Southwestern The connection
September 15, 2025
FromthePresident’sPen
PastPresident’sCorner R&RResourceArticles
ItTakesaVillage
Albuquerque
TimeCapsule
SWACDABoard(2024-2026)
JonathanOwen,President
JoshuaOppenheim,President-elect
JeffreyMurdock,PastPresident
JeffWall,Treasurer
MargieCamp,ConferenceChair
Children’sandCommunityYouth -NathanWubbena
JuniorHigh/MiddleSchool -CristiMiller
SeniorHighSchool -SpencerWiley
4-YearCollegeandUniversity -RayvonTJMoore
2-YearCollegeandUniversity-TatianaTaylor
StudentActivity-JenniferSengin
CommunityChoirs-AndyWaggoner
MusicinWorship-BryanTaylor
VocalJazz-BethEnloeFritz
ShowChoir-MichaelShimp
WorldMusic&Cultures-EduardoGarcia-Novelli
Tenor/BassChoirs-ReginalWright
Soprano/AltoChoirs-TannerOglesby
FromthePresident’sPen
By the time you receive this issue, we’ll be about halfway through the open window for submitting singers for the honor choirs in Albuquerque. If you ’ ve already taken the time to submit, thank you, and good luck to your students as they prepare for this exciting opportunity! If you haven’t yet, I’d encourage you to consider giving your singers the chance to be part of something truly special The honor choir experience is transformative for students, musically, personally, and socially And this year, our lineup of conductors is second to none Each one brings unique artistry, energy, and vision to the podium, and I am absolutely thrilled that every single conductor said “YES!” when asked to be part of our conference
Of course, we also hope you ’ re making your own plans to be in Albuquerque. Conference registration will open very soon, and everything points to this being a once-in-a-lifetime event. Between the inspiring concerts, thought-provoking interest sessions, and the opportunity to reconnect with friends and colleagues from across the region, this gathering is shaping up to be both memorable and meaningful. It’s not just about professional development; it’s about renewal, encouragement, and the joy of being in community with people who understand the unique rewards and challenges of our work.
This issue is also packed with resources we think you’ll find valuable. Our R&R articles are full of ideas and insights you can bring straight into rehearsal. Don’t miss Past President’s Corner with Galen Darrough, whose wisdom and perspective continue to encourage and challenge us in the best ways. And in our “It Takes a Village” section, we ’ re excited to introduce more of the talented and dedicated individuals who are working tirelessly behind the scenes to make this conference a reality
Thank you for everything you do for your singers, your schools and communities, and our larger choral family The work is not always easy, but it is deeply important We are grateful for your commitment, and we cannot wait to welcome you to Albuquerque for what promises to be a truly unforgettable conference.
Best,
JonathanOwen,SWACDAPresident/Editor
PastPresident’sCorner
WhereHaveAlltheFlowersGone?
GalenDarrough,ProfessorEmeritus,UniversityofNorthernColorado, galen.darrough@unco.edu
Inrecentyearsthechoicesforchoralrepertoirehaveexpandedconsiderably.Manyfinehighschooland collegiate choirs in the past programmed often by chronology, choosing repertoire that represented our choralhistory.Oflate,andsomewhatinthepasttwentyyears,thetrendhaschangedtowardperforming largely contemporary works and sometimes toward those who have been historically underrepresented This trend (which would certainly include music of different cultures) has brought a veritable waterfall of wonderful repertoire but has diminished the performance of the music of great composers of bygone eras, once a mainstay of our programming This is perplexing Attend any ACDA conference, either national or otherwise, and one rarely hears choral music of pre-1900 While many of us attend these to (rightfully) see that which is current or on the horizon, we may go away without even hearing one RenaissancemotetorpartsongoftheRomanticorearly20thcenturyperiods.Iwouldholdthatthisis even common in the repertoire sung at some of our high schools and universities.Why is this? Are we concerned about the judgement of others if, for example, a madrigal is done by more than one to a part, orifaRenaissancemotetissungbyachoiroffortysingers?
