JOSHUA PALKKI ASSISTANT PROFESSOR OF VOCAL/CHORAL MUSIC EDUCATION BOB COLE CONSERVATORY OF MUSIC CALIFORNIA STATE UNIVERSITY, LONG BEACH

After an exhaustive national search, the Bob Cole Conservatory of Music at California State University, Long Beach is thrilled to announce the appointment of Dr. Joshua Palkki as Director of Choral Music Education.

Dr. Palkki received his Ph.D in music education (choral conducting cognate) from Michigan State University, where he received a university-wide award for his work on LGBTQ inclusion in choir. He was a finalist in the graduate division of the 2011 ACDA national conducting competition while earning a master’s degree in choral conducting at Northern Arizona University and he holds and an undergraduate degree in vocal/general music education from Ball State University. Dr. Palkki taught middle and high school choral music in California and Maryland, including time at Hoover Middle School and Lincoln High School in San José—two performing arts schools. He has presented at state and national research and practitioner conferences and his writing appears (or will appear shortly) in Journal of Music Theory Pedagogy, Journal of Research in Music Education, Research and Issues in Music Education, Research Studies in Music Education, and The Choral Journal.

We welcome him to the Bob Cole Conservatory and we look forward to his involvement in the greater choral and music education communities in California.

To contact Dr. Palkki, please see his full biography:

2 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA 5 | BEHIND THE MUSIC from the president’s pen · by lou de la rosa

6 | VARIATIONS letter from the editor · by eliza rubenstein

8 | I WAS GLAD....OR WAS I? a composer reflects on religion · by shawn kirchner

11 | THE BEST GIFT the composer’s voice · by dale trumbore

12 | CONTEMPORARY A CAPPELLA: FIVE THINGS YOU MIGHT NOT KNOW by deke sharon

14 | CA-ACDA ELECTIONS: MEET THE CANDIDATES

16 | CA-ACDA MEMBERSHIP DRIVE AND NEW REPERTOIRE & RESOURCES AREAS by lou de la rosa

18 | BE TRUE TO YOUR SCHOOL!: THE 2016 SUMMER CONFERENCE AT ECCO

21 | THE VOTE ON AFFILIATION Even the “wallflowers” had a great by lou de la rosa time at our ecco Homecoming party! more photos on pages 18-19. 22 | CASMEC & CHORAL LEADERSHIP ACADEMY

25 | VISION FOR THE FUTURE scholarship fund donors

26 | NEWS AND NOTES happenings from around the state

29 | TOP FIVE: WOMEN’S CHOIRS by tammi alderman

30 | TOP FIVE: MIDDLE SCHOOL & JUNIOR HIGH CHOIRS by molly peters

31 | TOP FIVE: JAZZ CHOIRS by ian brekke

33 | TOP FIVE: CHILDREN’S CHOIRS by peggy spool

34 | CALIFORNIA ACDA DIRECTORY

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

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 2016-17 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) On the cover: Members of the Mater Dei February 16-19, San Jose High School choirs (Santa Ana, CA; Scott Melvin, director, and Amanda Bistolfo, associate director) ACDA National Conference take a selfie during their 2016 tour of Italy. Photo by Steve Wylie (www.stevewyliephotography.com); March 8-11, Minneapolis used with his kind permission.

4 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA From The president’s pen: Behind the music

his past Spring and Summer was an • increasing membership through the Tincredibly active time for the California SingUp Membership Drive and the ACDA Board on an organizational level. sponsorship of new Student members. As I write this, I realize that it may seem like boring stuff, but it will make a tremendous ur new executive administrator, Kathleen difference to the future of this organization. OPreston, hit the ground running on Lou De La Rosa is the So read on! July 1 as she took over from Jan Lanterman. We spent three of our 14 hours at the July The transition went smoothly, thanks to the president of California Board meetings scrutinizing each line item goodwill of both women, as Kathleen learned ACDA and the of the proposed budget in order to reflect our about our organization from April through actual expenses and income. It was a grueling June. Kathleen has automated many of our Director of Choral meeting, but as a result, we feel confident processes, as you will notice, and at the and Vocal Studies going forward, and I’m pleased to report that suggestion of President-Elect Rob Istad, she’s the financial state of our chapter is good. now creating a membership database and a at West Valley We have an operating budget in excess of questionnaire that will help us to better meet College in Saratoga. $300,000 and a projected surplus of about your needs. The Executive Board ratified changes He has taught music in 10%. We are steadily building a reserve, which we will need assuming we become an to the frequency of board meetings to more the San Jose area for affiliate organization (see page 21). However, closely monitor the finances and programs of the growing organization. The full Board will more than 30 years, we are simultaneously embarking on new endeavors, such as: meet at ECCO and in January; the Treasurer including 13 years at will join these meetings. The President’s • the creation of the California ACDA Council will meet in January, March, July, and Lincoln High School, State Conference at CASMEC, complete September (in conjunction with other ACDA with performing choirs, interest sessions, a visual and perform- events to minimize expense). The Executive reading sessions, and All-State Honor Board will meet in October. ing arts school. He has Choirs performing in a beautiful acoustic The President’s Council (president, and visual setting; served his peers through president-elect, vice-president, executive • the creation of a budgetary line-item for administrator) met prior to the ECCO Board numerous professional an annual commission for the All-State meetings to set plans for the last year of my organizations. Lou feels Honor Choirs; term and prepare for the as yet undetermined lucky to be married to • building the Vision for the Future future of our organization under Rob’s leader- Scholarship Fund and awarding the first ship. I’m referring of course to the affiliation Mary and is proud to be Dr. Charles C. Hirt Scholarship for question, which you will decide in a vote this the father of Christine, Professional Development from last year’s December. proceeds; Katherine, and Emily. look forward to seeing you at the Second • the establishment and awarding of He enjoys woodwork- I California ACDA State Conference the George Heussenstamm Choral at CASMEC in San Jose on Thursday, ing, loathes plumbing Composition Scholarship at ECCO; February 16 through Saturday, February 18. repairs, and is a die-hard • the addition of Deke Sharon to our board The band and orchestra portion continues as the first R&R Chair for Contemporary with their All-State performances on Sunday, fan of the 2014 World A Cappella; but many of us have church jobs, so we’re Champion San • improving our communication through done Saturday evening. Look for more information as we get closer. Francisco Giants. Cantate, e-mail blasts, timely information on our website (www.acdacal.org), and Here’s to a great Fall! Make great music the soon-to-debut California Choral and even better memories!  Directors YouTube channel; and

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 5 letter from the editor: VARIATIONS

his isn’t the column I intended to write. disease was back and the future was grim. TI left the summer conference at ECCO In fact, he’d only been listening to the with a list of topics in the queue, ready to pick first movement of the St. John Passion, and one and tackle it after I’d returned from a he wanted to compare notes about Bach’s week at home to see my parents as my father crafting of its masterfully portentous opening recovered from surgery. phrase. I laughed, and I told him not to Eliza Rubenstein is the Change of plans: The week became a scare me like that again, and we talked about month. Recovery became loss. The topics on ostinati and suspensions and the peculiar Director of Choral my list became unimportant. desolation of G minor. and Vocal Activities at he musical themes of summer nights alking grew more difficult for him with Orange Coast College, Tin Missouri when I was young were Tevery day in the hospital, but he still had and the Artistic Cardinal baseball on my mother’s radio, things to say. “I never could play these worth a

Director of the cicadas and frogs droning in the woods behind damn,” he grumbled somewhere in the middle the house my father built, and classical music. of Book I of The Well-Tempered Clavier. “I Orange County My parents met in music school—my mother really don’t understand the appeal of some Women’s Chorus studied music history, my father theory and of what’s trendy in the choral world these composition—and my sister and I grew up days,” he said one evening during a discus- and the Long Beach playing instruments, singing in choruses, and sion of repertoire I won’t name here. “This Chorale & Chamber getting quizzed on composer identifications is Beethoven,” he pointed out politely when from the front seat of the car (to our embar- the rest of us, distracted, failed to notice that Orchestra. She holds rassment, if friends were along). Our family the playlist we’d programmed hadn’t gone degrees from Oberlin values included counterpoint and pedal points according to plan. and four-part singalongs of Christmas carols College and UC-Irvine, and “Little Brown Jug” around the piano. ou probably know the story, which may and she is a former To the mix this summer we added hospital Yor may not be true, that Bach wrote his alarms, nurses’ pagers, disembodied code Goldberg Variations to cheer and soothe an animal-shelter supervi- blue announcements from the corridor. The insomniac Count as he fell to sleep. On the sor and the co-author polyphony of illness is ugly. We took a laptop night my father decided to end treatment, computer to the hospital and drowned it out, the nurses put a fake rose on the outside of of a book about dog as much as we could, with Bach. his door, and we put the Goldbergs on the adoption. Eliza lives computer. We woke the on-call doctor, said hen I tell you my father was amazing, the last of the important things we needed to with a yellow Labrador WI’m not just grading on a familial curve. say, and drifted, each in our own ways, into named Dayton and a He was a computer scientist, an inventor, a the peculiar consolation of G Major. builder, a woodworker, and an artist, with a cat named Wilbur, and basement workshop like Doc Brown’s in Back ere, listen to pianist and author Jeremy she’s passionate about to the Future and a handful of patents to his HDenk for a moment: “Step one. Suppose credit. He was one of the most brilliant musi- you clear away all the happinesses that you grammar, Thai food, cians I’ve known, too, the sort who grasped distrust? Step two. Clear away all the unhap- photography, and the on one hearing the stuff that most of us would pinesses that you have come to trust. Get rid of need a score, a pencil, and an hour or two to them too, don’t count on your miseries or your St. Louis Cardinals. analyze. titillations. What will be left behind? Perhaps, My father also survived pancreatic cancer after you’ve cleaned all that out, you might in 2001, and the experience left all of us both find in the back of your cupboard something grateful and apprehensive, as such experiences like the theme of the Goldberg Variations. A do. Eight or ten years ago, an e-mail arrived deeply trustable happiness. A tender, discom- from him with the subject line “Serious sh*t bobulating—but not discombobulated!—smile coming up.” I remember going cold as I with just enough sadness and loss in it to be clicked the message open, certain that the believable, to be endurable.”

