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Music Educators National Conference

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Copyright © 1994
Music Educators National Conference
1806 Robert Fulton Drive, Reston, VA 20191-4348
All rights reserved.
Printed in the United States of America
ISBN 1-56545-046-9
Contents
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1, Personal Philosophy of Music Education: A Necessity ........... 1
2,ee Development: Classes to Be Offered..............sccc000 3
3. Overview of a High School Choral Program. ..............ss0ss0eee0 i
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Digitized by the Internet Archive
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https://archive.org/details/gettingstartedwi0000mich
Preface
Teaching choral music at the high school level can be one of the
most fulfilling and rewarding professions you can choose as a career.
Guiding students through musical experiences in rehearsals and con-
certs is very gratifying and cannot be easily measured in concrete
terms. In addition to the fulfillment you experience, there are chal-
lenges and problems that arise, just as there are in all walks of life.
These challenges can be met and the problems overcome through
acquired knowledge, learned techniques, and teaching experience.
The information presented here is not necessarily a definitive or
exhaustive collection of solutions to problems facing the choral direc-
tor, but rather an assimilation of ideas and techniques that have been
successfully used by teachers with varied personalities and diverse
teaching styles. As most successful teachers will attest, every day in the
classroom is a learning experience through which one can continual-
ly develop techniques and formulate a teaching style with which one
is comfortable and that is successful. The areas of emphasis have been
addressed in the order in which they are likely to be faced as the
school year unfolds.
As you approach this new position, you may be excited and, per-
haps, feel some anxiety at the same time. This book, like all the books
in the Getting Started series, is designed to help you get started. It may
not answer every question or cover every contingency, but it does pro-
vide an outline to follow that may help build your confidence as you
take on the new responsibilities associated with being a high school
choral director.
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9
Chapter |
What to Expect
As you embark on a career in choral music, there Personal
are so many fulfilling moments to look forward to:
exciting musical experiences, individual successes as Philosophy of
improvement becomes evident, positive and valued
relationships with students, expressions of apprecia- Music Education:
tion from grateful parents, opportunities to influ-
ence the future direction many students will take, HaNiececc
the gratification that comes with hearing young peo- ty
ple perform beyond the level they (and you) first
thought possible, expressions of gratitude from stu-
dents during the year, and the awareness that you are making a differ-
ence. There will also be some frustrations and disappointments: stu-
dents who drop out of the music program or out of school for a vari-
ety of reasons, slower progress in the choirs than you had hoped for, a
shortage of boys, poor attendance at concerts, less support from the
faculty or administration than you would like, cuts in the music bud-
get, fund-raisers that are not as successful as you had counted on, lack
of musical sophistication that sometimes seems difficult to overcome,
and perhaps others.
It is important to realize that both successes and failures are
encountered by all successful teachers. As you learn to accept this real-
ity, gain more experience, and seek to grow in the profession, the posi-
tive aspects far outweigh the frustrations. The first thing you have to
do is to examine your personal philosophy of music education.
Your Personal Philosophy
A personal philosophy of music education is unavoidable when you

begin a teaching career. Decisions made and actions taken on a day-to-
day basis, whether or not they are expressed verbally, are based on
beliefs about music education. It is imperative that teachers are able to
articulate clearly their teaching philosophy regarding music because
questions inevitably arise from school districts, administrators, and
parents concerning the value or worth of music.
Your reasons for teaching and your beliefs about the intrinsic value
of music are like the rudder of a ship, giving the ship direction. A phi-
losophy that can be articulated provides guidance aid much-needed
inspiration during low points in a school year. This chapter is by no
means a definitive philosophical statement—1t is merely an attempt to
suggest ideas that have been articulated by successful choral directors.
The following statements are intended to stimulate some thinking
Personal Philosophy of Music Education: A Necessity 1

about the justification of music in schools and what you believe about
music and music education:
“Music is not a luxury, but a necessity ... because it is the persistent

focus of man’s intelligence, aspiration, and good will.” —Robert Shaw
“The arts (music) enhance the quality of human life. Mankind

seeks more than mere survival. Human creations—artworks—mark
the difference between living and merely existing. ’"—Charles Hoffer
When one considers a strong justification for music, one must con-
sider the education of the total child. One of your goals should be to
develop students to their maximum potential so that they will make
positive contributions to society. “Education of the total child” and
“maximum potential” are phrases that must take into consideration
the aesthetic experience and how it helps a person achieve his or her
potential as a human being. If the aesthetic experience is considered
an important result of the educational process in music, then the
teacher must teach toward the aesthetic experience,
Music teachers must present music in such a way that its aesthetic
properties can be experienced and comprehended. According to
Charles Hoffer, “Students should be taught to be sensitive to the qual-
ities of the sounds, the rising and falling intensity in the melodic line,
the organizing force of the rhythm, and the harmonic elements in
the music because these characteristics give music its aesthetic
appeal.” Musical expressivity is certainly something that must be
taught if students are to receive an aesthetic experience in their
choirs and if music is to be a reflection of life’s experiences.
Certainly there will be an occasion in your Career as a director
when you will be called upon to justify or defend your teaching posi-
tion and the place of music in schools. If you spend some time think-
ing about this crucial issue, you will be much better prepared when
such an occasion arises.
2 Getting Started with High School Choir

In any high school situation where a choral pro-
Chapter 2
gram is intact, there will be at least one existing
choir. During the first year in a new position, Program
changes that involve new choirs or changes in exist-
ing choirs will not be possible in most schools unless Development:
the choirs are held before school, after school, or in
the evening. If you have a future plan in mind, how- Classes to Be
ever, the groundwork can be laid with administra-
tors and curriculum committees for making those Offered
changes.
One suggestion for developing a solid choral pro-
gram is to offerat least one nonauditioned choir and one auditioned
choir. Some schools only offer one choir for all students. That is not
necessarily a desirable situation: every school has at least a few talent-
ed students who will desire a higher-level musical experience than the
average or beginning student. If there is no auditioned or select choir,
some of these students may become frustrated with the lack of com-
mitment or musicianship in the choir and may drop out of the pro-
gram. This is not to say that a nonauditioned choir cannot be a good
musical experience. It just takes into account the maturity level of the
students, in terms of vocal ability, attitude, and age.
One important educational precept that should be foremost in a
director’s mind is that every student, regardless of talent or age,
should have the opportunity to participate in the choral music pro-
gram. That philosophy takes into account the uncertain singer who
has difficultyjust matching pitches, the student who is doing poorly or
failing in most other areas in school, the student who is out of the
social mainstream (in other words, not “popular”), the student who
may be mentally impaired but is being mainstreamed effectively in
some areas, and the student who has a physical disability.
This is not to say that a choir should serve as a dumping ground for
students who are not succeeding in other areas of school. Certainly,
you should have the right to remove a disruptive or uncooperative stu-
dent from a choir. You should, however, be willing to give any student
an opportunity to succeed. Counselors will respect and appreciate this
attitude and in turn may be willing to reciprocate and help you by
removing students who are a detriment to the choir.
There are many different ways to effectively organize the choir pro-
gram, and each has strong merits. Here are some suggestions taken
from successful programs that have been built with very little history
of success. The suggested classes to be offered are listed in order of
importance to a growing program. Choirs to be offered:
Program Development: Classes to Be Offered So)

s Mixed Choir. This group should be nonauditioned, open to any-
one on a sign-up basis. Usually there are not enough boys to fill sever-
al choirs. In many situations, all the boys should be directed into
either the nonauditioned mixed choir or the select choir if they audi-
tion. Sometimes freshmen boys are excluded from the select choir so
they can receive the needed training in music fundamentals before
being a member of an advanced group. The nonauditioned choir
should have unlimited membership unless the program is so success-
ful that two nonauditioned choirs are needed because of space limita-
tions.
ws Auditioned Choir (Concert Choir). The size of this choir should
be limited only by the number of qualified singers who meet the crite-
ria for membership. A wise requirement is that all singers be at least
sophomores. Unless it is absolutely necessary to have them in the
auditioned choir, freshmen boys or girls should be required to be in
one of the nonauditioned training choirs. If an even more select
choir is desired, a smaller ensemble can be formed.
aw Treble Choir. This choir can be either auditioned or nonaudi-
tioned depending on the number of students in the program. It
could be an intermediate choir between the nonauditioned and
select choir.
a Chamber Choir. This should be a small select choir. Size should
usually be limited to sixteen to twenty-four singers. I prefer twenty-
four (six on a part or three on a part in divisi music). This size usually
ensures that rehearsals will be productive despite absence within a
section. This size also does not limit you quite so much in terms of the
music you choose for the group.
# Women’s Choir. This group usually should not exceed twenty-
four; a more productive number is sixteen (four on a part in four-part
music). Most administrators will allow a smaller number of students in
one class if there is a larger number of students enrolled in other
choirs, despite the mandated class size that most school districts have.
This select women’s group has proven to be an enjoyable and musi-
cally rewarding group to work with. The girls in this group are gener-
ally very committed to music and to their group, and they enjoy the
treble choral sound very much. This type of group is strongly recom-
mended if a select group is desired and there are many more women
in the program than men.
» Swing Choir. This is an-exciting group to get started if a select
group is desired. There are some inherent dangers in having a group
such as a swing choir in a choral program, however, because of the
nature of the music it sings. If students get excited about singing pop
or jazz literature, the teacher may have a difficult time convincing
them to sing music of more traditional musical periods and styles.

One recommendation would be to form a more traditional chamber
ensemble that studies and performs a wide variety of music, including
swing choir literature. Yes, it is possible for a chamber choir to per-
form music of various styles and musical periods equally well (or at
least well enough for educational purposes).
= Men’s Chorus/Women’s Chorus. Some directors prefer these
organizations to a nonselect mixed choir. There are advantages to
both organizational philosophies, but the preferred way for most
directors is to have a mixed choir. There can be a very positive interac-
tion between men and women in a mixed group that is not possible
when the groups are separated into two classes and only combined for
concerts.
As is evident from these suggestions and descriptions, there are
many ways to Organize a choral program. Suffice it to say that much of
the way a program is organized is dependent on the number of stu-
dents in the program. If recruiting is a priority and students respond
positively, it will be an enjoyable challenge to decide how best to meet
the needs of the students through various choirs that might be
offered.
Program Development: Classes to Be Offered 9