In my experience (8 years HS, 32 collegiate, 26 community choir) I have found that the singers relish a diet(orbouquet)ofrepertoirethatishistoricallyandstylisticallyvaried.Aftermyhighschoolchamber group dipped their toes into the Renaissance with Palestrina’s Sicut cervus, their aesthetic and artistic taste was elevated, and they had less tolerance for sub-par repertoire. My collegiate singers were transformed when doing the major works that I had somewhat feared – the B-minor Mass, Elijah, The Creation (directed by the great Simon Carrington!).While such fare for smaller ensembles might not be accessible,smallerchoral/orchestralworksorchorusesfrommassesandoratoriosarewithinourreach
Historically speaking, if you are looking for quality unison works, you could consider the canons of Renaissance artists or the delightful choral songs of British composers Ralph Vaughan Williams or BenjaminBritten,writtenspecificallyforyoungpeople Thesecomposers,likethoseofallepochs,cared deeply for the artistic development of children’s or treble choirs. Want to find some duets for treble voices?Try those songs written by Mendelssohn or Brahms.Three parts?The madrigals ofWeelkes and his contemporaries (some SAB or SAT voicing) are delightful (just skip the ones with highly suggestive texts!). More duets? Dvořák composed two sets entitled Moravian Duets that are playful, artistic, and oneeditionbyWaltonhassuitableEnglishtextsincaseyourCzechisn’tuptospeed(likemine)!Doyou consider Brahms too serious? Try his English version of Waldesnacht, set as “Wondrous Cool, Thou Woodland Quiet”, edited by the manager of theVonTrapp Family Singers. More Brahms? Consider #1 of hisMarienlieder,“DerEnglischeGrüß”,whichisveryaccessible.Bachtootough?Theduet“Wireilenmit schwachen doch emsigen Schritten” is charming and is considered a gem of treble repertoire. There are abundant recordings of these works I have mentioned that may serve as a guide to tempo considerations,language,etc.Imarvelthatthesecomposerscaredenoughtosetgreatpoetryandclever, beautifulaccompanimentsforyoungersingers
PastPresident’sCorner
Darrough Continued
While Gustav Holst was teaching at St. Paul Girls’ School in London (one of three jobs he held to make ends meet before composing The Planets), he found that the repertoire in the SPGC was lacking in quality To improve the situation for his young charges, he transcribed Bach cantatas to suit the treble voices For ear training and part independence, he composed canons, but not ordinary ones; he wrote them in multiple keys and modes to challenge them (they are challenging, to be sure) Earlier by few generations,Brahmswrotecanonsforhisownwomen’schoirsinViennaandHamburg Brittenwrotean anthology for young people (treble voices) called Friday Afternoons, for their enjoyment as they completedtheweekoftheirstudies,andofcoursemothercouldplaythepiano!
Insummary,bebold!Search!Createabouquetofworksthattouchthemindsandheartsofyoursingers thatrepresentthewonderfulandexpansivehistoryofourchoralart.
Suggestedshortreadings:
“Broadside”,WilliamDehning,ChoralJournal,December1997
“RepertoireatACDANationalConferences1960-2017”,LeilaHeilandRobertWard,Choral Journal,May2017
R&R
CristiMiller MiddleSchool/JuniorHigh R&RChair Resource Article
NomatterhowmanyyearsI’vebeenteaching,Ialwaysfeelabitlikeanewteacherwhentheschoolyear begins OnceIgettheballrolling,Ifindmyrhythm,butIstillhavetoreturntomychecklistofstrategies thatworkandmyplanforputtingthemintoaction
Thefirstmonthofmiddleschoolchoircansetthetoneforeverythingthatfollows It’satimeforbuilding relationships, assessing skills, establishing routines, and, perhaps most importantly, creating a culture of music-makingwherestudentsfeelbothchallengedandsupported.HereareseveralkeyareasItrytofocus onduringthefirstsemestertosetmychoirupforsuccess.
Buildingrelationshipsandclassroomcultureisalwaysatthetopofmylist.Ihonestlythinkit’sevenmore importantthanrepertoireintheearlyweeks.Middleschoolerswon’tgiveyoutheirbestsinginguntilthey trustyouandeachother.
I try to learn names quickly. Using a seating chart with photos helps, but I also incorporate name games when class size and time allow.We sing silly songs together to break the ice and set the expectation that choirisasafespacetotakerisks.
Establishingclearandconsistentroutinessavestimeandminimizesbehavioralissues Iteachandrehearse thebasics:howstudentsentertheroom,wheretheystorefolders,howwarm-upsareconducted,andhow transitions between activities happen The sooner these habits become second nature, the more focus studentscanputintothemusic
Middle school is a time of vocal change for everyone, not just boys. Flexible part assignments allow students to move between voice lines as their range shifts. I try to use warm-ups that encourage healthy tone production. I teach habits such as staying hydrated, resting the voice, and speaking in a comfortable range.Andyes,Iremindthemnottoyellatfootballgames,whetherthey’reinthestandsoronthefield!
