January - 2009 PDF

The Official Newsletter for the Arkansas Chapter of
January 2009
“Are We There Yet?!?”
(Taking Your Choir to that Next Level)
Graeme Langager
When I was a kid my family would pack
up the car about twice a year to travel to
visit my grandparents. We did this usually
once in the summer and once at Christmas. I would guess our family trips were
no different than millions of others in one
particular way—echoing from the back
seat (usually only just once more than my
parents wanted to hear it) was the familiar
question: “Are We There Yet?!?”
Now, however, this once-annoying refrain has become the million-dollar question I perpetually ask myself in the process of rehearsing my ensembles. “Are
We There Yet?”
Said in other ways “Have we reached
our goals?”; “Have we arrived at our musical destination?”; “Does my choir sound
exactly like the mental image I have for
the piece?”; “Is my choir achieving precisely the objectives I set out for them to
achieve?” And if not, “What specifically
needs to be improved in order to take my
choir to that next level?”
In this evaluative process, I often find
myself coming back to four main issues
that are the difference between the present and the potential in my ensembles:
Rhythm, Pitch, Vocal Issues, and other
Intangibles. These four issues may sound
both obvious and familiar—it’s because
they are; we all work on them with all our
choirs.
Rhythm
While some may find it odd that this is
first on this list, careful attention to rhythm
can actually correct a whole host of other
problems. Consider the wisdom of three
of our era’s greatest conductors, Robert
Shaw, Helmuth Rilling, and Robert Page.
Perhaps Robert Shaw’s signature rehearsal technique was a rhythmic one:
count-singing. He spent hours of valuable rehearsal time count-singing through
repertoire. His recordings and live performances are electric due to his commitment
to rhythm. His singers were doing exactly
the same thing at exactly the same time,
resulting in riveting execution.
Helmuth Rilling is famous for asking
this question of the musicians and conductors at the Oregon Bach Festival: “Are
we together?” The question is innocuous
on the surface, but it gets to the core of
what Shaw was also striving for—that all
the musicians need to be doing exactly the
same thing at exactly the same time.
Finally, I recall Robert Page saying in
a master class once, “the right note sung
at the wrong time is the wrong note.” He
was right. This statement is brilliant for its
simplicity and accuracy.
Some quick tips: 1) check to see that
repeated rhythms (a whole measure of
quarter notes or eighth notes etc.) are
not rushing; 2) check to see that “galloping” rhythms (an eighth followed by
two sixteenths) are precise, especially the
two sixteenths; and 3) use a metronome
or drum machine from time to time in
rehearsal—the students will be amazed
to discover where their rhythms are inaccurate and they’ll enjoy the challenge of
trying to correct the problem.
Intonation
The subtleties of intonation can make
a good performance great (or vice versa).
Try recording your rehearsals and listen
back later in the day. You’ll hear more accurately when you’re solely intent and focused on the activity of listening while not
simultaneously occupied by the activity of
teaching. Play the recording back for your
students to see if they can hear any intonation problems, and to try to get them committed to solving the problems.
Most of us pay a lot of attention to, and
work hardest to tune, the third degree of
Graeme Langager
the scale. This of course is a very important scale degree for singing in tune. Often,
however, the problem lies in the second,
fifth and sixth degrees of the scale; when
sung slightly flat (or even just in tune with
the piano), they can cause the entire ensemble to fall flat. Try having your choirs
sing these scale degrees slightly higher (i.e.
in the key of G, it is the A, the D and the
E that need to be higher). Often I have my
students pencil in “up-arrows” over these
pitches to remind them to lift.
Here are two quick tips: 1) often persistent flatting is caused by lack of energy
in vocal production and/or lack of vowel
unity and can be solved simply by using
increased breath energy and by using taller vowels; 2) often persistent sharping is
caused by shoulder, neck, and jaw tension
(especially with younger singers) and can
be solved simply by relaxing those muscle
groups.
The Voice
It would be difficult to summarize vocal issues in a few sentences. However, the
three concepts mentioned above—breath
energy, vowel shape, and upper body
tension—are critically important and constantly need attention. The bottom line is
that we want our singers to sing healthily
and with freedom and energy.
Intangibles
The intangibles are those special aspects
of a performance that really make it compelling to the audience—those things that
are hard to label, but that are easy to feel
when they’re not there.
