The
Southwestern
connection January 15, 2026
new mexico missouri texas
arkansas colorado oklahoma kansas
Vol. 2.13
SWACDA Board (2024-2026) Jonathan Owen, President Joshua Oppenheim, President-elect Jeffrey Murdock, Past President Jeff Wall, Treasurer Margie Camp, Conference Chair
From the President’s Pen Past President’s Corner R&R Resource Articles Time Capsule
Children’s and Community Youth - Nathan Wubbena Junior High/Middle School - Cristi Miller Senior High School - Spencer Wiley 4-Year College and University - Rayvon TJ Moore 2-Year College and University - Tatiana Taylor Student Activity - Jennifer Sengin Community Choirs - Andy Waggoner Music in Worship - Bryan Taylor Vocal Jazz - Beth Enloe Fritz Show Choir - Michael Shimp World Music & Cultures - Eduardo Garcia-Novelli Tenor/Bass Choirs - Reginal Wright Soprano/Alto Choirs - Tanner Oglesby
From the President’s Pen
I imagine that most people have decided whether they are able to come to Albuquerque or not. Many have made their schedules to help them have availabilty and some are unable to come due to events that are scheduled as part of their jobs. For those of you who might be on the fence, I hope you will decide to join us in Albuquerque. It promises to be an amazing time with incredible Interest Sessions, fabulous auditioned choirs, exciting guest choirs and headlining ensemble, and the best honor choir directors you could ask for!!! Click on the link on the photo below. It shares everything you need to know about the conference, including a link to register and the schedule at a glance. We hope to see you in Albuquerque!!!
click on the photo
Best,
Jonathan Owen, SWACDA President
Past President’s Corner
Ryan Sullivan 2022 / Little Rock “Find Your Their Why”
A pastor I once worked with made a remark about growing the congregation’s membership: “Whatever we win them with is what we win them to.” Simple yet profound. In a choral context, no matter the setting we find ourselves (sacred/secular, adults/children, competitive/non-auditioned, etc.), this idea should be a guiding principle for music programs. People in 2026 have myriad ways to spend their leisure time: pickleball, Scouts, secondary vocational classes, pilates, and of course, Netflix. Students have everdiminishing elective credits. Participation in choirs is still recovering post-COVID, while individual and family preferences for time management have shifted. Fewer people are ‘joiners’ than in previous generations, and an increasing number of group activities are tied to identity and ideology. Yet, Millennials and Gen Z consistently report that they want more opportunities for face-to-face connection. Why are people joining your choir? A demand-based approach to event planning, repertoire, establishing and preserving traditions, rehearsal structure, etc., means we are better serving our constituents’ wants and, by extension, are likely to retain their membership in the choir. No choir exists in a vacuum or revolves solely around the priorities of its conductor. Of course, I am not suggesting that all artistic and operational decisions should be made by vote or committee. Neither are the reasons for joining music pre-determined. How we choose to recruit participants sets the tone for their expectations and sense of fulfillment (e.g., the annual trip to Branson, refreshments before each church choir rehearsal, or being in the most select choir). Put another way, our promise must correlate with the experience. Knowing our singers’ expectations means making more informed decisions about how to spend limited resources of time, space, and money. Honoring our singers’ ‘why’ does not mean that our program is reduced to a singular function. We can reinforce the hook that brought singers to the choir while also providing a holistic and multi-faceted experience. School-based ensembles will always be centered on music education, just as faith-based choirs will forever facilitate spiritual practice and tradition. In addition to the overt reason for joining a choir, people want to be part of something they believe is excellent, broadly defined. To borrow a sports analogy, a child and family may choose to be part of a ‘travel ball’ team because it allows for mini-vacations with one or more family units they are already friends with. But if the team loses every competition by a wide margin, it’s not likely to last. Choral excellence has recently experienced an expanding definition to include diversity of repertoire and cultural practices, and social-emotional learning, among others. Virtually no one joins a choir because they just love dotted quarter notes. But learning one’s part quickly or developing advanced vocal skills validates a singer’s growth, and more importantly, their sense of contribution to a musical ensemble. Put another way, people are drawn to successful organizations and to feel a sense of belonging in the shared excellence. In what ways do you explore and meet your singers’ expectations in choir?