Aquickroundofpitch-matching,rhythmclapping,andsight-readinggivesmeaclearpictureofmychoir’s strengths and needs. I frame these assessments as games or challenges so that students don’t feel like they’rebeing“tested.”Knowingwheretheyaremusicallyhelpsmechooseappropriaterepertoireandplan instruction.
Earlyinthesemester,Ilookformusicthatisbothlearnableandenriching.Itrytofindpiecesthatsound impressivebutcanbemasteredquicklywhilebuildingskills.I’mnotafraidtostartwithunisonortwo-part worksbeforeintroducingmorecomplextextures,especiallywhilevoicesarestillsettling
MiddleSchool/JuniorHigh
Continued
As we all know, middle school attention spans are short, so I rotate between singing, rhythm work, listening,andmovementevery8–10minutes.Iusenon-verbalcueslikeraisingahandforsilenceorgiving a cutoff gesture to keep rehearsals flowing without excessive talking. (Admittedly, as a natural talker, I havetoremindmyselftosticktothis!)
The first semester of school can be intense. Between recruitment, teaching, and administrative work, burnoutcancreepinquickly.Remembertopaceyourself,connectwithotherchoirdirectorsforsupportand freshideas,andrecallthejoythatfirstdrewyoutothisprofession.
When your enthusiasm shines, your students will feel it The most successful middle school choirs aren’t just about polished performances They’re about building a community where students feel valued, challenged,andinspired Byfocusingonrelationships,routines,andhealthysingingfromdayone,youlay the foundation for a year of growth and music-making your students will remember long after the final concert
R&R
Resource Article
BethEnloeFritz Jazz R&RChair
Howdoyoustarttheyearwithyourjazzensemble?
HowdoIstartthisyear?Whatworkedbefore?WhatroutinescanItweakforthisyear?
Aswegearupforanotherschoolyear,wethinkaboutthefirstdayandsubsequentfirstthree-ishweeks with our groups. More times than not, at least half of the students in each of my groups were new members. If you are in the same boat or just looking for a fresh way to get started, I have a variety of answersforyoutothisonequestion:
Howdoyoustarttheyearwithyourjazzensemble?
This could be easy little go-to warm-ups that are a part of the routine, harmonic work, or group cohesiveness activities that pull everyone onto the same page. This could also apply to how you start workingwithyourgrouponajazzchart.
To help answer this question, I compiled some responses from leaders of different ages and levels. Whicheverwayyougoaboutit,Iamwishingyouandyourstudentsagreatstarttoyourschoolyearfull offunlearningandgrowingtogetherinjazz.
BethEnloeFritz-RetiredFortZumwaltWestHS
● Many of my new jazzers are unfamiliar with swing feel. To teach and reinforce swing I use 2 easy warm-ups on “doo-vah,” working for a quieter doo. I alternate this at first with straight and swing eighths to get used to the difference. Then we layer on the swing quarter note (this is a decay in the soundaftertheinitialonset).Weimmediatelyapplytheseswingfeelconceptstoanexistingchart.
1.Movingdown:descendinginswingingeighths(5,3,4,2,3,1,2,7,1).Addswingingquarters (decay):ex-TBkeepswingingeighths,SAswingquarters5,4,3,2,1ondoo.Switch.
2.Movingup:Ascendinganddescendinginswingingeighths(1,2,3,4,5,4,3,2,1).Addswinging quarters:ex-SAkeepswingingeighths,TBswingquarters1,2,3,2,1ondoo.Switch.
●Wedo4ptchordworkforaudiatingchordstructure,tuning,vowelplacementandpartindependence I play the root of the chord, they sing an ascending arpeggiated Dom7 chord together, in time, and hold theirsection’sdesignatednoteonthedescent(S-7th,T-5th,A-3rd,B-root) Then,invertthechord(basses hold anything but the root) Every section names the part of the chord they are holding We move from theDom7tothemaj7,m7b5,add9s(swapout5th),etc,dependingonspecificprogrammedcharts For advancedwork,Iwillplaytherootandcalloutthequalityandwhichpartofthechordforthemtosing
●Forarticulationandmorestylework,Iuse“VocalJazzStyle”byKirbyShaw Welisten,readand learnanewexerciseonceaclasstime(usuallyfinishingmid-October) Wememorizethecombo exercisestouseduringtheyeartorefreshvariousarticulationsandforsoundchecks
Jazz Continued
● Inspired by Dr. Tim Lautzenheiser, we hold a workshop at the beginning of the year that teaches ‘givingleader’conceptstobuildgroupownershipandcohesiveness.Afterwards,thestudentspicktopics and pair up to present a “leadership moment” once a month as refreshers. Giving leaders develop as positive peer influence, mutual strong work ethic and encouragement comes from within the group ratherthansolelyfromthedirector Hereisaresource: https://www.cherokeebluffband.com/uploads/2/1/1/9/21192838/leadership student workbook 3.pdf
MikeEngelhardt-WebsterUniversity
● Sincewehavethreerehearsalsaweek,wehavearoutineof1daysectionaland2daysrehearsal.On the first day, we run sectionals using one chunk in the music. This way rehearsing together on a programmedpiececanhappenrightawayinthenexttwodays ●Wedoalotofchordalwork.