6 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA I tell people sometimes that I was raised in the church of ditional notation in one of them. “Was this an idea you Bach, and it’s not really a joke; in his music I find, as millions invented?” I asked him. of others have and do, the virtues of which Shawn Kirchner He shook his head. “Eliza,” he said without gloom, writes in his beautiful essay on the next pages, the virtues to “there are no new ideas, only variations on the old ones.” which other, better-known religions aspire. In the Goldbergs, as in the B Minor Mass or the Musical Offering or Komm, ere’s an old idea: that music makes sense of the non- Jesu, Komm, we find both the ordered perfection of a Hsensical and logic of the illogical; that the music of our universe that must make sense to someone somewhere, and little world is a miniaturized model of the workings of the the joys and disappointments of an empathetic fellow traveler cosmos; that the harmonies and symmetries of the Goldbergs navigating its mysteries. (Denk says it better: “I love the way are there for the taking in the rest of our lives, too, if only his music seems to look down on the whole human deal, but we listen closely and well enough. I don’t know that any of not condescendingly.”) This is the miracle of Bach: that his that’s true. I could write here that Bach has brought clarity music is at once fully divine and fully human. Theologians or closure to the last few weeks, but it would be—if not quite call that the “hypostatic union,” an unromantic name for a a lie—at best a longing. Perhaps my father would have said condition that I’m skeptical of in its more traditional religious the same; I don’t know that, either. usage, but that I need—viscerally, “as the hart desireth the Bach’s music doesn’t help me with the knowing. It helps waterbrooks”—when it comes to music. me bear the not-knowing. If the motley forces in our lives That said, I’m not sure when I’ll be ready to listen to moved in perfect concordance, we wouldn’t need fugues. If the Goldberg Variations again. For now, and probably for a the plotlines in our lives always came full circle, we wouldn’t while, they’re inseparable from the beeps of morphine pumps need that trustable G-Major aria to return after eighty and the midnight ministrations of nurses. But they’ll be in the minutes like an old friend, changed but unmoved, at the end back of the cupboard when I need them. of the Goldberg Variations. See: This is where the tidy conclusion, the moral of the hen I was nine or ten years old, I found a stack of story, would go if the world worked like music (it doesn’t) or Wmy father’s experimental compositions from the early if I worked like Bach (I don’t). Next time, maybe. This isn’t 1960s in a bookcase, and pointed to a section of nontra- the column I intended to write. 

JOHN ALEXANDER’S GRAND FINALE SEASON!

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Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 7 I Was Glad ....or was I?

....or was I?

A c o m p o s e r r e f l e c t s o n r e l i g i o n

B y S h aw n K i rc h n e r

8 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA hat do we do about the dilemma of religious choral for inciting such actions, and angry at people for believing Wmusic in a pluralistic society? What’s the difference that scriptures condoning violence could be divinely inspired. between “preserving a cultural treasure” and “pushing a At a more basic level, I was angry that religion caused people faith agenda”? Must each new generation of composers add to behave tribally in terms of “us” and “them,” and I was their own Magnificats and Requiems to the looming pile? Is angry at myself for participating in the process. Why would there such a thing as “post-religious” sacred music? (Rumi? I, how could I, add one more religiously-based work of art Wendell Berry?) In a nation that guarantees both freedom of to a world torn apart by religious divisions and wracked by religion and freedom from religion, how are we to be respect- religiously-motivated violence? ful, creative curators of religious works in the living museum Further digging revealed that beneath the anger was a that is our choral art? deeper, more personal layer of resistance: shame. The novel In my recent experience composing a psalm cycle, the Brideshead Revisited had become my artistic companion at most pertinent question turned out to be: Can a thoroughly this point in the journey, entering my path as an audio book “modern” person—reverent and agnostic by turns, versed in to pass time on the way to a writing retreat. But because I saw many schools of thought—even write a religious piece? For a so many parallels with my own angst, when I got back home I while, at least, the answer to that question in my mind was a immersed myself in the BBC television version; I wasn’t really resounding “no.” But in 2012, when first outlining the pro- making much progress on the piece, and it was summer, so posal for Songs of Ascent I might as well binge- with my “bosses” at the watch a 13-episode Los Angeles Master Cho- series! The theme that rale, I presented a couple glared out at me was reli- of psalm sketches with gion: the iron grip of the genuine excitement. So Catholic mother’s funda- why, two years later, when mentalism, exerting itself the time came to work in invisibly yet inescapably earnest, did I discover a in the lives of her adult deep internal resistance? children, no matter the It was as if I were ready to years elapsed, no matter dig the foundation of my the miles between. house, but found, in the I realized that the exact spot, a giant, buried old proverb—“Train boulder. up a child in the way he That boulder, of should go: and when he course, was religion… is old, he will not depart and my attitude toward from it”—was proven it, which was one of only too well. I recog- extreme ambivalence.The above: SHAWN rehearses WITH soloist David Castillo nized in myself the “iron psalms I was setting, the grip” of my religious “songs of ascent” (Psalms 120-134), are pilgrimage songs for upbringing: the automatic “niceness,” the sense of duty, the festival times in Jerusalem. But my throat, as it were, began to predictable guilts, the oppressive prohibitions. I felt trapped constrict when my textual research revealed that Jerusalem— inside a religious persona that I didn’t know I had agreed to, the “city of peace”—had, even in its first mention in Hebrew and now it seemed too late. The edifice of my identity, built scripture, been a site of horrific bloodshed. That this fact up within the scaffolds of particular religious ideals, now came to light just as a new round of violence was flaring up in stood on its own, unshakable. The boulder was not going modern-day Jerusalem was all the more distressing. (I should anywhere. Neither was my piece, and neither was my dead- add that I was a Peace Studies major, and was raised in a line…. pacifist denomination, and am hypersensitive to any linking of religion and violence.) The early sketch I had made of Psalm turning of attitude came in late summer, whileof all 122 (“I was glad when they said unto me, let us go into the A things—I was sweeping up after my messy backyard house of the Lord”) now felt entirely naïve; how could I make mimosa tree. As I swept, for some reason I began to sing an the psalmist’s ancient words my own, knowing both the vio- embarrassing old hymn. (Making up a new tune for it took lent past and the violent future of his beloved city? How could the edge off, but I still won’t say which one.) I sang it for the I be “glad” to go there? better part of an hour, running inside once to consult a hym- I found—beneath my peaceful exterior and despite my nal to verify obscure phrases in the latter stanzas. After that many years as a church musician—a long-known yet unex- hour…I felt markedly improved. My inner angst, maintained pressed rage at religion. I was angry at religious people for to varying degrees of intensity for several months, had given doing awful things for millennia, angry at religious scriptures way to a palpable peace. Hmm.

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 9 This turning was confirmed the next month when I saw a was postponed, and the deadline was met, more or less. At performance of A Trip to Bountiful in downtown Los Ange- last we made our way (speeding a bit) to the Temple that is les, starring Cicely Tyson. Her character loved to sing hymns Walt Disney Concert Hall for the premiere. The LA Master around the house, to her daughter-in-law’s consternation. As Chorale sang gloriously under Grant Gershon’s joyous baton. Ms. Tyson sang, she was spontaneously joined by hundreds in And I was glad. the audience, including me—singing “Amazing Grace” and But what about the questions posed at the beginning of “Blessed Assurance” in beautiful harmony. What a magical this essay? I find myself searching for a ringing conclusion, as moment. My mother would I would wish to end a piece, often sing hymns to herself but definitive statements in the evenings, clean- still elude me. Certainly I ing up after supper, and came away from writing sometimes I’d play along Songs of Ascent changed, from the other room. (I had no longer fantasizing about actually learned to sight- a path to peace in which read by playing through everyone suddenly drops our hymnal.) Could I their religious influences disavow this religious tradi- and creates, from scratch, tion—my tradition—that a post-religious culture—a had produced a treasury of sort of Esperanto of the devotional songs that were spirit. But, reflecting now, now inscribed within me, I find that I feel chastened, just as they had been within even defeated, in the face of my mother? religion’s awesome power Could I feel anger, as a deep, holistic, cultural shame, and blessing all force—for good or for ill— at the same time? Sure, Above: Shawn receives congratulations FROM shaping the identities of terrorists, extremists, and Grant Gershon, L.A. Master Chorale Artistic Di- the world’s billions in their fundamentalists were giving rector, at the premiere of SOngs of Ascent respective religious streams. religion the worst pos- This heightens my sible name. Billions of religious people the world over, were sense of our choral art’s mission. Musicians have always far more “programmed” than they thought. But we still had been bridge-builders and peacemakers, fluent speakers of the hymns! No, in all seriousness, I knew that I was deeply en- universal language of music. But we, as choral musicians, riched by the religious culture I contained within me: the great can’t “hide” behind wordlessness. The medium of the human “saints” I had known, the parables of wisdom hovering within voice brings the dimension of text into play, and with it, a me like guardian angels, ready to intervene with a “still, small more precise and vulnerable revelation of self. This revelation voice” when a relevant life situation arose, and the hundreds may well include religious aspects, and bring many differences of internalized hymns poised to offer inspiration, insight, or to light. But at its best, our choral art is an ideal “commons,” comfort. This boulder wasn’t going anywhere, but that was a safe place in which to share and learn—to speak with our okay. I could build on top of it. own authentic voices, and to extend empathy in our listening. At last I could “set sail,” catching the wind of my own As such, it is perhaps the most powerful counterforce to the willingness, and make Songs of Ascent what I needed it to be: world’s wracking divisions that we have. a prayer for peace—among all people, all nations, and most In the face of all that would tear us apart, our choral art especially among what I was now envisioning as Jerusalem’s offers the experience of oneness—making the words of others three estranged “brothers”: Judaism, Christianity, and Islam. our own, letting them soar out of our own mouths.  I set out to find an order for the psalms that would trace a narrative arc from diaspora toward reunion, from estrange- ment toward reconciliation. Some psalms would end up on Shawn Kirchner is a composer, arranger, and songwriter the “cutting room floor,” like Psalm 124, which referenced active in the musical circles of Los Angeles. In May 2012, “the Lord” being on “our side,” as opposed to “their side.” he was appointed Swan Family Composer in Residence of But we would get to the Temple somehow. the Los Angeles Master Chorale. Shawn also maintains an active career as a singer, pianist, and church musician. As a he months passed, and Songs of Ascent got written! TOnce it got going, the piece had plenty of its own life tenor with the Los Angeles Master Chorale, he sings regu- to propel it forward. A fugue was delightedly attempted, larly with the Chorale and the Los Angeles Philharmonic. harp technique was studied, and my great-grandfather’s Shawn was raised with his triplet brother and sister in Cedar violin was dusted off as string phrasings were vetted. Sleep Falls, Iowa.