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Chapter 3
As you take over a choral program, whether it was
previously successful or poor, you will be faced with
many challenges. One of those challenges is follow- Overview of a
ing in another director’s footsteps. As you are getting n
started in the profession, it can sometimes help to High School
know that you are on the right track regarding per-
sonal qualities that can contribute to success in the Choral P rogram
classroom. Experienced teachers may also find these
useful as a way of evaluating successes and failures,
which is always healthy (but sometimes painful).
Following a Previous Teacher: How to Handle It
One of the first problems that a teacher just getting started or a

teacher in a new situation must deal with is following a previous direc-
tor. New teachers are in a delicate situation that must be handled with
tact and professionalism. Too often, a new director does not know
what to say or how to handle questions or comments that arise con-
cerning the previous director and the way in which the choir was han-
dled. In an attempt to assert authority over the students, the director
will often be dogmatic and dictatorial about changes and new ways of
doing things by saying, “This is the way we will be doing it now!”
That is without doubt the worst way that you can deal with the situa-
tion. If the program was strong and very successful (at least according
to the students), you must tread lightly and not try to make major
changes during the first year. Changes are difficult for students (and
adults for that matter) to make if they have been used to doing things
a certain way. Certainly, students will understand that having a new
director means some changes are inevitable because of the new direc-
tor’s teaching style, educational philosophy, and personality. In most
circumstances, though, changes must not be made all at once or in
the first year, even if this means doing things that are not necessarily
comfortable or agreeable to the director.
Comments from students such as “We didn’t do this last year” and
“But we've always done it this way” must be handled with diplomacy
and graciousness. Always give the previous director the benefit of the
doubt and do not criticize the ways things were done, even if you dis-
agree with some of them. Comments such as “It is a privilege to follow
such a respected teacher and fine musician who has built such an
exciting and sophisticated program” or “I know I am going to enjoy
working with you and working to maintain the high quality work that
has been done here” will go a long way toward endearing the students
Overview of a High School Choral Program 7

to you and unifying them around your new ideas and procedures.
Encourage openness and honesty when students feel that what they
are comfortable with and have enjoyed in the past now seems to be
threatened. This approach will pay big dividends when you want to do
things differently.
If there are traditions that have been upheld over the years, recog-
nize them and maintain them at least during the first year. Any
changes you wish to make in the program might be discussed with the
choir council. If the student leaders support the changes, things will
go smoothly; if they don’t, the changes probably shouldn’t be made.
This isn’t to say that you can’t feel free to make changes without con-
sulting students; some decisions might have to be made despite any
grumbling or resistance from students. Rather, it is simply easier and
wiser to let student leaders know in advance about changes that might
be made.
If you recognize the work that has been done in the past and indi-
cate your desire not to change everything at once, most students will
be supportive. After all, in a situation where the program has been
strong, the students simply don’t want it to be threatened or to lose
what they have enjoyed. They just want a good choral experience,
which is certainly understandable. If you can assure them that you
want what they want—a high-quality, sophisticated, exciting choral
program—they usually will support you and respect your individuality
as a teacher.
Some students, of course, will not be supportive no matter what
your attitude is. Some students will resist change and disagree with
everything that is done by a new director, from concert changes to
rehearsal style and techniques, choice of literature, approach to vocal
technique, or the style of clothes that the director wears. Student
resistance could very easily lead to confrontation, which is not an
uncommon occurrence. A new teacher should not fear this. Although
it is a nuisance, it must be dealt with. If an attitude problem arises, the
director should treat the students with respect and really listen to
them (see Chapter 8). They may have legitimate concerns or trivial
ones, but in any case, the director must try to see the students’ point
of view.
If students continue to resist change or are uncooperative after the
director has listened to them and made an effort to alleviate their
concerns and accommodate any suggestions, something further must
be done. This usually means that the director must firmly give the stu-
dents a choice: either support the new director and the choral pro-
gram. as it is now or find another class. That sounds harsh but it does
not help anyone to have dissatisfied, perhaps even rebellious, students

causing continuous classroom tension and controversy. Some direc-
tors might be willing to put up with these students; many are not.
Unfortunately, this might mean the loss of some students, even a top
student, from the choir. Initially, losing a student (or students) might
hurt, especially if the students have been leaders in the choir and are
good musicians. In the long run, though, students will see that you
mean business and intend to be in charge of the choir and the pro-
gram, although you are willing to listen, accept suggestions, and make
changes slowly. Students will respect this action and your right to
make it (maybe not immediately, but eventually). Some resistant stu-
dents may stay in the program and accept your way of doing things,
some may not; either way, you must try not to take this situation too
personally and must continue with confidence and determination. As
these students graduate, any problems related to change or tradition
will begin to disappear. Ultimately, the program will go in the direc-
tion that you intend for it to go. You just have to be patient, under-
standing, and persistent.
If the program is relatively new or has been down in numbers or
quality when you arrive on the scene, your task is much easier. You can
make more changes and initiate new ideas regarding concerts, special
events, and rehearsal procedures without the threat of student resis-
tance or disagreement. This does not mean that everything will run
smoothly—there will still be plenty of challenges, new attitudes to
shape, students to win over, students to recruit, and a higher standard
to establish. There will usually just be more freedom to shape the pro-
gram around the new director’s philosophy and vision.
Whenever there are problems, challenges to be faced, or obstacles
to be overcome, you should always remember: This too shall pass.
Six qualities stand out in successful teachers:
@ Sincerity
w Stability
a Good sense
# Sensitivity to the needs and feelings of others
# A sense of humor
a Enjoyment of life
Students of all ages have an uncanny ability to detect dishonesty in

teacher-student relationships. It is extremely important, therefore, to
be sincere when dealing with students. That does not mean that you
have to be brutally honest at all times, but sincerity does imply that
you can be relied on to genuinely express feelings, to honestly evalu-
ate group and individual performance (using tact where necessary),
and to give students at least a glimpse into the human side of yourself.
Overview of a High School Choral Program g

The emotional stability within a person varies, of course, with each
individual. Each of us has a different capacity for reacting calmly and
with an even temper in stressful situations. Most teachers will at some
time lose their tempers or react uncharacteristically to various circum-
stances or student actions. Stability in teaching implies an evenness of
emotion in dealing with volatile situations; this will in turn have a
calming effect on students and diffuse potentially destructive student
reactions. When this quality is not inherently part of your disposition,
you must work on it and value it as a desirable part of your teaching
style.
Good sense is simply the ability to make teaching decisions that are
in everyone’s best interests. Decisions that seem appropriate to you
may not always be popular with students, but ultimately will be
respected and understood by most of the students. Choral methods
books and college methods classes do not always prepare teachers to
make decisions that require good sense. For most teachers, that ability
comes with experience.
Some people seem to have an innate sensitivity to the needs and
feelings of others. There are several possible explanations for this, but
suffice it to say that the teachers (or coaches or other leaders) who
can sense what the best approach is in teaching situations or when
dealing with a group or an individual usually are reflecting a sensitivi-
ty to people that enhances their teaching effectiveness. Sometimes a
gentle and understanding approach is necessary; other times firmness
and a hardline approach must be used.
Students appreciate and respect the teacher who always seems to
know how to treat them in (what is to them) their unique situations.
Sensitivity to individuals during times in their lives when they need
understanding and acceptance, and when their lives seem somewhat
tumultuous and traumatic, can be the most important quality you can
have if you expect to get the greatest effort from your students.
A successful teacher usually has a sense of humor, which can mean
many things but here refers to the ability to laugh at yourself on occa-
sion (perhaps in recognition of an obvious mistake made), to enjoy
the natural humor that invariably occurs in the classroom, and not to
take yourself too seriously. It also implies a certain cheerfulness of
manner that creates a comfortable classroom atmosphere.
Finally, a teacher should have an enjoyment of life that incorpo-
rates other interests and activities outside the music realm. That
might be a somewhat controversial statement to some teachers who
heavily immerse themselves in their careers; however, sometimes stu-
dents need to see that a teacher has another life and is willing to
invest time in those pursuits. Outside interests help to give perspective
to your life. It can also help everyone, students and teachers alike, to

make a meaningful connection between music and life itself; that is, it
gives validity to the idea that music is a reflection of life’s many experi-
ences.
A poll was once taken of a group of students to ascertain what
determined a good teacher. The results showed that subject know!-
edge and expertise were important but were not at the top of the list.
The two most important qualities teachers should have according to
the students polled were
man enthusiasm (perhaps even a passion) for their subject

matter and
m a genuine respect and concern for students.
If you, as anew teacher, possess or develop these qualities, there is a

great likelihood of your being successful.
Overview of a High School Choral Program il

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Chapter 4
A major concern for most directors, especially in
a new choral program—or one in which the enroll-
ment has been low—is finding singers to fill the Recruiting
choirs or sections within a choir. Without enough :
singers, your frustration level (as well as that of the Singers
singers who are participating) will be high and will
increase as the year unfolds.
There are as many ways to recruit singers as there are directors to
recruit them. Here are some recruiting principles that have been fol-
lowed by successful teachers:
Recruiting singers is first and foremost an attitude. It is an ongoing
process that you must realize is necessary to the success of the pro-
gram. You must constantly be on the lookout for new singers. If you
have a positive attitude, are cheerful, evidently like young people, and
reflect a confident self-image, students will be attracted to the pro-
gram.
You should not necessarily be disheartenedby a low enrollment. The stu-
dents who are enrolled are the important ones and should be treated
as such. If those students sense that you respect them, enjoy them, and
value their participation, they will attract others into the choir. If the
current students achieve some level of success, feel a strong sense of
accomplishment, and experience some musical fulfillment, they will
be the best recruiters you could have.
You must be careful not to make the choral program sound too attractive or
make promises that are too great to allow you to follow through. These promis-
es may include chorr trips or the exclusive use of “pop” music to which
students immediately relate. A program must be built on solid educa-
tional values; if you have clarified those values to the students and
have patience during the building process, students who are not join-
ing a choir under false pretenses will be attracted to the program. Stu-
dents will sense the integrity that you demonstrate through the selec-
tion of music and the emphasis on music fundamentals. It is always
better to attract and involve fewer students under the right conditions
and circumstances than to be caught in uncomfortable situations later
with student expectations that cannot be met.
You must have patience and realize that a strong program will not be built
overnight. It takes time to establish a positive reputation in a school.
Also, a strong educational choral program is not necessarily depen-
dent on large numbers. Wherever there is a director who has a funda-
mentally sound approach to vocal technique, has strong educational
and musical values, and believes in the worth of each individual, there
will be a strong choral program that will grow in size and quality.
Recruiting Singers 13
The following are some recruiting ideas that have been used by
successful teachers:
Work with the school counselors. Developing a friendly cooperative
partnership with the school counselors and the administrators who
are responsible for scheduling students into classes is one of the most
effective ways to build a strong program. Counselors need to know
how important students are to your program, especially boys. They
can do much to help you by encouraging students to take choir, mak-
ing schedule changes for students, and being willing to remove stu-
dents who are a constant disruption or do not contribute positively to
the choir.
Get involved in school activities. Volunteer to be a class adviser. Attend
athletic events and afterschool practices; encourage and compliment
the athletes (genuinely, of course), and congratulate them when they
do well. Chaperon dances. Attend assemblies and participate in them
when asked.
Articulate your work with the middle school choir programs. Become
acquainted and build a good relationship with the middle school
choral directors. They can help your program greatly by encouraging
students to continue with music in high school and by allowing you to
visit the middle school choirs. There are several other ways to estab-
lish good articulation with feeder schools:
# Visit the middle school choirs with your choirs and invite the
middle school choirs to visit the high school. Ask the middle school
and high school students to vocalize together, sing for each other, and
sing together. Have your students explain the high school program.
w Attend the middle school concerts and find ways to compliment
them afterward. Send a congratulatory letter that the teacher can
read to the students.
w Ask the middle school teachers for a list of all eighth-graders in
the choir program with a star by the names of leaders, strong singers,
and recommended students. Have them add phone numbers to the
list, if possible. Call those students shortly before they register for high
school classes. Two reminders: check with administrators or coun-
selors as to when middle school registration occurs during the year
(usually February or March); and make sure that the students under-
stand clearly what choir classes are available to them before they regis-
ter. This is why it’s important to visit the middle school classes and
explain the choral program to the students.
Present a full-scale musical production. A musical every other year is
reasonable. You do not have to take on the full responsibility, but you
should at least assist with it. If you at least prepare the singers, you
have an opportunity to work with potentially new choir members and
encourage those students who are especially talented but are not cur-

