ChoralNet - Daily New postings in DailyThe Tower Chorale Presents Folk Fest Carlotta Wing, %19 %b %2015 %02:%Apr:%th 2AprGMT+0000
“Folk Fest”
The Tower Chorale, directed by Patrick Godon, presents this fun program featuring two different periods of folk music. The first segment will highlight old folk melodies from Stephen Foster, Woody Guthrie and more. The second segment features folk music favorites by John Denver, Pete Seeger, Simon and Garfunkel as well as others. All of music will be performed at each performance. Just great music.
Friday, May 15, at 7:30 p.m. and Saturday, May 16, at 7:30 p.m. at Nazareth Academy, 1209 W. Ogden Ave, La Grange Park.
Tickets may be purchased on The Tower Chorale website:
$20 Adult, $17 Senior/Student, Children 10 and under Free.
Fun "Twelve (animated) Days of Christmas" now on youtube Ken Malucelli, %19 %b %2015 %02:%Apr:%th 2AprGMT+0000
I'm pleased to inform you, the world premiere of "The Twelve (animated) Days of Christmas," premiered in December by Tim McMillin and Des Moines Vocal Arts Ensemble, has at last been uploaded to youtube.  Tim and the group (SATB + piano) did a superb job. 
Here's the link:
Ken Malucelli
P.S. If you haven't yet watched the premiere of the "Night Before Christmas" fantasy, which Chorus Austin (plus orchestra) produced, the weekend before, it's here:  Also a splendid job.  Many thanks to all!
Princeton Festival Conducting Master Class Gregory Geehern, %18 %b %2015 %22:%Apr:%th 22AprGMT+0000

This 8-day professional conducting master class is open to conductors and auditors by application. The master class offers a group of select conductors the opportunity to develop their gestures, learn useful rehearsal techniques, study and perform examples of Baroque and Classical repertoire, undertake performance-practice tutorials, and lead daily rehearsals with the Festival chamber chorus and orchestra. 

Conductors and auditors will participate in daily master-class sessions with Dr. Jan Harrington and each conductor will conduct the Festival chorus daily and 4 rehearsals with the chamber orchestra. The master class will culminate in a public performance on June 27th, led by the participant conductors.
Enrollment is limited to 9 conductors, with no limit for auditors. Auditors attend all sessions, including the master classes and seminars, but will not conduct the Festival chorus. Auditors may request a private conducting session with the clinician for an additional fee of $65, payable to "The Princeton Festival," during the course of the master class.

Master class goals for conductors —

  • Enhance practical conducting skills during daily master classes.
  • Daily seminars on a variety of topics related to choral conducting.
  • Conduct the Festival chamber chorus twice daily.
  • Conduct the Festival chorus and orchestra in a public performance at the end of the master class.
  • Video and audio recording of your performance.
  • Have fun making great music, make new friends.
Please visit for more information.
Moira Smiley/VOCO Workshop in New Jersey Patricia Joyce, %18 %b %2015 %21:%Apr:%th 21AprGMT+0000
Hello Choral Music Colleague!
I am very excited to announce an upcoming workshop for all area Middle School and High School music teachers.  Internationally known singer, composer/arranger and choral clinician Moira Smiley, and her ensemble, VOCO, will present “Colors of the Voice.” Their workshop will be offered on Saturday, May 2, at Calvary Episcopal Church, 31 Woodland Ave., Summit, NJ.   Moira will work with all the educators from 2:00 – 4:00 PM.  Following a short break, with complimentary sweet treats and goodies, Moira, VOCO, and the 90-voice Advanced Girls Choir of the New Jersey Youth Chorus, will present individual and combined repertoire in an Informance.   The event will conclude by 5:15 pm.
 In the workshop, Moira will cover the following:
  • Colors of the Voice, including the vocal exercise that everyone raves about!
  • Warm-up with ‘Technique Top 5’
  • Teaching a piece of repertoire
  • Body percussion
  • Group vocal improvisation
Moira’s mother tongue is probably traditional folk song. She explored Eastern European vocal music as a member of the renowned KITKA ensemble. Moira completed a song-study trip through Bulgaria, Serbia and Croatia in 2012, and studied Irish Sean Nós (old-style) singing and Appalachian ballad and dance-song. She has written and arranged many pieces for voice, cello, banjo, accordion and percussive movement.  Her love of Bartók’s short pieces for piano inspires her ongoing project “Bartók Sings” – re-imagining Bartók’s piano miniatures for voices and strings.
Plaintive, modal, communicative, lush vocal music keeps VOCO in demand in both fine arts and folk venues. They have been called “fascinating and multi-lingual” by the LA Times, “persuasive, near perfect musicians” by the Herald Times, and “gritty and ethereal, banjo to Bartok” by the Village Voice.  VOCO has recorded four albums: “Blink” (2006), “Circle, Square, Diamond & Flag”(2008), “Small Worlds” (2009) and “Laughter Out of Tears” (2014).
The cost of the workshop and informance is only $15.  Professional Development Certificates will be available. College students are also encouraged to attend. The registration fee will be waived with valid college ID.    Please arrive by 1:45 pm for check-in.
We would be thrilled to have you attend the Workshop.  To register, please visit our website at  Please send any questions to
Best wishes,
Trish Joyce
Founder and Artistic Director
New Jersey Youth Chorus
Voices of Gotham Men's A Cappella Chorus Announces May Concert APPLAUSE! at Peter J. Sharp Theater at Symphony Space Ariel Estrada, %18 %b %2015 %20:%Apr:%th 20AprGMT+0000


Brian J. Lindvall

Voices of Gotham (VoG) Men’s A Cappella Chorus presents its spring 2015 concert Applause! under Artistic Director Bill Stauffer, with special guests Sirens of Gotham Women’s A Cappella Chorus, and Sweet Adelines International (SAI) quartet champions The Buzz