10 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA the COmposer’s Perspective: The best gift et’s say you have a promising musician in present, be ready to propose and/or try solu- Lyour choir who’s interested in composing. tions to any of these issues in rehearsal. How can you, as an educator, encourage her? Often, the most helpful feedback a com- I don’t use the word “encourage” lightly. poser can receive is witnessing her new work The most important thing for a young being rehearsed: hearing a soprano say she’s composer, even more important than feedback exhausted from holding a high G for twelve Dale Trumbore has or criticism, is encouragement to keep going. measures in a row, for instance, or noticing how received commissions, I didn’t take any composition lessons until hard it is for a listener to distinguish words set college, but my high school choral director, in tightly-staggered rhythms. The experience of performances, and Barbara Klemp, asked me to arrange for the working with a real chorus offers a much more awards from orga- chorus in which I sang. As a senior in high meaningful lesson than hearing a conductor say school I entered and won a choral composition something “won’t work.” nizations including competition, which led to the very first time I ACDA, ACME, Center heard my choral compositions performed live, Read through new works and that experience changed the course of my City Opera Theater, If the idea of committing to an unknown piece life. Without Dr. Klemp’s encouragement, I’m by a young composer is still daunting, start with Chanticleer, Inscape not sure I’d be a composer today. a reading session. A perfect time for this is the Chamber Orchestra, the If you encounter a young musician with an end of the school year, after performances are interest in composing, here are a few ways to done. Give your students at least a month or Kronos Quartet, and encourage her: two of notice about the reading session, too, VocalEssence, and she so they’ll have time to compose or arrange Suggest an arrangement something for the group and provide you with a has been hailed by the For someone very new to composing, especially score if they’re interested in participating. New York Times for her in high school, this might be the best starting Suggest resources and next steps “soaring melodies and point. If there’s a pop or folk song you’re already thinking of programming, reach out Two websites that consistently update their beguiling harmonies.” to your student to see if she’d be interested in calls for scores and competitions for composers Dale is orginally from arranging it. She may have a piece in mind that are www.composerssite.com and the American she’d like to arrange for choir, too. Composers Forum (www.composersforum. New Jersey and now org). ACF does require a membership, but it is lives in Los Angeles. Perform an original composition reduced for students; www.composerssite.com is free. Many choruses and organizations hold Hear her music at If you ask your aspiring composer to write a new piece for your ensemble, there are steps recurring (annual or biennial) calls for scores. www.daletrumbore.com. you can take to make sure it’ll be a good fit. If you don’t compose, suggest that your Be sure you agree on the text before the composer reach out to others working in the composer has started writing the piece. The field. She may have questions, and she may text should be in the public domain—published not know any other living composers. Many prior to 1923—or the composer should have composers—myself included—can be reached written permission from the author. easily via our websites and are more than happy Ask to see the score well before it’s needed; to respond to a young composer’s questions. give a deadline that’s at least a month earlier than your singers will need to start rehearsing f you have the chance to encourage a young the piece. (This is probably good advice for Imusician to write for chorus—for your working with composers of any age!) chorus—do it. There is little more exhilarating The MIDI playback of a computer notation as a composer than writing for a group in which program has seduced many a young composer you are a member. Composers have their entire into writing entirely unsingable vocal lines, so lives to hone their craft; as a trusted mentor and don’t be afraid to gently point out issues with educator, the best gift you can offer a young range or impracticalities. With the composer composer is encouragement. 

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 11 contemporary a cappella: Five things you might not know

Contemporary a cappella is not musical, In Transit, is opening this December 1)new. Perhaps some of the vocal tech- on Broadway. niques you’re hearing in groups like Penta- Born in San Francisco, tonix, Home Free, and Straight No Chaser 3) Contemporary a cappella doesn’t

Deke Sharon has been are new, but the fact is, people singing the require vocal percussion. It’s a style popular music of the day is the oldest music that encompasses and embraces any and all performing profession- in the world. It predates notation, and ex- genres of music in a single concert. Think of ally since the age of amples are found throughout music history, The King’s Singers: they may start a pro- including secular madrigals, sea shanties, gram with a Gregorian chant, move through 8. Deke produces The field hollers, barbershop, doo-wop, and 20th-century choral music to some vocal jazz, Sing-Off worldwide close harmony. To disregard it as simply a and end with The Beatles and Paul Simon. current fad is to misunderstand our musi- Other groups are eclectic as well, such as and served as arranger, cal traditions and our fundamental human Take 6, who blend gospel songs, jazz har- on-site music director, desire to sing music—the music we hear monies, and R&B stylings. Neither of these and vocal producer around us every day—with others, formally groups uses vocal percussion, and both are or informally. part of the a cappella community with count- for Universal’s Pitch less other groups, spanning Sweet Adeline Perfect and Pitch Per- 2) Contemporary a cappella is big- choruses to beatbox jam sessions. If people ger than you realize. Pentatonix has are making music with only their mouths, fect 2, starring Anna more followers on YouTube than Beyonce. they’re “one of us”! Kendrick and Rebel Home Free is the second biggest recipient of Wilson. As the founder, patron money on the world’s largest patron 4) Contemporary a cappella isn’t “too platform, Patreon.com. Pitch Perfect 1 had easy” or “too hard.” I hear from some director, and arranger the biggest soundtrack of 2013 (beating out directors that they’re terrified to introduce for the House Jacks, Les Misérables) and was one of only four their group to a cappella repertoire because platinum albums that year, Deke has shared the and Pitch Perfect 2 was below: Deke sharon and the House Jacks stage with countless the highest-grossing music perform in Appenzell, Switzerland music legends, and he comedy movie of all time. There are around 3,000 founded the Contempo- college a cappella groups. rary A Cappella Society Straight No Chaser sells out 3,000-seat halls across while in college. Deke the United States, and is the first R&R Chair is the envy of most rock

for Contemporary A bands. There are around 50,000 barbershoppers Cappella in the US. in the U.S., and if you haven’t heard the top groups recently, you’re missing out. “The Sing- Off” was produced on four continents, and now the first-ever a cappella

12 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA they’re worried about how hard it can be, having heard 12- some stunning contemporary a cappella works, as are many part arrangements on “The Sing-Off.” But there are some other highly respected classical ensembles.) Whatever your great three- and four-part arrangements designed to help group’s level, you can find published music available for it, your group get started. Other directors brush this repertoire and there are arrangers all across the nation who would love off as being simple pop music; if you’re in that camp, I’d be to tailor something for your ensemble, be it the school song happy to share with you some fantastic, layered, nuanced or a mashup for graduation. works of modern popular harmony. (Chanticleer is singing 5) Contemporary a cappella belongs below: Deke and Briarcrest OneVoice (BriarCrest everywhere. Middle school groups can sing a Christian School, Memphis, TeNnessee) song from their favorite movie, and you can build upon the energy they’ll demonstrate by demanding it in your classical repertoire as well. High school ensembles can sing a song that’s on the radio right now, and you can watch your enrollment spike next semester. Casual adult ensembles are often most engaged when they sing the music they grew up with, whether it’s from the 1990s or the 1950s.

joined the California ACDA board to help you I find music that’s right for your ensemble(s), and to help knit together two choral-music communities that have much to gain from each other. I’m happy to help you with any questions you may have, large or small. Visit www.dekesharon.com and let’s make some music. 

University of redlands school of MUsic 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. 3 • Fall 2016 • 13 CA-ACDA OFFICER ElectionS watch your E-mail for your ballot!