rently in the program. If the musical is successful, it will reflect well on
the choral program.
Perform in the community. Choose various events or special occasions
for which to sing. By doing so, the choir program will establish a repu-
tation of excellence that the students are proud of, and as a result new
students might be attracted to the choir. One word of caution: Don’t
feel so obligated to perform for every community group who asks that
the choirs become merely an inexpensive form of entertainment. This
is easy to do because of the students’ desire to perform but does not
reflect a sound educational philosophy. You must decide for yourself
how many concerts are appropriate from an educational standpoint.
In addition, you must take care that these activities do not put your
students in the position of competing with professional performers.
To do so would go against the “Music Code of Ethics” adopted by
Music Educators National Conference, the American Federation of
Musicians, and other organizations.
Always be on the alert for possible singers. Learn who the school leaders
are (athletes, student council members, excellent academic students)
and look for opportunities to approach them about membership in
choir. Don’t be shy about asking popular students about music and
suggesting they join choir—they just might do it!
All of these ideas have been used successfully, but there are certain-
ly many more ways to recruit singers and build a choral program. It is
important to realize that you do not need to have a charismatic per-
sonality or an unusually high energy level to be successful. More
important, you should reflect a love of music, an enjoyment of young
people, and a genuine enthusiasm for life. These qualities will attract
students who want to be associated with positive, supportive, caring
teachers.
Recruiting Singers 15
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Chapter 5
One of your primary responsibilities as a choral
director is to select a representative collection of
educationally worthwhile music, and then teach it as Evaluation and
fully as time and the students’ abilities permit. The , :
task of selecting music for your choirs is very time- Selection of Music
consuming but is also very enjoyable. Searching for
good literature is an opportunity to be inspired by
the music and the texts you encounter. This process can begin to
instill inspiration in you that can then be passed on to the students
during rehearsals.
The question of what determines “good” and “bad” or “education-
al” and “noneducational” music is a complex one. Part of the answer
lies in one’s taste. Every director should have an idea from college
methods classes and past choral experiences about what constitutes
educational literature for choirs. This won’t be the same for every per-
son. There are, however, some guidelines for evaluating music that
can be mentioned. They should be considered as a starting point until
further teaching experience expands one’s evaluative criteria.
Evaluating Choral Music
Text. This is a good place to begin when evaluating the worth of a

piece. Is the poem worth studying? Does it say something about life?
Do the textual accents coincide with musical accents? Does the music
seem to represent or depict the text appropriately?
Melody. Is the melody singable? Does it flatter the voice? Is it expres-
sive? Does it fit the text? Does it elicit an emotional response of some
kind?
Rhythm. Is there rhythmic energy in the piece? Does the rhythm fit
the nature of the text? Is there rhythmic variety in the piece? Will the
rhythm affect the tone quality of the choir in a positive or an adverse
way?
Harmony. Are the harmonies appropriate to the text or melody? Are
the harmonies attractive in some way: lush, simple, complex, unusual,
or representative of a musical style or period?
Range. What is the range of the voice parts? What is the tessitura
(comfortable range) for each part?
Voice-leading. Does each part lead comfortably from one note and
harmony to the next or are there awkward leaps that lack strong justi-
fication for their inclusion in the piece? Is the voice-leading such that
the choir can easily learn the music, or does it present realistic chal-
lenges to the choir’s vocal ability?
Evaluation and Selection of Music la

These are general considerations for evaluating the musical and
educational worth of a piece of music. There are additional questions
to ask when choosing music for specific groups.
Criteria for Choosing Music for Specific Groups
Text. What value is there in the text? Not every piece of music
needs a text that is of lasting significance or a poem by a renowned
poet. Sometimes the text might be repetitious or a relatively insignifi-
cant aspect of the piece. Some music that is chosen for each group,
however, should have a sensitive, thoughtful text that can be dis-
cussed, contemplated, and comprehended by the students. Are the
students in the choir at least somewhat able to comprehend the text’s
meaning (with help from you)?
Vanety. Is there variety in the music chosen—variety as reflected in
musical periods, styles, textures (homophonic, polyphonic, thick,
thin), tempos, dynamics, melodic and rhythmic content, and key sig-
natures?
Range/Tessitura of Voice Parts. Are they appropriate to the age and
skill levels of the students? Will the choir have difficulty singing the
piece well or making the music sound good because the ranges are
too extreme for the choir’s ability level?
Number of Parts. Is an appropriate balance achievable by the choir
using all the parts in the piece? Can tasteful adjustments in the num-
ber of parts be made in order to accommodate the ability level of the
choir?
Musical Concepts. What concepts can be taught through the study
and performance of the piece? Musical concepts to consider are tone
quality, phrasing, intonation, rhythm, melody, balance, blend, sight-
reading skills. Does the piece reflect an expressive nature through the
use of “musical line”? My definition of musical line is “a journey of
increased intensification toward a moment of significance in a musi-
cal composition.”
Fun. Will the piece be fun to sing? Sometimes it’s important just to
have fun singing a piece that has little lasting significance. Certainly,
singing a piece for enjoyment is an educational value in itself!
“A Sle of Life.” Does the music chosen for each group represent “a
slice of life”? That is, does it reflect emotions or experiences every
human being encounters—love, joy, sadness, anger, excitement, ela-
tion, exhilaration, contemplation, animosity, nostalgia, remorse,
death, and so on?
Challenges. What challenges does the piece present to the choir?
Are the singers capable of successfully meeting those challenges? Is
the difficulty level of the piece appropriate for the group? This does

not mean that every piece needs to be at or under the choir’s ability
level. Certainly every choir needs to stretch its collective ability. This
helps the individual students grow as musicians. Sometimes a piece is
achievable at the performance level but not at the comprehension
level of a choir. This is educationally sound as long as every piece is
not at this level. Sometimes students need to be allowed to just “let
their hair down” and sing a piece just because it’s fun, even though
there might be very little to challenge them.
Programming Considerations. What is the nature of the program for
which the music is being prepared? Is the music intended for a specif-
ic concert or is the intent to study the piece in rehearsal with no per-
formance goal? (Yes, it is possible and educationally sound to rehearse
music that will never be performed in a concert!) For more discussion
and suggestions on this topic, see Chapter 9.
As is evident from these suggestions, evaluating and selecting music
for specific groups can be a rather complex and certainly a time-
consuming task. As one gains experience in this area, however, many
of these considerations become intuitive—a natural part of one’s
thought process.
It is extremely helpful to play through the music under considera-
tion. This can be done by the director, with the assistance of an accom-
panist, or perhaps through a recording. In any case, you will get a
clearer picture of the value and challenges inherent in the piece if it is
heard.
One final thought: Much of the inspiration and emotional energy
that a director brings to a rehearsal is first gained during the initial
contact with the music. For this reason, it is important that you treat
the evaluation/selection process as crucial to the success of the school
year. You must be on the alert for exciting and inspiring music all the
time rather than just relegating the music selection process to the
summer months prior to the new school year. If you believe in the
value of good music, are open to new literature possibilities, and are
willing to spend time carefully selecting music for the year, you will
experience the joy and fulfillment that rehearsing and performing
fine choral music can bring.
Evaluation and Selection of Music 19

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Chapter 6
Purpose
The choral audition is an aspect of choral music The Audition

that is very important; frequently, however, the man-
ner in which it is handled is too time-consuming
and impractical in most educational situations. The purpose for a
choral audition is usually twofold: to determine membership in a
group and to place singers in sections.
The audition should usually not exceed five to seven minutes in
length. This limitation is difficult for inexperienced teachers. In some
situations more information may be needed from an audition, but it is
important to remember that an audition is not a voice lesson. In order
to maintain the five- to seven-minute limit per student, it might be use-
ful to use a timer as a reminder. This may seem excessive or unneces-
sary but it has saved valuable time for many directors until they have
gained the necessary experience in this area.
Most choral directors would agree that it is important for the pres-
tige and selectivity of advanced groups to audition the students. It is
also important from an educational standpoint to make contact with
every student at least once a year through a “voice-placement check” (a
better phrase than “audition” for apprehensive students). This should
probably occur early in the school year and can take place during the
day (perhaps before or after school, or during lunch or study hall).
In addition to placement in sections, other purposes for a voice-
placement check are to make contact with each student individually
and to let students know that you are interested in their personal vocal
development. This is somewhat difficult to do within a five- to seven-
minute time frame, but it is worth the effort.
If a short voice-placement check during the class period is not prac-
tical or possible in an adjoining practice room or office, it might have
to be done in the classroom, perhaps off to one side of the room. This
is probably the least desirable manner to hear students because of the
embarrassment or apprehension they will experience. In some
instances, several students can be called up together around the
piano. If you use this in-class method, it is imperative that the listening
be quick and efficient.
Procedure
In a voice check, listen for:

a Tone Quality (breathy, clear, mature, young, nasal, dark, and so on)
m Range (anyone with a reasonable high A should probably sing
soprano)
The Audition 21
a Volume (loud, soft)
a Flexibility (can sing eighths and sixteenths accurately and quickly)
# Solo Potential
a Speaking Voice (sometimes can determine part)
= Pitch Memory and Sight-Reading Skills for advanced groups
There are a number of other suggestions that might help with the
voice-placement checks:
ws Have each student fill out an information card before the audi-
tion (see figure 1).
s Help students feel at ease by asking them a question about them-
selves.
= Check to see if male singers can use falsetto by using a five-tone
descending scale and move by half steps upward.
# Look directly at the person you are auditioning.
a Use “ah” for most students; “loo” is sometimes difficult to sing,
especially in the high range.
# Don't take singers to the outer limits of their range in most cases,
except in the case of finding the low range cut-off point. For male
singers, there is a shortcut method called the “low-range cut-off
point.” Begin on A below middle C. Use a 5-tone descending scale.
Go as low as physically possible for the singer to sing. Determine his
voice part on the basis of how low he can sing.
a To determine voice part by using speaking voice, have students
say their name, what school they attend, and what grade they are in.
Evaluation exercises, which can be done any time during the year,
are valuable. In a nonauditioned group, you could:
» Begin in the middle of the student’s range, descend by half steps.
a Have student sing “Oo-EKe-Oh-Eh-Ah” on one pitch in low, medi-
um, and high ranges (only three notes are usually needed to deter-
mine which area is most comfortable for the student).
» Check pitch memory by playing three-to-five-note patterns. Have
the student sing back on neutral syllable (loo or lah).
For an auditioned group, you could use the first two exercises
described for nonauditioned groups. In addition, you could:
u Use two or three scales for the following exercise. Start on B}, B,
or C, You're listening for vocal flexibility here.
| Ah
Ip
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DE Getting Started with High School Choir

= Have students sing the first verse of “America” to check solo possi-
bilities and leadership potential. In place of “America,” perhaps have
each person sing a short solo of his or her choice (not “pop” music).
Singing a part in a piece of music might be sufficient.
s Check pitch memory and sight-reading skills if needed to make
membership decisions.
Choir Audition Information
Name Next School Grade GPA

__
Address _ ~~ City Phones.
Group Preference (e.g., Ambiance, Starlighters)
te
2.
Do not fill in the blanks
Voice Type Voice Quality P.M.

