Being a music educator can often feel isolating. While we ’ re surrounded by fellow educators daily, our role differs significantly from that of a typical classroom teacher We may have colleagues in other musical disciplines band,orchestra,andbeyond whounderstandtheuniquechallengesofteachingmusic,butmanyof uslackanothervocalcolleaguetoexchangeideaswithregularly.Insmallerschools,amusiceducatormightbe theonlyoneinthebuilding—oreventheentiredistrict
Yet,musicitselfhasanincrediblepowertobringpeopletogether I’veexperiencedthisfirsthand thepeopleI’ve made music with, from grade school to college and beyond, remain some of my strongest and most enduring relationships I imagine this is true for many musicians, both amateur and professional, and you ’ ve likely witnesseditinyourownrehearsalspaces.Butwhatifweextendedthissenseofconnectionbeyondourchoirs? Toooften,directorsremainintheirownrehearsalspaces,orevenviewoneanotherascompetitorsratherthan collaborators Atitscore,musicismeanttounite,andIbelievesingingonlyamplifiesthispower
Thismayseemlikeanobviouschoice,butitperfectlyillustratesthepowerofcollaboration Honorchoirsbring together students from diverse backgrounds who share a passion for singing, and the result is almost always transformative. I’ve spoken with countless individuals some well past retirement who still reminisce about theirhonorchoirexperiencesandthelastingimpactofthosefewdays Whilethemusicalexcellenceiscertainly partofwhatmakestheseeventsspecial,Ibelievethedeepermagicliesinthesenseofcommunitytheycreate. Comingtogetherwithotherswhosharealoveforsingingfostersconnectionsthatcanlastalifetime.
Ihadtheopportunitytodothiswithanotherhighschooldirectorfroma “rival”school,andtheexperience wastransformative Ourstudentsnotonlyhadthechancetoperformapiecetheycouldn’thavetackled alone, but they also built connections with singers they might have otherwise viewed as competitors. It wasapowerfulreminderforoursingersthatmusichastheabilitytobuildbridgesratherthanwalls.
HostaCollaborativeEvent
This type of event may sound like a heavy lift, but it’s often easier than it seems! I’ve organized collaborations in a variety of formats at the middle school and high school levels, and now with a community choir. While the idea might feel daunting at first, breaking it down into a simple checklist makes it manageable. The key is to keep it straightforward, both for your own sanity and to ensure accessibilityforallinvolved HereareafewformatsI’veseenworkwell:
SharingFestival:Allparticipatingchoirsgatheratasinglelocationfortheday Aclinicianprovides short workshops for each choir, while students get to observe and learn from each other’s performances and feedback. Between sessions, they can engage in fun singing activities (and share food!) Iliketowrapuptheeventwithaspecialguestartist Whenschoolssplitthecost,thisformat becomes highly affordable but it can also be done on a tight budget by having attending directors serveascliniciansforeachother’sgroups.
Collaborative Festival: This operates similarly to an honor choir, with all participating groups learning the same repertoire in advance. A clinician then works with the combined ensemble throughouttheday,culminatinginafinalperformance.InonefestivalIhelpedorganize,eachchoir also performed a standalone piece before the mass ensemble portion While this made for a longer concert,mystudentsandIlovedhearingwhatotherschoolsweredoing.
Collaborative Performance: Open the doors to your community and invite audiences from all participating groups to experience a celebration of choral music Each choir gets dedicated performancetime,andifdesired,amassedensemblepiececanclosetheconcert,withsingersfilling thestageandaislesforapowerfulfinale.Iftimeallows,adressrehearsalcanserveasachancefor singers to watch each other, especially if there won’t be space with the audience during the performance. Consider incorporating guest performers or small ensembles between sets to create smoothtransitions.Thisformatworksespeciallywellforcommunityensemblesandisanexcellent waytoboostvisibilityandaudienceengagementforallinvolved
Connect with a choir while traveling - visit, rehearse together, or even put on a shared performance.
Host a social event to build relationships outside of rehearsals, strengthening the sense of communitywithinandbeyondyourprogram.
Nomattertheapproach,Iencourageyoutoseekoutwaystobuildbridgeswithotherchoirs.I’msurethere are even more creative ideas out there, and I’d love to hear them! If you ’ ve been part of a unique collaboration,pleaseshare;I’malwayslookingforfreshwaystobringmusicianstogether.