●Takingthetimetoteachandworkonthevalueofunisonisimportant.
CarterDatz-LibertyHS
● Weusesolfegesingingwithpausingonchordstoworkonlockingandtuningwhilealsogettingthe bassesoffofthetonic
● In warm-ups we use simultaneous section scales, each section starting on the next 4th (quartal chords).
● I chose a challenging chord in a chosen chart and we practice it in different keys to normalize the sound.
●Weincorporatepracticingswing
BenSilvermintz-ParkwayCentralHS&MOAll-StateVocalJazzCoordinator
●Iuseanexistingeasycharttofinetunebasics,setstyle,andgetrehearsalpacing
JohnStafford-KansasCityKansasCommunityCollege
●IplayTake6“David&Goliath”fordemonstratinglockingvowels Thisisthevowelsnapconceptwhen theconsonantisclippedtokeeptherhythmclarity.
Jazz Continued
ChristineTavares-Mocha-ValenciaHS
● I demonstrate looping with five students and we start making our own loops together. A student starts with an ostinato and the next adds a layer and then another layer and then another layer and somebodytakesasolo Isplitthemintogroupsof4to5 Theydothisimprovisationfor15minutes Iput them in practice rooms, dim the lights and encourage them to close their eyes to listen. I tell them to startrecording7minutesin.Aftertwoweeks,wemovetothe12and16barbluesandpartnerthemin teamsoftwo Wethentrade4s Ifindafterthestudentsbecomecomfortablelooping,theyaremoreapt to try solo improvisation. It also enhances listening to each other (rather than simply watching each other), intonation, focus, spontaneous composing on the spot, the artistic choice to change and polish melodic lines in real time, and enhances team bonding, trust, and collaboration. Some students have actuallyendedupwritingcompositionsfromtheseexercises.
DustinMcKinney-KearnyHS
●Iteachvariouswarm-upsthatintroducestyle,technique,andjazzharmonictheory.
● First,weuseajazzstandardwheretheextendedharmonyisabitlessdense Wetalktoneandstyle, andabouthowtheapproachdiffersfromthetraditionalchoralensemble.Thenwemoveintoindividual expressionsofthoseconcepts.Everykidpicksajazzstandard,andItakeasampleanddiscusshowto getawayfromthepage WehostaStandardsNightwhereeverystudentsingstheirsolo,andthegroup performsattheend.Thisisavehicleforindividualexpression,introtoimprov,anditgivesmyrhythm sectionsomethingtoworkonwhileI’mworkingwiththevocalsforthemajorityofclass.
DavidCannon-RetiredKirkwoodHS
● We use a warm-up I stole from Phil Mattson where we sing ascending and descending arpeggiated majorchordsonnumbers 1,3,5,8then3,5,8,3then5,1,3,5 Theywillholdpitchespersectionon‘loo’ Wetakeittothenextlevelbydoingthesameexercisebutnowminor,thenDom7,Maj7,addb5.
● Fortoneandensembleexploration,Ichooseajazzstandardmelodyandteachittoeveryone.Iplaya greataudioexampleandaskeveryonetoimitatethatexample.Wepartnerupandsingitforeachother, thenIaskthemtoimitatetheirpartner.Finallywesingittogetherimitatingeachother.Thishelpsus cometoamiddlegroundforlisteningandblend
Jazz
Continued
LezlieWaltz-RayPecSouthMiddleSchoolandRayPecNinthGradeCenter
●First,Ichecktheirvocalrangestoseewhatwe ’ redealingwithforpartsetc.
●Westartsingingchordsandworkonholdingclusterswithoutmigratingtoanotherpart.
●Iplayjazzwarm-upsthattheyimitateandthencallandrespondtobeginscatsinging
●Wealsotalkaboutjazzandplayexamplesforthemtobeginto“hear/feelit.”