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SATB High School Spencer Wiley, R&R Chair
Cultivating Independent Musicianship: Preparing Students for Auditions As many of us transition into the spring semester of the school year, our focus tends to shift to preparing our students for upcoming auditions and solo performances. Whether it be for regional/all-state tryouts, college entrances and scholarship auditions, or solo auditions for concert performances, many of our students will be asked to demonstrate their individual musicianship in the months to come. Balancing the needs of the entire program with the needs of our individual students can be overwhelming even for the most organized, experienced choir director. But it is in navigating these challenges that we have the chance to foster confident, independent musicians while maintaining the strength of our overall program. Empowering Students to Own Their Musical Journey Our job is to prepare our students to be life-long musicians that have the tools to pursue music and performance in any way they choose after they leave our program. This includes everything from singing karaoke to being a professional musician. To do this, we have to teach students how to be independent musicians that know what to practice and how to practice efficiently. If we try to give the same amount of individual attention to each student for every audition or competition, we would end up spending long hours at work outside of the normal school day. Too much of this can result in work- life balance issues. The goal is to develop a systematic approach that teaches students how to utilize their practice time efficiently that holds them accountable for their progress throughout their learning process. We have to remind our students that this audition is their musical journey, not ours. Teach Them What to Practice To improve students’ odds of having successful audition experiences, we must first ensure that they are familiar with the audition requirements, the audition process, and the resources available to them. Using the correct arrangement in the right key, being familiar with the required audition medium (recorded audio/video audition, live audition, blind audition, etc.), knowing the audition/upload date, and knowing where to find the best demo and accompaniment recordings are important things students need to know. To set them up for success, find the most user-friendly way to provide this information in one place. Consider having a website or link that will provide this information. Even though the information can be found in one place online, don’t forget to take the time to guarantee that you go over this information in-person with your students. Have a brief information meeting before or after school to discuss logistics so that you don’t have to give up rehearsal time in class. This will allow you to assess students’ buy-in investment. Time is currency for students in high school. Ensure that all students have access to rehearsal resources. Remember that not all of our singers have the luxury of having a cell phone or internet access. Have a plan in place for students that do not have access to electronic devices and digital resources.
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SATB High School Continued
Provide your students with a rehearsal schedule that breaks down what they need to be able to sing by specific dates. Be sure to break material down in chunks that can be rehearsed in twenty-minute intervals. Longer individual rehearsal sessions tend to be ineffective for young singers. Additional twenty-minute sessions can be utilized throughout the day if more practice is needed. Make sure that the rehearsal goals and expectations are clear and attainable. More time may need to be given to difficult sections of the music. Be sure that the schedule is set up so that students encounter all sections of the music no less that one week before the actual audition or upload date. This ensures that students do not procrastinate and cram at the last minute. This also allows for review and memorization if the audition requires it. Upload the rehearsal schedule to the same place that the rehearsal resources are located so that they are constantly reminded of due dates. Teach Them How to Practice Once students know what to practice, it is important that they learn how to practice efficiently so that they are maximizing the time spent during their individual rehearsal session. In addition to specific sections of the music, students should have a process in place that takes them from the beginning stages of learning the material to mastering the material so that they can present the most polished, artistic performance possible. The “Pyramid of Performance” (pictured below) is a visual aid that offers a sequential, systematic approach to rehearsing music from learning pitch and rhythm to making musical choices that allow the singer to present an artistic performance. The graphic is divided into six main sections and can be defined as follows: Notes & Rhythms: singing the right note at the right time Words & Pronunciation: accurately pronouncing and singing the text Dynamics & Phrasing: knowing where to breathe and how to expressively shape each phrase Technique: intentional focus on how to sing with a beautiful tone (breath management, placement, being aware of how your body functions as an instrument, etc.) Artistry: making your own artistic choices concerning how you want to perform the material Connection: focusing on the message/story that you are trying to convey to the audience; demonstrating the meaning behind the song through your performance The arrows located on the side of the graphic represent most young singers’ affinity toward each stage of the learning process. Students tend to dislike the arduous task of reading and learning pitches and rhythms but love to put their own artistic “spin” on a performance. The graphic encourages students to build a strong foundation on learning the pitches, rhythm, and text pronunciation so that they can eventually start making their own choices on how they want to present their performance. For most young musicians, when it comes to musical concepts required to learn a song, the brain can only focus on a few tasks at a time. Showing students where their effort should be throughout the learning process will result in more intentional, focused practice sessions.