Saturday, May 9, 2015 at 8:00 pm
Peter J. Sharp Theater at Peter Norton Symphony Space
2537 Broadway at 95th Street

Applause! is VoG’s first Manhattan concert under the direction of Bill Stauffer, who was inducted as Artistic Director in December 2014. Applause! will feature both contemporary a cappella music, and new barbershop harmony arrangements commissioned exclusively for VoG of songs from the Broadway stage. Musical highlights include: 

  • Applause, Applause! from the musical of the same name by Lee Adams and Charles Strouse
  • How Could I Ever Know? from Marsha Norman and Lucy Simon’s musical The Secret Garden, arranged for VoG by Broadway conductor and VoG Assistant Artistic Director Matt Gallagher (Conductor, Book of MormonDr. Zhivago)
  • Into the Fire from the musical The Scarlet Pimpernel, arranged for VoG by veteran barbershop arranger Steve Tramack.

Sirens of Gotham (SoG) under the baton of Artistic Director Sarah Clay will also bring their sweet and sassy women’s a cappella sound to the concert program. SoG is the New York Chapter of Sweet Adelines International (SAI), one of the foremost organizations for women singers in the world ( Special quartet guests will also include SAI Quartet Champions The Buzz, whose sought-after quartet performances of women’s barbershop of have seen them tour internationally throughout Europe, New Zealand, and Australia (

Founded in 2008, New York City-based Voices of Gotham is currently ranked as one of the top ten barbershop choruses in the world by the Barbershop Harmony Society (BHS), an international organization dedicated to the preservation and promotion of barbershop harmony. Renowned for the caliber of its musicality and showmanship, VoG is a 2015 recipient of support from the New York City Department of Cultural Affairs. As a proud member of the BHS, VoG has distinguished itself as one of the country’s leading incubators of new barbershop and contemporary a cappella music, and of young musical artists who will shape the continuing evolution and excellence of the proud American tradition of barbershop harmony. For more information on Voices of Gotham, please visit

Tickets range from $40 through $20 in advance, and $50 through $25 day-of-show. For tickets, please visit




Brian J. Lindvall

Bill Stauffer

Voices of Gotham Men’s A Cappella Chorus’ Applause!

Saturday, May 9, 2015
Peter J. Sharp Theater at Peter Norton Symphony Space
2537 Broadway (at 95th Street)
New York, NY 10025-6990

$40/$30/$20 in advance
$50/$40/$25 day-of-show



Morten Lauridsen Weekend - Prescott, AZ James Klein, %18 %b %2015 %18:%Apr:%th 18AprGMT+0000
The Yavapai College music department is pleased to announce that Dr. Morten Lauridsen will be part of a weekend long celebration of his music May 1-3, 2015 on the campus of Yavapai College 1100 E. Sheldon St. Prescott, AZ 86301.
  • Friday May 1, from 9:30am- 12:30 pm Dr. Lauridsen will present a discussion seminar on composition.  “The mind of the composer ”  This session is open to the public.  There is a $25 registration fee for this session. Contact Lorrie Vodika (928) 776-2045.
  • Saturday May 2 from 10:00 am – 1:00 pm there will be open rehearsals with the choral union of the college on the main stage in the Performing Arts Building.  This is open to the public and is free of charge.
  • Sunday May 3, beginning at 3pm, the Yavapai College music department will present an afternoon of the music of Morten Lauridsen on the main stage in the performing arts center.  Tickets will be available at the door for $15.  For those who attended the composition seminar on Friday, the cost for the concert is only $5.00.  Please contact Lorrie Vodika (928) 776-2045 for additional information.
George Frideric Handel: JUDAS MACCABAEUS David Puderbaugh, %18 %b %2015 %18:%Apr:%th 18AprGMT+0000 Singers of Iowa City, orchestra, and soloists, under the direction of David Puderbaugh, present the 1747 premiere version of Handel's epic oratorio as part of the national conference of the American Handel Society.  Dr. Jordan Smith of the University of Iowa Religious Studies Department will give a pre-concert lecture: "Judas Maccabaeus: God's Divine Hammer."
Where:  Iowa City West High School auditorium, 2901 Melrose Ave., Iowa City, Iowa
When:  Saturday, April 25, 2015. Lecture:  6:30pm, Concert:  7:15pm
Tickets:  available at the door or online at
Chorus of Communities 25th Anniversary Concert Richard Morgan, %18 %b %2015 %17:%Apr:%th 17AprGMT+0000
The Chorus of Communities presents their 25th Anniversary Spring Concert
A Concert of Reflection, Reconciliation and Resurrection. Saturday, April 25th 2015 at 7:30 PM
St. Luke’s Episcopal Church, 73 S. Fullerton Ave., Montclair, New Jersey
Richard Morgan, Artistic Director; Dr. Brian Harlow, Organist; Maria Hladczuk, Soprano
Requiem Mass ~ John Rutter *A Song of Thanksgiving ~ Ralph Vaughan Williams ~ Three Alleluias ~ Thompson, Young, Hampton
*Towards the end of the war, the BBC commissioned “A Song of Thanksgiving” by Ralph Vaughan Williams to commemorate the anticipated end of WW II.
This concert is presented in commemoration of the 70th Anniversary of the end of WW II.  This concert is also dedicated to all who have served our country in foreign conflicts.
$12 General Admission; $10 Students and Seniors.  For more information visit our website at
East Carolina University Chamber Singers Win International Competition Erin Plisco, %18 %b %2015 %16:%Apr:%th 16AprGMT+0000 ]]>What's on Great Sacred Music, Sunday, April 19, 2015 Robert Kennedy, %18 %b %2015 %16:%Apr:%th 16AprGMT+0000
In case you cannot hear the show live, the playlist is on Spotify
for you to enjoy: GSM - Sunday, April 19, 2015
Don't forget that we have more choral and organ music programmed
on Sunday evenings beginning at 10 p.m. eastern.
Rob Kennedy
Great Sacred Music
The Classical Station
To subscribe to my weekly playlist emailing:  send your email
address to

