Last issue I mentioned some people/things I am grateful for. These included my R&R team and making connections with states. I want to continue sharing more for which I feel gratitude. Even though the conferenceisalimitedaboutofdaysinthescopeofthepresident’sterm,Iamsogratefultotheconference planningteamandthosethatworkedforandontheconference Ittrulycouldnothavehappenedwithout partofourmembershipvolunteeringtheirtimeandtalents.Thereweremanywhowentaboveandbeyond whatwasaskedofthem!! THANKYOU!!!!
The conference team worked to make sure that everything went well in Albuquerque. So thankful for the honor choir chaperones and their work with the students They don’t have the opportunity to attend sessions and concerts, but make it possible for the students to have a wonderful learning experience and hopefullyalotoffun.
IwanttoespeciallythankChristopherYeewhowasourequipmentchair.Ihadbeentoldthatitmightbe difficult to have a conference in a place that had never hosted. We found that to be true. Christopher offeredtohelphoweverhecouldandItoldhimthatwereallyneededanequipmentchairandthatIknew it would be difficult He stepped up!! Calling, emailing, returning calls, texting it was an endless communicationchannel.Hewasabletogetwhatweneeded. Thankyou,Christopher.
Icouldprobablywriteenoughthankyou’stofillanotheryearofissues,butIwanttosayonemorereally bigthankyoutomyteamthatworkedverycloselywithme.MargieCamp,JeffWallandEricCooleymet on zoom with me for almost two years. At first it was every other week and then moved to weekly conversations. Margie’s institutional knowledge is unmatched by ANYONE in ACDA. So many times I texted,calledandzoomed withherandshealwayshadtheanswer.JeffWallservedasourtreasurerand EricCooleywasoverallofthehonorchoirs Icountthesemenaswonderfulfriends Bothofthemputso much thought into their guidance and their work They are incredible people and I am so glad that I was abletoworkwiththemandgettoknowthem. THANKYOU!!!!
SinceDecemberof2024,Ihavebeenfightingagainstandlearningsomuchaboutautoimmunediseases.So many of you reading this are also fellow autoimmune disease sufferers, or dealing with chronic pain, fighting cancer, and so many other ailments that cause us to be exhausted and not as good at our jobs or livesaswewishwecouldbe
WhenIconductedhonorchoirsinthepast,thenumberonecommentIheardaboutmyselfwas,“Youhave somuchenergy!”Nowthatdermatomyositisisinmylife,anyenergyisre-routedtopickingupmylegsto climbstairsratherthanjumpingoffchairsinfrontof120middleschoolstudents Ijustcompleted3daysof judging at a state choir contest, and the judging tables were at the top of the highest balcony of the auditorium(noelevatoraccess).Normally,Iwouldhavebeenthrilledbythis,asitwouldhavebeenmyeasy workout for the day, but now every trip up and down the stairs is planned efficiently to include stops for water,therestroom,snacks,medication,etc.
But don’t worry about me. I have a tremendous medical team, and I’m finding the right combinations of medicine,infusions,andtreatmentsthatmakethingsmanageable I’maluckyone
In addition to the dermatomyositis, I’m in the glorious life-phase called peri-menopause. I believe I’m almostthroughyear6.Theflashesdon’thitasmuch,butthebrainfog.WhatwasIjustsaying?
The Cambridge dictionary defines “ over the hill” as used for describing someone who is old and no longer useful or attractive. Usually associated with turning 50, I am at this glorious milestone.There is probably sometruthtotheideathatidiomscomeabout,butIrefusetoacceptthisdefinition DoIseethehillahead? Yes.AmIcurrentlyonthehill?Yes.ButIrefusetogooverthathillyet.
Finally, to be more present for my students, my colleagues, my friends, and my family, I will follow the adviceofDaleCarnegie:"Anhourofplanningcansave10hoursofdoing."Let’sseehowthislifeexperiment works.Won’tyoujoinme?