HOWTOSTARTANACAPPELLAGROUP
Contemporary A Cappella has changed my program for the better in so many ways Each year, student interest and retention grows, literacy gets better, and students are proud to show what they’ve accomplishedinliveshows,musicvideos,andprofessionallyrecordedalbums.Ifyou’recuriousaboutwhat popacappellacandoforyourprogram,butneedsomewheretostart,herearesomehelpfultipsthatcanbe appliedtoanychoralprogram.
We use a virtual round for a barrier that showcases their solo ability. They upload a video of themselvesintoagoogleformandwehavejudgeswatch,rank,andmakeacut.
Callbacks include a choreography and quartets portion (which they learn ahead of time through a teachingvideoandparttracks.)
Prior to Day 1, use a shared Spotify playlist for group suggestions. Comb through them and take out anythingthatisinappropriatematerialforstudentsandanythingthatyoudon’tfeelwouldbeagoodfit.In themeantime,givethemanarrangementtostart,evenifit’snotgoingtobepartofaperformance,sothey cangetusedtousingparttracks(seebelowaboutthisrehearsalmethod)andsoyouhavesomethingto work on when you meet in August. Once you ’ ve chosen a couple of songs together, start the process of findingthearrangement.
Inadditiontotheabovemusicpreparation,determinewhoyouareasagroupandwhatyourgoalswillbe fortheyear.Whatwillyouwear?Whatwillyourgroupnamebeandwhowilldesignalogoandsocials? Whoisyourtargetaudience?Whatprojects(liveperformance,recording,recruitment)willyoufocuson?I would suggest a google form or writing assignment rather than group discussion so that all voices are heard-notjusttheoutspokenones.
SUGGESTIONSFORMARKETINGANDBRANDING
YournameisyourMOSTIMPORTANTmarketingdecision!Avoidnamesthatareoverusedorthatwon’t stand the test of time. Consider getting a custom logo designed and get t-shirts, jackets, tote bags, (and more!)madeformembersandfans!Getyoursocialsandwebsiteupandrunningassoonaspossible-have astudentrunthem!Theylovemakingcontent.
ARRANGEMENTS
Thisisthe#1Questionfromdirectorswantingtostartagroup!Ifyouareonatightbudgetandneedsome free arrangements to start your group, try CASA, AEA, and Deke Sharon who often have some free arrangements online. You can also ask other a cappella directors to share their library or suggestions for repertoire Wearehappytohelpoutnewgroups!
For published arrangements, the best online resource is Sheet Music Plus. The industry’s best arrangers upload many of their pieces on this platform, which is legally “ready to go ” . JW Pepper also has some popularonesintheircatalog,butaremissingalotofgreatliteraturethatismorewidelyfoundonSMP Also,knowthatitiscommonpractice(andusuallyaveryquickturnaround)toaskanarrangertore-voice somethingthey’vealreadywrittenoradjustforyou.Justemailthem!
Please feel free to reach out to any a cappella director to talk more about any of these topics. Our communityisgrowingandwelovetohelpinanywaywecan Bestwishesonthisexcitingstepforyou andyourstudents!
LeiaBrowning leia.browning@rockwallisd.org
BeOurGuest Caleb Zustiak-Missouri
ChoosingMusicthatInspiresGrowth
The administrator continues writing in her notebook as the choir performs one of its songs. Thestudentsareengagedinthemusic;theyhaveobviouslyworkedhardtolearntosingtogether andinparts,andtheclasshasmetallofthestandardsexpectedbythestate. Thedirectorhasdevotedthe time necessary to teach the students to sing well, and a proper student/teacher relationship has been demonstrated. Thebellrings,thestudentschatterhappilytooneanotherastheyleavetheclassroom,and itseemsthattheytrulyenjoythechoralexperiencetheyarehaving.
Asoneofthestudentswalkspast,theadministratorstopsherandsays,“Ireallyenjoyedthatlastsongyou sang,ithadaveryinterestingtext. Whatdoyouthinkitmeans?” Thestudentpausesforamoment,and thensays,“Idon’tknow,Ijustreallyliketosingit.” Sheasksanotherstudentpassingandhereplies,“I don’tknow,somethingaboutfreedom?” Whenshetalkstothedirectorabouttheirlackofunderstanding, theteacherrepliesthattheyjustdon’thaveenoughtimetolearnthemusicwellanddiscussthetextand meaning,butthattheydidreceiveatopratingattheirlastadjudicatedevent. Theadministratorsmiles and nods her head, looking at the many trophies and plaques adorning the walls of the classroom However,shewondersifthestudentscouldbegettingmorefromtheirtimeinthechoralclassroom.