PresidentiaL Candidates

Jeffrey Benson is currently Director Kristina Nakagawa is the found- of Choral Activities at San José State ing Artistic Director of Resounding University in San Jose, California. He Achord, an auditioned mixed-voice recently made his international con- community choir in San Jose. She ducting debut with the Irish Chamber currently serves as the California R&R Orchestra and the SJSU Choraliers Chair for Community Choirs, and also in Limerick, Ireland, and he made his works as Admission and Advance- Carnegie Hall conducting debut in 2015 ment Associate for Hillbrook School with the SJSU Choirs and the New York in Los Gatos. She previously served as Festival Orchestra. Jeffrey is a published Development Director for The Choral composer and arranger and the Artistic Director of Penin- Project in San Jose. Kristina taught from 2003 to 2012 at sula Cantare, a community chorus based in Palo Alto. He Pinewood School in Los Altos. She received her Bachelor of received his Master’s degree and his Doctorate in Choral Music in Vocal Performance from UC Irvine, and completed Conducting/Music Education from The Florida State Uni- a Master’s Degree in Choral Conducting at San José State versity and his Bachelor’s degree in Music Education from University. New York University. “I am honored and humbled to have been nominated for the po- “I am honored to be on this year’s slate for President-Elect sition of President-Elect of California ACDA. The shared goal of California ACDA. It has been a pleasure to serve on the of our current leadership to become an affiliate of ACDA is one board for the past four years as the organization has developed that I, too, am passionate about. I have worked for non-profit and expanded. Looking forward, it is thrilling to see Cali- organizations for most of my professional career, and helped fornia ACDA moving toward affiliation status. Becoming a to found a non-profit choral organization just four years ago. non-profit organization separate from the ACDA National Since then, I have been amazed by the incredible opportunities Office allows the organization to better serve the needs of all we have had—from creating an endowment, to tax benefits, California Choral Directors. It is an exciting time to be an grants, and scholarships. Our opportunities as California choral ACDA member as we continue to grow and improve. I hope to directors are about to multiply, and I can’t wait to continue the continue in this role of service and growth.” journey with you all.”

BAY AREA REGIONAL REPRESENTATIVE Candidates

Buddy James is Professor of Music at Julie Ford is a conductor, vocalist, California State University, East Bay, and educator in the San Francisco where he is Director of Vocal Studies, Bay Area. As Associate Professor of Chair of the Department of Music, and Music and Vocal-Choral Arts Director Founding Director of the School of Arts at Saint Mary’s College of California, and Media. He was recently named the she directs the Chamber Singers, Glee 2015-16 George and Miriam Phillips Club, and Jazz Choir, serves as Music Outstanding Professor at CSUEB. Program Director, and offers courses in Dr. James is a Life Member of the lyric diction, sight-singing, piano, and American Choral Directors Association conducting. The Chamber Singers and and a Founding Officer and Past President of the National Glee Club received Gold Medals in the Chamber Mixed Collegiate Choral Organization. He holds degrees from The Choir and Pop Choir Championship Categories at the 2014 University of Southern California, UC Irvine and The Uni- World Choir Games in Riga, Latvia, and the Chamber Sing- versity of Akron, and his teachers include William Dehning, ers will perform at CASMEC 2017. Joseph Hustzi, Edward Maclary and Robert Page.

Continued on next page

14 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA CENTRAL REGIONAL REPRESENTATIVE Candidates

Polly Vasché was Choir Director John Sorber recently became the at Thomas Downey High School in head of the choral and vocal depart- Modesto from 1975 to 2004. She ment at the College of the Sequoias holds degrees from Stanford University in Visalia, after serving as the choral and CSU-Stanislaus, and has studied director at El Diamante High School. and sung with Gary Unruh, Joseph He is currently the CMEA Central Flummerfelt, Paul Salamunovich, and Region Choral Representative, and Robert Shaw, among others. ACDA he served as the 2016 Anaheim has been for Polly a source of inspira- Convention Center Site Manager for tion and knowledge throughout her the ACDA Western Division Confer- career. She has served ACDA as Northern California News- ence. He also served as the California letter Editor, Northern California President, Central Region ACDA Ethnic and Multicultural Music Repertoire and Representative, Western Division Women’s Repertoire and Standards Chairperson from 2013-2015. John has taught Standards Chair, and, for the past ten years, Western Divi- elementary, middle school, high school, community college, sion Honor Choirs Coordinator. Honors include the Howard community choruses, and church choirs. In addition to his Swan Award (California ACDA), Lifetime Achievement teaching, he has served as a choral adjudicator, honor choir in the Arts (Stanislaus Arts Council), Alumna of the Year manager at local and national levels, BTSA mentor, tenor (CSU Stanislaus), Outstanding Woman of Stanislaus soloist in classical choral works and musicals, and has taught County (Stanislaus County Commission on Women), Choral voice students privately. During his teaching career, he has Educator of the Year (CMEA), Stanislaus County Teacher received the “Crystal Apple Award” for excellence in teach- of the Year (Modesto Rotary), Distinguished Music Alumna ing, the CMEA Central Section Choral Educator of the (CSU Stanislaus), and Teacher of Excellence (Thomas Year, the TKMEA Choral Educator of the Year, and the Downey High School). Polly lives in Modesto with Burt, her “Excellence in Education” award. John received his BA from husband of 32 years. Fresno Pacific University in vocal performance and music education and his MA degree in choral conducting at Fresno State University.

SOUTHERN REGIONAL REPRESENTATIVE Candidates

Stacey Y. Kikkawa is the proud Tina Glander Peterson is Director director of the Vocal Music Program at of Choirs at Irvine High School, where Beverly Hills High School, as well as she conducts five choirs and teaches the incumbent Southern Representative advanced placement music theory. Under for California ACDA and the Assis- her direction, Irvine High School choirs tant to All-State Honor Choir Coor- have consistently earned superior ratings dinator. She has led high school choirs in state and regional choral festivals. Tina in Northern and Southern California, is also the Minister of Music at Church including Campolindo High School of the Foothills in Tustin, CA, and the and Fountain Valley High School. Un- Assistant Director of Concert Choir and der her direction, Campolindo High School performed and Ensemble the Southern California Chil- placed in many Heritage Festivals, the Festival of Gold, and dren’s Chorus. For three years she was the Director of Choirs the Northern California Golden State Choral Competitions. at Oak Middle School in Los Alamitos, and she taught Stacey completed her Master’s Degree in Choral Conducting middle school choral music for ten years in the public schools Performance at California State University, Fullerton, where of Wisconsin. While in Wisconsin, she was conductor of the she was a guest lecturer and the graduate assistant conductor Milwaukee Children’s Choir upper-level treble ensemble, the for the University Singers and Women’s Choir. She gradu- Cantorei Choir. She is an active adjudicator and guest clini- ated with a Bachelor of Music in Music Education and a cian for choral music festivals and performance events around Bachelor of Music in Performance with a dual emphasis in the state, and is a member of ACDA and SCVA. Tina Conducting and Voice from Chapman University. She is earned her Bachelor of Music Education degree from Uni- also a professional singer and performs with the Long Beach versity of Wisconsin-Whitewater and her Master of Music in Camerata Singers, John Alexander Singers, and Pacific Music Education and Choral Conducting from the University Chorale. of Wisconsin-Milwaukee.

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 15 Youth: Stacey Kikkawa, Coordinator (Southern Rep) ACDA MEMBERSHIP DRIVE Children & Community Youth—Peggy Spool September 13-October 12, 2016 Middle School/Junior High School—Molly Peters High School—Christopher Borges t nearly 1600 members, California ACDA is half again Collegiate: Jenny Bent, Coordinator (Northern Rep) Aas large as the next largest state membership. We are once Two-Year College—Arlie Langager again in a contest with other states to increase our numbers. We College & University—Angel Vázquez-Ramos have multiple strategies to welcome new members: Student Activities—Chris Peterson • If you know someone who has not previously been a Lifelong: Polly Vasché, Coordinator (Central Rep) member of ACDA, the National Office is providing ten Choral Composition—David Montoya complimentary one-year memberships to California Community Choirs—Kristina Nakagawa ACDA. Request a form from Lou De La Rosa at Music in Worship—Christopher Gravis [email protected]; memberships are offered on a first- come, first-served basis. The form must be received by the Repertoire-Specific: Carolyn Teraoka-Brady, National Office no later than October 12, 2016. Coordinator (Central Coast Rep) Contemporary A Cappella—Deke Sharon • California is once again joining the National Office Contemporary Commercial—Bill Zinn in sponsoring $5 student memberships for new Ethnic & Multicultural Perspectives—Daniel Afonso members. This offer may be redeemed only by fol- Men’s Choirs—Gavin Spencer lowing the directions at this site: http://acda.org/page. Women’s Choirs—Tammi Alderman asp?page=StudentInitiative-Students Vocal Jazz—Ian Brekke • All renewing student members qualify for a renewal rate of just $20.This offer may be redeemed only by following The role of the coordinators is to share the work of the R&R the directions at the site above. Chairs with the Executive Board. If you have any R&R ques- tions, please contact the individual Chairs, whose information Please include a permanent or medium-term mailing address is listed on the last page of every issue of Cantate.  and a personal e-mail address when you enter your information online so that we don’t lose contact with you. Please note that the student membership level is not intended to be used by those who have a paid choral position. The reduced rate is our entire membership’s investment in the next generation of choral professionals, and is not designed for someone who is taking classes while continuing to earn a part-time or full-time living from their choral work. You already know the benefits of membership. Do a col- league or student a favor: tell them what ACDA means to you!

YOU SAY REPERTOIRE AND STANDARDS, I SAY REPERTOIRE AND RESOURCES....

he Executive Board met at ECCO to ratify a proposal to Trestructure the Board to meet the directives of ACDA’s National Office with regard to the newly ratified Bylaws and R&R structure (Repertoire and Resources). The new struc- ture provides a voice for R&R concerns at all board meetings by adding the new role of R&R Coordinator to four of the six regional representatives on the Executive Board; the other two reps will take the lead in organizing the Regional Conferences. This brings us into compliance with the new ACDA National constitution, providing four Repertoire & Resource coordinators to represent the work of the individual R&R Chairs. You’ll notice some changes in the titles of the old R&S positions: Show Choir is now Contemporary Commercial; Youth & Student Activities is now Student Activities; Male is now Men’s. The new structure is as follows:

16 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 17 BE TRUE TO YOUR SCHOOL he 2016 California ACDA Summer Conference at TECCO had plenty of spirit, thanks to a great headliner in Jonathan Talberg, lots of terrific interest sessions, a presentation in celebration of Jan Lanterman’s many years of service to CA-ACDA, and a “homecoming” party that unleashed our inner teenagers. A big cheer for all who organized and attended!