Repertoire
Tenor/Bass Choirs
Reginal Wright, R&R Chair
Astheschoolyeardrawstoaclose,nowisanidealtimetobeginthinkingaboutprogrammingfortheyear ahead. This is perhaps one of the best opportunities to use remaining budget funds toward music purchasesbeforetheyexpire.Planningearlygivesyourensembleaheadstartandallowsyoutoenterthe fallwithintentionandmomentum.
The following is a curated collection of tried-and-true repertoire for tenor-bass choirs, compiled with the beginningoftheschoolyearinmind Organizedbyskilllevelandvoicing,eachselectionhasbeenchosen with three priorities: quick success that builds singer confidence from the first rehearsal, camaraderie within the ensemble through shared musical experience, and the development of foundational and progressiveskillsthatwillservesingersacrossthefullarcoftheyear.
Written in a classical style, this setting of the traditional text allows students to explore classical articulation, form, and contrast in a majestic setting with a sprightly piano accompaniment, and is very accessible for young singers. The clear ABA structure and concise phrase lengths give a beginning TB choir an immediate framework for understanding musical form while establishing clean Latin diction fromthefirstrehearsaloftheyear.
OmniaVincitAmor MichaelJohnTrotta
Publisher:BriLeeMusic/CarlFischer
Series:MichaelJohnTrottaEmergingSeries
Accompaniment:Acappellawithoptionalpiano
An energetic original work for tenor-bass choirs set to the Latin text “Love conquers all, therefore let us surrender to love” performable a cappella or with optional piano accompaniment, with many opportunitiestofocusonform,articulation,phrasing,andLatindiction Theoptionalpianogivesdirectors flexibility to scaffold or remove harmonic support as the ensemble grows in confidence across the fall semester
DrunkenSailor Arr.RobertT.Gibson
Publisher:HeritageMusicPress
Accompaniment:Piano
Abriskseashantybuiltonapentatonic-adjacentmelodyandrelentlessduplemeter.Thestrongrhythmic backbone and highly repetitive phrase structure make it an ideal early-fall piece for establishing crisp diction habits, ensemble precision, and the fundamental skill of locking in as a rhythmic unit from the veryfirstrehearsal.
Tenor/Bass Choirs
Continued
Awake! AyrianNorman
Publisher:HeritageMusicPress
Accompaniment:Piano
A powerful and evocative call to inner awakening, this piece invites listeners to find the strength to do what’s right, the clarity to see the light, and the transformative power of song to carry them through the darkest of times, with stirring lyrics culminating in a hopeful plea for renewal.The emotional directness of the text and the energizing piano accompaniment make this a strong first-week anchor. Singers will immediatelyconnecttothemessageandinvestinthesoundtogether.
SetMeAsaSealUponYourHeart
LauraFarnell
Publisher:HalLeonard(DiscoveryChoralSeries)
Accompaniment:Piano
An expressive setting of the traditional Song of Solomon text crafted with particular attention to the changing voice, and an excellent contest and festival selection. The lyrical canon texture develops longtone breath support and head-voice mixing, reinforcing foundational early-year tone goals, while the canonformatallowssingerstoheartheirpartreinforcedbeforebeingaskedtoholditindependently.
An engaging collection of a cappella spirituals arranged specifically for beginning tenor-bass choir Without piano support, singers are immediately asked to tune by listening to each other which is one of the most valuable ensemble habits to build at the start of a school year. The familiar spiritual language andrepetitivephrasestructureslowerthelearningcurvewhiletheacappellademandraisesthelistening standardfromdayone.
IntermediateTenor-Bass(TTB/TBB)
Actus RyanMain
Publisher:EndeavorMusicPublishing
Accompaniment:Piano
AworkwithcinematicaccompanimentandcompellingrhythmicenergythatbringsMarcusAurelius’Latin text to life, striking a perfect balance between accessibility and sophistication. The broad scalar lines are particularlyeffectiveatstabilizingpitchinensembleswithchangingvoices,andtheLatintextintroduces singerstodictiondemandsbeyondEnglishwhilethedrivingaccompanimentkeepscollectiveenergyhigh.