For the intangibles I’d like to suggest
two things. First, I’ll slightly modify and
add one more clause to a phrase I’ve already used in this article—work hard to
have your choirs do the same thing, at the
same time, with the same intent. This can be
the difference-maker for many choirs, and
it can often stem from something as simple
as the singers understanding what they are
singing about. Take time in class to discuss
the meaning of the poetry. Stimulate your
students by challenging them to suggest
their own interpretations. And be sure that
translations are understood.
Second, encourage your students to
“look like the music” that they are making.
(Incidentally, this means that we as conductors also must “look like the music.”)
We have all come to realize that most audiences today listen first with their eyes and
second with their ears. Visually expressive
choirs, with emotionally invested singers,
are always more enjoyable to listen to, and
to watch.
Was your last concert the
very best it could have
been?
What about the next one?
What’s your plan?
Thinking of Beginning
a Children’s Choir?
Gaye McClure
Directing a Children’s Choir can be a real
challenge, but it can also be very rewarding.
In my limited time as conductor of such a
group, I was challenged to find appropriate literature, to build the program, to help
the community understand the importance
of such a group, and to get young children
excited about making music together.
Many pieces that were used in my children’s choir were those that I had used in
some capacity as a junior high school director. Several pieces that I used with
seventh-grade girls, for instance, were also
quite suitable for the children. There are
many children’s choir CDs in my collection of recordings, and great pieces can be
found just by listening to quality groups
and deciding what will work for your particular group.
Among the CDs I have gone back to
time and again is one entitled Full Circle,
a recording by the Newfoundland Symphony Youth Choir singing songs by Stephen
Hatfield. It is not a new recording, but it
is a great source of proven worth. While
not every song is suitable for a children’s
group, there are several that are. Many
would also be suitable for junior high and
some also for senior high women.
The children’s choir in our community
started just over two years ago, so building the program was the first major task.
We started by publicizing in our local elementary and junior high schools. Church
choir directors and leaders of home-school
groups are also excellent sources to assist
in promoting such a group.
accent 2
While we have done several concerts as
a children’s choir alone, the greatest excitement for the kids (without a doubt!) is when
they get to sing with “grown-ups.” Our jazz
band at UA-Fort Smith is well known and
has great support in the community. One
semester we combined with the jazz band
for a few numbers on their concert, and it
was a huge success. At Christmas last year,
we combined with our Fort Smith Chorale,
a well-established community choir founded and directed by Mr. Bill Cromer. The
students had the opportunity to perform
several numbers with the Chorale. This
not only excited the children, but was great
exposure for our group in the community
as a whole.
There are many sources to help you in
your quest to build a thriving children’s
chorus in your community. Above all,
if you choose to be involved with such a
group, do all that you can to ensure that
the children involved have a top-notch program of which to be a part. Make certain
that they are singing meaningful, yet ageappropriate, literature. Help them to understand the value of the music and techniques
that you are presenting to them. Challenge
them with great literature, but always be
careful to preserve their precious instruments.
By no means do I consider myself an expert regarding children’s choirs, but I hope
these are some tidbits of information that
will help you or inspire you. There are not
many sounds sweeter than those of children
singing; so try it—you just may like it!
Gaye McClure
Could your community benefit by having a children’s
choir?
If so, who’s in a position to
help develop it?
Could your choir benefit
by combining with other
groups in a joint concert?
>administrator ’s corner>
All God’s Critters
Got a Place in the Choir
Frank Ferguson
It was a cool November evening in
Monticello. As I worked my way to my
seat in the auditorium I waved to several
of the choir directors who were ending a
long and satisfying day at the All-Region
Choir Clinic. Finding my place on the
front row, I waited eagerly for the concerts
to begin. As the junior high students filed
onto the stage I noticed the pride on their
faces. Then my eyes found Josh. Ah,
Josh! Standing on the second row, just
a bit to the left of the piano. Josh. The
hulking kid who has spent countless time
in the principal’s office reviewing the consequences of one of his myriad infractions
of school rules. In his freshly-pressed
white shirt and striped tie Josh looked as
nervous as a long-tailed cat in a rocking
chair factory. I worried if Josh could be
still long enough to get through the program. It is sometimes a challenge for him
to be still. Even in choir class. Especially
if he is uncomfortable or feels threatened.
