A Look Inside
FromthePres
InMemoriam
SWACDA Board (2024-2026)
Jonathan Owen, President
Joshua Oppenheim, President-elect
Jeffrey Murdock, Past President
Jeff Wall, Treasurer
Margie Camp, Conference Chair
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
Contemporary A Cappella - Leia Browning
Show Choir - Michael Shimp
World Music & Cultures - Eduardo Garcia-Novelli
Tenor/Bass Choirs - Reginal Wright
Soprano/Alto Choirs - Tanner Oglesby
FromthePresidennt’sPen
Seasons
As a child, I would have to say that summer was my favorite season. It felt safe growing up in a small Kansas towninthe1970's.Iplayedwithmyfriendsoutsideallday,andmymomwouldcallmeinformeals(dinnerand supper). Itwasalwaysasadtimewhenthedayended;redrover,hideandseek,hotwheels, andtagallcametoan endandbathtimeandbedtimebegan. AsI’vematured(becomeold),Ihaveanappreciationforeachseasonand whattheybringtomylife.Theseasonschange.Ourliveschange.Ourcareersmaychange.Buteveniftheystay thesame,thelocationofourcareermaychange.
As a choral director, your life is marked by the changing seasons, both literally and metaphorically The ebb and flow of the academic year, the cycle of holiday performances, and the natural rhythms of personal and professionalgrowthallweavetogethertocreatearichtapestryofexperiences.Itisimportanttounderstandthe seasonstohelpfindbalanceandpurpose.Itisalsoimportanttorecognizethatyouareexactlywhereyouneedto beineachseasonofyourlifeandcareer.
Inourearlycareersweneedtofocusonlearningourcraftandbuildingtheskillsneededtoteachandsharewith oursingersandtohelpthemgrowandlearn.Watchothersuccessfuldirectorsandseewhotheyrespectandgoto for guidance. Seek out those that are further along and glean from their experience. Our early careers are filled withlearning,experimentationandgrowth Focusonthepresentmomentandtheuniqueopportunitiesitoffers Avoidcomparingyourjourneytoothers;everyone’spathisdifferent
Inourmid-careerwecontinuestrivingforexcellenceandcontinuetosharpenourskills.Keepyourloveformusic anddirectingattheforefrontofyourwork.Letyourpassioninspireyourchoir.Useyourexperiencetohelpthose who are coming behind you. Mentor them and contribute to the broader choral community. It is a gift to share your knowledge with those who are willing to learn. As you gain experience, you enter a phase of growth and expansion.Yourskillssharpen,yourconfidencebuilds,andyoubegintoseethefruitsofyourlabor.Thisisatime tocultivateyourchoir’stalent,pushcreativeboundaries,andestablishyouruniquevoiceasadirector.
In the later stages of your career, you find yourself harvesting the successes of years of hard work Your choir’s soundisrefined,yourleadershipstyleisestablished,andyouhaveawealthofexperiencetodrawfrom It’satime tocelebrateachievements,mentorothers,andleavealastingimpact Passonyourknowledgeandinspirethenext generation.
Each season, both in the year and in your life, brings unique opportunities and challenges. By embracing these changes and finding meaning in your current season, you can lead with confidence and joy. Remember, the journeyofachoraldirectorisnotjustaboutthemusic;it’saboutthelivesyoutouchandtheharmonyyoucreate alongtheway.Embraceyourcurrentseasonwithconfidenceandgratitude,knowingthatwhereyouareisexactly where you ’ re supposed to be. Each day, each challenge and each success is a vital part of your unique and wonderfuljourney
Best, JonathanOwen SWACDAPresident
BethEnloe-Fritz
WhatwouldbeinagreatauditionforanHonorsVocalJazzEnsemble?
BethEnloeFritz-JazzR&R-WithcontributionsfromBenSilvermintz(MOASVJEcoordinator) andJohnStafford(NationalACDAJazzR&RandVJEcoordinator)
Asyouapproachhonorjazzensembleauditionswithyourstudents,hereareafewthings that,withpracticeandconfidence,willpresentagreataudition.