Arvo Part: Veni creator
Theatre of Voices; Ars Nova Copenhagen, Paul Hillier
Christopher Bowers-Broadbent, organ
Hieronymus Praetorius: Laudate Domino
Quire Cleveland, Ross W. Duffin
Louis Vierne: Feux follets, Op. 53 No. 4 (from Pieces de fantaisie)
Olivier Latry, organ
1733 Thierry/1788 F.H. Cliquot/1867 Cavaillée-Coll/1959 Hermann/1960
Boisseau/1992 Boisseau-Emeriau-Giroud-Synaptel Organ of Notre Dame
Cathedral, Paris
Estonian composer Arvo Part's Pentecost hymn "Veni Creator" dates from 2006.
North German composer Hieronymus Praetorius (1560–1629) spanned the late
Renaissance and early Barqoue periods of music. French organist Olivier Latry
is the Titular Organist of Notre Dame Cathedral.
Anonymous: Sanctus
Hilliard Ensemble
Jan Garbarek, saxophone
Flor Peeters: The Lord's Prayer
Atlanta Sacred Chorale, Eric Nelson
Trey Clegg, organ
Orlando Gibbons: Magnificat (2nd Service)
Oxford Camerata, Jeremy Summerly
The combination of saxophone, medieval music and the sumptuous
acoustics of the monastery of Propstei St. Gerold in Austria make for
some spell-binding music.  Flor Peeters (1903-1986) was a Belgian
organist and teacher. English composer Orlando Gibbons (1583-1625)
was a chorister at King's College where his older brother Edward was
master of the choir.
Alec Wyton: The Vision of Isaiah
Choir of Trinity Church, Wall Street, New York, Owen Burdick
Sir Charles Villiers Stanford: O for a closer walk with God
Choir of St. John’s College, Cambridge, Christopher Robinson
Herbert Howells: Saraband (for the morning of Easter)
Robert Benjamin Dobey, organ
Roosevelt-Schantz organ, Cathedral of the Immaculate Conception, Syracuse, NY
Dr. Alec Wyton was a distinguished church musician. Owen Burdick's interview with
Dr. Wyton is worth a read.   Irish composer Sir Charles Villiers Stanford was educated
at Queens College, Cambridge. Hilborne Roosevelt (1849-1886) founded Roosevelt Pipe
Organ Builders with his brother Frank. The firm built many grand instruments in the latter
part of the 19th century.
Margaret Rizza: Ave Maria
Gaudete Ensemble, Eamonn Dougan
Franz Biebl: Ave Maria
Turtle Creek Chorale, Timothy Seelig
British composer Margaret Rizza (1929-) is highly regarded for her
choral compositions. Franz Biebl (1906-2001) wrote his Ave Maria for
double male chorus, specifically for a firemen's choir.
J.S. Bach: Cantata 104, "Du hirte Israel, hore"
Holland Boys' Choir; Netherlands Bach Collegium, Pieter Jan Leusink
Marjon Strijk, soprano; Sytse Buwalde, alto;
Knut Schoch, tenor; Bas Ramselaar, bass
The German translates as "Hear, thou Shepherd of Israel". This cantata
was written for the Second Sunday of Easter. Simon Crouch's commentary
is worth a read. 

Frantisek Ignac Tuma: Lytaniae Lauretanae
Prague Madrigalists, Pavel Baxa
Late Baroque Czech composer František Ignác Antonín Tůma (1704-1774)
wrote 65 masses, 29 psalm settings and 5 settings of the Stabat Mater as
well as this Lauretanian Litany.

John Tavener: Funeral Canticle
Academy of Ancient Music Choir and Orchestra, Paul Goodwin
George Mosley, baritone
A Guide to John Tavener's Music in The Guardian covers the output of this important 20th century English composer. 
Franz Schubert: Mass in E flat, D. 950
Vienna Boys' Choir; Chorus Viennensis; Orchestra of the Age of Enlightenment, Bruno Weil
Benjamin Schmidinger, soprano; Albin Lenzer, alto;
Jorg Hering, tenor; Kurt Azesberger, tenor; Harry van der Kamp, bass
The Mass in E flat was one of the last works Schubert wrote before he died in
November 1828. Listen for the influences of Beethoven, Mozart and Haydn in this