Vocal Range Flexibility S.R.
Other Factors:
The Audition 23
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Chapter 7
The choral rehearsal can be the most invigorat-
ing, fulfilling, and frustrating aspect of the teaching
experience. It is in the rehearsal that most of the The Rehearsal
successes and failures in teaching take place. For a
new teacher or a teacher in a new situation, the first
few rehearsals can be both exciting and nerve-rack-
ing; they are also crucial to the success of the entire
year. There are many ways to handle first and subse-
quent rehearsals.
The First Day _
The first day passes very quickly for most teachers because there are
so many details to be taken care of and so much information to
impart to students. Each school differs in the requirements for first-
day classes. In one school, there is a requirement that necessitates
reading a student handbook to the students in all first-period classes,
and the class is extended for fifteen minutes each day during the week
to allow time for this.
Not all information needs to be presented to the students on the
first day. In fact, it is wise not to use the entire rehearsal for this pur-
pose. In most of the students’ first-day classes, the teacher will do most
of the talking—and (realistically) most of the information passed on
to students on the first day will be lost on them as the excitement of
seeing friends and being back in school takes precedence over
attempts to concentrate on school matters.
No matter what necessary details are dealt with and what informa-
tion is given to students, one of the most important things that should
be emphasized in the first rehearsal is good vocal technique and the
importance of choral tone. In addition, something exciting must be
experienced by the students on that first day. These aims can be
accomplished simply by immediately doing a few vocalises to suggest
vocal fundamentals that will be worked on during the year. This gets
the students actively involved and establishes a routine that can be fol-
lowed during the year. It is also exciting on the first day for the teacher
to hear the choir and for the students to become aware of their poten-
tial by hearing themselves sing.
Following is a brief outline of a first rehearsal that has been used
successfully, along with an explanation, or a justification, for each
aspect of that rehearsal.
1. Vocalize (have choir stand).
It is very important to establish the importance of good vocal tech-
nique early in the year. Use vocalises that begin to develop correct
The Rehearsal 25
breathing, breath control, tone, vocal agility, and range (falsetto for
the men). By asking students to stand and do a few simple but effec-
tive vocalises before you take care of necessary business, you are
accomplishing several things: immediately engaging the students in
the music-making process; emphasizing the importance of good vocal
technique; establishing musical goals regarding vocal/choral tone,
flexibility, and so on; and establishing a daily routine that should be
adhered to every day.
De Lake roll
Be sure to look directly at each student (that is, make eye contact)
when taking roll so you begin to learn students’ names. Emphasize to
the students your intent to learn their names as quickly as possible.
This indicates to them that you care about them as individuals as well
as choir members. Remember that your eye contact with each student
may be the only such personal contact they will have with a teacher
the entire day.
3. Have students fill out an information card (see box).
It is important to have pertinent information on each student in
the choir program.
Information Card
Last Name First Name

Address City ZiPeles
Dai
Phone Birth Date Age
Father’s Name Home Phone
Address _ Work Phone
Mother’s Name Home Phone
Address Work Phone
Choir(s) in which you’re enrolled

School Grade
4, Discuss expectations for the year.

This can be a pep talk about how exciting and successful the year
will be and how excited you are to get started. Your enthusiasm will be
infectious. It is considerably easier to generate student enthusiasm on
the first day than it will be later in the year so take advantage of this
opportunity! The beginning of the year is a “honeymoon period,” in

Choir and Rehearsal Expectations
Choir
The greatest single factor that will determine success for any individual
is attitude. It takes intense dedication to reach worthwhile goals, and the
study of music can nurture positive attitudes and the ability to concentrate.
Music is an academic discipline, but it is not something that only a few
especially gifted students can enjoy and become skilled in. It can be very
demanding, but with effort and study it can enrich the life of any student.
Because of the nature and size of most choral organizations, discipline
must of necessity be strict. Choral students at must be willing to accept the
ideals, principles, and rules of the organization to which they belong.
Because choir members are frequently on display, they must constantly
be aware of the importance of good behavior. Students should remember
that they represent their organization, school, community, and most
important, themselves. Misconduct casts a direct reflection on our school
and community and could undo the good work of many fine students.
Rehearsal
Our concerts can only be as good as our rehearsals, and the only key to
success is hard work and a commitment to excellence. The following
expectations are held in all fine musical organizations and will be the
foundation of the rehearsal procedures in the choirs at this school. Read
these rules carefully and remember that it takes self-discipline to be a good
musician.
1. When the tardy bell rings, all choir members are to be in their
assigned seats. All talking should come to a close so that attendance may
be taken and announcements given. Regarding assigned seats: seating
arrangements in choir have a definite purpose to help balance and blend
within the choir. The seating may also change throughout the year. Please
do not question your placement during a rehearsal, but speak to the direc-
tor privately if you have a problem.
2. Music folders with all music and sight-reading materials are to be with
each choir member every day in rehearsal. Bring a pencil every day and
use it! One should be left in the folder at all times.
3. Assume an attitude of attentiveness during the entire rehearsal.
When the director is ready to begin rehearsal, all talking should cease.
Your full attention must be given to the director and nothing allowed to
distract you. While one section is rehearsing, everyone else should be fol-
lowing the music and either listening to the rehearsing section or studying
their own part. This shows respect for students and director and is a neces-
sary requirement for every rehearsal.
The Rehearsal 2)
which very few students want to fail. Most, if not all, really want to suc-
ceed. It is later in the year that so many individual circumstances
cause students to become disheartened and care less about success in
school. (See “Choir and Rehearsal Expectations” sidebar.)
5. Discuss “Choir Manual.”
This involves responsibilities and expectations of choir members
and pertinent information regarding the choral program for both
students and parents. To help ensure that students understand these
expectations, it is important to highlight the most important informa-
tion 2n class, such as the grading system, attendance requirements,
and concert attire. Don’t just pass out the material and expect stu-
dents to read it on their own. It might be wise to have a short contract
that states that both students and parents have read and understood
the responsibilities and expectations of a choir member. This can be
helpful as a reference if problems occur later in the year. (See “Choir
Manual” sidebar for sample table of contents.) It might also be wise to
give students a “conflict sheet” on which they can specify possible con-
flicts with concerts.
6. Sing through a very simple piece if there is time. (There proba-
bly won’t be.)
If there is time, sing through a piece that the students performed
a Choir Manual
tl LE
Sample Table of Contents
I. The Importance of Self-Discipline

II. Choir Objectives
III. Statement of Choir Policy
IV. Description of Choirs
V. Choir Grades
VI. Attendance
VII. Care of Equipment
VIII. Awards
IX. Choir Trips
X. Fund-Raising Projects
XI. Rehearsal Procedures/Rules
XII. Choir Lettering Policy
XII. List of “Approved” Concerts for Earning Lettering
Points
XIV. List of “Approved” Choirs for Earning Lettering Points
XV. Concert Schedule (see separate sheet)
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and enjoyed the year before. It will make the returning choir mem-
bers feel like leaders and give them confidence. Also, new members
might feel they will have to work hard to catch up with the other stu-
dents.
This is only a suggestion for a first-day rehearsal. If a plan is used

that actively involves the students, if the rehearsal moves along at a
quick pace, and if a lot of enthusiasm is reflected by the director, the
students will look forward to the next rehearsal and the year will have
begun successfully.
The First Week
During the first week, there are many details to be taken care of
and if you have-informed the students of those necessities, classes will
run much more smoothly. It is important to inform the students what
needs to be done and what you expect of them during this time, and
then get the work done as quickly as possible.
One of the details referred to here is voice-placing. This is an impor-
tant task, especially for nonauditioned choirs where there are students
of several ability levels. Listening to students individually or in small
groups accomplishes the following things: students who do not know
which part to sing can be placed in sections, students who have good
ears can be identified and can thus be placed to help others, personal
contact can be made with each student (which helps the teacher learn
names), uncertain singers can be identified and placed appropriately,
and the choir can be balanced more carefully so sections have a more
even distribution of singers.
There are several ways to place voices. Listening to one student at a
time is probably too time-consuming if the listening is done during
the class period. One effective method is to call five students into a
separate practice room at a time (either all boys or all girls—don’t mix
them at this point). If there is no practice room within the rehearsal
room, or near enough to be practical, perhaps move the piano to one
side of the room and have the students come up to the piano. Use the
following procedure to place their voices:
|. Have all five singers sing an ascending five-tone scale on “Ah.” Go
as high as they feel comfortable.
2. Have each person sing the same exercise alone. Some students
may need coaxing and some may sing very softly but most will cooper-
ate with this procedure.
3. Ask them what part they prefer, but don’t necessarily make your
decision on their opinion alone.
4. Have each person sing several three- to five-note melodies to test
The Rehearsal 29
their ability to recall pitch.
5. After everyone has sung individually and you have made a quick
decision on what part they will be singing (it must necessarily be
quick for the sake of expedience), have them sing the exercise again
as a group. They will invariably be more confident and contribute
more sound to the small group they have been part of. This will
ensure a successful voice-placing experience and will enhance their
self-image as singers.
When the voice-placing has been done, the next step is to develop
a seating chart for the singers in their assigned sections; music folders
can also be assigned at this time. Try to avoid placing friends togeth-
er—this will help alleviate some talking problems in future rehearsals.
Assigning students to new sections and seats and the issuing of per-
sonal folders can be exciting for students. Some students may com-
plain about their location, but don’t let them affect your decisions.
Most students will not mind where they sit; you may be able to move
them later if there are problems.
Another important task early in the year is the election of officers
for each group. Further comment here is really not necessary except
to say that important decisions concerning the choir are always easier
to make if the director has input from the students. Section leaders
can be extremely helpful when sectional rehearsals are needed. Here
are some traditional officers and possible responsibilities:
» President (spokesperson for group, in charge of publicity)

# Vice-President (responsible for performance outfits, decorations)
# Secretary (takes roll, records points for letter awards)
# Treasurer (handles money during fund-raisers)
# Section Leaders (help during sectional rehearsals)
The four officers can be elected by the choir; the section leaders
should be appointed by the director.
A third important subject to be dealt with early in the year is per-
formance attire. The choir should discuss what they would like to
wear for performances. Some outfits or robes might already be part
of the program, but if new attire needs to be purchased, fund-raising
for it must be discussed. It is important to allow the students to
express opinions and help to determine what outfits will be worn, but
the director must have an idea in mind for concert attire before dis-
cussions take place. The director should never let the students make a
decision with which he or she is uncomfortable. This sometimes
requires tact and artful persuasion.
During the first week of rehearsals, you have an opportunity to set
the pattern for the year. In each rehearsal you should take roll (and