1.It’sanobvious(butmostimportant)pointthatreliablestudentswithapositiveattitudeandastrongwork ethicaremostdesiredinthissmallsetting.Divasandinsecurepersonalitieswillcausetheshort-livedgroupto fracture.Althoughthismightnotbestatedplainlyonanauditionform,itcanmakeabigdifferenceinanhonors groupwith16orsosingersontheirownmic.Thisistheeducator’scallbeforehavingtheirstudentsendinan audition.
2.Showoffsolidbasicvocaltechnique.Thislistisagreatstartandthebasisforanydesiredsound. intonation,intonation,intonation breathsupport correctmelodicnotesandrhythmsasaguide musicaleffect(dynamics,phrasing,textweight,etc.) ifrangeistobedemonstrated,showtheNICESThighestandlowestpitch,notwhattheycanscreechorair out
3.Demonstrateaconfidentjazzstyle.
TONE:Jazzgenerallyusesarelaxedjaw(thinkofsmiling).Thereshouldbespaceinthebackofthemouth withaforwardplacement(betweenclassicalandBroadway).Uptuneswillhaveahighertone-to-airratio (90:10),andballadswillhavealowerairratio(75:25).
1.
Haveablendablenaturaltone.Ifastudenthasanaffectedorforcedtone,itwillnotbepleasantwhenitis amplifiedbyamic.
2.
Typically,jazzsopranoshaveclear,floaty,andbrighttessituras(belcanto).Theyarethe“styleleaders”or firsttrumpetsofthegroup.
3Fortenorsandbasses,lighteningupintheirupperrangeisalwaysbest
4Foraltos,tenorsandbasses,movingintoalowerregistershouldnotgoverntheheavinessoftone
VIBRATO:Onlyusedasornamentationinjazzortogivemotiontoanoteorphrase.Itiscontrolledand usedonpurpose.Ingeneral,afterlockingachord,vibratocomesinrightbeforeacutoff.
DICTION:Textshouldbeconversational.Weusestopconsonantsinjazz.(Forword-endingplosives,the tonguecomestotheroofofthemouthtostopthesound.)Hardendingconsonantsareonlyusedfora particularreasonliketextpaintingoraccentuatingrhythms,otherwiseitincreasesthegroups’“square quotient.”
4.Jazzchartminusone.
Whentheauditionerisperformingtheirpartofapreviouslychosenjazzchart,firstconsider#2and#3above, thentheyshouldfocusonsoundinglikeapartoftheensembleintherecording.Blendingandbalancingto theotherensemblepartsinthiscasewillbeacluetotheadjudicatorhowtheywillincorporateintothetone andstyleoftheamplifiedliveensemble.
Theauditionershoulddemonstrateahighlightedmelodywhenit’sintheirpartandsupportthemelodywhen it’snot.
Makesurebasssingerscaneasilysingintheirupperrangeand,mostimportantly,canholdanypitchother thantherootofthechord
5SoloJazzStandard(ifthetuneisnotalreadyprovided)
Itisdifficulttojudgeanappropriatejazzstyleifthestudentissingingapoporbroadwaytune.
Ifaccompanied,itisdifficulttojudgeappropriatejazzstyleifthestudentissingingajazzstandardwitha popaccompaniment.Theytendtomatchthestyleinwhichtheyareaccompanied.Herearesomeoptionsfor anaccompanimenttoenhancejazzstyleintherecording:
TryusingSmartmusicorIReal-pro.Youcanchangethekeyand/ortempo,cutmeasuresandaddloop(s)fora repeat.Then,recordandsaveitasasoundfile.
Ofcourse,livepianoaccompanimentfromajazzchart
Otherjazz-styleaccompanimenttrackslikeYouTube,etc.
6Improvise(manytimeson12-barblues)
Itisusuallynotamake-or-breakthing.However,itraisesyourchancesrespectively.Honorsjazzensembles willhavecliniciansexpectingthemusicianstobefearlessandreadytoimprovise.
Donothaveanauditionersingacappella.Anadjudicatorwantstohearthesingerfollowingtheplayedchord changes.
Whenindoubt,singersshouldstickwithdoo-ba(softconsonants)orothersimplesyllablecombinations Improvisationshowsoffgreatintonation
Itdoesn’thavetobecomplicatedorfullofnotestoshowcompetency.Thinkmoreofquestionandanswer, withspace,longtones,repetition,orsequencingofideas.