I have been a choir director for the past 25 years and have truly enjoyed the experience of creating an ensemblethatsingswell,cooperateswithoneanother,andperformshighqualitymusic Intruth,muchof what we bring to the choral classroom is found innately within the music itself. Multiple studies have demonstrated the benefits of singing and expressing oneself, along with the positive emotional support gainedfrombeingpartofachoir Iamfullyinvestedinachievingallofthepositivecharacteristicsinthe class described in the hypothetical story above, and in many ways that is an important objective we attempt to achieve in our classes. If students can learn to be vulnerable with one another, sing with expression,andunderstandthefoundationalstandardsofthechoralart,thenwehavedoneanadmirable job.
However,Iwouldalsoarguethatweareinauniquepositiontobeabletomoredeeplyaffectourstudents’ lives While we have specific standards and expectations given by our state and districts, we also have incrediblefreedomintermsofthemusicweselect,thetextwithinthatmusic,andtheculturesandgenres weteach. Howcanweuseourmusictonotonlymakeourstudentsbettermusicians,butalsogivethema betterunderstandingofthemselves,others,andtheworldaroundthem?
Iwouldsuggestthatwechoosemusicwithtextthatisdeeplymeaningfulinsomeway. I’mnotsaying thatthereisnoplaceforaneasilylearnable“fun”piece,orthatwedon’tperformpiecesthatarehumorous. Ibeginmyfallconcertwiththe“PleaseTurnOffYourPhone”songbythePoddBrothers Itisverytonguein-cheek and encourages the audience to turn off their mobile devices in an engaging and funny way. However, if all of our pieces are cutesy or just for entertainment, it is difficult to claim that we have a seriousplaceinqualityeducation Aliteracyclasswouldn’tselectonlycomicbooks;similarly,weshould makecertainthatourliteraturereflectsimportantideasandconcepts.
I also think we need to ensure that our songs meet the students where they are. I am a middle school educator Somepeopleconsider7thand8thgraderstobechildrenandthusselectchildishmusicforthem Iwouldarguethatthesestudentscandomore,andthatwecanhelptransitionthemtoadulthoodrather thancoddletheirimmaturity.Infact,manymiddleschoolersquitsingingiftheliteratureislowlevel;they arereadyforamorerigorouschallenge Ipersonally,droppedoutofchoirinmiddleschoolbecauseIwas disappointedinthelevelofmusic.Ididn’tjoinchoiragainuntilmysenioryearofhighschoolwhenIhad extra space in my schedule. Had my director selected a better quality of music, I think I would have enjoyedamuchricherandmorefulfillingchoralexperiencethroughoutmiddleandhighschool
IlivenearSt Louis,andwehavealargeBosnianpopulationafterwelcomingrefugeesfromtheBosnian Civil War. In class, the current conflict in Israel/Palestine was being discussed, and one of my students mentionedherfamilyhadsomestoriesabouttheirexperiencesintheBosnianCivilWar Wewerelearning a3-partarrangementof“SongforSarajevo,”andIcontactedherfamilytoseeiftheycoulddiscusstheir experiences so that the students could have more context. My student’s father was a child when their familyescaped,andhecametotalktothechoirduringclass Hetoldthestoryofhowhisfamilycaught thelasttrainoutofSarajevo,ofthepeoplethathadbeenleftbehind,andhowhebecameapolicemanto protect people. These stories created an amazing discussion about that conflict as well as the current conflict, and it helped the students understand the world around them and connect more deeply to the song.Thatfamilyalsosentmeapersonalletterofthanksbecausetheirdaughterhadbecomeclosertoher grandmotherthroughtheirdiscussions.