J.S. Bach: Fantasie and Trio on "Nun komm, der Heiden Heiland"
Jean Guillou, organ
Kleuker-Steinmeyer organ of the Tonhalle, Zurich
French organist Jean Guillou celebrated his 85th birthday on April 18, 2015. He is
highly-regarded for his improvisations.
Why my son's school for the musically gifted and hard working children is not enthuastic to teach or recommend or allow a singing teacher for my son? John Black, %18 %b %2015 %03:%Apr:%th 3AprGMT+0000 members,
Could you please guide me, on what is the best and wise position, a parent in my situation should adopt with regard to the issue as detailed below, within the context of a long term happy and rich musical life for my 12 years old son.
I am a parent of a musically capable child. By way of a brief background, I myself am lucky enough to have had music theory and piano training but not vocal training. I have some abilities in music but not at the professional level.  At university I chose & studied commerce with high level qualifications achieved and now have my own successful business after working for the best and biggest organisations in my country.
I consider my son to be musically capable because he has many of the abilities needed for music appreciation and performance eg, 100% perfect pitch, rhythm, musicality, photographic memory, super high intelligence yet still a balanced person with a capacity to learn and be taught. But the single most stand out ability that separates him is the ability to win over audiences.
This year he is 12 years old, and is attending, on a full scholarship, the most prestigious and only school for the musically gifted and hard working children in our state. He was accepted into the school for his main instrument being the piano, however at the audition, he also played the guitar and sang.
Since young, I noticed that he could sang. I guided him to sing using his natural abilities. As he was naturally gifted with the attributes I described above, he was able to make his performances work and I purposely left him at that, untrained! He was able to sing convincingly and was able to make a grown man cry, but the voice was not subjected to any training at all. I focused the training though on the classical piano, guitar and music theory/musicianship to an international world best level.
This year, as he entered his new school, the school for the gifted and hardworking children, he was taught Solfeige, the piano, member of a junior choir, music theory, musicianship, ensemble, drama, posh sport classes and so on and also had academic classes. I must say, its wonderful and am most pleased and do feel extremely blessed.
An area that I am confused and is the reason for this post, is about singing and having a singing teacher to support my son's growth and more practically his efforts in the chamber choir. As my son was no longer encouraged to pursue his guitar because of finger nails issue being in conflict with his main instrument the piano, I requested for my son to be allowed to have singing as his second instrument. I was initially told by the head of music that he could apply in second term which was three months away from the time that I enquired. During the first term, my son was invited (by the choir director), the only year 7 music student without vocal as a first instrument, to join the chamber choir (which consists of yr 7-12). Both my son and I were (still are)  very excited and we know its a great priviledge. In the first term, he already performed with the chamber choir for an important event. In the choir, he stood next to vocals (prodigies) the like of Jackie Evancho and some already got albums produced by international well known music producers.
In both the junior choir and the chamber choir, my son was given the soprano roles. When he came home, I asked him to sing for me to show what he had learnt, he couldn't do it. He told me its very high. When he tried to sing pop songs (in preparation to impress his girl friends) he belted using his throat with no knowledge of placements or breath control and caused him to nearly faint a few times (may be a little exagerated but still difficult for a father to watch mediocrity in action).
Near the end of the first semester, I emailed the head of music asking for clarification about the second instrument process and I was referred to the choral director whom also provides individual vocal lessons for the school with a comment in the email that my son was in good hands with the choral director. I contacted the choral director by phone and was told that there was no scholarship for vocals until 2 years latter. We agreed on the phone that he would recommend a singing teacher for my son and I would be responsible for the fee for which I dont have an issue.
After a little consideration, my son asked me to request if the choral director could take my son as a student. I emailed the choral director, in my view politely, of which I have not recieved a reply. However he replied to my son directly that he was too busy to take my son but at the same time indicated that he was not keen in recommending any singing teacher for my son (stating he was worried that my son would not have enough time). One of the school's policy is that my son is not allowed to have any activity at all outside of the school without the expressed written permission of the school. Hence I am not allowed to organise private singing lessons for my son. I am at a lost and I tried to explain to my son that may be its in my son's best interest not to have a singing teacher at this stage. He being a smart boy answered, but daddy, other year 7s & 8s have singing teachers.
The choral director told my son that he spoke to me already about this matter when he has not. Then a week latter he told my son that he would talk to me at the parent teacher interview which only 5 minutes are allocated for each teacher to report on the whole term.
We are now in second term. No clear second instrument for my son. No singing teacher and not allowed to have a singing teacher. Still in the chamber choir with a huge gig with external opera singers in a month. Son is super passionate about singing and going crazy trying to be 100th of 1% of the abilites of students in the chamber choir and CLUELESS!
How can I manouver this situation? How can I assist my son with some technical knowledge, not only physical experiences from being in the choir, but structured long term technical guidances (from a qualified vocal pedagogy / singing professional) to equip him to handle the demand of being a chamber choir member performing at the elite level, with not only chamber choir members but also performing with pro opera singers outside of the school. Also how can I assist my son with some vocal technical skills so he can enjoy singing some of the pop songs and not just classical?
With much appreciation,
 A parent with best intentions.
Rachminanoff's "The Bells" - Practice Tracks Brian Hathaway, %18 %b %2015 %13:%Apr:%th 13AprGMT+0000 am looking for a source for rehearsal tracks to Rachmaninoff's "The Bells".  The Master Chorale of Tampa Bay is performing this in the fall with the Florida Orchestra.  We will be singing the text in Russian. ]]>Antonio Gabrieli Jeannette Koops, %18 %b %2015 %10:%Apr:%th 10AprGMT+0000, I am working as a volunteer in the Saint-Pauls church in Antwerp at the musicarchivedepartment. Recently we found four partitures del siggnor Antonio Gabrieli. On the web I can't find anything of a composer by this name. Als the "New Grove" doesn't mention this name. Is there anyone at this forum who can help me get some clarity about this man? Thanks a lot!! Jeannette ]]>American Boychoir Needs Donations to Keep Doors Open Jane Schaefermeyer, %18 %b %2015 %11:%Apr:%th 11AprGMT+0000 American Boychoir in Princeton, NJ, USA, has just filed for bankruptcy. It is about $150,000 short of the amount needed to keep the doors open until June when the school year ends. The bankruptcy will give them a chance to reorganize and reopen again in the fall. If you can, please donate. Even a small amount will help. To read more and be directed to a donate button, go to
I have no connection to the AB, I'm just a singer who thinks it important to keep our American choral traditions alive and well. 
Assisi Early Music Summer School Nick Couchman, %18 %b %2015 %08:%Apr:%th 8AprGMT+0000 you love singing Tallis, Victoria and Palestrina we want to hear from you.  There are still a few places left at our Assisi Summer School for individual choral singers in Italy this Summer. The week focuses on Renaissance a capella repertoire and is directed by Alamire's Dr David Skinner.