Itdoesn'thavetobewhatmightbeconsidered“perfect.”Agoodimprovisermakesthe“mistakes”workfor them.Justgoforit.Encouragethemtoopenthedoortocreativity.
7.Workontheearforpreparation:Eventhoughspecificchromatic,non-diatonic,orextendedchordexercisesmay notbeusedintheaudition,practicingthemwillonlyhelpwitheverythingelse
Chromaticismisessential.Warming-uponthebluesscaleandthechromaticscalehelps.
Usemelodicexercisesthathavejumpsoftri-tonesandotherunusualintervals
Useharmonicexerciseswherestudentshavetosustaintheirpitchindissonantextendedchordswithtri tonesortoneclusters(havingthebassavoidtheroot).
8.Listeningalwayshelpseverything.
Forgreatexamplesofjazzsolo/improvisationsinging,Iwouldsuggestlisteningto:EllaFitzgerald,Mel Torme,ChetBaker,DarmonMeader,EsperanzaSpaulding,DianaKrall,RosanaEckert,ElainaElias,andKurt Elling.
Jr.High/MiddleSchool
CristiMiller
ItPaystoConnect
In a choir classroom, the music goes beyond notes on a page. It interweaves individuals together, creating a community bound by a shared desire for expression. While the development of musical skill is a central focus, equally important is the sense of connectionnurturedbetweenstudents,theirpeers,andtheirdirector.Theserelationships, especially in middle school, not only enhance the musical experience but also serve as a foundationforemotionalgrowth,teamwork,andlong-termsuccess.
The choir director plays a crucial role in fostering connections in the classroom. They are not just a conductor but a mentor who guides students through their musical journey. A positive and trusting relationshipbetweenthedirectorandstudentscanstimulateconfidenceandencouragestudentstotake risks in their performances. This trust allows for vulnerability, where students feel comfortable expressingthemselvesvocallyandemotionally.
As directors, I believe we all recognize our significant impact on our students’ lives through the relationshipswebuildwiththem.Thisisparticularlyevidentinmiddleschool,wheresomanystudents aregrapplingwiththeiridentity,figuringouthowtheywanttobeseen orsometimes,howtheydon’t. Personally,I’vealwaystakenprideinmyabilitytoconnectwithmystudents.Perhapsit’sbecauseIstill considermyselfyoungatheart,oratleastIliketothinkso.Fortunately,I’vehadtheprivilegeofformer students returning to my classroom long after they’ve moved on from middle school and even after graduatinghighschool.
However, as much as I’ve felt confident in my ability to form these personal connections, I began this year with a startling realization: I greeted some familiar faces of students I had taught previously, yet they had chosen not to return to my class. I couldn’t help but wonder what had led them to make that decision.ItstruckmethatmanyofthesestudentswereonesIhadn’tconnectedwithdeeplyduringthe previousyear.Ihadmadeexcuses “They’requiet,”or“It’shardtoconnectwithstudentslikethem.” I became frustrated with myself for being complacent in this area. It’s easy to bond with the outgoing, social students who are more like me, but what about the quieter ones? Don’t they deserve the same effort? Perhaps they need it even more. So, I set a new goal for this year: to identify the introverted, withdrawnstudentsineachclassandmakeaconsciousefforttolearnmoreaboutthem.
I began my mission at the classroom door. Instead of standing back and letting students walk in,II decided to greet each one as they arrived. For those on my “list,” I made a point to learn something personalaboutthem Whatfootballteamdotheyfollow?Whatdidtheydoforfunovertheweekend? Wheredidtheygetthosegreatshoes?
I’ve extended this effort into my lunch duty. I sit with these students for a few minutes, asking about theirdayorfollowinguponwhatIalreadyknowaboutthemtokeeptheconversationgoing.Eachtime, Itrytodiscoversomethingnewaboutthem.WhenIseetheminthehallway,insteadofjustsmilingand walkingby,Imakeanefforttoaskthemaquestion.Atfirst,theyoftenseemsurprisedwhenIengage theminconversation,andmanystruggletomakeeyecontact.ButI’mnoticingthatit’sbecomingeasier forboththemandme.