18 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 19 2016 Howard Swan Award recipient DR. RONALD KEAN

Ron Kean was presented the Howard Swan Award at the 2016 California Summer

Conference at ECCO, in honor of his lifetime of service to the choral art form and to

choral music in the state of California. Dr. Kean recently retired from Bakersfield

College after a thirty-year teaching career, and remains active as a composer, arranger,

and advocate for choral music from around the world. California ACDA congratulates

Dr. Kean on this honor and on his contributions to the choral profession.

20 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA These leaders of ACDA wholeheartedly support the The VOte on Affiliation proposal to create an independent affiliate organization of By Lou De la Rosa ACDA to be known as the California Choral Directors Association and encourage you to vote yes on affiliation: he question: “Shall California ACDA transition from Tbeing a state chapter of ACDA to becoming an indepen- Former Presidents dent 501c3 non-profit, tax-exempt corporation known as the Lori Marie Rios, California President, 2013-2015; current California Choral Directors Association, an affiliate of ACDA California Vice-President National, effective July 1, 2017?” Jonathan Talberg, California President, 2011-2013 Travis Rogers, California President, 2009-2011; ur organization’s motto is California, Leading the Way. Western Division President-Elect OOur board, and those who have come before, live out this Ken Abrams, California President, 2007-2009 motto on your behalf. Julie Dana, California President, 2005-2007 Thirty years ago, the first ECCO Conference was held, Kathryn Smith, California President, 2003-2005; and since then the reputation of this gathering has spread Western Division President, 2011-2013 across the nation. Twenty years ago, Northern and Southern Hanan Yaqub, California President, 2001-2003; California California ACDA were reunited into a single California Co-President (Southern California), 1991-1993 ACDA. Last year, we became one of the first states to create Jim Shepard, California President, 1999-2001 a Repertoire & Resource area in Choral Composition. This Steven R. Hodson, California President, 1995-1997; past February, we organized the very first California ACDA Western Division President, 2001-2003 and 2013-2015 State Conference at CASMEC in San Jose, with concert Jim Yowell, California Co-President (Northern California), 1991-1993 sessions, interest sessions, and five All-State Honor Choirs. Polly Vasché, Northern California President, 1989-1991; And in July, we became the very first state to create a R&R current California Central Representative for Contemporary A Cappella, with Deke Sharon, the father Charlene Archibeque, Northern California President, 1971-1973 of contemporary a cappella, as the first chair. Cheryl Anderson, Western Division President, 2009-2011 This December, you can vote to take a quantum leap into Ron Kean, Western Division President, 1999-2001 the future with regard to the structure of our organization. James O. Foxx, Western Division President, 1995-1997 The California Board unanimously recommends becoming our Mary Breden, Western Division President, 1993-1995 own 501(c)3 non-profit, tax-exempt corporation affiliated with Jo-Michael Scheibe, Western Division President, 1991-1993; ACDA National. Becoming an affiliate state like Minnesota, National President, 2013-2015 Ohio, Iowa, Nebraska, and Montana will give us the financial and creative freedom to serve our members better. Current ACDA National Leadership We presently are just shy of 1,600 members, up from Mary Hopper, President 1,150 just four years ago. We have an operating budget of over Tim Sharp, Executive Director $300,000. Yet the financial model to which we are supposed Anna Hamre, Western Division President to conform as a chapter is identical to that of Oklahoma. In fact, the laws under which we are presently organized are those Current California ACDA Board of Directors of Oklahoma, where ACDA is headquartered. Lou De La Rosa, President By becoming the California Choral Directors Association, Robert Istad, President-Elect an affiliate of ACDA, we would still pay our dues to the Jeffrey Benson, Bay Area Representative National Office. We would still attend Divisional and Carolyn Teraoka-Brady, Central Coast Representative National Conferences as members of ACDA. We would John Russell, Far South Representative still receive the Choral Journal. We would still be an ACDA Jenny Bent, Northern Representative franchise, but we would be financially independent, free to Stacey Kikkawa, Southern Representative create endowments and seek grants. Peggy Spool, Children & Community Youth R&R Chair With that freedom comes some risk: in the case of a David Montoya, Choral Composition R&R Chair Angel Vázquez-Ramos, College & University R&R Chair financial catastrophe, ACDA National would not be there to Kristina Nakagawa, Community Choirs R&R Chair bail out CCDA. That is why we are being fiscally prudent in Deke Sharon, Contemporary A Cappella R&R Chair our spending, and conservative in our financial outlook. That Daniel Afonso, Ethnic & Multicultural Perspectives R&R Chair is why we will insure the organization and its representatives Christopher Borges, High School R&R Chair against liabilities as they carry out the business of CCDA. Gavin Spencer, Men’s Choirs R&R Chair That is why we will retain the services of a treasurer who is an Molly Peters, Middle School & Junior High R&R Chair accountant, to verify the work of our executive administrator. Christopher Gravis, Music in Worship R&R Chair Independence will allow CCDA the flexibility to increase dues William Zinn, Show Choirs R&R Chair if needed (Minnesota adds $15; Ohio adds $3; Iowa adds Arlie Langager, Two-Year College R&R Chair nothing), but given our projections of positive ending balances, Ian Brekke, Vocal Jazz R&R Chair our fiscal prudence in planning events, revenue from our grow- Tammi Alderman, Women’s Choirs R&R Chair ing membership, and our plans to create additional streams of Christopher Peterson, Youth & Student Activities R&R Chair revenue to cover new overhead, we do not foresee that need. Eliza Rubenstein, Cantate Editor Every state leader with whom we corresponded in Willow Manspeaker, CMEA Liaison Minnesota, Ohio, and Iowa made it clear that being an affili- Genevieve Tep, Honor Choir Chair ate was the best decision they had made. We believe the time Jeffe Huls, Summer Conference Chair is now for California. Anthony Lien, Webmaster

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 21 22 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA CASMEC 2017 Performing Ensembles

The East Bay Singers ∙ Buddy James, director Frequency (MiraCosta College Jazz Choir) ∙ Matt Falker, director Kennedy Middle School Dynamics ∙ Shelley Durbin, director Miller Middle School Advanced Choir ∙ Anthony Arnold, director Piedmont Hills High School Treblemakers ∙ Myles Ellis, director Presentation High School Bella Voce Choir ∙ Emilie Bertram, director Ragazzi Boys Chorus ∙ Joyce Keil, director Redwood High School Ranger Choir and Chamber Singers ∙ Melchor Carrillo, director Sacramento Children’s Chorus ∙ Lynn Stevens, director Saint Mary’s College of California Chamber Singers ∙ Julie Ford, director University of Redlands Bel Canto ∙ Joseph Modica, director

Choral Track Interest Sessions

Jeffrey Benson ∙ Monkey See, Monkey Do: Why Conducting Gesture Matters in the Choral Rehearsal Donald Brinegar ∙ Intonation Choices: Singing In Tune with Style Alyssa Cossey ∙ The First Ten Minutes: Re-Imagining the Role of Warm-Up Activities in the Choral Rehearsal Mary Hamilton ∙ Drumming Inside the Middle School (Grades 5-8) Choral Classroom Jaclyn Johnson ∙ Teaching High School Male Singers, When You Are a Woman: Overcoming Vocal Differences Leigh Kallestad ∙ SmartMusic for Vocalists Joshua Palkki and Stuart Chapman Hill ∙ Using Circle Singing to Enliven Choral Creativity Joshua Palkki & William Sauerland ∙ A Whole New World? Gender in the Choral Classroom Bruce Southard ∙ The Power of Musical Intent: Developing Vocal Technique and Musical Instinct in Singers Shane Troll ∙ Engaging Their Minds and Welcoming Their Hearts: A Natural Integration of Orff and Choir Angel Vázquez-Ramos ∙ Latin American Choral Music for Secondary School Programs: Historical Background and Performance Practices

Be sure to register FOR CASMEC as an ACDA member at www.casmec.org starting October 1! Your cost is the same, but proceeds benefit CA-ACDA.

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 23 Christopher Peterson (CSU Fullerton), Dr. Angel Vázquez- The 2017 Choral Ramos (CSU Bakersfield), and Lori Marie Rios (College of the Canyons). In addition to the CLA workshops, participat- Leadership AcAdemy ing students will receive free admission to attend all sessions By Willow Manspeaker held on the other two days of CASMEC, February 16 and 19—a wonderful opportunity to gain even more skills and he sixth annual Choral Leadership Academy (CLA), make even more connections! Tsponsored by CMEA in partnership with California Due to the intimate nature of this event, we must limit our ACDA and SCVA (the Southern California Vocal enrollment to 50 students. While acceptance to CLA is on a Association), will be held in San first-come, first-served basis, please Jose on February 17 and18, 2017, be aware that we must have a balance at the CASMEC conference in of vocal parts, as well as a balance San Jose. The CLA is an intense of high school and college students. two-day workshop for high school, Therefore, as registration proceeds, community college, and university students may be placed on a waiting students who are interested in pursu- list until an appropriate balance can ing a career in the choral profes- be achieved. sion. This outstanding event will Please encourage your students impart musicianship skills, inspire to apply for this exciting experi- confidence, and build camaraderie ence! Application information and amongst musicians and educators of more details about the event will the next generation. be available soon on the CMEA We are privileged to have an and California ADCA websites outstanding headliner, Dr. Jeffrey Above: CLA 2016 participants (www.calmusiced.com and www. Benson of San Jose State University, acdacal.org). You may also contact who will bring expertise, humor, and insight to the CLA CA-ACDA’s CMEA liaison, Willow Manspeaker, with students’ experience. The CLA faculty will include Dr. questions at [email protected]. 

24 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA Vision for the Future Scholarship Fund Donors Very special care has been given to the preparation of donor acknowledgments. We regret any errors or omissions. please call us at (657) 217-0767 or e-mail [email protected] with any needed corrections. Thank you for your support!

