November 15, 2026
Vol. 3.5
A publication of the Southwestern Region of the American Choral Directors Association
arkansas / colorado / kansas / missouri new mexico / oklahoma / texas
Vol. 3.5 · November 15, 2026 SWACDA BOARD (2026– 2028)
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From the President’s Desk
Joshua Oppenheim, President Erin Plisco, President-elect Jonathan Owen, Past President Rondal Wallace, Treasurer Margie Camp, Conference Chair
The People in Your Story - Joshua Oppenheim
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Online Meet and Greet World Music and Cultures Zoom Meeting Beyond the Familiar Yoojin Muhn, World Music and Cultures R&R Chair
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Voices from the Region Galen Darrough, SWACDA Past President - 2008-2010
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Voices from the Region Submit a suggestion for our next spotlight member
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R&R Insights & Ideas Tips, Tricks, and Best Practices for Powerful Performances Mindy Bettridge - Contemporary A Cappella Choirs R&R Chair
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R&R Repertoire Suggestions
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New Voices in SWACDA
Alexander Carr - Tenor-Bass Choirs R&R Chair
Get to know our newest members
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STATE PRESIDENTS (2025–2027) Nick Farr, Arkansas Julia Dale, Colorado Brandon Wade, Kansas Christy Elsea, Missouri Emery Edwards, New Mexico Karsten Longhurst, Oklahoma Eric Cooley, Texas
ACDA EXECUTIVE COMMITTEE (2025– 2027) Edith Copley, President Pearl Shangkuan, Vice President Jessica Nápoles, President-elect
In Memoriam - Guidelines
David Fryling, Past President
Honoring the colleagues we’ve lost
Tom Merrill, Treasurer/Secretary
Connect with SWACDA
Robyn Hilger, Executive Director
Find us everywhere you listen and scroll
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Be Our Guest Share your story with SWACDA
SOUTHWESTERN CONNECTION · November 2026
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From the President’s Desk
SOUTHWESTERN CONNECTION
A NOTE FROM JOSHUA
The People in Your Story Joshua Oppenheim, SWACDA President
Hello SWACDA Friends! How fast time flies! This article will land as we are in the final throes of the fall semester. Many of you are completing or about to have fall concerts, and the quickly approaching holiday events are closing fast. You may know I host a podcast called “What's Your Story?” I have had the joy and privilege of getting to talk with quite a few folk: composers, conductors/teachers, and our SWACDA R&R Chairs. In story after story, someone in each person’s life made the difference. Someone who nudged, prompted, encouraged them at just the right moment and opened a pathway they might never have found on their own. Somebody who noticed something in them perhaps before they could see it in themselves. The more I listened, the more I realized how ordinary those moments are, yet how long they live. The individuals on both ends are often not aware of the significance of these moments.
In story after story, someone in each person’s life made the difference. classrooms, in hallways after concerts, in the small exchanges that never make it into a program bio. We all have the opportunity to do something small that makes all the difference. We can watch for the interest. We can say the encouraging sentence instead of just thinking it. We can make the invitation. We can give the responsibility a little earlier than feels safe. We all have a story, we all have people that helped make our story. That small moment put you on your path, and you have been living on it ever since. It's a wonderful opportunity we have to continue to be that for others.
Sometimes, it's just a few seconds, a short
See you soon!
conversation, or an invitation.
Joshua
All of us had that someone who made a difference in our story. And, conversely all of us have been that someone who made a lasting difference in someone else's story.
What's Your Story with Joshua Oppenheim Spotify:
We are not only the product of these moments
https://open.spotify.com/show/5GqMDiIaPOUjr9f0uTXj3K
but also the source of them, in rehearsals, in
Apple Podcasts: https://podcasts.apple.com/us/podcast/whats-your-storywith-joshua-oppenheim/id6816775347 3
FROM THE PRESIDENT’S DESK
SOUTHWESTERN
ACD
•
WORLD
MUSI C
&
CULTURES
R&R
ONLINE MEET & GREET
https://utsa.zoom.us/j/3828546447?omn=95774132613
WORLD MUSIC & CULTURES
BEYOND THE FAMILIAR Join us for a live online meet-and-greet! We’ll talk about pieces we’ve enjoyed, music we’re curious about, and repertoire we’d love to explore with our singers. No formal presentation, no prep, and no pressure to share. Come hang out, ask anything, and meet other members!