Additionally,I’vestartedaskingrapid-firequestionsatthebeginningofclass.Eachstudenthasoneminute to answer, and I get through 5-6 students each session. They’ve loved it, and I keep notes on the details I learn about the students I’m focusing on. Although I’m still early in this process, I feel like I’ve already gottentoknowmystudentsbetterthaneverbefore.I'munsurewhetherthiswillleadtohigherenrollment inthefuture.ButI’mcertainthatstrongerrelationshipswithmystudentswillbetheultimatereward.
In conclusion, the importance of connection in the choir classroom cannot be overstated While learning musicisthecentralgoal,thebondsformedbetweenstudents,theirdirector,andthemusicitselfenrichthe experience and foster a supportive, inclusive community These connections not only enhance musical performance but also promote emotional growth, teamwork, and a sense of belonging that students carry with them long after they leave the classroom Ultimately, the choir classroom becomes a place where musicandrelationshipsintertwine,creatingapowerfulandlastingimpactonstudents’lives.
TheStateoftheState
Missouri-KevinMcBeth
As I complete my first year as MCDA President, I reflect and submit this report with great admirationandloveformycolleaguesandfriends!Ithasbeenanincredibleyear!Duringmy tenure, we have been using a choral selection to focus our work and this year, our theme, “EarthSong”–Sing,Be,Live,SeePeace,(basedontheFrankTichelisong)hasbeenourfocus.
It has been a year of adjustment and renewal. We’ve spent a great deal of time revising old protocols and adjustingrequirementsthatwerenolongerneededfollowingthepandemic.We’vealsomovedtheorganization forwardtechnologicallywithanearlypaperlesssignupprocessfortheAll-StateChoir.LastFallwasfilledwith auditions,contests,andconcerts.
Missouri has some of the finest young singers, and it was a busy time. In January of this year, we hosted the 50th MCDA All-State Choir, with the legendary Maria Guinand as our conductor. She was captivating and energetic and brought a sense of cultural awareness to some of our very naïve high school singers She even taughtthemhowtosalsadance!ItwasanothermusicalhighlightforMissouri
From January to June, our organization kept members engaged with our monthly newsletters, our wonderful publication,Opus,andthroughmanysocialmediapostsandconversations.We’veadoptedtheProject360idea, continuingtofindwaystoconnectwithourmembershipbeyondjustthefivedaysofoursummerconference.
Speakingofwhich,nothingrepresentedthefocusofourthememorethantheculminationofouryearwiththe MCDA Summer Conference. This year, held again in Springfield, Missouri, had some unique challenges due to renovation work being done on campus at Missouri State University. And yet, our conference was a huge success for our membership! Over 300 attendees experienced stellar leadership and outstanding Interest Sessions EightReadingSessionswereheld,showcasingthenewestandfinestinchoralrepertoire Accordingto the ACDA national statistics, over 50% of our members attend our conferences We are very proud of that achievement! Among our attendees were 3 former ACDA National Presidents! We’re proud to be a place that theyenjoyedvisiting.
The 8 honor choirs that participated this summer provided more exquisite, musical moments then we could count. Our guest clinicians brought a level of professionalism that was truly inspiring. Lastly, we had several community events that allowed our members to spend time connecting with colleagues and sharing valuable stories.Weareindeedafamilyinthatway.Noneofthiscouldhappenwithoutourincredibleteam.TheMCDA Executive Board and the Resource Team are second to none. Their tireless work can never fully be understood, andtheygiveofthemselvessowillingly
Personally,Ilearnedthatattendingaconferenceandleadingaconferencearetwodifferentthings,completely I owemuchofmysuccesstothegreatpeopleofourstate,andthetalenttheybringtothefieldofchoralmusic.
Our continuing challenge is serving the members of MCDA in new ways. Our district representatives and leadersacrossthestatearemakingaconcertedefforttoofferresourceassistancetothosewhoneedusoutside ofthesummerconference.Withournewestinitiative,membersofourboardaredesigningwaystoconnectwith ourcollegesanduniversitiestofosterastrongerrelationshipforourstudentmembers.
In our continuing effort to raise awareness for diversity and inclusion in our state, I proudly serve as the first BlackpresidentofMCDAandlookforwardtothefuturewithexcitementandjoy!
