of Jon Talberg, William Belan Rob Istad, & Chris Peterson Kate Roseman, in honor of Jeffrey H. Rickard Dana Alexander, in honor of Charlene Archibeque Scot & Mary Hanna-Weir, in honor of Meg Rossoni, in honor of Amy Way & Iris Edward Maclary & Beverly Taylor Lamanna Anonymous Community College Educators Beatriz Herrera, in honor of Julie Dana Cynthia Salomonson, in honor of Anonymous, in honor of James Coday Mark Hulse Dr. Gary Unruh Anonymous Amanda Isaac, in honor of Dr. Royce & Susan Emilio Sandoval, in honor of Melva Morrison Carol Aspling Tevis & in memory of Forrest Madewell Jeff Seaward, in honor of Art Huff Alissa Aune Michele Izor Gavin Spencer Becky Baker, in memory of Forrest Madewell Joyce Keil, in memory of Howard Swan Alison D. Stickley, in honor of Bruce Rogers Jessica Bang Stacey Kikkawa Mary Stocker, in honor of Paul Setziol Kira Bombace, in honor of R. Daniel Earl & Heather Kinkennon, in honor of William Hatcher Iva Svitek, in honor of Don Brinegar Edith A. Copley and in memory of John T. Ross John Tebay, in honor of Loren Wiebe Christopher Borges Bekka Knauer, in honor of Stephen Johns Jesse Tebay, in honor of Dr. Katharin Rundus Gail Bowers, in honor of Gary Walth Alex Koppel, in honor of Cheryl Anderson Kevin Tison Ian Brekke Mark T. Lanford, in honor of Frank Pooler Carlin Truong, in honor of Jeffrey Benson Kelly Caswell Bruce Lengacher, in honor of Byron McGilvray Kristen Walton, in honor of Margie Brodeur Yu (Cynthia) Chen, in honor of Dr. Robert Istad Christopher & Jilana Luthi Jeremy Wiggins, in honor of Robert Istad & Miguel Chicas, Jr., in memory of Germán Aguilar Eric Medeiros, in honor of Eddie “Bo” Buhisan Christopher Peterson Jessica Cosley, in honor of Dr. Chris Peterson & Jonathan Miller, in memory of Ephraim Miller Justin Witt Dr. Rob Istad Charles Miller Josh Young

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Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 29

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30 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA Top Five for your Choir: HIGH-SCHOOL Choirs

ne of my greatest resources for repertoire is Hugo Wolf Oone that few directors know much about, Einklang (“Harmony”) but it is published by ACDA and has been truly CPDL 18520 & 27264 influential in my choice of “standard” choral SATB repertoire for my choirs over the past 15 years. From a set of “Six Sacred Songs,” this primarily Christopher Borges is It’s ACDA Monograph No. 2, An Annotated homophonic piece presents its challenges in fre- Inventory of Distinctive Choral Literature for the choir director quent modulations and nuance of phrase. Ideal Performance at the High School Level, by for a chamber ensemble, it explores a variety at Bakersfield High Margaret B. Hawkins, published in 1976. In of textual and harmonic pleasures that give the it, you’ll find descriptions of each piece as well School. Prior to high school mind (and voice!) many new ideas as the voicing, publisher number, language, and to explore. teaching in Bakersfield, duration. Thanks to CPDL, many of these titles Christopher taught at are also available for free. You can purchase the Claudio Monteverdi monograph by visiting http://acda.org/Editor/ Ecco Mormorar L’Onde César Chávez Middle assets/AD_FOR_Monographs_2015-2.pdf. Various publishers School in Union City, Here are a few gems that I found in the SSATB Monograph (and have performed with my CA, and directed high choirs): I remember the first time I heard a very exciting school ensembles at recording of this piece, which caused an “I have Houston Bright to do that!” moment. My students loved digging the First Presbyterian Three Quatrains from the Rubaiyat of into the text, the word-painting, relating the Church of Berkeley. He Omar Khayyam beauty of the sunrise to curing a sick heart....this AMP A-172 is the kind of repertoire that every high school holds degrees in Music SATB choral student should have the opportunity to sing. Theory/Composition Bright, “known to all American choral directors” and ducation from (according to the Monograph), set these beauti- E William Byrd ful texts to music that is at once appealing and Azusa Pacific University Terra Tremuit colorful. They give high school singers plenty CPDL 05691 & 03946 and Choral Music of musical and compositional devices to explore SSATB while also being wonderfully accessible. Note Education (M.M.E.) that they are out of print and require advance While I haven’t (yet) performed this piece, it’s from Florida State ordering. one to couple with another song about the earth (perhaps of a completely different style, such University. Christopher Franz Josef Haydn as Frank Ticheli’s “Earth Song” or Gwyneth is a fluent German Missa Brevis St. Joannis de Deo Walker’s “I Will Be Earth,” among others) as Various publishers it’s quite short. However, your students will love speaker and lover of SATB with chamber ensemble the musical representation of an earthquake, and languages, the arts, and what song about an earthquake isn’t appropriate This 20-minute work is delightfully perfect for a in California? Thankfully, Byrd constructed it most of all, his venture into “large works” for high-school cho- beautifully as well! rus. It is scored for 2 violins, continuo, chorus, children, Schuyler, and soprano soloist (a great way to get a local Knox, and Reilly. voice teacher involved) and is truly accessible for high school singers.