YOUR HOSTS
DR. YOOJIN MUHN
DR. JOSHUA OPPENHEIM
SOUTHWESTERN ACDA WORLD MUSIC & CULTURES R&R CHAIR
SOUTHWESTERN ACDA PRESIDENT
DATE
TIME
WHERE
THURS NOV 19
7:00 PM CST
ONLINE
Voices from the Region
PAST PRESIDENT SPOTLIGHT
PAST PRESIDENT SPOTLIGHT
Galen Darrough
In Search of Quality 2-Part Repertoire Part of a choral director's responsibility is to build a uniform unison sound, which we work on in vocal warm-ups almost every day. Transferring that uniformity and confidence to multiple parts is also part of our task. I would like to focus on the need for strong two-part execution in treble choirs, from children through collegiate levels. I was under the mistaken impression that executing two-part repertoire was more elementary, fundamental, or foundational to a greater goal: performing three- or four-part music. While a steady diet of SA (two-part) repertoire may not be best for advanced high school or collegiate treble choirs, its importance became apparent as I began teaching junior and senior high schools. I found that quality two-part repertoire benefitted my choirs in several ways: a developed confidence through the simplicity of the setting/parts the existence of an actual melody for the alto section (!!) development of the voice through expanded range quality ear training for both parts an abundance of “classical” settings by renowned composers opportunities for solfeggio/sight reading
VOICES FROM THE REGION
I was under the mistaken impression that executing two-part repertoire was more elementary, fundamental, or foundational to a greater goal: performing three- or four-part music. exposure to artistic and expressive accompaniments accompaniments that are often independent of the voice parts public domain settings that are *free*, except for possible printing costs exposure to quality texts and opportunities for singing in foreign languages What constitutes quality two-part repertoire? How many of us have seen an alto part with a limited range? A banal text? An accompaniment that only doubles the voice parts? A rearrangement of what was originally a mixed voice setting? These are abundant in our profession, and our students always deserve more. Where can we find these quality settings? Though some of these resources may not be new, I would suggest the following:
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Voices from the Region
PAST PRESIDENT SPOTLIGHT
PAST PRESIDENT SPOTLIGHT, CONTINUED
In Search of Quality 2-Part Repertoire Looking to Established Composers of Every Time Period Did you know that Haydn wrote rounds to the texts of the Ten Commandments? I’m not advocating this in a secular/state setting, but I want to point out that even the greatest composers cared deeply about younger voices. There are mountains of treble repertoire by British composers (Vaughan Williams, Gustav Holst, Benjamin Britten) written for children’s choirs that are perfectly suitable for high school and collegiate ensembles. Don’t limit yourself to only contemporary/new composers! Internet Resources/Repertoire in Public Domain We are all familiar with the Choral Public Domain Library (https://www.cpdl.org/wiki/) and IMSLP/Petrucci Music Library (https://imslp.org), both of which contain hundreds of potential resources for two-part repertoire. Choose a composer you love or haven’t performed since your senior recital in college and see if they have quality two-part repertoire. Music Streaming Platforms Again, there are several to choose from, such as Spotify (my choice) or Apple Music, which are either free (usually with ads) or subscriptionbased. In Spotify, I searched by a composer’s name with the words “vocal duet” and found more performances than I could use in decades of programming. You can start with recordings THEN go to the CPDL or IMSLP, or vice versa! VOICES FROM THE REGION
The great Czech composer Antonín Dvořák’s settings, entitled Moravian Duets, are wonderful; they were published through Walton and are available free on IMSLP in their original Czech, or in German, or English (they were and are very popular). I have recordings by soloists and choirs, all enchanting. State Music/Festival Lists, UIL (Texas) At the beginning of my collegiate career with the assigned responsibility of the Women’s and Men’s Glee Clubs, I ordered some of the graded repertoire from the University Interscholastic League prescribed list, a massive resource for school festival music of every kind. At the time, I ordered the grade 3, 4, and 5 repertoire for SSA/SSAA and TBB/TTBB choirs and received folders and folders of octavos. Most states have such lists, available through JW Pepper. If Elaine Hagenberg’s SSAA setting of O Love is on several state lists, chances are it’s a hit (it is). Choral Music Publishers Websites I am not referring to a VENDOR website, such as JW Pepper, which I used extensively. Publishers’ sites now often have the music and a suitable example recording, such as Santa Barbara Music Publishing (https://sbmp.com) and Earthsongs Choral Music (https://earthsongschoralmusic.com). Don’t Be Afraid to Go “Classical”! Do you love Brahms but haven’t done any of his music since you did his Requiem in college? Have a look at Boten der Liebe or any of his 4 Duets, Op. 61. Love Mendelssohn? Try Abendlied from 3 Volkslieder. How about Bach? Choirs for years have done his S/A setting (originally for 6
Voices from the Region
PAST PRESIDENT SPOTLIGHT
PAST PRESIDENT SPOTLIGHT, CONTINUED
In Search of Quality 2-Part Repertoire vocal duet) Wir eilen mit schwachen doch emsigen Schritten. Benjamin Britten wrote his Friday Afternoons for young voices to enjoy as they came home from a week of school studies. This is the same composer who wrote the War Requiem, considered by many to be one of the greatest choral/orchestral works of the 20th century! I remember Howard Swan, whom Robert Shaw called “The Dean of American Choral Conductors,” speaking at an ACDA conference and describing our search for repertoire as digging and digging until we finally found a diamond! Get your shovels out, choral directors! Our students deserve no less.