TheStateoftheState Oklahoma-AprillRaines ‘
TistheSeasonforHonorChoirAuditions
One of my favorite times of the year is honor choir audition season. It is a season when talented singers come togethertodisplaytheirskillsandpassionformusic.StartingtheauditionprocessasearlyasJuneandworking towards the festival in January, our students and teachers in Oklahoma participate in a long and dedicated “journey”thatrequiresagreatdealofhardworkandcommitment.Itisamazingtoseesuchdedicationfromboth studentsandteachers.TheOklahomaACDA’seffortsinorganizingtheHighSchoolAll-StateJazzChoirandthe All-State Junior High Mixed and Treble Choirs provide invaluable experiences for outstanding choir students to cometogetherandperformwithpeersunderthedirectionofesteemedconductors Theyareona“journey” one that encourages young musicians to reach for excellence, to persevere through setbacks, and to discover the poweroftheirownvoiceinharmonywithothers
Receivingtheinitialauditionmusicpacketatthebeginningoftheschoolyearmarksthebeginningofthisnew “journey” filled with both excitement and challenge. It sets the tone for the entire year, filled with growth, learning, and musical adventure. Some students will have attended summer workshops and camps, but many will have started the process when school began in August. Both sets of students will embark on the path to mastery of the music including pitches and rhythm, diction, musicality, and more. They will listen to their rehearsal tracks and countless YouTube performances. They will take notes, mark their scores, and highlight dynamics Many students will spend time after school with their teachers rehearsing in sectionals These studentsfromalloverOklahomaareworkingtowardonegoal:theselectiontothe“All-StateHonorChoir”
Our membership of teachers is also working and collaborating to provide our students with the best possible experience.Theseteachersplayapivotalroleinshapingtheirstudents'musicalgrowthbyencouragingthemto audition for OkCDA All-State Choirs that profoundly benefit both the students and the broader music program. We know that supporting our students in this process exposes them to advanced choral repertoire that pushes their musical abilities. We also know that learning the selected pieces helps our students improve their technique,musicality,andunderstandingofcomplexmusic.WhenstudentsparticipateinAll-StateChoirs,they bring back valuable skills and experiences to our own school programs. These students often set a higher standard for our choirs and inspire other students to improve, which can create a ripple effect of excellence throughout the program It is exciting for a program to celebrate the accomplishments of the students who are selectedafterauditions Itmayalsoencourageothersingerstocommittothe“journey”nexttime
Unfortunately, with the highs of student successes also comes the lows of student disappointment when they are not selected for the honor choirs. We, the teachers, are tasked with encouraging our students when they do not reach their desired goal. We know that preparing for the All-State audition required them to dedicate time and effort to mastering the selected repertoire. Even if they don’t make the choir, they improved their vocal technique, musical accuracy, and expressive capabilities through intensive practice. They have learned the importanceofsettingagoalandworkingsystematicallytoachievethatgoal.Inaddition,eveniftheyfallshort this time, they have learned how to approach improvement over time and can come back stronger in future auditions Thishandlingofrejectionbuildsresilienceandperseverance,providingavaluablelifelessonstudents can use as a stepping stone for future success and is a critical skill that students will carry into other areas of theirlives KimThomas(BrokenBowHS),oneofmyOklahomacolleagues,sharesthisquotebyProfessorKelby Fletcherwithherstudentseveryyear:“Noone’stalentisdefinedbythedegreetowhichtheyareabletoimpress ajudgeorapanelofjudgesinasinglemomentintime.”Evenifastudentdoesn’tmakethechoir,teacherscan continuetoworkwiththem,helpthemimproveforfutureauditionsandperformances.Thehonorchoiraudition processisnotonlyaboutthedestination,itisaboutthe“journey.”
Oklahomacontinued
In Oklahoma, 260 students auditioned for the All-State Jazz choir October 2. 26 students were selected to performatthefestivalconcertwithacomboofinstrumentalistsfromtheOkMEAAll-StateJazzband.Our first round of All-State Junior High Choir auditions will take place on Saturday, November 2, at audition sites in each of the four quadrants of our state. 2160 students from more than 120 schools are registered. Students who qualify for the second round of auditions will audition again less than three weeks later. ThoseselectedwillbeginanothertaskoflearningthefestivalliteraturetobeperformedinJanuaryatthe All-State festival concert These students will perform a wide range of choral works, from classical and traditional pieces to contemporary and culturally diverse music This exposure to a variety of styles and languages expands students’ appreciation for different musical genres They will be led by experienced guest conductors who bring new perspectives, advanced techniques, and creative interpretations that students might not experience in their regular school choirs They will meet and collaborate with peers fromacrossthestate,formingconnectionswithlike-mindedindividualswhosharetheirpassionformusic. ThesefriendshipsoftenlastbeyondtheAll-Stateexperience.