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SATB High School Continued
Assessing Progress Through Performance-Based Check-Ins Find creative ways to assess their progress throughout the learning process. One way to accomplish this is to have your students sing in small groups or sections during rehearsal as a bell ringer or warmup exercise. You could also have them sing together and for each other. Be sure to walk around the room and actively listen to assess their daily progress. If you don’t have time during rehearsal to do small group progress assessments, generate a sign-up sheet that allows students to demonstrate their progress before or after school. This should just be a check-in that should last no longer than a few minutes. It should be just enough time for them to sing the excerpt and for you to provide a few statements of feedback. Resist the temptation to sit at the piano to teach them the music. Give them feedback on where they are in the learning process as well as strategies they can use during their individual practice sessions to rehearse more efficiently. Another way to save time when assessing your students’ individual progress is to have them submit audio or video recordings of short excerpts of the audition music. Insist that they self-assess their own recordings and provide their own feedback before you give yours. Make sure that their self- assessment feedback uses the Pyramid of Performance descriptors to identify where they are in the learning process and what next step should be. This is the best way to assess progress because students will always be their own worst critic, which will motivate them to want to practice more. Recordings can also be used to show how far students have grown over the course of the entire learning process. In most cases, students will cringe at the first few recordings and will be proud of the recordings leading up to the actual performance. Finally, consider setting up a time where everyone participating in the audition can demonstrate what they’ve learned in a group setting outside of the class. Students can sing in groups, duets, or as soloist. Try to make this a big deal where the performance environment is as close to the “real thing” as possible. This could be anything from a mock audition to a formal recital before the actual performance date. In the days leading up to the audition or final performance, be sure to congratulate them on their hard work in preparing for the event. It is important that you make a big deal about their growth as an independent musician and how proud of them you are. Regardless of what the results of the subsequent performance will be, the skills that they learned will prepare them for the next time they have to get ready for an audition, whether they have you as a resource or not. By teaching students how to take ownership of their preparation, we not only teach them how to get ready for an audition, we empower them with the skills they need to continue to hone their craft as a musician for the rest of their lives.
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Youth and Student Activities Jennifer Sengin, R&R Chair
From Concerts to Connections: Making the Most of the SWACDA Conference ACDA conferences are great opportunities to be inspired by our colleagues in the field, and the 2026 SWACDA Conference in Albuquerque, New Mexico will be no exception. Whether you are a veteran conductor-teacher or attending your first conference, there are so many things to attend and experience at these events. As the R&R Chair for Youth and Student Activities, I often think about how meaningful these conference experiences were in my own professional growth. That is why I have curated some ways for you to take full advantage of what SWACDA has to offer this March, regardless of the stage in your career: Making Connections Attending conferences can be a great way to network, reconnect with familiar faces, and meet new people. While the sheer number of people at a conference can be overwhelming, taking the time to meet the people around you is extraordinarily valuable. Some of your greatest friends and colleagues may come from attending these conferences. So greet those sitting next to you in interest sessions and concerts. If you see someone you admire in our field, go introduce yourself. Pro-tip: Consider volunteering to help with the conference for a more structured way to meet people. You can find ways to volunteer by visiting swacda.org, selecting “Conferences,” and then “Volunteer” to explore the different ways you can support the conference. Interest and Reading Sessions: One of the biggest challenges of attending a conference is determining which interest sessions to attend among the many and various options. Typically, interest sessions with similar topics will not be scheduled at the same time. As you look through the list of interest sessions, consider your goals for the conference and what you would like to learn. In these sessions, take notes and write down things that resonate with you. It is impossible to absorb everything we hear in these sessions, so taking notes will help reinforce the things you would like to remember. Reading sessions also happen throughout the conference. They are designed to introduce you to new music, repertoire, and programming ideas. Keep track of the pieces you enjoy, and you will end up with a long list of repertoire ideas when it comes time to program for your own ensembles. Concerts: If you are looking to hear new repertoire, explore a variety of sounds, and be inspired by high- level artistry, attending concerts is one of the best ways to do that. As we listen to concerts, there is a temptation to feel inadequate, to judge the sound, or to allow imposter syndrome to take hold. Instead, as you listen to these spectacular concerts, focus on the artistry. What are the nuances and the overall effect? Listen through a nonjudgmental lens of curiosity and identify elements you admire.