But there he was. When the music started
he was transformed. Not only standing
still, but singing as if it were the only
thing that mattered. The only thing that
had ever mattered. He never took his eyes
off the conductor. I couldn’t have been
prouder of him or for him.
The high school students next made
their way to the stage. On the top row
of risers, looking around anxiously, was
Kate. Kate is slightly autistic and can
become quite agitated if her world is not
as she expects it to be. I watched, wondering what would happen if Kate did not
find her mother in the audience. More
than once I have helped Kate calm down
after a panic-stricken meltdown when
something didn‘t go just as expected. Not
finding her mother could be one of those
moments. By the time the conductor had
been introduced and was ready to begin, I
could tell Kate had still not found whom
she was searching for. Nevertheless, she
got into character, and, like Josh before
her, seemed to become one with the music
and the moment.
That Josh and Kate worked hard, overcame individual challenges, were taught
well, and had the courage to audition to
earn a chair in the All-Region choir may
seem remarkable. But not really. The
truly remarkable thing is that there are
Joshes and Kates all across this great state
who find an anchor in the school choir.
Who find that the power of making music
transcends differences and allows every
kid a place to be accepted and make a
contribution. There are dedicated music
teachers who take the Joshes and Kates
and mold them into wonderful singers and
better students.
A lot can be learned by watching a
skillful music teacher work. The goal of
a good music program is not to bring students merely to a “proficient” level, but to
seek perfection. I love to use the example
that there are 100 notes in The Star Spangled Banner. How many of those notes
can be performed incorrectly and still have
an acceptable performance? In the typical
classroom missing forty notes would still
produce a passing score. Only missing
thirty would be an “average” level. Even
missing ten notes would produce an “A”
grade. But would the performance be
acceptable even if “only” one in every ten
notes were wrong?
Kids may not understand this in Language Arts or Science class, but they do
understand it in choir. It is the pursuit of
perfection that drives quality students to
seek out quality music programs. It is the
constant engagement and high expectations that keep them coming back for
more. It is the intellectual challenge of
evaluating their performance and then trying to make it even better the next time.
Frank Ferguson grew up in northwest Mississippi
and attended high school in Horn Lake. He graduated
from Delta State University in Cleveland, Mississippi, in
1973 with a Bachelor of Music Education degree and
earned the Master of Music Education degree from
Delta State in 1981. He has done additional graduate
study in Educational Leadership and Supervision at the
University of Arkansas. A high school band director for
eighteen years, Ferguson has worked at the elementary
school through university levels during his 34-year
career in education and is currently in his thirteenth year
as principal of Drew Central High School in Monticello.
He is married to Laura Ferguson, long-time Director of
Choral Music with the Warren School District. They both
also hold positions as musicians with First Presbyterian
Church in Monticello, where she serves as organist and
he serves as director of the Chancel Choir.
Is your choral program
reaching a child that
others have not been able
to reach?
accent 3
As Bill Staines wrote in his delightful
tune, “All God’s Critters Got a Place in the
Choir”:
All God’s critters got a place in the choir
Some sing low, some sing higher
Some sing out loud on the telephone wire
And some just clap their hands, or paws
Or anything they got.
For the Joshes and Kates, and Ashleys
and Kyles, for the Domeniques and Debbies, the Rashads and Roshundas, thank
you Mr. and Mrs. Arkansas Choral Director, for ensuring all students “got a place
in the choir”!
Do you know an administrator who has something
to say to Arkansas’ choral
directors?
Please let the editor know.
What Inspires You?
Rhonda Hawley
Confession! This article is being written on November 30, the Sunday after
Thanksgiving. As typical of many of us,
I have waited until the absolute deadline
to put pen to paper for this column. I kept
hoping for some inspiration!
Today I found the inspiration I needed.
At 2:00 dozens of my students and their
parents met at the choir room to do the
dreaded “load in” for our annual Christmas Feast. It was cold and snowing, and
many of them were barely home from
their Thanksgiving journeys. By 2:20 they
had loaded two trailers and many trucks,
SUVs and cars full with portable stages,
portable walls, tables, platforms, 25
Christmas trees, costumes, and countless
items of décor for transport to the Methodist Church, which generously donates
their facility to us this week. By 4:45
everything had been moved in and was set
up for our feast! Pretty inspiring! Equally
inspiring was the work the students had
put in on their music and scripts over
the holiday. They had all prepared their
solos and dialogue with a sense of pride
and excitement. With everyone pitching
in and doing a small part, we got a huge
task accomplished. We’re going to have a
great Christmas Feast week!