Inconclusion,theOkCDAAll-StateChoirprocessisaboutmuchmorethanjustmakingthechoir;it'sabout growth,perseverance,andcommunity.Whetherstudentsareselectedornot,the“journey”shapesthemas musiciansandindividuals.Theylearntosetgoals,facechallenges,andembracethedisciplinerequiredto excel in their craft. The relationships they build, the skills they gain, and the resilience they develop will carrythemfarbeyondtheconcertstage.Forstudentsandteachersalike,theAll-Stateexperiencebecomes atestamenttothepowerofmusictoinspire,uplift,andtransform.
For more information about the OkCDA All-State Ensembles, festival and audition processes, please visit ourwebsite.
BeOurGuest
ListenUp!
ByDr.MatthewArau
Thegreatestleaderslistenmorethantheyspeak.Andit’snotjustlistening,it’showtheylisten.Theylisten tounderstand,toshowtheycare,toshowtheyareinterested,andtolearn.Andtheylistentoshowthat theyvaluewhatothershavetosayandthink Everyonethatyouleadwantstofeelseen,valued,andheard, andlisteningdeeplywithintentionhonorsthoseonyourteam.
StephenCovey,authorof7HabitsofHighlyEffectivePeople,sharesthatthereare5levelsoflistening
Asyoulookatthislist,youcanprobablyidentifytimesthatyouhavelistenedinall5ways.Buttheone thatisnotonthelistandisprobablythemostprevalentislisteningtorespond Haveyounoticedthat whensomeoneisspeakingtoyou,youareonlyhalflisteningbecauseyouarealreadyformulatingwhat youaregoingtosayinresponse?Whenwearethinkingofwhatwearegoingtosay,wecan’tbefully attentive,andwearenotlisteningwithempathyandcompassionbecausewearedistractedbyourown thoughts
Tobuildtrustandopencommunicationwiththoseyoulead,devoteyourattentionfullytotheperson speakingandusethese5listeningstrategies
Putawaydistractionssuchasyourphone,tablet,orcomputerandbefullyengagedwiththe speaker 1.
Beawareofwhatyourposture,bodylanguage,andfacialexpressionsarecommunicatingnonverbally.
Befullypresentandlistenintentlytowhattheotherpersonissayingtounderstandratherthanto immediatelyrespond.
Whileavoidinginterrupting,askquestionsforclarificationtoensureunderstanding.
Wehavetwoearsandonemouth.Greatleadersusethemproportionately.Theylisten,thenlead. So,listenup!
ACDA:What’sMyWhy?
JeffWall-Oklahoma
I stay involved in ACDA, and specifically SWACDA, for continuedopportunitiestolearnfrommychoralcolleagues. I lovereadingrelevantresearch,attendingconferencesessions and concerts, and just connecting informally to pick other choraldirectors’brains. Ialwaysleavetheseexperienceswith newideasforrehearsalsandprogramming. Theorganization also provides collaboration opportunities with other ensembles, conductors, composers, and industry leaders. Finally, I enjoy meeting new people in the profession, supporting friends old and new, and celebrating their accomplishmentsthroughchoralmusicofalltypes.
State
Flower- Yucca (1927)
Tree- Pinon (1949)
Animal- Black Bear (1963)
Bird- Greater Roadrunner (1949)
Fish- Cutthroat Trout (1955)
Vegetables- Chili and Frijol (1965)
Gem- Turquoise (1967)
Song- “O Fair New Mexico” (1917)
Spanish-language song “Asi Es Nuevo Méjico” (1971)
Poem- “A Nuevo México”(1991)
Grass- Blue gramma (1973)
Fossil- Coelophysis (1981)
Cookie- Vizcochito (1989)
Insect- Tarantula Hawk Wasp (1989)
Ballad- “Land of Enchantment” (1989)
Bilingual song- “New Mexico—Mi Lindo Nuevo Mexico” (1995)
Question- “Red or Green?” (1999)
My Choral Hero
There are MANY people that I could list as my choral heroes. So many directors have shared ideas, literature, time, etc., etc., etc. I have been positively impacted by so many teachers and colleagues that I have had the privilege to know, not only during my career but over my lifetime. I decided to select four choralconductors.