continue voice placing in nonauditioned choirs as necessary), vocal-
ize, sight-read, work on a simple piece, and handle important proce-
dural matters.
It is important to remember that with the auditioned groups in
which the membership has already been determined and the singers
placed in sections, early rehearsals should include some sight-reading
work and singing. The other details can be fit into each day’s
rehearsal. In nonauditioned groups, voice-placing may take several
days. If the students have been appropriately prepared for this and
realize the importance of this task, classes should run smoothly and
students won’t mind waiting for voice-placing to be completed so
rehearsals can begin in earnest. Following is a suggested sequence for
the first rehearsal:
i. takeroll:
Roll-takingis obviously an important time to learn students’ names.
Depending on the size of the group and the director’s ability to
remember names, the task of learning names will take a week or two,
but it should be emphasized to the students as often as possible that
each student is important and that you care about learning their
names. When you see choir students in the halls, ask them their
names in passing. They won’t mind telling you and they will know
from your question that you care about them personally.
2. Vocalize.
Try not to take more than five to ten minutes for this activity.
3. Do some sight-reading work.
It is extremely important educationally that students be made
aware of the importance of sight-singing for their own musical growth
as well as for the efficiency of rehearsals. The quickness with which
students learn music will ease the frustration of both students and
director during the year. Five minutes a day on a regular basis will
greatly improve the sight-reading level of a choir. There are many ways
to make sight-reading interesting, too numerous to mention here.
When boredom sets in for director and students, find ways to stimu-
late interest. The process should be continually rewarding. Keep in
mind that, just as in teaching reading, not every person will learn
equally well, especially those with no prior instrumental or keyboard
experience; some may not improve at all. That fact should not, howey-
er, discourage the director from engaging in this important education-
al activity.
4. Work on a simple piece that can be learned quickly with good vocal
technique.
Sometimes a unison piece is best for working on tone and unified
vowel sounds. A unison piece can be a very good tool for working on
vocal techniques and musical line (phrasing). If good fundamentals
31
The Rehearsal
are emphasized early in the year using music that is not too difficult
to learn, the work will pay big dividends later in the year.
5. Elect officers and appoint section leaders.
6. Discuss performance attire.
7. Have students in each section introduce themselves (one section
each day). Have them say their name, grade in school, and some-
thing interesting about themselves.
This can be a very important strategy for unity and cohesiveness.
In most classes during the school day, students will not be given the
opportunity to introduce themselves and briefly share something
about themselves. It personalizes choir members for everyone and
draws students together into a closer-knit group if the atmosphere
is a supportive one. Students usually enjoy this opportunity very
much.
Subsequent Rehearsals
After the first week, when these important tasks have been com-
pleted and the stage is set for the remainder of the year, the real
work and fun of making music can begin. As was suggested earlier,
it is important to establish a routine and stay with it as much as pos-
sible. Once a secretary has been elected, the job of taking roll can
be passed on to that person.
Delegating that necessary task will enable you to begin class soon
after the bell rings.
Beginning teachers as well as experienced teachers should use a
written plan each day. Too often, attempting to “wing it” is not as
successful as following a written plan. On the other hand, you
should not be so locked into a written plan that you cannot change
the plan as needed. Beginning teachers particularly tend to mistak-
enly stay with a preconceived plan no matter what the daily circum-
stances and class atmosphere are, when a change in that plan might
be more productive. An unanticipated change of direction in a
rehearsal can be refreshing and productive for everyone and can
turn a dismal rehearsal into one that is fun and accomplishes a lot.
Try this rehearsal outline.
1. Vocalize. Have students stand every day while vocalizing.
2. Sight-read (only five minutes daily).
3. Rehearse a piece that is somewhat familiar once in a while to
vary the rehearsal pattern. Perhaps sing through a piece that is well-
learned and almost performance-ready without stopping to
rehearse it (usually ten—fifteen minutes). In fact, an effective way to
begin almost every rehearsal is to sing through an entire piece with
a2 Getting Started with High School Choir

no stops before working on specific problems in the piece.
4. Rehearse an unfamiliar piece. This is the part of the rehearsal
where most of the productive work is done (fifteen—twenty min-
utes).
5. Close the rehearsal with a piece that is well liked so the stu-
dents will leave with an exhilarating feeling and a strong sense of
accomplishment. On occasion, it is sometimes effective to end a
rehearsal with a piece that completely falls apart so you can then say,
“We definitely need to begin with this piece tomorrow!” This sets
the stage for your next rehearsal.
Additional Suggestions
= Use a variety of vocalises that achieve the same purpose. Use the
same vocalises for three to four days so the students can concentrate
on those. Then use others for a few days.
= During transition periods in the rehearsal from one piece to
the next, avoid long delays before work is resumed on the next
piece; however, allowing students to talk or comment to each other
during this transition period might help students work more effi-
ciently when it’s time to rehearse again. This is a controversial issue
because some teachers prefer absolute quiet during rehearsals or
are uncomfortable allowing students any verbal freedom. You must
find your comfort level of conversation by students. The important
thing to remember here is that student conversation can be con-
trolled (see Chapter 8).
= Rehearse in a circle occasionally. This enables the director to
hear each part and individual singers more accurately and gives
singers a sense of unity and ensemble. It also allows the singers to
hear each other better.
= Don’t be too hard on yourself if you don’t accomplish what you
planned to during a rehearsal. Sometimes rehearsals go in a differ-
ent direction than that intended, but be flexible. This is part of the
fun of being a teacher. There will be many more opportunities to
achieve what you wanted to accomplish.
= Establish a daily routine and stick with it. Vary the routine occa-
sionally.
s As soon as possible develop a seating order for each choir.
= Allow time at the end of each rehearsal for students to put fold-
ers away.
= Do not always begin rehearsing at the beginning of a PIECE;
Sometimes begin rehearsing at the end or in the middle of the
piece.
33
The Rehearsal
Some Ideas for Introducing New Music
» Play an outstanding recording of the piece.

= Play the piece on the piano and stop at various points. Ask
members in the choir to identify where the music stopped by
using page number, score, measure number, and even the exact
beat, or by naming the exact syllable on which the music
stopped.
» Have the students learn the last measure of the piece before
opening the music to the beginning, if the piece ends with a big
chord. Let them hear how good the piece will sound at the end
when it’s eventually performed.
= Have the choir clap various rhythm patterns that are in the
piece if it requires rhythmic vitality.
= Play a few measures of the piece and then ask the choir to
find that particular piece in their folders. Do this without telling
them the name of the piece.
# Introduce a difficult, challenging piece by saying, “Take out
the hardest piece in your folder,” without telling them the name
of the piece. Of course, students will take out different pieces,
but it’s fun to see if any of them know which piece is the most
difficult.
= Make a bet with the choir (in jest, of course) that they can’t
get from the beginning of the new piece to its end without stop-
ping or falling apart.
Predict to the choir that the new piece they are about to hear
or sightread through will eventually become their favorite piece.
m Vary the rehearsal seating occasionally. Use several different

seating arrangements, i.e., sectional, mixed, women/men, circle,
and so on.
# Don’t always introduce a new piece the same way. Be creative—
it’s fun!
» Use an approach to introducing new music that will create a posi-
tive attitude toward that piece.
= Do not over-rehearse a piece for the sake of being well prepared
or achieving every last detail of perfection. Every piece has a life span,
and its life, or vitality, can be extinguished if it is rehearsed too much.
a To avoid over-rehearsing a piece, rehearse it hard for several days
or weeks and then drop it completely for a time. Many times when a
choir returns to a piece after leaving it alone for a while, the piece will
be better than it was previously. Everyone has certainly discovered this
principle on an individual basis; it works with choirs too.
o4 Getting Started with High School Choir

The Accompanist
This is a subject that is vitally important to most directors. One of

the frustrations for many choral directors is their lack of keyboard
ability. This inability very often forces them to limit the choir to only
those pieces that can be handled by a student accompanist or a pianist
of limited ability from the community. This has caused some directors
to resort to taped accompaniments, which is by no means an ideal
solution. If the choir can handle the difficulty level of a piece but the
accompaniment is difficult, seek a volunteer from the community.
Consult with local piano teachers as to who might be available from
their studios to help.
If you cannot accompany adequately for rehearsals or concerts,
there are solutions to the problem. Skilled community volunteers,
paid professional accompanists, or skilled student accompanists can
be sought. Certainly, directors do not have equal keyboard skills and
yet many are equally successful. This should be encouraging to those
who have limited keyboard ability.
Whoever is asked to accompany should be experienced or trained
(usually the director has to do this), nurtured, treated with respect,
and given appropriate recognition when a job is well done. Positive
reinforcement is always the best approach to help accompanists be
successful. On occasion, a more forceful comment about your expec-
tations might be necessary to stimulate an accompanist to practice
and concentrate on the music, but generally a positive attitude will pay
huge dividends during the year. It is important that the accompanists
know their responsibilities, what you expect of them, and then be
given the music in plenty of time to master it before they play the
pieces in rehearsals. It is also important to have patience with them
and to compliment them whenever possible.
Choral Tone
The subject of choral tone is too extensive, controversial, and per-

sonal (every director must, in the long run, develop a tonal concept)
to be treated in depth here. There are, however, some ideas and sug-
gestions that might prove helpful. Many directors believe that the
most important aspect of any choir is its sound or tone quality. Choral
tone of a choir, coupled with its musical expressivity, can lead to many
fulfilling musical experiences for the performers and listeners if the
tone of the choir has been a priority for the director.
If choral tone is an important consideration for you, there are sev-
eral ideological approaches one can take to the subject. Of course, no
matter which of the following ideas about tone are used or adopted,
your ear (tonal concept) ultimately determines the tone that will be
The Rehearsal 35
developed during the year. Certainly there are tonal limitations based
on the skill level and age level of the singers in the choir. If appropri-
ate vocalises are used and the tonal progress is continually held up
against the director’s realistic standard for the group, however, the
choir will grow considerably in its tone quality no matter what the skill
level and age level of the students.
The best way to develop an ear for choral tone is to listen to as
many recordings and live performances as possible, compare the vari-
ous choral tones of the choirs, and then determine which tone is
desirable and achievable for each choir. A good healthy vocal tone
quality is natural, free, and vibrant. A mature vocal tone must have
two qualities: resonance (ring, intensity) and depth (space in the
mouth and throat). Just the simple statement “Sing with a more
mature vocal quality” can make a difference if used consistently in
rehearsal. Most young singers sing with three to five years less maturi-
ty than they are capable of. This can be conveyed to a choir as a chal-
lenge to them to continually think older, more mature tone.
Tone is related to attitude. If singers in a choir strongly desire to
sound good and improve their tone, they can be helped to do so.
Their attitude toward this important subject will make the difference
and will be a tremendous asset if you can nurture and sustain a posi-
tive attitude throughout the year. Of course, attitude toward tone
starts with you.
The vowel is the beauty; the consonant is the drama. Vowel modifi-
cation is a controversial subject—that is, some directors and voice
teachers do not agree that it is necessary and do not use it in choral
situations, and others disagree as to which vowels to modify and how
to modify them—but I believe that in choral situations, modification
of certain vowels is necessary for a unified sound and to make high
pitches more accessible and comfortable for young singers. Uniformi-
ty of vowel sounds will improve tone quality, intonation, and diction.
Good choral tone is developed by well-shaped vowel sounds and
rhythmic energy.
Vocalises do not have to be complicated to develop good vocal
technique. Keep vocalises simple. Do not use so many different
vocalises that the students never work on any of them long enough to
do any good. Try to ensure that the singers concentrate on each exer-
cise and don’t just go through the motions.

Chapter 8
The control of students in a classroom, the mini-
malization of unnecessary talking, and the discipli-
nary measures that are necessary at times, are Classroom
undoubtedly of great concern to teachers who are
getting started in the teaching profession. These Control and
issues are also important to teachers of all experien-
tial levels. Without some measure of control over Management
student behavior, it is difficult to accomplish very
much, and musical rewards will be few.
If asked, most students will admit that they want behavior guide-
lines in their choir. Students expect teachers to be firm, fair, and con-
sistent. Many students also want teachers to be a friend, someone who
will really listen-to them. These student expectations may seem to be
contradictory, but in most situations, they’re not—it is possible to be
firm, fair, and consistent, and still be a friend at times.
Each teacher must decide what is reasonable student behavior in
the classroom. Every director will have a slightly different tolerance
level for inappropriate behavior. For one director, a certain behavior
is not a distraction and is allowed; for another director, this same
behavior is unacceptable. You need to decide what kind of classroom
atmosphere and behavior standards will be allowed in order for you
to feel comfortable and teach effectively.
It is when teachers present an image of themselves that is not gen-
uine that most problems and tension in the classroom occur. Students
can see through this false image and are usually not comfortable with
it. You must find a comfort zone in the classroom that allows you to
control student behavior to your satisfaction and yet be yourself.
There must be a naturalness to a teacher’s personality in the class-
room. Some teachers are more formal, some less formal; some are
very strict, others less strict. The question you must answer is, “What
classroom atmosphere and behavior policy is necessary in order for
you to be comfortable, natural, and also accomplish musical and edu-
cational goals to everyone’s satisfaction?”
Classroom management (control, discipline) may be defined as
“the creation of an atmosphere and an environment in which learn-
ing can take place, progress can be made, and musical fulfillment can
be achieved. It is the control of a class in a way that does not destroy
the aesthetic experiences that can occur in rehearsals and concerts.”
Here are a few reminders regarding classroom management:
= No behavior policy can cover every situation that might arise.