● Afterworkingthroughthosethings,we ’ rebetterabletoselectmusicthat’sagoodfitforourgroupto learn
JenniferBarnes-UNT-Denton
●Welistentogetherasagrouptosomereallygoodvocaljazzensemblerecordingsandtalkaboutwhat we ’ rehearing.Thisisameansforustodevelopsomesharedvocabularythatwecanusegoingforward inrehearsals Like,“rememberthat (bright,forward,airy,pointy,rich,etc)soundwelikedfromthat recordingof ?That’swhatwe ’ regoingforhere!”
DavidVonKampen-UniversityofNebraska-Lincoln
● I do a lot of building up chords and getting them comfortable holding tough intervals against each other.There’sahugedifferencebetweenagroupthatreliablysingsachordthathasahalfstepinit,and onethatcan’t
● Ialwaystrytofront-loadalotofgrouplisteninginrehearsaltoo.Playingrecordingsofthechartswe are doing, in addition to other jazz artists (singers and instrumentalists). It gets harder to budget rehearsaltimeforthatthefurtheryougetintotheschoolyear,normally
KerryMarsh-UniversityofKansas
●Ialwaysstartanynewgroupoffwithaquickbreathingthing(in4bts,out4on “shh”;in4,out8;out 12; out 16 with a cresc on the last 4; out 20 with cresc, etc.) and then straight into a chord building exercisetodealwithvowelmatching,blending,balancing,tuninganddynamicshaping.
● I’llhavethemallonaunisonBb3onatall“ oo ”andsaylittlethingsabouttheblendwhiletheyhold and stagger and listen. Then change the vowel shape to wider, conversational/brighter “ oo ” and check theblendagain,thenbackandforthbetweenthetwoacoupletimes Weholdthebright“oo"andI startdirectingthesectionstodifferentnotes,onebyone,startingwithanopen5th(droptheT&Bsto Eb, etc.), then move T up a whole step for an Eb2 chord…S up a whole step, and then again for an EbMa9(no3) chord deal with any tuning on the newly added Maj7th (often basses flatting) then changevowelto“uh”,instructaboutmouthshapeandspaceinsidethemouth.I’llchangethevowelsand chordsaroundabunch,hittingonhalf-stepsbetweenalladjacentsectionsatsomepoint(atleastone
half-stepcluster),alsogoingforquartal(withthewholegroupmovingtogetherupanddown),hittinga wider quintalthing, setting up some standard voicings including some 7#9#5 chords I might split the sectionsfurthertogetthickerharmonyandtesttheirindependence.
●Whenwe’reonaparticularlystableandhipchord,I’llcutthemoffanddemonstratearhythmic grooveforthatchordandgofromthere Imightintroduceasecondchordtomakeitmoreinteresting, thenjustdocirclesongstyleplayuntilwehaveagoodfinishingmoment.
Natalie J.Wilson - Retired Elementary Camas School District & Fostering Jazz Series (Anchor Music)
●Wealwaysstartwithmusicplayingastheyenterandasubsequentlisteningexerciseanddiscussion to start (This is a strict sit and listen) Asking and discussing: “What did you hear?” “What did you notice?”
● Using Jamie Aebersold’s “Blues in All Keys,” I would sing a 4 measure blues riff and students repeat after - sometimes my choice for fun, other times to practice rhythms, articulations or intervals in a programmedtune,sometimesstudentlead.
BrianParrish-ClaytonHS
●Iteachthema4partquick exerciseIstolefromDavidCannon,tointroduceblendandtone.(Singing thewords“soundcheck”twice,endonoooh-Gm7/F,Gm7,D7/F#,F#m7b5/E,Gmaj7add9)
● I also teach them a medium swing exercise to work on swing articulation This is a melodic line (Thinklikean8measureinstrumentalimprovsolo.)
Audiolinkforbothexamples:AudioMessagem4a
Christine Guter - University of California-Long Beach & 2026 SWACDA Vocal Jazz Honor Ens Conductor
●Wehavearetreatbeforeschoolstarts Wecookforeachother(eachsectionisresponsibleforameal), wedointensivescorestudy,andgroupbuildingexercises.
● Ourpurposeisimportant.Thediscussionofourmissionandintentions(notjusttolearnmusicand showoff)isstartedandfacilitatedbysharingmyvision:toupliftthehumanexperience;tousemusic forhealing;toapproachjazzasaseriousartform.
● We start singing with voice pairing. I look for an easy pairing with tone quality and vocal approach. We use Over the Rainbow in unison, each student singing in their own voice I pair them by having themsinginduets,thenbysectionandplacethemintheseatingthatbenefitstheholisticsound.