As another example, a local composer wrote a piece we performed based on the poem, “Did You Never Know”bySaraTeasdale.Wehadsomeimportantclassroomdiscussionsaboutwhatwefeltitmeant,and how love and lost love can affect us. Students journaled about their feelings, and one student's short journalentryread,“I’mgladwesang‘DidYouNeverKnow’becauseithelpedmeunderstandmyparent’s divorcewasn’tmyfault.”IhavetoadmitthatmyheartbrokefromwhatIread,butIwasalsosohappythat hewasabletofindclosureaboutsomethingthataffectedhimdeeply.Whenwechoosetoselectquality textandliterature,itcreatesthepossibilityforreflection,deepthinking,andthegrowthwedesireforour students.
Lastly,Ibelievethatourmusicselectionscantakeourstudentsbeyondwhattheycurrentlyknow.Young people are innately egocentric because of their stage of emotional and mental development They aren’t truly selfish, but they see the world through the lens of their own experiences and understanding. By givingthemarichandeclecticsetofsongstosing,wehavetheopportunitytoexpandtheirworldview. Many students only understand the music that is reflected in their own experience When we offer studentsEuropean chant, American gospel, Indian raga, African traditional music, Jazz, and a variety of languages and genres, we open up their thinking and gain the opportunity to discuss why that music developed the way that it did, and how we can perform it authentically To perform it authentically, however,itisessentialthatthemusicweselectisquality,culturally-authenticmusic.Justbecauseasong usesaforeignlanguageorparticularsounddoesn’tmeanitisagreatexampleofthatstyleofmusic.When weselectliteraturethatisauthentic,wegiveourstudentsamoregenuineexperience.
We also have the opportunity to bring experts from the community to further develop our student’s understanding of style and genre. I can introduce gospel music to my students, but when I bring in an accompanistwhogrewupinagospelchurchandcandirectfromatrulypersonalstandpoint,thestudents understand it more. When we sing Russian music and a local Russian immigrant comes to help with pronunciationandunderstanding,thestudent’sknowledge(aswellasourown)becomesdeeper.Whenwe sing Catholic polyphony in our local, historical Catholic church, it helps students understand how the polyphonyechoedthroughthevastspacesinthecathedrals.
Doesthistakemoreworkandtimeinclasstotakethismultidisciplinaryapproachtomusic?Yes,itdoes, andwehavetoweightheimportanceofconnectingwiththemusicalongwithmeasuringthetimeittakes to perform the music well. However, if we want to enhance our student’s experiences and help them to grow and understand it more deeply, we must go beyond the performance aspect of choir to make a significantimpactonourstudentswhoneedthatemotionalandmentalgrowth
Professional development is most effective when it’s designed by those who truly understand our field. Toooften,educatorsarepresentedwithtrainingsessionscreatedbyindividualswhohaveneversetfootin achoralclassroom.Thisdisconnectcanmakesuchsessionsfeelirrelevantorunhelpful.However,through ACDA,Ihaveaccesstoprofessionaldevelopmentthatisdirectlyapplicabletomywork.
ACDAprovidesawealthofresourcestailoredspecificallyforchoraleducators.Icanreadinsightfularticles written by other professionals who share my passion and experiences. Conferences offer sessions led by seasoneddirectorswhohavefaced andovercome thesamechallengesIencounterinmyownclassroom
Most importantly, ACDA has given me a network of colleagues I can turn to for advice, encouragement, andsupport.
Ifyou ’ refacingachallenge,don’thesitatetoaskforhelp.Andifyouseeacolleaguestruggling,offeryour support Sometimes,allsomeoneneedsisalisteningeartoworkthroughtheirfrustrations
The2025NewMexicoACDAElementaryandYouthAll-StateFestivalwrappeduponlyafewdaysago Dr Julie Scott (SMU), Stephen Holmes (Maryland State Boychoir), and our own Joanna Hart (Bosque Preparatory School), provided opportunities, experiences, and stunning repertoire for 400+ students We knowthatthesememorieswilllastalifetime
AhugethankyoutotheNMACDAExecutiveBoardthatassistsinthepreparationandproductionofour All-State Festival. Every person plays an integral role in the success of the festival. I would also like to congratulate and thank the choir directors of New Mexico Your dedication to your students in their journeyoftheAll-Stateexperiencedoesnotgounnoticed Icouldn’taskforabettergroupofeducatorsto workwith!
NMACDA members are stepping up in multiple ways, from getting involved in leadership roles as President-ElectandMembershipChair,toformingcommitteestoupdatebylawsandjoiningtheExecutive Boardasmembersatlarge.Itisexcitingtoseeourreachextendacrossthestate.