= You must not only rely on the enforcement of rules to control
behavior, but must also concentrate on the development of good,
Classroom Control and Management 37

positive teaching.
# Your skill in interpersonal relations has a direct bearing on your
effectiveness in guiding classroom behavior.
s No suggestion or idea you acquire concerning classroom control
should ever be considered an ironclad technique that will always work.
When students violate your rules, what should you do? First, you
must maintain an objective attitude as much as possible. Try not to
take behavior problems personally. Here are further suggestions:
# Correct the behavior in class. Use positive reinforcement whenev-

er possible.
w Isolate a problem student from the rest of the class (back of the
room, music office, etc.).
w Talk to the student privately. Be friendly, honest, and calm.
Approach the student positively. Give the student the opportunity to
talk while you listen. Some ways to listen effectively are to stop talk-
ing—you can’t listen if you’re doing all the talking; put the student at
ease—help him or her feel free to talk; show the student that you want to
listen—look and act interested; remove distractions—don’'t doodle, tap,
or shuffle papers, perhaps shut the door (if it has a window); empathize
with the student—try to put yourself in the student’s shoes so that you
can see his or her point of view more clearly; be patient—allow plenty
of time for the student to express him- or herself, and try not to inter-
rupt or put words into the student’s mouth; hold your temper—an angry
person sometimes gets the wrong meaning from words; go easy on
argument and criticism that puts the student on the defensive—the student
may stop communicating or get angry if you argue, so even if you win,
you lose; ask questions—this encourages the student to continue talk-
ing and shows that you are listening (you might even start the dia-
logue with a question); and finally, stop talking—this is worth repeating
because you can’t listen effectively if you are talking.
= Contact the parents or guardians.
a Require the student to meet with the choir council and explain
his or her actions (classroom behavior, lack of attendance at concerts
and rehearsals, etc.). Sometimes this is the best solution. Peers can
sometimes be tougher than you would be. If the choir council has
been elected by the students, is considered to be a legitimate leader-
ship group, and is treated like an important voice of the choir, the
council members will give you reasonable and helpful advice that
might solve the problem or at least help you make a fair and appro-
priate decision regarding the problem student.
m Remove the student from the class. Sometimes this is the only
realistic solution, You should not feel guilty about doing this. If you

are expending so much energy on a difficult student that there is not
much left for the rest of the choir, the situation is not healthy. There
are usually enough eager and motivated students that there is no rea-
son to allow this to happen. It is important to remember that you may
not be able to reach or change every student. For dedicated and suc-
cessful teachers, this is hard to accept, but it is realistic. All that can be
expected of you is to make a conscientious effort to help students real-
ize and fulfill their responsibilities to you and to the choir. If they are
unable to do this, they must be given another option, which is usually
to find an alternate class.
Keys to Effective Classroom Management

= Be yourself, not someone you think you should be.
« Be flexible-
= Be organized. Make rehearsal plans daily.
a Know the music, be decisive, but be open-minded.
= Don’t take yourself too seriously. Be willing to laugh at yourself
and admit mistakes.
u Give positive feedback often. Use a lot of positive reinforcement.
a Keep the class moving but also allow students to interact.
= Get to know the students individually. Treat them with respect.
= Don’t talk too much; students want to sing!
There are many strategies you can adopt to create a classroom

atmosphere that can best be described as democratic classroom con-
trol. Following are four characteristics of democratic control:
s Teacher acknowledgement of the dignity and worth of each indi-

vidual—each student must be treated with respect and sensitivity.
a Freedom within the rules. You determine a behavior policy, set
rules, and then allow for student individuality. Although students
should be treated the same with no favoritism, there must still be
some allowance for differences in personality and temperament. Rules
should be kept simple and minimal. Areas where rules are necessary
are unnecessary talking (i.e., What is considered unnecessary?) ,inabil-
ity to participate (i.e, illness, emotional distress, etc.), attendance at
rehearsals and concerts, and gum chewing.
gs Significant areas of choice by students. You can present a behavior
policy to the choir council for feedback and suggestions from the stu-
dents’ point of view. You do not always have to heed their suggestions
but it is important to allow them input. Generally, the choir council
will be very reasonable and will probably agree with and support most
of your rules.
Classroom Control and Management 39

a Development of responsibility in the students. This is difficult to
achieve, but when students feel some responsibility for their own behav-
ior, the job of classroom management is made considerably easier.
Preventive Discipline
As was emphasized earlier, the most common discipline problems

can be alleviated by enthusiastic, positive, solid teaching. This might
be called “preventive discipline.” There are personal and environ-
mental factors that certainly can contribute to the prevention of
behavior problems. Bear in mind that these suggestions will help con-
siderably, but will not always be sufficient to avoid student-student
and student-teacher conflicts. Conflicts are certain to arise and are a
normal occurrence in the educational process. They simply need to
be handled with as much common sense as possible when they arise,
rather than avoiding the issue or ignoring the problem.
You should consider the following personal and environmental fac-
tors that contribute to preventive discipline:
Personal Factors
= Have a professional manner and appearance (not necessarily a

coat and tie every day).
= Have good verbal communication skills.
= Have an effective leadership style, image (there are many).
= Be highly organized (at least some organizational skills are necessary).
= Be direct, to the point.
s Be flexible.
w Avoid sarcasm.
s Avoid ultimatums.
# Do not use music-related work as punishment.
# Do not discuss personal problems or concerns with the choir
(although on occasion it is good to let the students know that some-
thing is bothering you that does not involve them).
# Be consistent.
# Follow through.
# Do not overreact to problems.
» Make expectations known.
= Be in touch with what happens in class (many times students will
let you know that a problem exists).
# Reflect personal integrity, sincerity.
= Have a good self-image.
# Have good personal habits.
= Be unafraid to confront.
40) Getting Started with High School Choir

= Reflect an enthusiasm for life.
= Realize that not every person is going to like you and there will be
conflicts and confrontations with students (just as there are between
parents and children on occasion).
= Realize that you are teaching people first and music second.
Environmental Factors
= Have good sight lines to the entire class.

a Be flexible in your use of class rehearsal setup (rehearse in differ-
ent formations—mixed, block, circle, and so on).
a Use variety and change of pace in rehearsals.
u Create a positive class environment, perhaps use inspirational and
positive thinking posters.
u Use an efféctive class routine and be consistent in its use (except
for changes of pace).
a Have an area where problem students may be sent (that is, the
music office or the back of the room).
u Use effective, high-quality equipment (i.e., rehearsal chairs, stereo
equipment, piano, roWeed
= Have a policy regarding the manner in which students enter and
leave the room.
a Try to eliminate (or at least ignore) as many class interruptions as
possible. (Some interruptions are necessary, but many do not have to
be given as much attention as students give them, i.e., students picking
up attendance sheets, delivering messages, entering with late slips,
and so on.) Generally, if the teacher remains focused during these
interruptions, the students will stay focused too.
s Use smooth attendance procedures so class can begin as soon as
possible after the bell rings.
= Give students ample time to put folders away at the end of the
period so they are not late to their next class.
a Try to involve the entire class as much as possible in the rehearsal.
(Sometimes this is not possible, so students need to know what is
expected of them during those minutes of noninvolvement.)
Some of these suggestions should help you develop a comfortable
classroom behavior policy that has teeth in it and is respected by the
students. No matter what policies are established and adhered to, it is
important to remember that for teachers who create a positive, sup-
portive atmosphere and treat students respectfully, fairly, and consis-
tently, most classroom behavior problems will only be occasional chal-
lenges and not major concerns.
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Chapter 9
Choral performance is an area in which virtually
every choral director has had experience. All of us Ch 1
have brought to our particular teaching situations ofa
the performance experiences in our past that were
the most meaningful to us. Sometimes those experi- Performance
ences can be helpful to us as we prepare for con-
certs and sometimes they are of no consequence.
Selecting music for a particular program is an important and enjoy-
able aspect of music teaching. Preconcert responsibilities can some-
times make the difference between a highly successful concert and
one that leaves something to be desired. Concert preparation has
many facets. Solo/ensemble and large group festivals involve special
programming considerations.
Programming
Programming music for a concert is a personal matter that varies

from one director to the next. There are, however, some general
guidelines you can follow to help ensure a successful concert. Brian
Busch, author of The Complete Choral Conductor (G. Schirmer) has list-
ed some specific purposes for a certain program order:
= To arrange the progression of the concert so that one work does
not overshadow another.
a To provide an aesthetic experience for both ensemble and audi-
ence.
= To maintain audience interest.
= To entertain the audience (some directors would argue against
this but it is a consideration).
a To educate the audience and raise its level of music appreciation
and understanding.
a To demonstrate the ability levels of the choirs.
Busch further states that “a good choral concert, like a good com-
position, must have unity and variety.” Some ways to get variety and
unity in a program are listed in the “Programming” box.
Preconcert Responsibilities
The following is a checklist of tasks to be done prior to a concert.
|. Publicity: Inform parents of all concert dates throughout the
year. Contact local papers. Put announcements in daily school bul-
letins. Send personal invitations to school and district administrators
and school board members (also faculty members, especially those
who are supportive and interested).
Choral Performance 43
Programming
Variety Unity
Style contrasts Theme
Various historical periods Chronological
Use of instruments (historical periods)
Fast/Slow Sacred/Secular
Loud/Soft Ability level (less experienced
High/Medium/Low tessituras groups first)
Thought-provoking/ Frivolous
Mood contrasts
Tonality (different keys, major/minor)
Movement (visual changes)
Sacred/Secular
Traditional/Pop
A Capella/Accompanied
SATB/SSA/TTBB
Various languages
Large Group/Small Group
2. Decorations (if appropriate and desired): Use student volun-

feers,
3. Programs: This is an important consideration that is often
neglected by many directors. Programs should always be well done—
accurate information (proofread) with as few changes as possible at
the concert. The program should include program notes and transla-
tions where pertinent, attractive covers (preordered, computer, or
student-designed). A concert program is a reflection of the choral
program. The public may judge the concert and the entire music pro-
gram by the concert program as well as the music, so it’s important to
plan ahead and develop an aesthetically pleasing and educational
program.
4. Recording the concert (audio, video): Remember that copyright
laws allow the making of one archival recording only. If you plan to
distribute a recording of copyrighted music, you will need to obtain a
“mechanical license” from the Harry Fox Agency (212-370-5330). Use
parent volunteers and the highest quality equipment you can find. If
possible, use a back-up recorder also, in case the first one develops
problems. Many concert recordings are lost (and directors disap-
pointed) because someone forgot to push a button, or pushed the
wrong button, or the machine was faulty.
5. Ushers: Use student volunteers from the choir. Make sure they
are dressed appropriately.
a4 Getting Started with High School Choir