R&R
Resource Article
SpencerWiley HighSchoolMixed
R&RChair
FosteringaCultureofPositivityandCollaboration: AConversationwithChrisFiorini
Creating a culture where students work together in a positive, collaborative environment is a skill that many choir directors struggle with cultivating There are many directors I have met over the years who areamazingatcreatingaspaceintheirchoirroomwherestudentsgenuinelyenjoybeingapartof Chris Fiorini, head choir director at Bridgeland High School in Cypress, Texas, is definitely one of these directors I sat down with the recent recipient of the Texas Choral Directors Association’s Choral Excellence Award to ask him how he is able to create a culture where students strive for excellence in musicianship,butwhoalsotreateachotherwithmutualrespect Hereiswhathesaid: Canyoutellmewhatthefoundationalprinciplesofyourchoirprogram’scultureare?
So much of it for me starts with the idea that everybody that shows up at my door is welcome in my room Everybody gets a fresh start, and everybody gets a chance And when kids mess up, I always give them another chance to make better choices We have to understand that kids going to step out of line, andit’sourjobtoguidethembacktowheretheyshouldbe
The second principle is something that my dad taught me when I was young From a young age, I was always taught that there is nobody that is more important than anybody else in a successful organization Your four-year all-stater or varsity singer is just as important as your life skills student Modeling this concept in your everyday interaction with your students will revolutionize the way they interactwitheachother
Thethirdprincipleistheideathateverythingisearned Ireallymakeitapointtosnuffoutegosinmy program Ialwaystellmystudents,“Youcanbereallygoodatsinging,butyoucan’tactlikeyou’rereally good at singing” I’ve had to teach them that you can’t let that be all that you are They have so much more that they can give Taking the focus away from rewards and accolades and shifting it toward servantleadershipandhelpingothershaschangedthecultureinmyprogram
Was there a catalyst that prompted you to shift your focus to being more intentional about cultivating a positive, collaborative culture in your choir room? And if so, what was it, and how wasthatshiftreceived?
Ihavetobehonest;Idon’tknowthattherewasaturningpoint Idon’tthinktherewasanymomentthat I could pinpoint that was like, “Man, I have to get better at this” I think I constantly watch what other directors do When I see a concept or a strategy that works, I figure out how I can make it work for my program, and I try it After nineteen years of teaching, I’ve come to the realization that once you finally think you ’ ve cultivated the perfect vibe, something will change As time goes by and as the students change, so should you We are constantly adapting to fit the needs of our students We have a good culture at Bridgeland High School, but we are never done We have never said, “This is how we do things”;Weareconstantlyevolving Weareconstantlythinkingofnewthingstotry
HighSchoolMixed
If something doesn’t work out, we pick ourselves up, dust ourselves off and say, “Let’s try something different.Whydidn’tthatwork?”We’reinaconstantstateofreflection.
Do you have a choir leadership team and if so, how do they help to cultivate the vision for your program?
I’ve got two different leadership teams. I’ve got traditional choir officers consisting of a president, vice president, secretary, social chair, chaplain, equipment manager, historian, publicist, librarian, and a recruitmentchair.Whenitcomestoourofficers,mymaingoalistoteachthemhowtoessentiallywork as a small business team that is able to plan and execute projects and events that occur throughout the year.Mostofthetime,theleadershipteamdecidestodothesameeventseveryyear.Buteveryonceina while, they say, “We want to try something new ” ; If that is the case, they generate a formal proposal where they outline the logistics of their event or project. We meet about once a month or as often as theyneed.Attheendofeverymeeting,Ialwaysaskthem,“What‘shappeninginthechoirroom?What’s the culture like?” In addition to planning and executing events, their job is to also help me keep a pulse on what’s going on in my program from a student’s perspective. They are my eyes and ears on the ground.They let me know if there are any issues that need to be addressed that I might not have been awareof.
In addition to the traditional officers, I also have a team of student music leaders that I choose that functioninmoreofasectionleadercapacity.Tobeonthemusicleadershipteam,studentsmustbeinan advanced ensemble, must have advanced music literacy skills, and most of all, must be respected by their peers. I’ve found that sometimes students may have a great deal of vocal and musical talent, but they struggle in leadership positions because they’ve had negative interactions with their peers in the past Whenchoosingmusicleaders,I’vegottobeabletotrustthatthoseIselectwillbeabletogainthe respect of their peers, listen to their peers, and be servant leaders as opposed to being driven by ego Buy-inissoimportanttothesuccessofcultivatingculture
What are some of the things you do to encourage buy-in from your students, parents, and community?