Robert Bode’s text infuses this original song with a message of music advocacy and appreciation, with a rhythmic piano accompaniment that sets up a groove in compound meter for the choral parts to stretch against with duples and triples.The compound meter and meta-text about music-making itself make this both a strong technical challenge and a meaningful identity-building piece making it a natural fit at the startofayearwhenensemblecultureisbeingestablished.
Robert Frost’s pastoral poem is given a beautiful and simple musical invitation, legato throughout, with a quietsenseofcompanionshipthatebbsandflowswithastraightforwardgrace Thesustainedlegatolines and intimate three-voice texture develop blend and unified tone without demanding virtuosic independence providing a thoughtful lyrical counterweight to more rhythmically driven repertoire in the intermediateprogram
OSingtotheLord Davison
Publisher:WaltonMusic
Accompaniment:Piano
A jubilant setting of Psalm 96 with bright harmonic movement and active, singable melodic writing. Its celebratorycharactermakesiteffectiveearlyinthefallforbuildingvocalprojectionandensembleenergy, while the Psalm text anchors the ensemble in a strong choral tradition, singers begin to understand that thismusiccarrieshistoricalandculturalweightalongsideitstechnicaldemands.
ComeinfromtheFireflyDarkness—AmyF.Bernon
Publisher:HeritageMusicPress
Accompaniment:Piano
Voicing:TBB
Withahauntingyetwhimsicalquality,thisworktellsitsstoryfromtheviewpointofawandererwhohas returned home to share life's experiences, only to leave again in the final, bittersweet measure The text’s themes of homecoming and departure resonate immediately with young singers navigating transitions,andthelyrical,naturallyflowingvocallineshelpdevelopingvoicesdiscoveramoreexpressive, storytellingapproachtochoralsinging.
Aworkbuiltonthecrossroadsasbothaphysicalandspiritualmetaphor,withvocalwritingthatbalances dramatic intensity with moments of introspection.The piano and two-violin scoring creates a chamber texturethatdemandsheightenedlisteningandsensitivityfromthesingers Foranintermediateensemble, thecombinationofexpressivedepthandchamber-styleaccountabilitymakesthisameaningfulfallanchor
AdvancedTenor-Bass(TTBB)
OSoleMio EduardodiCapua,Arr.JacobNarverud
Publisher:SantaBarbaraMusicPublishing(SBMP1364)
Accompaniment:Piano
Voicing:TBB
The beloved Italian song has been tastefully arranged for three-part men, with the pure Italian vowels makingthisagreatteachingtoolwhileintroducingsingerstoaspecialartsong.Thesustainedlegatolines and soaring melodic peaks demand mature tone production, diaphragmatic breath management, and stylistically authentic Italian vowel placement, hallmarks of advanced choral artistry that this piece developswithimmediacyandaudienceimpact
Invictus ReginalWright
Publisher:OxfordUniversityPress
Accompaniment:Acappella
AdramaticacappellasettingofWilliamErnestHenley'sdefiantpoem,requiringdynamiccommand fromwhisperedpianissimothroughfulldramaticfortissimo.Theacappellatexturedemandsself-reliant tuning and mature ensemble listening; the text's arc of unconquerable will and inner strength providesimmediateemotionalinvestmentforyoungmen,apowerfulidentity-buildinganchoratthestart oftheyear.
GoodTimber SusanLaBarr
Publisher:WaltonMusic
Accompaniment:Piano
Voicing:TBB
A sensitive yet sturdy work set to text by American poet Douglas Malloch which explores the ways in whichlifeexperiencescanstrengthenus,withacontemporarysensibilityinthevocalwriting.Douglas Malloch’s central image, that good timber does not grow without wind and weather will resonate powerfully with young singers at the start of a year, connecting the difficulty of choral growth to somethingtheyalreadyunderstandabouttheirownlives.