President’s Circle Cricket Handler* Jeffery Alan Seaward Gail Renea Bowers Gold ($300 and higher) Daniel David Hughes* Kathryn Louise Smith* Kelly Caswell Donald Lee Brinegar* Jeffe Huls* John Michael Sorber*^ Miguel Angel Chicas Colleen Chester*^ Joseph Bela Huszti* Jonathan Raymond Souza* Jessica Cosley Tammi Alderman* Peg Hutson* Peggy M. Spool* Daniel Bruce Doctor Jack Bertrand*^ John Jacobson* Shawna Lynn Stewart* Eric Charles Dyer Lou De La Rosa*^ Kristy Juliano* Nick Strimple* Michael and Jaime Fenton Roger Emerson* Ron Kean* Genevieve Tep* Alan Garcia Robert Michael Istad*^ Carolyn Joan Kelley* Carolyn Tsuyuko Teraoka-Brady*^ Jennifer Marie Garrett Brendan Lloyd Jennings* Beth Klemm* Andre Thomas* Sharmiram Ghashehpour Janice Eileen Lanterman* John Koza* Jim Tompkins-MacLaine* Nina Gilbert Duane and Linda Lovaas* Arlie Langager* Burt and Polly Vasché* Eric M. Graham Richard Messenger* Iris S. Levine* Angel M. Vázquez-Ramos* Beatriz Herrera Lori Marie Rios*^ Anthony M. Lien* David John Xiques* Amanda Isaac Jonathan Talberg* Sharon Llewellyn* William A. Zinn* Michele Izor MaryClare Martin* Stacey Yoshiko Kikkawa President’s Circle Marcelo Martinez* Sponsor ($50-$99) Bekka Knauer Silver ($100-$299) Joanne Mizutani-Neuffer* Anonymous Alex Koppel Mary E. Monaghan* Bruce Lengacher Daniel Afonso* Dana L. Alexander David Vincent Montoya* Kira Marie Bombace Christopher Luthi Andrew Stephen Ball* Rayvon T.J. Moore* Eric Samuel Medeiros Cindy M. Beitmen Christopher J. Borges Kristina Marie Nakagawa* Ian Brekke Charles Miller Jeffrey Scott Benson* Kim Nason* Fernando Munoz Ryan Board* Juan-Jose Garcia Matthew David Netto* Scot and Mary Hanna-Weir Christine Danielle Patrikian John Byun* Fides May Orpilla-Le Roy* Valerie Poon Kathryn Donovan Campbell* Mark Vernon Hulse David Ortiz* Joyce B. Keil Ranelle Prescott Julie Lane Carter* Daniel I. Paulson* Kathleen Preston+ Musicnotes.com* Heather Marie Kinkennon Susanna Peeples* Mark Lanford Michael Patrick Reilly Edith Copley* Bret Peppo* Kate Roseman Julie Reyes Dana* Jonathan Miller Jennifer Elaine Perier-Champeaux* Jeff T. Morton Emilio A. Sandoval Sally Husch Dean* Molly Elizabeth Peters^ Gavin Spencer Andrew DelMonte* Valerie Quiring Christopher and Tina Peterson* Cynthia Salomonson Alison D. Stickley Jill E. Denny* Mary and Wally Purdy* Iva Svitek Janine S. Dexter Mary Stocker Paul J. Raheb* John Calvin Tebay Jesse Tebay Kelli Dower* Shawn Reifschneider* Carlin Truong Julie Ann Ford* Kevin Lee Tison Antone Rodich* Jeremy Wiggins Kristen Elise Walton Yesenia Garcia* Travis Rogers* Justin Kyle Witt Jeffrey C. Gilbert* Eliza Rubenstein* Supporter (up to $49) Josh Young Christopher Gardner Gravis* John Russell* Cynthia Chen Yu Steven Gray* Sabrina Schick* Carol Aspling Nancy Gray* David Michael Scholz* Alissa Marie Aune * Founder’s Circle Stephanie Grogg* Joseph Schubert* Rebecca G. Baker ^ 2016 renewals Mary Catherine Hamilton+ Jessica Bang + New donors

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 25 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 Nakagawa, director), Aragon High open to any educational vocal group for School (John Chen, director), and comments and support, and includes a The seventh Chanticleer in Sonoma the Napa Valley Chorale (Eve-Anne Friday-night concert by the House Jacks, Choral Workshop took place in June at Wilkes, director). a professional a cappella quintet from Sonoma State University. Hosted by Dr. San Francisco, founded by Deke Sha- Jenny Bent, the Workshop provided Kira Dixon recently accepted the choral ron. Visit http://www.vocaljazzfestival. 67 enthusiastic and talented singers the director job at Christopher High School com for details and an application. opportunity to rehearse and perform in Gilroy. alongside and under the direction of the The Central Coast Spring Choral Festi- men of Chanticleer and their new Music Dr. Scot Hanna-Weir led the Santa val will take place on March 23 and 24, Director, William Fred Scott. Clara Chorale on a tour to Spain, 2017. Eight sessions for all levels offer performing two joint concerts in Cór- your choir an opportunity to perform doba and Valencia with the Coral de la Gail Bowers and her powerhouse at the Performing Arts Center on the choral program will host a Vocal Music Cátedra “Ramón Medina” and the Coro Cal Poly SLO campus. Contact Gary Major Workshop at Maria Carrillo High Universitario de Sant Yago, respectively, Lamprecht, Director and Festival Co- School on September 24. and solo concerts in the Gothic cathe- drals of Figueras and Barcelona. ordinator, at [email protected]. Dr. Donald Kendrick will again host the wildly successful Real Men Sing Dr. David Xiques resigned his teach- CENTRAL REGION Festival (for area middle school and high ing position in the Kodály Summer school men) on Friday, September 23 Institute at New York University after In Bakersfield, four choir directors will and the Women’s Chorus Festival (for 15 wonderful years and just presented begin their second year of teaching: Jack area middle school and high school his book, Solfege and Sonority: Teaching Bertrand, North High School; Chris- women) on Friday, October 7. Both Music Reading in the Choral Classroom, tiane Rohayem, East High School; events will take place at the Sacramento at Hawaii’s ACDA Professional Devel- Kyle Ball, Frontier High School; and State School of Music. opment Day 2016. Ryan Clippinger, Arvin High School. The four are renting a house together Dr. Rachel Samet completed her first Castro Valley High School A Cappella this year, and longtime Bakersfield High year as choral director at Humboldt Choir (Laryssa Sadoway, director) School director Christopher Borges State University. She recently hosted the made their Carnegie Hall debut in says district choral meetings often take Nor-Cal Choral and Band Festival. April, performing a solo concert and as place “at the kids’ house”! part of the National Festival Chorus. Yejee Choi has been appointed Interim Kathy Blumer will fill the choral Choral Conductor at the University of CENTRAL COAST REGION position at Clovis High School vacated the Pacific, Stockton. She is finishing by the retiring Mark Lanford. Kathy her doctorate at USC. The Westmont Invitational Fall Choral began her career at Vintage High School Festival is a non-competitive, comments- in Napa and for more than 20 years held BAY AREA only festival. Afternoon clinics are held several K-8 positions in Clovis. in one of five locations in Santa Barbara, Carlin Truong will follow Dan The West Valley College Chamber Sing- followed by dinner and a concert. There Bishop at Clovis East High School as ers and the San Jose State University is no entry fee for this event, which takes Choraliers traveled to Ireland in June on Dan becomes VAPA Coordinator for place on October 28, 2016. Contact the Clovis Unified School District. a two-week concert tour with their direc- Michelle Starrh (mstarrh@westmont. tors, CA-ACDA President Lou De La edu) for information! Rosa and Dr. Jeffrey Benson. After Dr. Anna Hamre retired in June from CSU Fresno. Succeeding her is Cari the first week, they were joined by four Bring your vocal jazz group to the 18th other groups for a combined performance Earnhart, who earned her D.M.A. in Annual Cuesta College Vocal Jazz Choral Conducting from the University of Haydn’s Lord Nelson Mass at the Festival, November 4-5 2016 with University of Limerick: Presentation of North Texas. Cari is a professional guest clinicians Ian Brekke, Michele High School (Emilie Bertram, direc- singer and has held numerous conducting Weir, and Michelle Hawkins. It’s tor), Resounding Achord (Kristina posts in Europe and the Middle East.