Full details here
Saturday Respite: Jonny Quest Redux Scott Dorsey, %04 %b %2015 %15:%Mar:%th 15MarGMT+0000's a little taste of 1960s-era Saturday morning fare . . . with a slight up-date (if stop-motion annimation can be considered an "update").  It's surprisingly close to the original opening.
ACDA Salutes: Harvey Maier Scott Dorsey, %27 %b %2015 %15:%Mar:%th 15MarGMT+0000 is just one of the 74 choral conductors on the ACDA Wall of Honor. LEARN MORE about the Wall of Honor and MEET ALL of the award recipients.
John Rutter in Dallas Jonathan McTier, %18 %b %2015 %03:%Apr:%th 3AprGMT+0000 Preston Hollow Presbyterian Church is honored to have John Rutter conduct the Choir as we perform John Rutter's new work called the Six Canticles of Creation.The concert will start at 7:00 p.m. on April 19th.  The concert is free but donations will be accepted.   The address of the church is 9800 Preston Rd, Dallas, TX 75230. ]]>Addressing vocal technique in the classroom James Brown, %17 %b %2015 %23:%Apr:%th 23AprGMT+0000 leaders and shapers of young voices, how much time do you tend to give to healthy vocal technique and how do you manage the vocal problems of specific students without crossing a line and embarrassing a student?
Any advice helps!
Thank you, James
Evidently Beethoven wasn't interested ... Raymond Egan, %18 %b %2015 %00:%Apr:%th 0AprGMT+0000   If you were a little stumped, as I was, trying to come up with an interesting choral work for Easter V (and Easter VI actually) that would complement the Gospel readings for those two Sundays this year - especally May 3 - perhaps my solution may be of interest to you. Evidently the subject of those readings, from John 15 about "bearing fruit", held little interest for Beethoven and other great composers. Or if it did, they probably didn't write any 4 minute pieces suitable for a typical church choir with little rehearsal time. I have used Arvo Pärt's wonderful piece on this subject in past Year B Easter V's & VI's, but it is quite demanding in difficulty ...and longer too....would've had to have started it mid March, right when we were rehearsing all the Easter music!
   My new piece, on the other hand, "Orchard", for sat and piano (but could be performed by any complement of voices) is very simple for all involved. It is available and you would still have two rehearsals before May 3rd to learn it. Price is $20 for a score to make as many copies from as you need. The piece is 4 minutes long without the optional repeat, a little longer with it.  - Raymond Egan   <>
GIFTED COMPOSERS IN BOSTON WANTED BY GIFTED LYRICIST FOR COLLABORATION Ross DiVito, %17 %b %2015 %19:%Apr:%th 19AprGMT+0000 am a very prolific lyricist who can write lyrics in a short amount of time and I am seeking
composers in Boston who are gifted and can write music in a fair amount of time making
my lyricis come to life with their great music.  Please  be able to write in some or many genres of music and be serious about a collaboration and willing to meet me for a first meeting in a PUBLIC PLACE ONLY (SOUTH STATIONS FOOD COURT) to see if we are on the same page.  No pay as is standard until we sell something then we share all equally.  All Composers and Grad Students and students from Berklee, Boston College, Conservatory, Harvard, Cambridge etc. and any other music college or school  as are ALL COMPOSERS  most welcome to reply to this post.  I am an ASCAP member and you will be very happy you responded to this post.
Thanks   Ross
Bob Jones University Singers in "God with Us" Eliezer Yanson, %17 %b %2015 %21:%Apr:%th 21AprGMT+0000 Bob Jones University Singers will present a free concert titled, God with Us on Wednesday, April 22 in Stratton Hall at 5:00 pm. The University Singers, made up of primarily freshmen, is BJU’s largest choral organization. In addition to presenting two concerts a year, the choir regularly performs at the annual BJU Lighting Ceremony and has participated in the Upstate (South Carolina) Intercollegiate Choral Invitational Festival. Under the direction of Dr. Eliezer Yanson Jr., the University Singers has performed at the South Carolina American Choral Directors Association conference and will debut at Carnegie Hall on May 10.  
Missa brevis in F...........................W.A. Mozart
Tina Nguyen, soprano; Kristin Frazier, alto; Taylor Bancroft, tenor; Zach Calhoun, baritone
He Watching Over Israel.................F. Mendelssohn
Abide with Me................................W. Monk, arr. Molly Ijames
Didn't My Lord Deliver Daniel...........Spiritual, arr. Moses Hogan
Spirit of God...................................Dwight Gustafson 
Ride On, King Jesus.......................Spiritual, arr. Larry Fleming
Melodia Women's Choir of NYC presents After a Dream/Apres un Reve Jennifer Clarke, %17 %b %2015 %19:%Apr:%th 19AprGMT+0000 Women's Choir of NYC, Cynthia Powell Artistic Director, presents After a Dream/Apres un Reve, French and American choral classics for women's voices Featuring Randall Thompson's Place of the Blest. With Taisiya Pushkar, piano, and chamber orchestra.
Saturday, May 2 at 7:30
Holy Apostles, Chelsea
296 Ninth Avenue @ 28th St, NYC
Sunday, May 3 at 3pm
West End Collegiate, Upper West Side
West 77th @ West End Ave, NYC
Randall Thompson: The Place of the Blest, with orchestra
Lili Boulanger: Les Sirènes (The Sirens
Francis Poulenc: Ave Maria (from Dialogues of the Carmelites)
Christophe Barratier & Bruno Coulais: Cerf-volant (Kite Flying, from the film Les Choristes
Gabriel Faure: Apres un reve (After a Dream
Gabriel Faure: Le Ruisseau (The Creek
Gabriel Faure: Maria, Mater gratiae 
Gabriel Faure: Cantique de Jean Racine
Leo Delibes: Sous le dome epais (Flower Duet from Lakme
Paul Halley: Seeds of Love 
Paul Halley: The Grey Selchie
Tickets and information:
Huntington Choral Society spring concert Mark Mastrocinque, %17 %b %2015 %19:%Apr:%th 19AprGMT+0000
The Huntington Choral Society cordially invites you to their spring concert “An Evening of Great Opera Choruses & Arias.”  We have a wonderful program of beloved opera choruses and arias by Verdi, Borodin, Mozart, Wagner and others.  The Huntington Choral Society is honored to be joined by four distinguished soloists;
soprano Amy Shoremount-Obra, mezzo-soprano Abigail Fischer, tenor Aaron Blake and baritone Michael Corvino. 
This promises to be a memorable evening of beautiful music to restore the soul after a long and bleak winter.  Please join us on Saturday, April 25th in the Huntington High School auditorium.  The curtain rises at 8PM. 
Tickets can be purchased online at  Students are always free.
Singing City Auditions for 2015-16 Season! Lauren Anderson, %17 %b %2015 %17:%Apr:%th 17AprGMT+0000
Join us!
Singing City Choir of Philadelphia, PA, is holding auditions for the 2015-16 season. Founded in 1948, Singing City is 90 voices under the direction of Jeffrey Brillhart. The choir performs 4 major concerts a year and also brings choral music to underserved people in the community–in care facilities, homeless shelters, and schools, among others.
Rehearsals are held on Tuesday evenings from 7:20 to 9:50 p.m. at Friends Center, 1501 Cherry Street, Philadelphia. 
When and Where
Auditions for all voice parts will be held on May 12 (3-6 p.m.), 26 (3-6:30 p.m.) and June 2 (3-5 p.m.) at Friends Center, 1501 Cherry Street, Philadelphia (Friends Center).
Signing up for the audition
Visit the audition page of our website and fill out the “Audition Request Form” or call Choir Administrator Ben Weissman, 267-519-5322, to make arrangements.
Audition Requirements
One solo work of your choice. The audition will also cover sight-reading, tonal memory, and vocal range exercises. An accompanist will be provided.
Please consider joining us if you:
    1.    Have prior choral experience (please describe to us)
    2.    Can sight-read music
    3.    Live within weekly traveling distance of Philadelphia (50 miles or less)
    4.    Are not seeking professional promotion
Our goal is:
    •    to provide enriching and enjoyable musical experiences for both our singer and our audiences through outstanding live performances, educational outreach programs, and collaborations with local artists.
    •    to uphold a commitment to musical excellence within a warm, welcoming community.
    •    to foster a vibrant and diverse choral community, educate our singers and audiences, and extend our reach to youth.