I think that buy-in is everything, and it starts with the students If you don’t have buy-in from the students, you ’ re just spinning your wheels without gaining any traction towards your ultimate goal of creating a program that people what to be a part of I believe that in order for kids to buy in to the program, they must first buy into the director If students don’t like you, they’re not going to work for you Theonlywaythattheyaregoingtolikeyouisforyoutoworktolikethem Youcan’texpectbuyin fromakidifyou’renotwillingtobuyintothemfirst Takingthetimetonoticewhatmatterstothemis thefirstandmostintegralsteptowardbuyingintoyourstudents
AnotherthingIdoistrytosendapositiveemailtoatleastfivestudentsaweek,highlightinghowgreat they’re doing in class I always make sure to copy their parents on the email that I send because I want them to know that I see positive growth in their child When it comes to fostering great relationships with parents, I believe that if parents see that their child is happy, they will be happy, and they’ll do everythingtheycantosupportyou
HighSchoolMixed
Continued
How much time to do you devote to team building during your rehearsals? Does that time allottedchangethroughouttheyear?
Teambuildingisanecessarypartofcultivatingourculturebecausekidshavetogettoknoweachother beforetheycanworktogether.Buttobehonest,Ireallydon’tthinkI’mverygoodatit!Ithinkmostchoir directors feel the same way. One thing that we do that has proven to be very successful is “Affirmation Fridays.” I got the idea from Raegan Grantham who’s at Jordan High School in Katy, Texas. The way it works is each Friday, during the last ten minutes of class, we randomly choose four students to come downtothefrontandfacetheirpeers.
They sit at the front of the room, and I say, “I need three people to say something encouraging to each person sitting here.” We tell the kids that the encouraging words should not focus on broad generalizations like, “I like your shoes.” We tell them to think about positive things they’ve noticed in theirpeersinrehearsalsduringtheweek.You’dbesurprisedathowmuchofanimpactdoingthishason students. With every positive affirmation that is given, students seem to perk up a bit more in the chairs.Nowadays,I’vefoundthatmystudentslookforwardtoAffirmationFridays.Thoughitdoestake sometimeawayfromrehearsingmusic,thebenefitsoftakingthetimetoteachkidshowtobepositive andaffirmothersismoreimportantthanusingthelasttenminutesofclasstotuneachord.
Another thing that we do is something that we started last year called “Fix-It Fridays.” If there is a particularsectionofthemusicoraconceptthatagrouporindividualisnotgetting,Iwillgivethemten minutes to go into sectionals and fix whatever they feel needs to be addressed. If a particular student wasn’t able to make it to after school rehearsals due to a scheduling conflict with another organization, they have the time to get with their section to review what they missed. It is their responsibility to tell theirpeerswhatthey’restrugglingonsothattheycanbeacontributingmemberoftheteam.Thoughit may not seem like a traditional team building activity, it actual is for my students. It builds open communication,self-advocacy,andtrustamongsttheirpeers
Finally, if there was one piece of advice that you want to give choir directors concerning cultivatingapositive,collaborativecultureintheirprogram,whatwoulditbe?
Beauthentic.Bewhoyouare.Butdon’tjustbeyourself beaheightenedversionofyourself.Neverstop changing. Never stop growing. Never stop learning. You can always figure out a way to get better at cultivating a positive, collaborative culture in your program. If you try something and it doesn’t work, don’t get frustrated. Reach out to other directors whose programs align with your vision for what you want for your program and steal what they do!Then, take what they do and find a way to make it your own.Adaptwhattheydosothatitfits bothyourpersonalityandteachingstyleaswellastheneedsof thestudentsinyourprogram.
JeremyBrown
HonorChoirCoordinator7-9TTBB
JeremyBrowniscurrentlyservinghisthirdyearatMcKinneyBoydastheassociatedirectorofchoirs, withfiveyearsofteachingchoralmusic HeconductsLyricandMeistersingersaswellasinstructsthe APMusicTheorycourse.BeforeBoyd,hewastheassociatedirectorofchoirsatHaltomHighSchoolin Birdville Independent School District. Choirs under the direction of Jeremy Brown have received consistent superior and excellent ratings at UIL Choir Evaluations. He is a product of great choral music,graduatingMagnaCumLaudefromtheTexasTechSchoolofMusic.