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Youth and Student Activities Continued
Notice how gesture impacts sound—not in judgment, but in observation and learning from these wonderful conductor-teachers in the field. Think about what you appreciate in the ensemble’s sound(s), and consider what you might take back to your own professional setting. As you plan your concert attendance, consider attending performances by ensembles you might never have heard before—or even heard of. You may be just as moved by expressive singing from a choir you did not expect, at an age level you did not anticipate. Make notes in the program when you encounter repertoire that excites you. SWACDA features terrific concerts, designed to inspire, so take every opportunity to let them do so. Honor Choir Rehearsals: In the midst of all of the other programming at the conference, many attendees never get an opportunity to make it to the honor choir rehearsals. When I was a young teacher, I found that some of my most informative learning happened when I watched experienced conductor-teachers work with other ensembles. The honor choir conductors are typically some of the most seasoned teachers in our field, so consider observing them at work. Just an fyi: these rehearsals may not be in the most convenient locations because they need to accommodate the large number of singers. Plan ahead will be the best way to navigate attending this aspect of the conference. As you observe the rehearsal, consider these questions: How do they introduce a piece? How do they refer to the ensemble? What do the conductors do to address musical challenges as they arise? What are their musical priorities, and how do they go about achieving them? Make notes of strategies you might incorporate in your own setting. ACDA Conducting Masterclass Wednesday, 10:30-12:30pm - Graduate Student Conducting Masterclass Wednesday, 2:30-4:30pm - Undergraduate Student Conducting Masterclass While attendees from higher education institutions are often aware of the ACDA Conducting Masterclasses, there are opportunities for all attendees to learn by observing. Undergraduate and graduate students from across our nine-state region apply by submitting video footage, marked scores, and résumés, and the top applicants are selected to participate in the conducting masterclass. Attending even a portion of these events is a great opportunity to learn from the clinicians and participants, and observe how the choir responds to gesture. We seldom have opportunities to hear the same ensemble with different conductors in such an immediate way. Watch with curiosity and you will gain so much from attending these masterclasses.
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Youth and Student Activities Continued
Graduate School Fair Thursday, March 5 – 11:00-11:45am If you are considering graduate study of any kind, it might be worthwhile to stop by the Graduate School Fair. This is a great opportunity to meet with representatives from a variety of institutions and programs. Whether you are looking for part-time study, full-time study, summers only, etc., this is a terrific time to survey programs in our region and explore your possibilities. Even if you are not looking to enroll in a formal degree program in the immediate future, you may be enjoy learning about some non-degree continuing education opportunities hosted by some of these institutions. Exhibits: The exhibit hall at SWACDA conferences are filled with publishers, music industry organizations, music publishers, baton makers, fundraising ideas, institutions of higher education, and a variety of tour companies among many other vendors. Regardless of what you are looking for, there is something in the exhibit hall that will capture your interest. Definitely carve out some time to take a leisurely stroll through the exhibits. Join us! Finally, make sure to take care of yourself. Drink water, get solid sleep, and be sure to eat something. Conferences offer so many opportunities to see amazing things, and you cannot be everywhere at once. It can be overwhelming with all of these great offerings. Planning before you arrive can be very fruitful in helping you identify the aspects of the conference that will be most beneficial to you on your musical path. Happy conferencing!
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Music in Worship Bryan Taylor, R&R Chair
Sustaining the Song: Building and Supporting the Church Choir Being a church choir leader for over 35 years allows me so many memories of amazing music in worship moments. I still find the desire to keep stirring the pot of church music leadership, encourage others to remain passionate, and help suggest beautiful and worthy choral literature to others. I am but one who has been blessed by great mentors and sacred choral music along the way - my suggestions may or may not work for you, but I still offering and listening to suggestions of how to be better. I would love to hear from you in what’s happening in your area and what help you can give others. Let’s remind ourselves why we do what we do in the calling of traditional church choir and church music leadership. Church choirs uplift worship in ways – by creating moments of awe, unison singing and the creation of musical harmony and harmony with others. Our singing in worship is offered to the audience of One and moves beyond performance to a shared musical experience within the choir and the congregation. Church choirs help the congregation sing with beauty and depth. This ability to unite the church family through music in each service builds strength to the worship experience and allows worshippers of various musical skills to feel comfortable to ‘make a joyful noise!’ Church choirs become the means to hear the Word come alive through music. Whether the congregation is singing with the choir or hearing the choirs offered anthem, the ability for music to stir the heart through scripture and great hymn and anthem texts is an amazing part and chance in each worship service to grow spiritually. Church choirs create a family within a church family. The depth of love and patience which members of a choir give for the care of one another is amazing and so family- like. Yes, we all have those individuals who can test us and our love for them, but I wouldn’t have it any other way. They also lift us up in prayer, laughter, and amazing patience as they deal with our own unique personalities! Church choirs help us worship more deeply as musical leaders. They foster spiritual and musical depth within the choir, the congregation, and the pastoral staff. By doing so, they ensure that our calling remains understood and our sense of purpose remains at the forefront. God does not give us talents to make us proud. God gives us talents so that we have something to give to others. Karen H. Whiting