Tenor/Bass Choirs
Continued
SparkofLight AndrewSteffen
Publisher:CarlFischerMusic
Accompaniment:Piano
Voicing:TBB
SettotextbyIcelandicpoetJonasHallgrimsson,Steffen’swritingcrackleswithenergyandinterest,witha pulsating piano accompaniment that enhances interesting and varied vocal lines, sure to be a favorite at any concert or festival performance. The Lydian modality and kinetic rhythmic energy give an advanced ensembleadistinctiveharmoniccolortonavigate,developingtheearformodaltonalityandthecapacityto projectrhythmicclarityinafast,drivingtexture.
Tarantella(JubilateAgno) Z.RandallStroope
Publisher:CarlFischerMusic
Accompaniment:Stringquartetwithoptionalpiano
Voicing:TTBBdivisi
A highly energized and challenging piece forTTBB choir and string quartet or optional piano, drawing on the medieval “spider danc” tradition and Christopher Smart’s Jubilate Agno text the convergence of an ancient dance form with the writings of a brilliant poet who bordered on the absurd makes for dramatic lyrics accompanying the music The relentless rhythmic momentum and complex divisi demands make thisanidealadvancedshowpiece;thestringquartetoptiongivestheensembleadistinctiveconcertprofile fromthefirstperformanceoftheyear
AbeautifulsettingofthisAppalachianfolksonginwhichloveanddespairarebothheardandfelt,witha wonderful baritone solo that opens and closes the piece and an accompaniment with a storytelling effect that complements the choral parts. The solo-to-choir arc and deeply expressive harmonic language challenge advanced singers to serve the text rather than the voice one of the defining marks of mature choralartistryandthebaritonesoloprovidesanimmediateleadershipopportunitywithintheensemble.
Sing,MyChild SarahQuartel
Publisher:OxfordUniversityPress
Accompaniment:Handdrum(acappella)
Voicing:TTBB
Ajoyfultextcelebratingthebeautyfoundallaroundusineverydaylife,characterizedbytightharmonies and a dynamic percussion line, with a buoyant 7/8 meter driving the piece forward, and lush harmonies coloring the hymn-like B section as the text evolves into a call for strength despite the troubles that may come.Themixedmeterandacappellatexturedemandrhythmicprecision,ensembletrust,andexpressive maturity.Thispieceisanidealcapstoneworkthatsignalsfromthefirstweekofschoolthatthisensemble operatesatthe highestlevel.
The melody of the song El-Helwa Di was created by Egyptian composer Sayyid Darwish, (1892- 1923) in Egyptian Arabic, to lyrics by Badih Khayri. Torikian arranged this song for mixed chorus, a cappella, combiningharmonicandcontrapuntalstyles,andrhythmsandeffectsfromdifferenttraditions.Thissong representsEgyptianlifeatthebeginningofthetwentiethcentury Earlyinthemorning,abeautifulwoman wakes up to prepare the bread of the day. In the meantime, the sound of the rooster is heard “ku ku ku ku” and the entire neighborhood awakens. People begin to greet each other happily. Their pockets are emptyofmoney,buttheirmoodiscalmandpeaceful,convincedthathopeandpatiencearegoodvirtuesin life,andthatGodisalwayspresentintheheartsofpoorpeople.
EdwardTorikianandAndrédeQuadros
ErgenDeda–PeterLiondev CollaVoce–20.967.50
A very popular Bulgarian folk song in a choral version by Petar Lyondev. The text describes a humorous sceneofafoolisholdmantryingtodancewithyoungwomeninavillage,onlyforthemtorunawayexcept forone.Writteninafiercelydriven7/16unstoppablemeter,forSSAandpercussion,thisworkisafaithful representativeoftherichBulgarianchoraltradition
WrittenforSSAchoirandpiano,Arirangdepictsthelovethecomposerhasforherownmother.Infact,one interpretation of the word “Arirang” is precisely Ari = beautiful and “ rang ” = a loved one. The text of the workisKorean,butthereisaQRcodeinthescoreleadingtoanMP3pronunciationguide,recording,and rehearsaltracks,whichareextremelyusefulandpractical.Homophonyprevailsthroughoutthepiece,and vocalrangesareverysuitableforyoungvoices.Duration:under3minutes.