Mr.Brownispassionateaboutchoralmusiceducationandconducting.Hehasservedasaclinicianand adjudicator throughout the DFW Metroplex In 2020 he served as a student conductor for the 2020 SummerTCDAConventionChoralConductingWorkshop.Also,heservedasaconductingfellowforthe Atlanta Summer Choral Conducting Institute in Summer 2022. Along with conducting, Mr. Brown performs in two choral ensembles in the DFW area- Orpheus Chamber Singers and New American Voices.
In 2025, Mr. Brown published an article within the TMEA Southwestern Musician Magazine titled EmotionalIntelligenceinTenorBassChoirs Withinthisarticle,heprovidedinsightintothetenor-bass choral experience. Mr. Brown is a proud member of TMEA, ACDA and Phi Mu Alpha. Mr. Brown currentlyresidesinDallaswithhiswifeNikki.
JoshuaMcGuire
JoshuaMcGuireservesasoneofthechoirdirectorsatRockHillHighSchoolinProsperISD.Hischoirs have performed for the Music Educators National Conference, served as demonstration choirs for the AmericanChoralDirectorsAssociation,werehonoredwithplacementattheAmericanClassicMadrigal and Chamber Choir Festival in San Antonio and North Texas, and were consistently awarded Sweepstakes at UIL Concert & Sight Reading. Originally from Illinois, he taught at the middle school andhighschoollevelsintheChicagoarea
Josh has been honored to serve the directors and students of Texas in various roles within the Texas Music Educators Association as a Region Vocal Chair, All-State Choir section leader, All-State Choir organizer,TMEAConventionClinicCoordinator,AreaBVocalDivisionChair,andAreaCVocalDivision Chair.MostrecentlyheservedasaVice-PresidentoftheTexasMusicEducatorsAssociationandState VocalChairfrom2023-2025.
He holds a Master’s Degree in Choral Conducting from Louisiana State University and a Bachelor’s Degree in Music Education fromWestern Illinois University. He is a member of TMEA, ACDA, TCDA, TMAA,TFAA,andPiKappaLambda.
BethEnloeFritz
JazzHonorChoirCoordinator
Beth Enloe Fritz graduated in 1992 from UMKC Conservatory of Music and Dance Under mentors Dr Eph Ehly and Dr Charles Robinson, she earned three degrees: BME (vocal and inst), and BAs in Music Therapy and Psychology In 2005, she earned a MM in Jazz (vocal jazz arranging), from Webster University She is retired, after teaching for 31 yrs, having taught K-12 in subjects including general music, choir, guitar, and band For 25 years at the high school level, she taught students in APTheory, 4 choirs and vocal jazz As an active member of MCDA, Beth has served as the R&R Chair for Multicultural, High School, and Jazz, and coordinated the MO All-StateVocal Jazz Ens for 9 yrs She is nowworkingasaclinician,adjudicator,substituteteacher,AdjunctProf forWebsterUniv,andisinher 15thseasonastheassistantdirectorfortheSt LouisSymphonyOrchestra’sINUNISONChorus
BrandonBaker
10/11MixedChoir Coordinator
BrandonBakerisinhissecondyearasHeadChoirDirectoratWestlakeHighSchoolinAustin,Texas,where he leads a program of seven choirs He holds a Master of Music Education degree from Florida State UniversityandaBachelorofMusicEducationdegreefromtheUniversityofSouthernMississippi,where hegraduatedwithhonorsandwasinductedintotheUniversityofSouthernMississippiStudentHallof Fame
Brandon’s teaching career spans multiple states includingTexas, Georgia, and Mississippi, where he has taughtatbothmiddleandhighschoollevels.PriortohistimeatWestlake,heservedastheChoralDirector atHendricksonHighSchoolinPflugerville,TexaswhereheledfourchoirsandtaughtAPMusicTheory Beforethat,hetaughtatDiscoveryHighSchooloutsideAtlanta,wherehewashonoredasTeacherofthe Year for 2021–2022. He began his teaching career in DeSoto County, Mississippi, at Horn Lake Middle SchoolandHighSchool
Throughouthiscareer,Brandonhasgrownprogramsbothinsizeandartistry.Hischoirshaveconsistently earned superior ratings at contests, including UIL Sweepstakes Awards and honors at the American ClassicsCompetition,MusicintheParks,andtheCapitalCityClash
Brandon performs regularly with several professional choral ensembles, including Kinnara, Orpheus Chamber Singers, Unheard, and Austin Cantorum. He is also a staff singer and rehearsal assistant at UniversityPresbyterianChurchandistheExecutiveDirectoroftheTTBBprofessionalensemble,Unheard