Through Performance, Arts Education, and Fellowship, Singing City strives to be an artistic, social and spiritual force, bringing people together through choral music.

Learn more about us:
Ensemble Companio: Love's Faces (Ridgewood, NJ) Joseph Gregorio, %17 %b %2015 %17:%Apr:%th 17AprGMT+0000 Companio presents
Love's Faces
A concert of music about the many faces of love
Featuring music of Pierre Passereau, Maurice Duruflé, Paine Denson, François Roussel, John Stainer, Lars-Erik Larsson, Vince Peterson, Billy Joel, and The Beatles, as well as folk music from around the globe including arrangements by Alice Parker and Robert Shaw
Sunday, April 19, 2015
2:00 PM
West Side Presbyterian Church
Ridgewood, NJ
Free admission
Sponsored by the West Side Concert Series
Founded in 2011, Ensemble Companio (Joseph Gregorio, dir.) is a volunteer chamber choir that performs throughout the northeastern United States. Its mission is to build bridges between people through authentic, inspiring performances of the finest choral music.
Ensemble Companio derives its name from a late Latin form of “companion,” which meant “one with whom one shares bread.” The name reflects the musicians’ belief that sharing in choral music is an essential, nourishing, and healing endeavor akin to the sharing of food.  For more information, please visit
Minister of Music Denise Rodman, %17 %b %2015 %16:%Apr:%th 16AprGMT+0000
Are you our next Minister of Music? Are you a joyful Christian who can nurture and oversee a diverse, inter-generational liturgical music program, including both informal and traditional worship services? Do you have experience with developing a youth music program, interfacing with a contemporary worship music team, directing choirs, and serving as or working with an organist in a flexible and invitational manner? If this sounds like you, First Presbyterian Church of Santa Barbara invites you to apply for the position of Minister of Music so that your skills can enhance our musical worship experience and help our voices resound. Resumes with cover letter and salary requirement can be emailed to The full Position Description can be found and reviewed at Applications will be accepted until June 1, 2015.
Carnegie Hall Summer Music Educators Workshop Chloe May, %17 %b %2015 %14:%Apr:%th 14AprGMT+0000 July 2015, Carnegie Hall will host the first Summer Music Educators Workshop for school and community ensemble directors working with middle or high school-aged ensembles. Over the course of a four days, educators will have the opportunity engage with expert guest faculty on a range of topics including pedagogy and classroom practices. There will also be opportunities to see student ensemble demonstration rehearsals and to exchange best practices with peer educators. The Summer 2015 workshop, to be held in Carnegie Hall's new Judith and Burton Resnick Education Wing, will also include tickets to the National Youth Orchestra of the United States of America's (NYO-USA) Carnegie Hall performance and a chance to interact with these inspiring young musicians from across the country.
Registration Deadline May 1
Visit for more information.
Looking for information Steve Murray, %17 %b %2015 %12:%Apr:%th 12AprGMT+0000 users:
Anybody out there know how I can get a handy-dandy list of living New York State composers?
Thanks for your help.
Steve Murray
New Email (s.l.murray39(a)
Conference Morsel: Close Harmony = More Guys Scott Dorsey, %09 %b %2015 %14:%Mar:%th 14MarGMT+0000
(An excerpt from the interest session “The Revival of 19th-Century A Cappella Music,” presented by James Henry [with Marty Monson, the Fairfield Four, and Crossroads], during the 2015 ACDA National Conference.)
       Strong evidence suggests that African Americans, particularly those in the South, were chiefly responsible for forging the early “close harmony” style that would later be called barbershop. In casual settings such as barbershops, barrooms and street corners, African Americans denied access to many other venues used singing as one of their primary forms of recreation, and the back rooms of barbershops were common meeting places. In 1925, Author, musician and early leader of the NAACP James Weldon Johnson recalled:
       In the days when such a thing as a white barber was unknown in the South, every barber shop had its quartet, and the men spent their leisure time…‘harmonizing.’  I have witnessed some of these explorations in the field of harmony and the scenes of hilarity and backslapping when a new and rich chord was discovered.  There would be demands for repetitions and cries of, “Hold it! Hold it!” until it was firmly mastered…. In this way was born the famous but much abused “barber-shop chord.”
       What many choral educators have discovered—facilitated by the Barbershop Harmony Society (—is that this close-harmony style has proven hugely beneficial to their programs. The quest to “ring” chords inspires in their students an insatiable desire to learn whatever they can to be successful at it. They geek out on tuning, balancing chords, and matching vowels. 21st-century teenagers in the hallways and quads of their schools are recreating Johnson’s memory from a 19th-century southern barbershop. They start teaching tags to their friends and lure them into the choir program like sailors to sirens. Think of it: not only girls, but guys clamoring to join your choirs!
(Make plans now to attend your 2016 ACDA Divisional Conference!)
Choral Music Baseball Card: Parker Scott Dorsey, %24 %b %2015 %21:%Mar:%th 21MarGMT+0000 ]]>Writing Into the Screen: StaffPad Offers Handwritten Notation for Windows 8 Jeff Tillinghast, %15 %b %2015 %19:%Apr:%th 19AprGMT+0000
Over the history of computer notation programs, the methods for getting music into the machine have stayed largely the same: use the computer keyboard and mouse, play notes live on a MIDI keyboard, or combine these methods using a program's favorite shortcuts. Anyone who spends enough time in notation software will eventually develop some fluency and preferences for working with the software, but they've always presented a slow, steep learning curve, and each program's developments have been to refine the same basic processes for inputting musical material. As the computing industry is experimenting large scale with how people will interact with computers in the future, we've seen some additional technologies develop (such as scanning and PDF recognition, or audio input/dictation), but they have yet to replace the keyboard and mouse as the most common ways to enter notation. One of the main reasons that Windows 8 touchscreen devices are so exciting to me as a technologist is that they signal a shift in the industry towards an underlying principle: the keyboard and mouse are inefficient ways to interact with a computer. Touch and handwriting reflect much better our natural methods of creating and interacting with work, and the ability to use those in a full-computing environment can lead us to much more transparent and natural use of technology. Now that Windows 8 has been in the field for a few months, programs built solely for that environment are starting to emerge that show the potential for touchscreen work, and a new program called StaffPad has finally broken the barrier to a new way of inputting music into a full notation workstation: by writing directly on the screen.