26 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA Yohan Partan, recently at Whitmore Charter in Ceres, is the Dr. Robert Istad earned the 2016 Outstanding Professor new choral director at Pitman High School in Turlock, while Award, the top faculty award at California State University, John Armes, formerly at Madera High School, will teach Fullerton. The Outstanding Professor Award recognizes a choir and drama at Thomas Downey High School, Modesto. faculty member with a record of superlative teaching and schol- Cathryn Tortell of Pierce College (Los Angeles) will follow arship who also contributes to the stature of the University and Cherrie Llewellyn, who recently retired from the choral/ the California State University system. voice/musical theatre position at Modesto Junior College. FAR SOUTH REGION SOUTHERN REGION The San Diego North Coast Singers recently returned from Congratulations to Dr. Jonathan Talberg and the Bob a week-long tour of Cuba. Their Artistic Director, Sally Cole Conservatory Chamber Choir at California State Uni- Husch Dean, said of the experience, “We have been home versity, Long Beach for winning the 2016 Pavarotti Trophy for over a month yet I find myself still under a Cuban spell, in the Choir of the World competition at the 70th Llangollen musically and culturally....Music permeated everything we saw International Musical Eisteddfod in Wales! They also placed and everyone we met. A pleasant surprise occurred on the in the following categories: first in grounds of the Ernest Hemingway Adult Folk Song, first in Mixed House outside of Havana, where Choir classes, and second in Youth members of our youth chorus were Choir. invited to join some of the local youth in a baseball game! Following the CSU Fullerton hosted the first game, the singers picked up fallen ripe California State Choral Festival mangos from the tree-lined path. Ah, in collaboration with SCVA and the richness of choral tours!” CMEA. This festival included some of the finest junior high/ Dr. William Hatcher of Escondido middle school and high school will return to his alma mater, the Uni- choirs from all over the state with versity of Nebraska-Lincoln, this fall adjudicators Scott Hedgecock, to conduct and teach choral literature William Hatcher, Dr. Char- as the Earl “Pete” Jenkins Endowed lene Archibeque, Dr. Chris- ABOVE: the NOrth Coast Singers enjoy Visiting Choral Artist. topher Peterson, and Michael a baseball game with new friends in Cuba D. Stone, and featured Los Paul Infantino was appointed as the Cerritos Middle School Contempo (Janice Hague, conduc- Choral Director at Cuyamaca College, and will also continue tor) and Palmdale High School A Cappella Choir (Michael to serve as Director of Vocal Music at Valhalla High School. McCullough, conductor). John Russell was appointed as Director of Choral and Vo- The Henry W. Coil, Sr. & Alice Edna Coil School for the cal Studies at Palomar College, and will also continue in his Arts opened at Riverside Community College, where 300 role as Music Director of the San Diego Master Chorale. high school choral singers and the RCC Chamber Singers (John Byun, conductor) performed in an inaugural concert The San Diego Children’s Choir is thrilled to welcome Mike with guest conductor Eric Whitacre. Sakell as director of their newest ensemble, Boys Concert Choir, “a treble voice choir where boys will develop strong vo- We welcome the following appointments in the collegiate cal skills, music literacy, and friendships through their middle school years.” choral programs: Dr. Rodger Guerrero as Director of Choral Activities at Pasadena City College, Karen Miskell Point Loma Nazarene University will present their Choral as Director of Choral Activities at Victor Valley College, and Festival for High Schools and Community Colleges at PLNU Dr. Joshua Palkki as Assistant Professor of Vocal/Choral on Friday, November 4. Paul Head of the University of Music Education at California State University, Long Beach. Delaware is the clinician. Choral Arts Initiative (Brandon Elliott, conductor) pre- Thanks to our Regional Representatives (Jenny Bent, Jeffrey miered Dale Trumbore’s 35-minute, eight-movement secular Benson, Polly Vasché, Carolyn Teraoka-Brady, Stacey Kik- work for virtuosic a cappella chorus, How to Go On, at their kawa, and John Russell) for collecting and sharing news from concert in July. This major work will be featured on CAI’s first their areas! Send your news to your regional representative or professional album, “How To Go On: The Choral Works of [email protected]. Dale Trumbore.”

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 27 28 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA Top Five for your Choir: WOMEN’S CHOIRS

lthough this edition of Cantate won’t This is a great French tongue-twister that Areach your mailbox until the fall, my is simple, but fun. Credit goes to Michael brain is full of the joy I still feel from attending Hayden at Mira Costa High School in several weddings this summer. I witnessed Manhattan Beach for introducing me to this services and receptions that were traditional, piece; he did it first—I borrowed it! My young Tammi Alderman is contemporary, casual, formal, and everything women had a great time singing it. in between—just like my favorite choral director of Choral/ concerts. So, in honor of my beautiful newly- SOMETHING BLUE: Vocal Music at San wed sister, I present my first women’s choirs Christophe Beck and Frode Fjellheim Top Five. Marino High School. Vuelie (from Frozen) SSAA a cappella (optional frame drum) She also teaches at SOMETHING OLD: Boosey & Hawkes CSU Fullerton, where Jacob Handl (1550-1591) Don’t ignore this piece because it’s from a Pueri Concinite she is a university super- Disney movie! It is based on a traditional Sami SSAA a cappella joik and is a great sing for any concert or tour. visor for choral music Choral Public Domain Library #01543 You’ll need some great low voices to get the education students. She It is not incredibly common to find feel, but it will be a hit with your singers and Renaissance motets written for women’s voices, audience. Try it in the round if your space and has previously been on but they are out there. Pueri Concinite is a choir allow. the choral faculty at Christmas text that alternates between a duple

the Bob Cole Conserva- and triple feel. It is a satisfyingly joyous sing SOMETHING FOR MY SISTERS AND and will give your women a great challenge. MY MOTHER (because I needed 5...): tory of Music at CSU Ruth Moody, arr. Marcelline Moody Long Beach and the SOMETHING NEW: One Voice icente havarria University of Southern V C SSA and piano or guitar Sea Shell Self-published at www.ruthmoody.com California. She earned SSA and piano All the women in my family sing. This is a both her Master and Santa Barbara Music Publishing favorite of ours, and it’s been a hit on my

Bachelor degrees in Vicente Chavarria was one of my colleagues school’s concert stage as well as at our family and classmates in graduate school. He is a gatherings. It was recorded by The Wailin’ Choral Conducting singer, historian, and lover of poetry. In this Jennys, and even if you’ll never perform the and Music Education piece, he sets a fun-filled text by Amy Lowell piece, it is worth a listen.  to a frolicking melody that gets passed around from Washington to all parts. If you’ve ever wanted a playful State University and is “sailor song” for your women or girls, here it is. My gals will be learning it this spring! currently a doctoral

candidate at USC. SOMETHING BORROWED: Jeanne & Robert Gilmore, arr. Susan Brumfield Ton Thé SA and piano (optional xylophone and drums) Colla Voce Music LLC

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 29 Top Five for your Choir: MIDDLE SCHOOL AND Junior High Choirs

eaching junior high students is equal Trad. Spiritual, arr. Rollo Dilworth Tparts challenging and rewarding. Finding Sing Hallelu Molly Peters, Direc- high-quality literature from which you can teach Hal Leonard Publishing #08551670 tor of choirs at West meaningfully can also be difficult. The pieces SAB/Two-part I’ve selected below are not only great pieces to Ranch High School program, but they’re also great pieces to use to Perhaps a lesser known “Rollo arrangement,” this song takes a traditional Spiritual (“Oh, and Rancho Pico teach musical concepts. I understand, by the way, that “junior high choir” can mean a wide What a Beautiful City!”) and updates it…..by Junior High School, range, from beginning two-part all the way up taking it back in time to the Baroque Period. It earned her Bachelor to advanced SATB! I hope that you will find ends with a hand-clapping, rollicking crescendo. these pieces as successful as I have in your own The ostinato pattern is present throughout and of Music Education program, no matter what it looks like. creates rhythmic interest—your choirs will love from the University singing this one! Ben Allaway of Illinois at Urbana- Sahayta Trad. Venezuelan, arr. Cristian Grases Champaign in 2001. Shawnee Press #35018791 Canto de Pilon SSA Pavane Publishing #08301912 She is President of the Two-part Santa Clarita Choral “Sahayta” is an upbeat piece of music that celebrates unity through a variety of cultures Audiences and students alike will appreciate Educator’s Association and languages. Students love speaking “Ekta!” the body percussion and the visual interest and serves on the SCVA at the end of each verse. It also allows you to this a cappella piece brings to your stage. The showcase solos (or small singing groups if you harmonies are very simple and repetitive-this is board as Vice President prefer) for a unique “call and response” texture. a piece you can teach and finish in the first week of Junior High Honor You can include your audience as well—a real (giving your students a sense of accomplish-

Choir. In her free time, show stopper and a great concert closer! ment and point of pride!). It’s also a great way to incorporate a song in Spanish into your Molly enjoys volun- Jim Papoulis program. teering at Fur Baby There Is Peace Boosey & Hawkes #48023007 Trad. Calypso, arr Ruth Dwyer Rescue animal shelter Two-part/SATB and Judith Waller in Los Angeles with Shake the Papaya Down Jim Papoulis’ music is perfect for students this Colla Voce (Henry Leck series) #21-20222 her husband, traveling, age; it allows them to ask questions about the SSA/Three-part reading, spending time world and their role in it—how can they make it a better place? “There is Peace” is a beautiful, Partner songs are the best way to build inde- with her son and her lyrical piece of music that is not only rewarding pendence and ears for your beginning singers. pets, cooking, and at- to sing, but filled with great teaching moments Often rounds and partner songs are slow and for directors (solfege, partner melodies, rhythm lyrical, but not “Shake the Papaya Down”! tending Dodger baseball and accents, to name a few) as students learn Students will love singing a fast-tempo Calypso games and live music. it. Add in the optional third part of the classic song—and one they can learn quickly! Bring in “Dona Nobis Pacem” round and you’ve got some percussion and you’ll create an authentic, a very moving, powerful piece of music to unique experience for your singers and your perform. audience. Tons of fun!