6. Risers, Shell (if available or necessary): Use students to set up
and tear down this equipment.
The Concert
The concert should be handled in as professional a manner as pos-

sible. Emphasize to the students the importance of keeping their com-
posure, knowing where they’re supposed to be and getting there, and
being supportive of all the groups. Being attentive and courteous at a
concert is an educational goal in itself that needs to be addressed.
This is an ongoing effort that takes patience and persistence. Students
must be reminded of their responsibility to behave properly when
they are not performing.
The ideal situation is one in which all the choirs and students can
hear each othér in an auditorium. If this is not possible, encourage
the students to stay after they perform to hear and support the other
groups. Usually the students who are interested in becoming a mem-
ber of a select choir will be very interested in hearing the other chorrs.
The students who don’t choose to stay are probably better off being
excused from the remainder of the concert if space is limited. Many
times they can be a distraction to the other groups while they socialize
instead of listening to the choirs sing.
Music educators are in the fortunate position of being able to com-
municate directly with an audience of parents, friends, administrators,
and other supporters of music at concerts. This can be a wonderful
opportunity to enlighten an audience regarding some of the music
being sung, to share anecdotes or information about the choirs, and
to provide information about the music program and upcoming
events. You must be careful not to abuse the privilege of having a cap-
tive audience by being too verbose. This can lengthen a concert con-
siderably and destroy any musical continuity that the concert might
have achieved. Using concert opportunities for communication with
an audience can make a significant difference in the community’s
understanding of what a music education program involves and what
it attempts to accomplish.
Solo/Ensemble/Large Choir Festivals
Each spring, choral groups throughout the state attend festivals

with the purpose of performing up to their potential, receiving post
tive and helpful comments from impartial adjudicators, and possibly
being rewarded with ratings that they can be proud of. Too often,
however, music is chosen for festivals that is too easy, too difficult, over-
rehearsed, under-rehearsed, or does not reflect enough contrast in
styles. Following is some advice intended to help ensure a successful
festival experience.
Choose music that is well within the ability level of the choir but not too easy.
Don’t stretch the choir to its limit at a festival by presenting the most
difficult music the choir will sing during the year. The very best side
of the choir should be reflected at this important event. Don’t sing
the heaviest repertoire your choir can handle to impress the judges or
as a Challenge for the choir. A festival is not the time or place for this
difficult music, unless it can be well performed. It can lead to disap-
pointing, and sometimes disastrous, results. The rating will not be
higher because more difficult music was chosen. Adjudicators cannot
give a high rating for the difficulty of literature if the piece was per-
formed poorly. Do easier music well.
On the other hand, don’t perform such easy music that it is not a
challenge to the choir. A good judge can tell quite readily whether
the music performed is below the capability of the choir. That is not
looked on favorably by conscientious adjudicators. It might not
change the ratings, but it might be criticized in the written comments.
It can be very tempting to choose easier music that is far below the
choir’s capability in order to assure a successful performance and
receive better ratings. This does not always happen, however. Fre-
quently, a choir will not do easier music as well because they are not
challenged. Many adjudicators have experienced choirs who have
risen to the occasion with more difficult literature that was still within
their capability.
When choosing music to be used for choral festivals, take into consideration
contrasting styles, moods, tempos, and two distinct historical periods (Renais-
sance, Baroque, Twentieth-Century, etc.). When each group is limited to
two selections, it is always hard to know what to do. Should the order
be slow/fast, fast/slow, slow/slow, fast/fast, or a combination if in-
between tempos? Should the pieces be polyphonic/homophonic,
thick-textured/thin-textured, early period/twentieth century? Should
the pieces be sacred/secular, a capella/accompanied? Obviously
there are lots of considerations. Many adjudicators prefer seeing at
least one piece that represents choral music from one of the tradition-
al historical periods. Adjudicators also appreciate hearing at least one
sacred piece in the set. Generally, it is better to program the earlier-
period piece first. It is usually advisable to place the sacred piece first,
followed by a light, secular piece. Occasionally, a slow piece might be
programmed first, followed by something more active and vibrant
(faster).
One of the factors to consider when choosing music is what time of
day the choir is singing. If it is early in the morning, it is very difficult
for a choir to begin a program with a slow, sustained piece. Let the

singers get actively involved physically with a piece that will “knock the
socks off” the adjudicators first. Then follow it with a slower, more
reflective piece. If one piece has lots of notes with independence of
parts (polyphonic), choose a second piece that is thinner in texture
and perhaps more chordal in nature. This will reflect the choir’s abili-
ty to sing different styles of music.
It is quite difficult to group two pieces together in a way that works
well, but it is always a pleasant experience for adjudicators to hear a
choir perform two pieces that are different sounding in several of the
ways mentioned above. They appreciate the thought that went into the
choice of selections. A festival is a choir’s opportunity to demonstrate
its ability and musicianship. If a choir can reflect some of these skills in
just two selections, they will be prouder of their efforts and will proba-
bly receive very positive comments (and maybe higher ratings). Need-
less to say, the sélection of literature is a time-consuming process, but it
is one that is critical to a choir’s success at a choral festival.
Don't start preparing for a festival too far in advance. That is, don’t start
two to three months before the actual performance. Certainly it eases
your mind to know that the notes are solid, the music is securely mem-
orized, and the performance will not fall apart. There is a real danger,
however, of peaking too soon by over-rehearsing the music. For any
given piece, there is a certain amount of time needed to learn the
music, polish it, and then perform it. The time varies depending on
the difficulty of the piece, but from the moment of seeing the piece
for the first time until its concert performance, there is necessarily a
series of peaks and valleys that can slowly build to a “moment of readi-
ness” when the choir will be at its best. The piece is still fresh and new
enough that the singers are not tired of it. They feel secure about the
piece but not overly confident. This is the ideal time to perform the
piece. If this “slow rehearsal crescendo” can culminate in a festival per-
formance, then an exciting musical experience for both singers and
adjudicators can be the result. The preparation is not unlike an athlet-
ic team preparing for a big game (yes, we can learn something from
successful athletic teams).
This idea of not over-rehearsing the music is somewhat frightening
from a director’s standpoint, and it probably takes some experiment-
ing with the pace of rehearsing the festival music (and perhaps a few
poor results) to help the choir get to this peak moment, but the result
is well worth the effort. There is nothing quite so dull as listening to a
choir performance of an over-rehearsed piece of music that is seem-
ingly sung with very little thought being done by the singers during
the performance, almost by rote. It does not have that spark of fresh-
ness and doesn’t really affect a listener the way it might otherwise. It is
often sung under pitch and frequently lacks the vitality and musical
expressiveness that may have been present in earlier rehearsals.
Some directors begin the year with the selections to be used in the
spring festival. They will rehearse the pieces until they are somewhat
secure and then put them away until two to four weeks before the fes-
tival performance. This seems to work well for some people in that it
revitalizes the music, renews the singers’ interest in it, and shortens
the preparation time needed before the festival.
Finally, keep the festival experience in perspective and help your
students to keep it in perspective. Prepare your singers for many pos-
sible eventualities. A festival rating should not make or break the
entire school year. More appropriate, the concern should be whether
the choir is performing up to its potential, both collectively and indi-
vidually, and whether the choir is satisfied that they did their best on
that particular day. Directors who care enough to take their choirs to
rated choral festivals and are willing to accept the adjudicators’ com-
ments and criticisms should be highly commended. It takes a person
with inner strength and a secure self-image to be willing to take some
risks (and perhaps fail occasionally) that will help him or her grow as
a musician and a conductor.

Chapter 10
Most choral textbooks and methods classes list a
variety of responsibilities that need to be assumed by
the choral director in order to have a successful,
Management of a
well-run choral program. The nonteaching responsi-
bilities discussed here are those that have held signif-
Music Program
icant importance for many successful choral direc-
tors. These suggestions should help you get started
on the right track and provide practical insight to
these tasks not found elsewhere.
Ordering/Distributing Music. One of the tasks that must be done is to
order music and music-related supplies, which involves the music bud-
get. Most directors are never given an adequate enough budget to
order as much-nusic as desired, so it is important to use the allotted
budget wisely. I strongly recommend that when music is ordered, one
copy is assigned to each student. Some directors order one copy for
every two students in order to stretch the budget a little further, but in
most cases, asking two students to share a copy of music creates prob-
lems that a director doesn’t need. It is difficult for two inexperienced
singers to share music and both see it equally well. If one student takes
the music home, what do the two singers do if it is not brought back?
Which singer marks the score when necessary? Also, personality con-
flicts sometimes arise that make sharing music difficult.
That is certainly not to say that these problems cannot be solved sat-
isfactorily. Giving each student his or her own copy, however, will help
solve some of these problems. It will also give each student a strong
sense of ownership and a stake in the choir, as well as a personal sense
of responsibility for the music folder. It will allow students to take the
music home at their discretion, which encourages individual practice
and study.
It is always wise to spend about eighty percent of the music budget
by the first month of school. Budgets are not always guaranteed and
may be taken away later in the year. If the money has been spent, it
cannot be taken away. This means the director must quickly deter-
mine the ability levels of the choirs, have music in mind for the entire
year, and order accordingly. As the director gains more experience
and as the program has consistent numbers and skill levels in each
group, much of the music selecting can be done in the previous
spring or summer for the entire year.
Choral Library. Most schools will already have some type of music fil-
ing system in place when a new director arrives. After experiencing
and
and evaluating several filing methods, one of the most efficient
practical systems Ihave found is one in which the music is filed in
numerical order. In other words, as new music is added to the library,
238)
Management of a Music Program
assign it the next number instead of filing it alphabetically by ttle.
This avoids the problem of having to shuffle music from one file cabi-
net to another as the cabinets become filled.
If the existing system has music filed alphabetically, simply begin at
“A” and assign each piece a number. As room runs out in the file cabi-
nets, more cabinets may be purchased (maybe even through a sepa-
rate school or district budget) and more music can then be filed in
the new cabinets.
In order to find a specific title, a 3x5 card file must be used with
the title, composer, voicing, and assigned file number on each card in
the file. The cards can then be filed alphabetically. If each file drawer
is labeled by number (I-15, 16-32, and so on), the director or librari-
an can simply go to the appropriate drawer and get the music. One
further addition to this system is to cross-file the titles by composer.
Simply use another card file that is alphabetized by composer, with
the same information on each card, except that the composer’s name
will be at the top instead of the title. This will enable the director or
librarian to find all the pieces in the library by a certain composer.
Concert Attire. During the year, every director will receive perfor-
mance apparel catalogs in the mail. This material should help most
groups determine what they will wear for performances if new attire is
needed. For more discussion of this subject, see Chapter 7.
Performance Location. This may be determined automatically by the
school facilities because of an existing theater or auditorium. It would
be ideal to hold most of the major concerts at the school for the con-
venience of rehearsals and central location. If the only school area
available is the gym or cafeteria, however, it would be wise to look else-
where in the community for a performance site. The first recom-
mended choice is a local church that has excellent acoustics and a
beautiful sanctuary. Most communities have at least one such church.
If it is possible to perform in such a church, the musical experience
will be greatly enhanced for everyone. If other churches are available,
use them also.
If the only option for concerts is to use the school gymnasium, try
to create as nice an atmosphere as possible through the use of decora-
tions, shrubbery that can be donated by a local nursery, a creative
seating arrangement, and special lighting that can perhaps be
brought in from the theater department or local theater group. If a
director uses the creative energy of the students, a lot can be done to
create an appropriate setting for a concert that would otherwise be
mundane and even distracting during an excellent choral perfor-
mance.
Public Relations. It is very important for the choral director to com-
municate with parents, faculty, school and district administrators, and