VOICES FROM THE REGION
Biography Dr. Galen Darrough is Professor Emeritus at the University of Northern Colorado, where he taught for 30 years. His broad experience in choral music includes public school teaching at the junior and senior high school, community college, university, and 26 years at the community choir level. Under his direction, the UNC Concert Choir was one of 12 choirs throughout the US to perform for the National Collegiate Choral Organization biennial national conference, and his Men's Glee Club was selected to perform for the 1996 and 2006 Southwestern Division conventions of the American Choral Directors Association. He has served in numerous capacities in the American Choral Directors Association, including Colorado State President and SWACDA President for the 2008-2010 term. He was recently honored with the 2021 Legacy Award from the Colorado Chapter of ACDA. He and his wife Patty reside in Greeley, Colorado.
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Voices from the Region
NOMINATIONS OPEN
W E N E E D YO U R H E L P
Who Should We Feature Next? Every issue, Voices from the Region will spotlight a member of our SWACDA community whose story deserves to be told. And we need your help finding them. Maybe it’s the choir director who’s quietly shaped generations of singers in a small town nobody’s heard of. Maybe it’s a colleague who’s been doing extraordinary work behind the scenes for years without ever being asked to step into the spotlight. Maybe it’s someone whose passion for choral music has changed the way you think about your own.
NOMINEE REQUIREMENTS Must be a current SWACDA member Must currently reside within the SWACDA region TO NOMINATE, SEND US Their name A bio of at least one paragraph — their story background, and the impact they’ve had A photo
Whoever they are, we want to know about them. The more detail you send us, the better we can honor
Nominate someone
their story, so don’t hold back. This region is full of people
Complete the Voices from the Region
doing remarkable things. Help us make sure they get the
form →
recognition they deserve.
Every member of this region has a story worth telling.
VOICES FROM THE REGION
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R&R Insights & Ideas
REPERTOIRE · RESOURCES REFLECTION · RENEWAL
Tips, Tricks, and Best Practices for Powerful Performances Mindy Bettridge · Contemporary A Cappella Choirs R&R Chair · mindy.bettridge@owassops.org
No instruments? No problem! Contemporary a cappella transforms the human voice into an entire band, complete with bass lines, drum beats, soaring harmonies, and unforgettable performances. But great a cappella takes more than learning notes and adding a few beatbox sounds. It requires precision, creativity, teamwork, and a whole lot of listening. Whether you're directing a seasoned vocal group or introducing students to contemporary a cappella, these ten tips can help take your ensemble from “We know the song!” to “Wow, that was amazing!”
2. Lock In the Groove Bass and vocal percussion are your rhythm section. If they're wobbly, the whole arrangement can wobble with them! Start rehearsals with the bass line and beatbox part. Add the other voices one at a time, keeping the tempo steady and the subdivisions consistent. Slow down tricky rhythms before bringing them back up to performance speed. And beatboxers, remember: a solid groove beats a complicated groove that doesn't groove. Musicality always wins over showing off.