I re-learned a valuable lesson today—
stop seeking for some lofty idea and look
at what is right in front of you! People
want to help and are willing to do just
about anything if given the opportunity.
Students want to be successful. They
want to do their best and they want to feel
important. I guess what was so poignant
about today was the sense of community
accent 4
that everyone felt. To most students,
that is what being in choir is all about.
If we’re lucky, it’s centered around the
music!
You are most likely reading this column
in mid-January, the gloomiest time of year.
What is keeping you inspired? Hopefully
it is more than upcoming CPA ratings! On
the mornings when you may be wishing
for a snow day or wondering what it is like
to work with “grown ups,” just look right
under your nose for some inspiration. In
your choir there is a student who quietly
works hard every day yet goes unnoticed;
there’s a kid who is raising himself because the parents are irresponsible; there’s
the one who would live in the choir room
if you’d let her; there is the student who
gives 100% every day….even on the bad
days! All of these young people choose
to be in our class. Let them inspire us!
Hopefully we can pay it forward and the
cycle will be continuous.
If you’re looking for some inspirational
reading I recommend:
• The Joy of Inspired Teaching, Tim
Lautzenheiser
• The Last Lecture, Randy Pausch
Needing some LIVE inspiration???
Make plans to attend National ACDA
Convention in Oklahoma City.
Rhonda Hawley
Are you passionate about
music?
Do your students share
your passion?
Do you communicate it to
them?
Somebody’s students wrote these definitions. Were they yours?
The principal singer of nineteenth-century opera was called pre-Madonna.
Just about any animal skin can be stretched over a frame to make a pleasant sound once
the animal is removed.
Henry Purcell was a world-famous composer few people have heard of.
Refrain means don’t do it. A refrain in music is the part you’d better not try to sing.
I do know what a sextet is but I’d rather not say.
An interval in music is the distance from one piano to the next.
A virtuoso is a musician with real high morals.
A harp is a nude piano.
Come play the numbers game in Oklahoma City
27 auditioned choirs
4 international choirs
4 honor choirs
36 interest sessions
13 reading sessions
2 identical convention tracks
4,000
colleagues
ACDA National Convention - March 4-7
$50 - the amount you save by registering by January 15
other ways to save money carpool
share a cheap room with another director
(Orbitz lists a bunch for less than $60)
Registration information at acdaonline.org
accent 5
Executive Committee
Arkansas ACDA
Arkansas ACDA
R & S Chairs
President
Rhonda Hawley
Springdale High School
rhawley@sdale.org
Women’s Choir
Tina Niederbrach
Searcy High School
tinan@searcyschools.org
Male Chorus
Clint Pianalto
Har-Ber High School
cpianalto@k12.sdale.org
Vice President
Michael R. Crouch
Harrison High School
mcrouch@gobs.k12.ar.us
Community Choir
Bill Cromer
Northside High School
bcromer@fortsmithschools.org
Junior High and Middle School
La Juana Warner
Annie Camp Junior High
warnerl@mail.jps.k12.ar.us
Secretary/Treasurer
W. Thomas Rickman
Harrison Junior High School
trickman@gobs.k12.ar.us
Children’s Choir
Gaye McClure
Southside High School
gmcclure@fortsmithschools.org
Senior High School
Dawnelle Fincher
Fayetteville High School
dfincher@fayar.net
Secretary/Treasurer-Elect
Bennie Carol Wade
Dunbar Middle School
Bennie.wade@lrsd.org
College and University Choir
Graeme Langager
University of Arkansas
langager@uark.edu
Two-year College Choir
Jeff Parker
ASU-Beebe
jparker@asub.edu
Ethnic & Multicultural
John Erwin
University of Central Arkansas
johne@uca.edu
Executive Director of ArkCDA
Thomas D. Street
tomstreet@arkcda.org
Newsletter Editor
Cliff Ganus
Harding University
ganus@harding.edu
American Choral Directors Association
Arkansas Chapter
Cliff Ganus, Newsletter Editor
P.O. Box 2720
Oklahoma City, OK 73101-2720
Non-profit Org.
U.S. Postage
PAID
Permit No. 188
Oklahoma City, OK