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 31 Top Five for your Choir: Male Choirs

teach a beginning men’s choir at Shasta High done it with men’s and women’s choirs and they I School The men’s choir pieces I’m sharing are all love it. There are many opportunities to move great for young singers—but they would also be the audience through fun musical ideas. If your outstanding selections for any men’s choir! choir doesn’t take itself too seriously, I highly recommend this to you! Trad. Jewish song, arr. Henry Leck and Martin Ellis Pan-African National Anthem, Mir Zeinen Alle arr. Gabriel Larentz-Jones Gavin Spencer is the Hal Leonard 08745748; Two-Part Nkosi Sikelel’i Africa director of choirs at This piece is a great TB arrangement that your Shawnee Press C0309; TTBB a cappella guys will love to sing. It’s a song that celebrates If you’re looking for a more intermediate a cap- Shasta High School brothers sticking together. I add clapping and pella piece for your men’s chorus, your guys will in Redding, California, some simple movement to help tell the story of love this piece and its powerful text and history. my choir of brothers. The Yiddish text is easy to Although it’s TTBB, the simple rhythms and and the CA-ACDA learn, given the clear pronunciation guide. chord progressions make it fairly easy to teach. Repertoire and I wouldn’t hesitate to introduce a piece like this J.S. Bach with a good beginning men’s choir in the second Standards chair for Der Herr Segne Euch semester of the school year; it’s great for teaching Male Choirs. Gavin C.F. Peters No. 6079; TB kids to sing a cappella. This is one of the most beautiful TB duets in my has taught at the library. The German text is not hard to learn, Traditional American song, high-school level and it’s very repetitive. The text—“May God arr. James Rodde smile upon you more and more, you and your Johnny Schmoker for more than 15 children”—comes from Bach’s Wedding Cantata Santa Barbara SBMP 344 years, and his experience (“Der Herr denket an uns,” BWV 196). This is TTBB a cappella a wonderful introduction to Baroque music. includes directing This piece is an absolute winner and an incred- ibly funny closing piece. Trust me on this one: musicals, planning mad- Ken Berg despite the fact that the piece is voiced for Galop rigal dinners, and TTBB, it will be learned very quickly. For the Pavane P1307; 2-Part best effect, you must add movement and gestures organizing tours within Warning: This is a “novelty” piece, but it’s a great teaching tool. The entire song is done using with this one, which will help teach your students and outside the U.S. solfege, and the music is entirely in unison. I’ve how to connect with an audience.

• California is the only state to have increased membership by 10% or more in each of the 3 years of the Sing-Up Membership Drive.

• California ACDA grew by 11.1% from June 30 to November 18. That equals 159 new members!

• As of November 30, Ca-ACDA numbered 1,593 members. That‘s 693 more members than the next largest state!

Congratulations, CA-ACDA!