1. Tune It Up: Build Your Sound from the Inside Out
3. Listen Beyond Your Own Part
With no instruments to hide behind, every voice matters! Consistent vowels, healthy vocal production, and accurate intonation are essential.
cappella singers listen horizontally to their own melodic lines and vertically to the harmonies they're creating together.
Try sustaining chords without vibrato first. This helps singers hear individual pitches and identify tuning issues. Have singers identify their chord tones—root, third, fifth, and beyond—so they understand how their notes fit into the harmony.
Try this: Sing the bass line alone, then add one part at a time. Ask singers to identify the chord quality and explain how their notes contribute to the sound. When you sing the full arrangement again, challenge everyone to focus on a part other than their own.
Remember, great blend doesn't mean everyone must sound identical. Contemporary a cappella thrives on contrasting vocal colors when those differences serve the music.
R&R INSIGHTS & IDEAS
Singing your notes is only half the job. Great a
Suddenly, those mysterious tuning problems become musical puzzles your singers can solve themselves!
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R&R Insights & Ideas
MINDY BETTRIDGE · CONTINUED
Tips, Tricks, and Best Practices for Powerful Performances, continued
4. Use Technology—But Don't Marry Your Tracks
movement, and stage awareness should
Learning tracks, recording apps, and notation software can make rehearsals much more efficient. Part-specific tracks are especially helpful when students are learning complex arrangements.
Try a fun exercise: Have students perform a song without singing. Can they communicate its emotional arc through expression and movement alone? Then add the music and see whether the physical performance supports the message.
But beware of the dreaded learning-track dependency! Singers must eventually learn to function without their electronic safety net. Record short excerpts, listen together, identify one or two improvements, and sing the passage again. Then rehearse without the tracks. Technology should develop independent
Choreography doesn't need to be complicated.
musicianship, not replace it. 5. Make Diction Part of the Beat In contemporary a cappella, consonants aren't just about understanding lyrics. They're part of the rhythm! Rehearse difficult text by speaking it in tempo before adding pitches. Coordinate initial and final consonants, paying attention to how they align with the percussion and chord releases. The goal is crisp, unified diction without sounding like everyone is aggressively attacking every syllable. Keep the words clear, the groove alive, and the vocal production free. 6. Give the Audience Something to Watch A technically perfect performance can still fall flat if the singers look like they're waiting for the bus. Contemporary a cappella is both a musical and visual experience. Facial expressions, posture, R&R INSIGHTS & IDEAS
communicate the song's story.
Purposeful movement and genuine connection will beat random synchronized swaying every time! 7. Become Friends with Your Microphones Microphones are tools, not magic wands. Singers need to understand distance, angle, and consistency, especially when moving or singing into solo microphones. Vocal percussionists must also manage plosives and volume. Whenever possible, rehearse with the same equipment you'll use onstage. Check the balance between soloists, background vocals, bass, and percussion. Communicate clearly with your sound engineer about levels and effects. Remember: amplification should enhance great musicianship, not cover up problems that belong in rehearsal. 8. Program a Musical Adventure A great set takes the audience on a journey. Instead of choosing five songs that all have the same energy, build contrast and variety. Consider an energetic opener, a rhythmically adventurous selection, a beautiful ballad, a familiar audience favorite, and a memorable closer.
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R&R Insights & Ideas
MINDY BETTRIDGE · CONTINUED
Tips, Tricks, and Best Practices for Powerful Performances, continued
Think about key relationships, vocal fatigue, solo
Record your performances and watch them
distribution, and choreography demands. Your singers—and their vocal folds—will thank you!
together. Video can reveal habits singers may not notice while performing, from posture and movement to facial expression and stage presence. Celebrate progress alongside achievements. Better listening, stronger communication, and greater confidence are victories worth recognizing.
9. Put Students in the Driver's Seat Contemporary a cappella is a fantastic opportunity to develop student leadership. Let singers explore arranging, beatboxing, choreography, sound production, section leadership, and student conducting. Invite them to evaluate recordings and suggest interpretive choices. Teach them to give specific, constructive feedback. Instead of “That sounded bad,” try “Let's make the bass subdivision more consistent in the second verse.” When students take ownership, they become more invested in the ensemble. A supportive culture also gives them the confidence to take artistic risks while maintaining high standards. 10. Make Every Performance Count The final chord isn't the end of the learning process! After each performance, ask three questions: What worked well musically and artistically? What's one thing we could improve? What will we do differently at our next rehearsal?