To be clear, StaffPad is not the first handwriting-based notation program. NotateMe for iOS (and NotateMe Now, the free version) also offers the ability to handwrite notes and have them captured into a score. I'll write more about NotateMe next week, but in brief, there are many music teachers who swear by both versions of the app, especially when students have access to devices. They can be very useful for classroom work, but for composition or arranging, I find them unsatisfying for two reasons: first, the size of the iPad (too small), and second, the size of the stylus or my finger (too big). They work well for writing individual lines or even in grand staff on occasion. 
StaffPad on my Surface Pro 3 is an entirely different ballgame. Using the active Surface pen, which is the same size as a regular ball-point pen, feels like writing on paper rather than the big blobby writing on an iPad. For better or worse (and my past composition teachers would all tell you "worse,"), StaffPad accurately captures my handwriting and script. The detection and recognition engine work very quickly to translate all of the handwriting into notation as soon as I leave an active measure. Once a measure is "inked," the pen works much like you'd expect a mouse to work in usual notation programs: you can drag notes to correct them, or erase erroneous markings or add ones that were missed. StaffPad comes with a full orchestral sound library, and the playback is high-quality audio. At $69.99 in the Windows Store, there are a few areas where StaffPad doesn't hold up to Finale, and certainly StaffPad doesn't compete with Finale's sound library. It's sufficient for most needs, though, and given the price difference I suspect most will be fine with StaffPad's playback sounds.
The handwriting engine is very sophisticated, and as such, has a few quirks. Using it on the plane over the course of a long flight, I was able to adapt to some of its requirements fairly well, but it may require you to tweak your handwriting a bit. In particular, one oddity is in writing sixteenth-notes: the program much prefers that you write a block of sixteenth-notes in a specific order, starting with the first note of the block, then the last, and then fill in the beams and finally the inner notes. It's less cumbersome than it sounds after a little practice, but it does require a little practice. StaffPad comes with some very friendly videos demonstrating its best practices, but the best training guide is the tutorial section which lets you practice notating key figures and trains you to write them in the most error-free method possible.
Again, testing on the Surface Pro 3, the display is large, clean, and exceptionally easy to work with. Pinch-to-zoom lets you play with the amount of score you see at any given time, and is very useful for viewing full-score or individual parts. The display is fixed in landscape mode (horizontal), which is best for scrolling individual lines. I can see a case to be made for viewing full-score in portrait mode, but that's not supported at this point. The display is clearly optimized for the Surface, but StaffPad will run on other devices which meet the following requirements: Windows 8, touchscreen, and active digitizer/pen. That is a pretty limited field at this point-- many consumer Windows 8 devices such as the Yoga or Helix have a touchscreen, but a passive pen. A rule of thumb (not ironclad) is that if the pen has neither a battery nor any buttons on it, it's passive, not active. Since the StaffPad is built totally without keyboard and mouse support, you need the buttons on the pen to control features such as erase. Finally, Windows 8 tablets (especially the Surface) have thrown standard conventions of screen size out the window, so the screen display that's optimized for the Surface may be less satisfactory on devices that don't share the Surface's extreme-Letterbox dimensions. Much of that is mitigated, however, by a very clean, minimalist design and the pinch-to-zoom/touch navigation.
Predictably, many of the responses to StaffPad thus far have been "When is it coming to iPad?" StaffPad has been very clear to say "It's not," and it's fairly easy to see why: From the active pen support to the processing requirements, this program is far beyond what the iPad is technically capable of running (same with Android). It's not a program meant to run in a mobile operating system-- it needs the full power of a large-scale OS. If Apple ever relents and builds a touchscreen Mac, porting there would be a possibility, but I don't see that happening anytime soon. Their blog does suggest that you can run Parallels on a Mac to load Windows and use an active Wacom tablet if you so desire. 
As with most new products, StaffPad has some omissions, and a couple of glaring ones. The lack of support for advanced time signatures will turn some users off. Your common x/4 or x/8 are there, but there's no capacity for more adventurous signatures or ability to create your own, and editing or changing time signatures once notes are entered is ungainly at best. I'll admit that I have yet to figure out how to change the playback tempo, which I'm sure exists, but reflects on the lack of user documentation. Some people love training from friendly videos, but I much prefer an exhaustive manual with a good index, which is nowhere to be found. StaffPad doesn't have chordal notation or playback-- you can write chord symbols in, either by entering text or handwritten, but they won't play. In addition, there's no alternate notation such as slash or rhythmic notation. Those who do lots of work in jazz or rock/pop music may sorely miss those features. Their blog does promise that "more in-depth and intuitive support for chord symbols [is coming] in the near future." Finally, and perhaps the most bizzare, there is no support for lyrics. Again, you can handwrite them in, but I for one shudder to think of an ensemble reading a full score's of my handwriting as text. Again, StaffPad says, "coming soon." In the meantime, when you're ready to add text, you can export via MusicXML to another editor and set the lyrics there (or into a PDF editor).
StaffPad isn't ready to be my full-time notation program, and at $70 US and without any trial version, it's hard to recommend that you "give it a try" and see if it works for your use until some of the larger omissions are rectified. That said, I downloaded StaffPad in the airport before a long flight. At takeoff, I was completely blown away by the novelty of writing directly on the screen. By halfway through the flight, it had become completely transparent and I was simply writing score with the speed and fluidity of handwriting and the instant software capacity for playback and editing. The present experience of StaffPad is very exciting, and the future potential could signal an end of our keyboard-and-mouse dependency for computer notation.
See-A-Dot Music Publishing Composer Showcase Fahad Siadat, %17 %b %2015 %04:%Apr:%th 4AprGMT+0000