32 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA Dr. William Belan Prof. Donald Brinegar

Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 33 California ACDA BOARD Directory

EXECUTIVE BOARD REPERTOIRE & STANDARDS President REGIONAL College & University Choirs Children’s & Lou De La Rosa REPRESENTATIVES Angel Vázquez-Ramos Community Youth Choirs (408) 206-7192 (714) 305-1087 Peggy Spool Bay Area l.delarosa.wvc@ [email protected] 408-979-9997 Jeffrey Benson gmail.com peggy@ (408) 924-4645 Community Choirs vivaceyouthchorus.org President-Elect jeffrey.s.benson@ Kristina Nakagawa Robert Istad gmail.com (408) 205-6050 Show Choirs (562) 822-5952 artistic@ William Zinn Central [email protected] resoundingachord.org (916) 601-4175 Polly Vasché [email protected] Vice President (209) 526-9692 Ethnic & Multicultural Lori Marie Rios [email protected] Perspectives Two-Year College Choirs (818) 679-7463 Daniel Afonso Arlie Langager Central Coast [email protected] (209) 667-3530 (858) 774-­ 0412­ Carolyn Teraoka-Brady­ [email protected] [email protected] Executive Secretary/ (805) 689-­ 1780­ California ACDA Office cteraoka-­brady@ Junior High & Middle Vocal Jazz Jan Lanterman sbsd.k12.org School Choirs Ian Brekke 2348 Clay Street Molly Peters (562) 985-4781 Far South Napa CA 94559 (213) 880-7597 [email protected] John Russell (707) 255-8012 [email protected] (917) 686-0110­ Women’s Choirs [email protected] [email protected] Male Choirs Jeffe Huls Recording Secretary Gavin Spencer [email protected] Northern Jennifer Perier-Champeaux (530) 241-4161 Roger Emerson Youth & Student Activities perier.champeaux@ [email protected] (530) 598-­ 1043­ Chris Peterson gmail.com [email protected] Music in Worship (657) 278-3537 Christopher Gravis [email protected] Southern christopher_gravis@ Stacey Kikkawa Choral Composition mac.com [email protected] David Montoya Senior High School Choirs (626) 419-8031 Christopher Borges [email protected] (661) 204-2689 [email protected] EVENT CHAIRS Summer Conference Regional Honor Choirs at ECCO COMMUNICATIONS Central Genevieve Tep Aaron Snell Cantate Editor Webmaster (510) 928-9108 honorchoir.central.ca@ Eliza Rubenstein Anthony M. Lien [email protected] gmail.com (714) 432-0202 x21072 (530) 758-5896 [email protected] [email protected] CMEA Representative Coastal cantate.editor@ Willow Manspeaker Alice Hughes gmail.com wmanspeaker@stevenson- coastalhonorchoirchair@ school.org gmail.com All-State Honor Choirs Southern (SCVA) Tammi Alderman Karen Garrett [email protected] [email protected]

34 • Cantate • Vol. 28, No. 1 • Winter 2016 California ACDA Leading the Way Cantate • Vol. 28, No. 1 • Winter 2016 • 35 PRSRT STD AUTO US Postage Paid San Bernardino, CA California Chapter Permit 808 American Choral Directors Association 2348 Clay Street Napa, CA 94559

Quality For over sixty years, we have customized tours to fit each group’s unique interests, abilities and expectations. Many satisfied ensembles return year after year, knowing that we can provide them with a memorable experience every time.

“I would wholeheartedly recommend “All the tour planning was excellent. ACFEA for their expertise, personal ACFEA staff was always friendly, attention and their flawless planning available, professional and returned to make your own performance tour all calls and emails efficiently. A something extraordinary...for director delight to work with you all!” and students alike!” Stephen Sano Kevin Tison Artistic Director Director of Vocal Music Stanford University Chamber Chorale Fountain Valley High School

ACFEA Tour Consultants 800-886-2055 777 Grand Avenue, Suite 206 www.acfea.com San Rafael, CA 94901 [email protected] Photos: Ragazzi Boys Chorus with the Tandi Sibeko School Choir in the Duduza township near Johannesburg, South Africa; Berkeley First Presbyterian Church Chancel Choir performs in Sveta Sofija Cathedral in Ohrid, Macedonia; Members of the Young Men’s Ensemble of the Los Angeles Children’s Chorus with members of the Cantorias Coralillo and Solfa of the Schola Canotrum Coralina in Havana, Cuba