R&R INSIGHTS & IDEAS
The Final Chord Contemporary a cappella is much more than singing without instruments. It's about transforming individual voices into a unified, expressive, and engaging musical experience. When singers combine solid technique, rhythmic precision, stylistic authenticity, creative collaboration, and genuine audience connection, the results can be extraordinary. As directors, our job is to create an environment where singers can experiment, take risks, grow as musicians, and discover just how much the human voice can do. Keep creating. Keep collaborating. Keep listening. And whatever you do, don't forget to enjoy the music!
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R&R Repertoire Suggestions
REPERTOIRE · RESOURCES REFLECTION · RENEWAL
Tenor-Bass Repertoire: Alexander Carr, Tenor-Bass Choirs R&R Chair · carrar@lisd.net
Title of Piece: EMPTY Composer: Timothy C. Takach Voicing: TB (with optional B2 part) Publisher: Graphite Publishing Score/Purchase Link: https://graphitepublishing.com/product/empty/ Published in 2012, this piece provides young tenor-bass singers with profound emotional and musical depth while keeping tessituras accessible. Accompanied by piano and djembe, the rhythmic drive supports developing voices without overwhelming them, making it an excellent centerpiece for developing expressiveness in younger ensembles.
Title of Piece: IN BETHLEHEM Arrangers: Sally K. Albrecht and Jay Althouse Voicing: TBB (with optional low Gs) Publisher: Alfred Music Octavo Number: 39812 Score/Purchase Link: https://www.alfred.com/products/in-bethlehem-00-po-0001629 Also available in an SATB scoring, this accessible work is a fantastic teaching tool for emerging high school tenorbass singers. The structured, repeating sections build confidence, while the score introduces key changes, standard accidentals, minor scales, and basic a cappella independence.
Title of Piece: IF Composer: Jonathan Reid Voicing: TTBB Publisher: Carl Fischer Music Octavo Number: CM9779 Score/Purchase Link: https://www.carlfischer.com/cm9779-if.html After hearing this piece performed by the Wylie East Tenor-Bass Choir under the direction of Dr. Nathan Dame, I was deeply moved by how seamlessly the text and music intertwine. The smooth voice-leading flatters high school voices while offering sufficient harmonic richness to keep advanced singers fully engaged. Anchored by a lyrical, highly supportive piano accompaniment, it serves as a powerful centerpiece for any festival or concert set.
R&R INSIGHTS & IDEAS
R&R REPERTOIRE SUGGESTIONS
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R&R Repertoire Suggestions
REPERTOIRE · RESOURCES REFLECTION · RENEWAL
Tenor-Bass Repertoire, continued Title of Piece: LIFE AND DEATH Composer: Samuel Coleridge-Taylor Arranger: Kyle Wooten Voicing: TTBB Publisher: Mark Foster Score/Purchase Link: https://www.halleonard.com/product/394561/life-and-death This masterful 4-part adaptation of the solo art song demands mature tuning, refined dynamic control, and expansive phrasing. The chromaticism and independent inner-voice movement require confidence across all sections, making it an outstanding choice for advanced high school or collegiate choirs looking to showcase tonal warmth and dramatic storytelling.
Title of Piece: EVOCATION (MON-NEE-JOH) Composer: Hye-Young Cho Voicing: TTBB Publisher: Santa Barbara Music Publishing Score/Purchase Link: https://sbmp.com/SR2.php?CatalogNumber=1845 This emotionally compelling work sets a poem by Kim Sowol that explores the enduring memory of a loved one. The piece is accompanied by a lush piano part. The part-writing and expressive harmonic language offer advanced tenor-bass ensembles an opportunity to explore Korean diction while developing expressive phrasing, harmonic sensitivity, and musical independence. Particularly interesting is Cho's use of antiphonal singing to represent recurring memories, alongside an intimate a cappella passage that creates a moment of vulnerability. The publisher provides a phonetic pronunciation guide directly in the score, making the language accessible without diminishing the authenticity of the musical experience.