Barbara Watson Miss Watson was my high school choral director for my junior and senior years In grades7-10,therehadbeenadifferentchoraldirectoreachyear,andlookingbackI’msureitwasdifficult tobuildanykindofaprogramwithnocontinuity I’mnotsurethatwedidahighlevelofchoralsinging, butIdoknowthatMissWatsonlovedeachofus Wehadachoirreunionin2015 MissWatsoncameback andmanystudentscametoseeher Itwasawonderfulday Shepassedawayayearlater
Sharon Wilkins was my college choral conductor at Evangel University (College) I transferred from a juniorcollegeinKansasandsangunderherdirectionforthreeyears Ilearnedagreatdealaboutdiction, tone quality, musical nuance, caring for students, and much more I am so grateful that I had the opportunitytosingunderherdirection,andIamgladwearestillintouch Afterretiringfromteachingat Evangel, she is now teaching middle and high school choir at a private Christian school in Springfield, Missouriandisinherfifty-secondyearofteaching.
Dr.GuyWebbwasmymentorasIworkedonmyMastersdegreeatMissouriStateUniversity(Southwest MissouriStateUniversity) Hepushedmetobeabetterconductorandintroducedmetosomuchnewand different literature He had been very supportive of me before I began working with him and remained supportivethroughoutmycareer
Dr.EphEly His UMKC choirs were incredible The honor choirs I’ve heard him conduct were amazing WhileIneverhadtheopportunitytosingforEph,Ifeellikeheisadearfriend EachtimeIseehimata conference(MMEA,MCDA,SWACDA,ACDA)hemakesmefeellikeIamtheonlypersonthatisimportant and the only person in the room He is an inspiration He lights up a room just by walking in and in sessionswhenheshares,youfeelheisspeakingtoyou Hemakesyouwanttobeabetterperson
MissWatson1983
SharonWilkins
Dr.GuyWebb
Dr EphEly
InMemoriam
BillGrace
March11,1935-August3,2024
Kansascity,Missouri-BillyBruceGrace,89,passedawayonAugust3,2024athisapartmentinKansasCity, MO HewasbornonMarch11,1935,inConcordia,MOtoAllieandStellaGrace HeattendedCentralMissouri StateUniversity,andcontinuedontoserveinthe7thArmyBand,postedinGermany.WhileinGermany,he marriedhiscollegesweetheart,Elinor"Annie"AnnabelleCorn,onDecember30th,1958.Theysharedahappylife togetherfor60yearsbeforeAnnpassedin2019 Theyhadfourchildrentogether,Gretchen,Andrea,Todd,and infantJoseph
FollowinghisserviceintheArmy,heservedastheChoirDirectoratGrandviewHighSchoolfrom1959-1969, andthenatOakParkHighSchoolfrom1969-1993.HealsoservedthecongregationsatColonialPresbyterian Church,GashlandUnitedPresbyterianChurch,andNorthCrossUnitedMethodistChurchasthemusicdirector.
Heisknownbymanyas"PapaG,"ateacherandfriendwhomallcouldtrustandwhowouldlovethemback unconditionally.Hewasalionofloveandcharacterandwillliveoninthemindsandheartsofthosewhoknew him Hispassionformusicandexcellencewasmatchedbyhispassionforpeople
Billwasprecededindeathbyhisparents,hisbrotherAllieW.Grace,hisgrandsonJamesCarterGrace,andhis belovedAnnGrace
He is survived by his children, Gretchen (Kim) Harrison, Andrea (Bill) Mack, Todd (Cheryl) Grace, six grandchildren, and one great-grandchild He was beloved by all who know him, and will leave a hole in the heartsofthemanynieces,nephews,friends,andstudentswhohadthepleasureofknowinghim.
ThefuneralservicewasheldatLibertyUnitedMethodistChurchonMonday,August12th,2024.
ThefamilyisgratefulfortheloveandcaregivenbyTiffanySpringsSeniorLivingDevelopment-AssistedCare andAscendHospiceofKansasCity.