30 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA Top Five for your Choir: VOCAL JAZZ

CDA’s re-classification of “Repertoire & “Sandu” by Clifford Brown, arr. AStandards” to “Repertoire & Resources” Rosana Eckert opens up a new world of suggestions for your http://www.rosanaeckert.com/charts.html vocal jazz ensemble. While picking excellent repertoire is one of the most powerful teaching Hip jazz vocabulary/syllables, approachable tools available, the diversity and complexity improvisation, a great group soli section, and a Ian Brekke is a vocalist, of jazz music frequently demands alternative classic Clifford Brown melody…this wordless educator, arranger, and pedagogical methods, both inside and outside vocal blues chart has everything you need to teach medium swing effectively. Arranged for vocal percussionist. He the classroom. Below you will find a mix of resources that touch on solo and group impro- SATB, SAB, or SSAA, and only Level II holds a Master’s Degree visation, jazz style and vocabulary, and some difficulty. Your groups will love playing with music recently made available in printed form. the variety of articulation and dynamic choices in Jazz Studies from the available to them. As usual, Rosana provides ob ole onservatory an excellent demo for students to model. B C C “ScatAbility” app by Michele Weir of Music at CSULB Free download for iPhone/iPad http://www.michmusic.com/product/ “Make Someone Happy” by Julie Styne, and a Bachelor’s Degree sample-scatability-app-product/ arr. Matt Falker http://www.smpjazz.com/?action=viewTunes& in Jazz Studies and Michele’s work in the vocal jazz world is arranger=115 Vocal Performance prolific; she’s written arrangements, books, and Finding music that is simultaneously very good from Sacramento articles that cater to all age ranges and ability levels. Her latest project, “ScatAbility,” is no and very accessible can be difficult. Matt’s State University. Ian different: This app features a plethora of exer- arrangements stand out in meeting these criteria, as he is able to write interesting and beautiful has received multiple cises that develop vocal improvisation, ranging from beginner to extremely advanced tracks. All arrangements that most groups can perform Downbeat Magazine vocal demos are recorded by professional jazz well. This setting of the jazz standard “Make Someone Happy” is mostly a full ensemble Student Music Awards singers, call-and-response tracks allow anyone to dive in immediately with no knowledge of feature with a wonderful message. My wife and in both vocal and ar- music theory, and the app is easy to understand I liked it so much we selected it to be performed at our wedding! Written for SAB, level III. ranging categories. He and navigate. Expanded content is available for purchase within the app as students (and has performed at many teachers!) advance in ability. The sheet music of “Groove for nationally recognized Thought” http://www.kerrymarsh.com/collections/ “CircleSongs: The Method” by events, including the music-of-groove-for-thought Roger Treece Monterey Jazz Festival, http://www.rogertreece.com/books-scores If you haven’t checked out the ensemble ACDA National and Popularized by Bobby McFerrin and “Groove for Thought,” start listening now; they blow me away every time I hear them Regional Conferences, “Voicestra,” circle songs are completely improvised and spontaneous compositions that perform! Kelly Kunz and company write great and the Reno Jazz Fes- involve an entire ensemble. Roger Treece (a arrangements that cross over several genres effectively, and the quality of the recordings and tival. Ian is the Director close collaborator with McFerrin) has written a method book explaining the structure, theory, live performances is spectacular. Kerry Marsh of Choral and Vocal technique, and motor behind circle songs, (amongst all of his own fantastic arrangements) Studies at Las Positas allowing anyone to learn and participate in now features many of their Christmas arrange- ments on his website, previously available in College in Livermore. group improvisation. Highly professional audio and score examples are included. This will recorded form only. Part tracks are also avail- undoubtedly help to build the musicianship and able for purchase. If your ensemble is ready for creativity of everyone that participates, student an extreme Level V challenge, this is a great and instructor alike. place to start. 

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 31 choral&sacredat the university of southern californiamusic thornton school of music

Take a glance at the world of choral music today, and you will see the influence of the University of Southern California’s superlative education in choral and sacred music.

FACULTY APPLICATION DEADLINE DEGREES OFFERED Jo-Michael Scheibe, chair Alvin Brightbill DECEMBER 1, 2016 Choral Music BA, MM, DMA Nick Strimple Suzi Digby for Fall 2017 Admission Sacred Music MM, DMA Cristian Grases TAships and scholarships available Morten Lauridsen Professor Emeritus Ladd Thomas William Dehning Lisa Sylvester James Vail Tram Sparks David Wilson Mary Mattei visit music.usc.edu/choral

32 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA Top Five for your Choir: CHILDREN’S CHOIRS

n my work with the Vivace Youth Chorus This dreamy, lyrical piece has long, beautiful Iin San Jose, I teach both the beginning level melodic lines. A mix of unison and two part and the middle-school age group. In this Top 5 writing make it very approachable. Occasionally I’ve included some pieces that I hope will work the cadences break out into three- and four-part across the age levels, as I’ve found it harder to chords. It has a wordless refrain that sounds like find good literature for the youngest singers than one is singing to oneself, and it gives the piece Peggy Spool is the for the more advanced choirs. a slightly pop edge. This is a song that appeals founding director of to a variety of ages; I’ve used it with my middle Vivace Youth Cho- Bob Chilcott school age group, but my high school women Green Songs loved it, too. The tune will stay with you! rus of San Jose. She SS and Piano received a Bachelor of Oxford University Press (BC 24) English Folk Song, arr. Sue Bohlin I’ve been to Haarlem Music in Voice from This set of four songs covers various different SSA, Piano, Percussion Boston University, and environmental issues and would be a great fit Alliance Music (AMP 0894) for a concert about the earth. Words and music a Master’s in Voice were written by the composer. A standout This arrangement adds a very different har- from the San Francisco song for our choir was “On your bike!”; with monic feel to the original pentatonic folk song. a driving rhythm in the piano accompaniment Its minor tonality echoes the sounds of the ocean Conservatory of Music, and energetic, rhythmic vocal lines, this really and Bohlin has written beautiful moving lines as well as a Certificate captures the exhilaration of riding a bike. The for all parts. It is arranged for SSA voices, with middle song of the set is a sweet reflective piece the folk song sung as a descant above the other in Kodaly Music Educa- on the beauty of natural forces (rain, wind, parts. The descant can be sung by a younger tion from Holy Names clouds) and the importance of preserving them. choir while a more advanced choir does the The other songs in the set cover topics from main part. This is a moderately challenging University in Oakland, global warming to the ozone layer. piece, and there are some tricky passages. CA. Prior to founding Allow plenty of time to learn the parts. It’s well Peter Jenkyns worth it! Vivace, Ms. Spool was Bessie, the Black Cat Assistant Director for Elkin and Co., Ltd., Dist. Hal Leonard Pablo Sosa, arr., Roger Bergs

Cantabile Children’s (#160110 ) El Cielo Canta Alegria! Unison and piano SSA and Piano Chorus in Los Altos, Boosey and Hawkes (48018823) Jenkyns draws an affectionate portrait of Bessie CA from 1996-2003. the Cat and takes us through to her death. I’ve Originally an Argentine song of worship, She has studied with always felt that the choir is really drawn to this this is a bright, positive song of praise with a piece, since they have often had pets who have catchy rhythm. Text is given in Spanish and Dr. Charlene Archi- died, and it’s very satisfying to them to be able English, and the piece can be performed in beque and Dr. Amanda to sing about it. The melody has an easy lilting either language, or sung once in Spanish and

Quist, and holds a quality, and is perfectly set for very young sing- a second time in English. Bergs has varied the ers in the best part of their range (G to E-flat). accompanying voice and piano under each of Level Three Certifi- the three verses. The first verse is homophonic, cate from the Choral Jacob Narverud but the second adds an ostinato in the lower two Lunar Lullaby parts, and a descant in the last verse. This piece Music Experience under SA and piano would be a nice addition to a community choir Doreen Rao. Santa Barbara Music Publishing program or for use in a service.  (SBMP 1282)

Leading the Way Cantate • Vol. 28, No. 3 • Fall 2016 • 33 California ACDA BOARD Directory

EXECUTIVE BOARD REPERTOIRE & RESOURCES

President REGIONAL YOUTH Community Choirs Lou De La Rosa REPRESENTATIVES Kristina Nakagawa (408) 206-7192 Children’s & (408) 205-6050 Bay Area Community Youth Choirs l.delarosa.wvc@ artistic@ Jeffrey Benson Peggy Spool gmail.com resoundingachord.org (408) 924-4645 408-979-9997 President-Elect jeffrey.s.benson@ peggy@ Music in Worship Robert Istad gmail.com vivaceyouthchorus.org Christopher Gravis

(562) 822-5952 christopher_gravis@ Central Junior High & Middle [email protected] mac.com Polly Vasché School Choirs Vice President (209) 526-9692 Molly Peters REPERTOIRE-SPECIFIC Lori Marie Rios [email protected] (213) 880-7597 (818) 679-7463 [email protected] Contemporary A Cappella Central Coast [email protected] Deke Sharon Carolyn Teraoka-­Brady Senior High School Choirs [email protected] Executive Administrator/ (805) 689-­ ­1780 Christopher Borges California ACDA Office cteraoka-­brady@ (661) 204-2689 Contemporary Commercial Kathleen Preston sbusd.org [email protected] Choirs 921 N. Harbor Blvd., #412 William Zinn Far South La Habra, CA 90631-3103 COLLEGIATE (916) 601-4175 John Russell (657) 217-0767 [email protected] (917) 686-­0110 [email protected] College & University Choirs [email protected] Angel Vázquez-Ramos Ethnic & Multicultural (714) 305-1087 Perspectives Northern [email protected] Daniel Afonso Jenny Bent (209) 667-3530 [email protected] Two-Year College Choirs [email protected] Arlie Langager Southern (858) ­774-­0412 Men’s Choirs Stacey Kikkawa [email protected] Gavin Spencer [email protected] (530) 241-4161 Student Activities [email protected] Chris Peterson EVENT CHAIRS (657) 278-3537 Vocal Jazz Choirs [email protected] Ian Brekke Summer Conference Regional Honor Choirs (562) 985-4781 at ECCO Central LIFELONG [email protected] Jeffe Huls Aaron Snell [email protected] Choral Composition Women’s Choirs honorchoir.central.ca@ David Montoya Tammi Alderman CMEA Representative gmail.com [email protected] (626) 419-8031 Willow Manspeaker [email protected] Coastal wmanspeaker@stevenson- Alice Hughes school.org coastalhonorchoirchair@ gmail.com COMMUNICATIONS All-State Honor Choirs Genevieve Tep Southern (SCVA) Cantate Editor Webmaster (510) 928-9108 Karen Garrett Eliza Rubenstein Anthony M. Lien [email protected] [email protected] [email protected] (530) 758-5896 cantate.editor@ [email protected] gmail.com

34 • Cantate • Vol. 28, No. 3 • Fall 2016 California ACDA Leading the Way Cantate • Vol. 28, No. 3 • Fall 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