school board members during the year. If a director expects adminis-
trative and community support for the choral program, it is impera-
tive that they know about such things as dates and locations of con-
certs, special programs or events that are being held, fund-raising
events and activities, and financial needs of the program (outfits, trips,
risers, acoustical shell, rehearsal chairs, etc.). Information regarding
the growth of the program (increased enrollment, special invitations
to perform, compliments about the students, etc.) should also be
communicated to these important groups.
If people are made aware of special needs and upcoming events,
they are much more likely to support them. A director should not be
disheartened if initial responses to a letter are not forthcoming or do
not result in immediate support. If information is consistently relayed
to these school and community groups, positive results will begin to
show over a period of time.
Send a letter to parents at least four times a year—one early in the
year and one before the winter, mid-semester, and spring concerts.
These letters could be sent home with students, but it is better to com-
municate directly with the parents via the mail. It is well worth the
extra expense to ensure that the letters reach the parents. These com-
munications are so important to the support of the choral program
that you should not take a chance that the letters you have so carefully
written will never make it home.
An easy way to send letters home through the mail is to pass out let-
ters and envelopes to each student. Have them address envelopes to
whomever they wish to send the letter (parents, guardians, grand-
parents, friends, etc.). They can insert letters, seal the envelopes, and
return them to you. A nice touch is to use school or music department
stationery. If students ask you why letters are being sent home in this
way, simply explain to them that the music program is important
enough to warrant sending letters directly to parents or guardians sev-
eral times a year.
It would be wise to develop a mailing list of important people who
should receive information about the choral program and personal
invitations to specific concerts. The list can then be updated and
expanded during the year. A choir officer or a student aide can
address envelopes and insert the information and invitations.
Fund-Raising. In a growing music program, there will be a need for
additional money not available through the district budget. Some
financial assistance can sometimes be obtained from various commu-
nity businesses and groups. For example, writing letters to local ser-
vice organizations, such as the Kiwanis Club, Rotary Club, and Lion’s
Club, can be very profitable and helpful to your program. Soliciting
the support of local banks may also be of great help. Many banks have
Management of a Music Program 5]

a community fund that is used to support community groups, includ-
ing the local high school. Last year, one high school choral program
received $1,000.00 in December because a local bank needed a tax
write-off and the vice-president of the bank had a daughter in the
choir. Supportive parents of choral students can be of help in contact-
ing businesses or offering financial assistance through their own busi-
nesses or places of employment. Sometimes a letter to parents
explaining your financial needs can generate ideas for obtaining
funds. All of these sources are worth considering if your financial
need is great enough and your program is of educational value to the
students.
Another source of revenue is through student fund-raising efforts.
Many fund-raising opportunities will present themselves during the
year. If the opportunity involves selling a product and the profit mar-
gin is less than forty to forty-five percent, it is probably not worth the
time and effort. One other suggestion: fund-raisers that involve taking
orders and collecting money when the products come are much
more effective and time-efficient than those that involve issuing prod-
ucts to sell, such as candy. A lot of profit is lost by students losing the
candy, having it stolen from lockers, or losing the money. Students are
still responsible for it but sometimes it is difficult to collect the lost
money unless the school has a strong policy regarding outstanding
student debts.
Choir Booster Organization. Organizing a parent support group, if
one is not already organized, can be of tremendous help in fund-
raising efforts, recording concerts, organizing an awards dinner, and
other time-consuming tasks that can eat into a director’s time. It has
been the experience of many directors, however, that a parent organi-
zation for choirs is difficult to get started and maintain if very ener-
getic, committed parents are not found to head such an organization.
The key is to find those people and then capitalize on their enthusi-
asm and willingness to spearhead such an effort.
If such a group is too difficult to get started, there is an alternative
way to obtain much needed help and support from parents through-
out the year. It is easier to solicit help for specific events or jobs than it
is tO organize an Ongoing support group, and in many instances, it is
just as effective from the director’s standpoint. Early in the year, when
the first letter is sent to parents highlighting plans for the year and
informing them of concert dates, a volunteer sheet can also be sent.
On this sheet you can list various organizational needs you may have
or other responsibilities you should delegate to others. You might
include as needs someone to tape (audio and video) concerts, people
to help with special fund-raising projects or choir events, and chaper-
ons for trips. Ask that the sheet be returned to the school by a certain

date. You may not receive many returned sheets but it will give you
some indication as to who is willing to help you. With this initial volun-
teer list, you can begin to make plans for events during the year and
build on that list as the year progresses. It is always best to be as specif-
ic as possible regarding jobs and responsibilities. Parents are usually
willing to help if they are given a specific job or told exactly what
needs to be done.
During parents’ night, or back-to-school night, which usually occurs
early in the year, it would be a good idea to mention that you need
help with various events. This might help you obtain additional names
of parents willing to help. As you get to know the students and meet
parents at concerts and other events, you will discover more parents
who are willing to help in various ways. If you develop a parental vol-
unteer list early in the year, you will find that the list will expand as the
year progresses. Frequently, parents will continue to help from year to
year if their children remain in the choral program. This is also of
great benefit.
These issues, which go beyond preparing lesson plans and dealing
with daily classroom challenges and responsibilities, might seem over-
whelming to a teacher just getting started. As you gain more experi
ence, though, you will deal more easily and effectively with these
important and necessary tasks. Try to enlist the help of one or more
students who are willing to serve as “choral aides” (perhaps in place of
their study hall in some schools). These students can help a great deal
with some of the work that needs to be done, as can the choir officers.
If you are willing to delegate responsibilities and use these people,
your workload will be eased considerably and more attention can be
devoted to the musical aspects of the job—that is, score study,
rehearsal preparation, and concert planning.
Management of a Music Program Ol©9

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Chapter 11
If you are conscientious and resilient, sensitive to
those around you, respond to the needs of others,
Final
allow time for yourself, love music, and believe
strongly in music’s value to human beings and its Thoughts
place in the educational process, you will be success- &
ful. You must be careful not to measure your success
against the success of others. Each person’s success-
es and failures are based on that person’s standards, circumstances,
and teaching situation. Each dedicated music teacher is a unique indi-
vidual who has something of value to offer to young people and the
music-education profession.
It is important to realize that growth as an individual and as a
teacher is possible. You can learn new techniques, develop and
strengthen your confidence, and revitalize your teaching. During this
lifelong adventure of becoming a master teacher, you must also learn
to be patient and learn to forgive yourself. You definitely are not alone
in your mistakes, insecurities, and weaknesses. When you think you
need it, don’t hesitate to ask for help or advice. Have a list of people
you can call when you are frustrated with various musical or classroom
situations. Young people and music make the effort to improve one’s
teaching techniques and musical ability worthwhile amidst the frustra-
tions and disappointments that are certain to be experienced during
your life as a music educator. Persistence is what determines success.
This final statement expresses the reason music education is such a
worthy and fulfilling journey upon which to embark:
The art of singing is as complex as the human body and the

art of music is as complex as the universe, and we are just toying
at the edges of it.
This art is a wondrous mistress. She entices us with her beauty,
she intoxicates us with her sweetness. Then, just as we think her
beauty and sweetness are ours, our inadequacies deny us total ful-
fillment. But alas, she is so wondrous fair that we must try—again
and again and again.
—Charles Nelson
Final Thoughts 158}

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MENC’s
Getting Started
Series
Each book in this series provides an outline to help new teachers,

or teachers beginning new positions, gain confidence as they get
started.
Getting Started with High School Band. By David S. Zerull. 1994.

52 pages. Stock #1627. ISBN 1-56545-045-0.
Getting Started with High School Choir. By Steven K. Michelson. 1994.

64 pages. Stock #1628. ISBN 1-56545-046-9.
Getting Started with Jazz Band. By Lissa A. Fleming. 1994. 64 pages.

Stock #1626. ISBN 1-56545-035-3.
For information on these and other MENC publications, write to:
MENC Publications Sales

1806 Robert Fulton Drive
Reston, VA 20191-4348
Credit card holders may call 1-800-828-0229
ic .
a) < foerm
M4
GAYLORD
RINTED IN U.S.A.
Getting Started with High School Choir,
like all the books in the Getting Started
series, is designed to help you get started
in a new position. As you approach your
new experience, you may be excited and,
perhaps, feel some anxiety at the same
time. Getting Started with High School
Choir may not answer every question or
cover every contingency, but it does pro-
vide an outline to follow that may help
build your confidence as you take on the
new responsibilities associated with
directing a high school choir.
Steven K. Michelson is director of choirs at

Helena High School in Helena, Montana.
ISBN 1-56545-046-9
ee MUSIC
MII
780-DA
Mm EDUCATORS
NATIONAL CONFERENCE
1806 Robert Fulton Drive
0K
(00
ALA
WOU
LL Reston, Virginia 20191
= ONSAIW 703-860-4000 Fax 703-860-1531

Internet: http/Avww.menc.org

High School: Gcettine S&S T Arte D

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GCettine S&S t arte d

CHO! Steven K. Michelson

Music Educators National Conference

1, Personal Philosophy of Music Education: A Necessity ........... 1

2,ee Development: Classes to Be Offered..............sccc000 3

3. Overview of a High School Choral Program. ..............ss0ss0eee0 i

ri PRECEUIENING UID OLS creerconsctosezccccactorecect

5. Evaluation and Selection of MUSIC...............ssssscssseesssssessseees 17

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8. Classroom Control and Management ............:ccsscccesseeeseeessees 37

OAC OL ANION OUIIANICE cz, ascoceseresietoscssccsoneesscvecersscersconasesocaceeass 43

10. Management of a Music Program...........ssccccssccessrrceesreceeseees 49

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Your Personal Philosophy

A personal philosophy of music education is unavoidable when you

Personal Philosophy of Music Education: A Necessity 1

“Music is not a luxury, but a necessity ... because it is the persistent

“The arts (music) enhance the quality of human life. Mankind

2 Getting Started with High School Choir

Program Development: Classes to Be Offered So)

4 Getting Started with High School Choir

Program Development: Classes to Be Offered 9

tae VRE Ans See? (ewe ;

wale w nHiunine +" & qSrTegrnss

> oy f ' 2s = 4.4

‘ 1} 5 f he) hes © Ly Pp oly

Following a Previous Teacher: How to Handle It

One of the first problems that a teacher just getting started or a

Overview of a High School Choral Program 7

8 Getting Started with High School Choir

Students of all ages have an uncanny ability to detect dishonesty in

Overview of a High School Choral Program g

10 Getting Started with High School Choir

man enthusiasm (perhaps even a passion) for their subject

If you, as anew teacher, possess or develop these qualities, there is a

Overview of a High School Choral Program il

SSeS Pag.+ fore, pqarrag) pane ix

~ ~ wil Gece » Peed) Gee mosT amines

4 : sae) % <_— * 7a i Fe *srrer ued ee

14 Getting Started with High School Choir

ees Hie «oom

Evaluating Choral Music

Text. This is a good place to begin when evaluating the worth of a

Evaluation and Selection of Music la

Criteria for Choosing Music for Specific Groups

18 Getting Started with High School Choir

Evaluation and Selection of Music 19

Voit itor eee conikes ei thgtastchaialaa

The choral audition is an aspect of choral music The Audition

In a voice check, listen for:

DE Getting Started with High School Choir

Choir Audition Information

Name Next School Grade GPA

Address _ ~~ City Phones.

Group Preference (e.g., Ambiance, Starlighters)

Voice Type Voice Quality P.M.

song rine Sie “cian A" tn meee saat oF " b

Wie tet au rh Tibet ae

The First Day _

Last Name First Name

Mother’s Name Home Phone

Address Work Phone

Choir(s) in which you’re enrolled