Videowithrollingscore
Repertoire
World Music & Cultures
Continued
Gapas(Harvest)–EudeniceV.Palaruan
PavannePublishing–P1635
Written for SSAATTBB choir, the work is a setting of Mark 4:20 in Ilocano, the third most widely spoken language in the Philippines (an IPA pronunciation guide is offered on the score). It is a highly virtuoso work,withoccasionaldivisia11,fasttext,vocalextremesandafrantictempo.
EudenicePalaruanhasanextensivecareerasachoralconductor,collegeprofessor,composerandarranger, including serving as assistant choirmaster for the famed Philippine Madrigal Singers under Andrea Veneracion. He currently serves as the chorus master for the Singapore Symphony Chorus and as an associateprofessorattheSingaporeBibleCollege.Duration:under2.5minutes.
Videowithrollingscore
DuDobDob–VaclovasAugustinas
GentryPublications–JG2530
BasedonaLithuanianSutartines(simplefolkmelodiesperformedbysmallgroupsofwomeninpolyphony, usuallywithbasicchoreography),DuDobDobisauniquerealizationofdeeplyengravedandlongstanding Lithuanian cultural traditions. The piece is written for SSAATB, piano and percussion, with specific instructions by the composer to position the choir in the formation S1S2 –TB – A2S2 to get the preferred antiphonal effect between the two treble groups (again, according to the tradition). The piece is unique, with a feeling of minimalism or, perhaps, mantra-like atmosphere, where repetition takes center stage. Powerfulandevenenchanting,leavingyouwithafeelingofinconclusiveness.
Linkwithrollingscore
CikalaLePongPong–Arr.KenSteven–
EarthsongsS-461(SATB)andS-420(SSAA)
Notefromthewebsite:
This Pakpaknese folk song from North Sumatra, Indonesia is commonly performed at wedding celebrations, opening ceremonies, and cultural events in the region, often accompanied by traditional dancing By incorporating percussive effects such as foot stomping, clapping, and snapping, and utilizing extreme vocal ranges through glissandi, the arranger has re-created the energetic, fun, and lighthearted atmosphereinherentinthesong.Translationandpronunciationguideincluded. Acappella.Sopranosolo.Approximately3minutes.VersionsforSATB andSSAA.
The lyrics of "Viva Jujuy" are a wonderful, vivid depiction of the province of Jujuy in northern Argentina, capturingitsnaturalbeautyandculturalrichnessandevokingasenseofprideandbelonging.
The song celebrates personal relationships and the beauty of the people from Jujuy.Words like "¡Viva mi amada!"and"¡Vivanlastrenzasbienrenegridasdemimorena!"emphasizethesinger'saffectionforaloved one, while the use of the term " morena " evoke a sense of cultural and ethnic identity, reflecting the indigenous and mestizo heritage of the region The song also delves into themes of love and longing The singer addresses his beloved, referring to her as the " owner " of his heart, and wishes not to be separated, because“youaremylife”
Womanarranger.Youwon’tregretit!ITWORKS!Greatpianopart,wiselyplayingwithrhythmandmeter, plusafewdaringcross-jazzyharmonies,whichfolkloreinArgentinahasdonequiteabit.Thereisabitof hand-clapping and, as always with Latin American folklore, a continuous dialogue between 3/4 and 6/8 meters.
We are getting ready for the "The Space to Sing" convention this July 16-18 in beautiful San Antonio and would love to welcome our SWACDA friends from other states to the convention There will be so many newgalaxiestoexplore!!