R&R REPERTOIRE SUGGESTIONS
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New Voices in SWACDA
GET TO KNOW OUR NEWEST MEMBERS
WELCOME IN
Every Beginning Matters to Us Every choral director’s journey has a beginning, and every one of those beginnings matters to us. New Voices in SWACDA is our chance to welcome the newest members
WHAT WE’RE LOOKING FOR
Name and state
of our region, whether you’re brand new to the profession and just starting to find your footing, or you’ve been leading choirs for years and are new to SWACDA
Current role or position
itself. Either way, you belong here, and we want the whole region to know it.
drew them to choral music
This feature is about more than introductions. It’s about connection. When we share a new member’s story, their background, what drew them to choral music, and what excited them about joining SWACDA, we’re building bridges across our seven states. Someone reading their story might reach out with a welcome, an invitation, or a piece of advice that makes all the difference in those
part of SWACDA
early days. That’s the kind of region we want to be: one where nobody has to figure it out alone. So if you’re new to the profession, new to SWACDA, or you know someone who is, we’d love to feature them.
A short bio — a few sentences on their background and what What excites them about being A headshot You can submit your own information, or nominate a new member you’d love to see featured.
Submit a New Voice Complete the New Voices in SWACDA form →
Every voice adds something to this region, and we can’t wait to help the rest of us hear it.
NEW VOICES IN SWACDA
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HONORING OUR COLLEAGUES
In Memoriam Guidelines As a community, SWACDA publicly honors the passing of current, retired, and past choral directors who were members of SWACDA, in The Southwestern Connection. If you know of someone who has passed and should be recognized, you are asked to submit the following information to Margie Camp at MargieC@swacda.org.
GUIDELINES FOR THESE NOTICES Upon the passing of current, retired, and past choral directors who were members of SWACDA, a notice will be posted in the In Memoriam section of The Southwestern Connection. Please include: Name Teaching positions held Positions held in ACDA, SWACDA and/or state chapters Date of passing Memorial link We invite anyone to share news of the passing of current, retired, and past choral directors who were members of SWACDA, so that we can honor them.
IN MEMORIAM
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Connect with SWACDA
BETWEEN ISSUES
FIND US EVERYWHERE
Stay in the Loop, All Month Long The Southwestern Connection lands on the 15th, but the conversation doesn’t stop between issues. Follow SWACDA wherever you spend your time online for repertoire ideas, session clips, member news, and the occasional something that makes you smile.
swacda.org Our home base — news, resources & conference info
YouTube - Southwest Region ACDA Sessions, interviews & performances
Facebook Group - Southwestern ACDA Member conversation & community
Facebook Page - ACDA: Southwestern Region Expect high-value updates, leadership insights, and community spotlights delivered right to your Facebook feed in easy-to-read, bite-sized posts.
Instagram - @swacda Look forward to quick, digestible bites of content from our leadership team, R&R leaders, and the rest of the membership.
TikTok - @swacda Prefer video? Catch those same leadership perspectives, R&R highlights, and community moments in quick, engaging, short-form videos.
More ways to stay connected between conferences, and more ways to get something useful out of your membership, every single month. CONNECT WITH SWACDA
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Be Our Guest
AN INVITATION TO MEMBERS
We Want to Hear From You The Southwestern Connection is only as good as the voices in it. Every issue, we get to share stories from directors across our seven states, and we know there are so many more out there. If you've got something to say to your fellow SWACDA members, this is your invitation to say it here. What we're looking for We're open to a wide range of submissions. A few ideas to get you thinking: A lesson you learned the hard way (or the easy way) in your own classroom or rehearsal hall A program, project, or partnership at your school or in your community worth celebrating A reflection on a piece of repertoire that changed how you think about teaching A letter on an issue facing choral education in our region A tribute to a mentor, colleague, or student who shaped your path Anything else that feels true to why you do this work There's no single format that fits every story, and we'd rather hear yours in your own words than try to fit it into a template. How to submit Send your piece as plain text, without special formatting, to MargieC@swacda.org. A headshot is welcome if you'd like one included. We ask that submissions run somewhere between 400 and 800 words, though we're happy to talk through anything longer or shorter. When We're looking for a piece for our next issue, and we'll keep this space open on an ongoing basis after that. If your story doesn't make it into the very next issue, we'll be glad to hold it for a future one. If you've been sitting on something you've wanted to share with the region, consider this your sign. We'd love to hear from you.
ARKANSAS · COLORADO · KANSAS · MISSOURI · NEW MEXICO · OKLAHOMA · TEXAS
The Southwestern Connection · Vol. 3.5 · November 15, 2026 · A publication of the Southwestern Region of the American Choral Directors Association
BE OUR GUEST
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