What: See-A-Dot Music Publishing Composer Showcase
When: Sunday, April 19 at 3 PM
Where:  Judson Memorial Hall, 55 Washington Square South, New York NY

See-A-Dot Music Publishing, Inc. will present a Composers Showcase and Concert for new music lovers, conductors, and choral professionals in the New York area.

This event will feature music by Stephen Barr, Michael Conley, Carson Cooman, Ezra Donner, Rachel Fogarty, Harry Einhorn, Robin McClellan, Joe Rubinstein, Trevor Shaw,  and others. The vocal ensemble will be led by Fahad Siadat, the Director of See-A-Dot Music Publishing.

This event is FREE for conductors and other choral professionals, and complimentary perusal scores will be available during the concert. Many of the composers will be present and there will be a reception following the concert where composers and conductors can meet.

General admission to the public is $10. Tickets are available in advance at

Auditions: Artemis (treble voices) Bethany Battafarano, %16 %b %2015 %23:%Apr:%th 23AprGMT+0000
Artemis, a treble voice chamber ensemble based in the Twin Cities, is holding auditions for new singers!
Artemis was founded based on values of collaboration, scholarly research, and celebrating the treble voice. The ensemble not only delivers high quality performances, but seeks to present relevant works in order to connect with the diverse, Twin Cities community. Since their inception, Artemis has appeared in performances at the Guthrie Theater, the Northern Voice Festival, and Bedlam Lowertown. 
Auditions will be held on Sunday, May 3 from 12:00 - 3:30 p.m. in Ferguson Hall on the University of Minnesota campus. Singers are asked to prepare two classical-style, solo selections –– one with accompaniment and one without. Singers will be asked to pay a $10 fee to utilize our on-site pianist, or may bring their own. A callback audition round will take place on Tuesday, May 5, beginning at 6:00 p.mPlease email Lauren Feider at to request an audition appointment.
Mendelssohn's Elijah - Northwestern suburbs of Phila David M. Spitko, %17 %b %2015 %00:%Apr:%th 0AprGMT+0000 experience Elijah as you likely have never experienced before!  The soloists have memorized their music and have a small stage to interact with each other and the choir.  It will be spectacular!
www.TheChoristers for more information.  
David Spitko, Artistic Director
The Choristers
University of Toronto Conducting Masterclass Application Deadline Approaching Hilary Apfelstadt, %16 %b %2015 %22:%Apr:%th 22AprGMT+0000 University of Toronto's annual summer choral conducting symposium will be held July 6 - 10, 2015 on the campus of the university in the beautiful city of Toronto.  Guest clinician is Canadian composer/conductor Mark Sirett.    Applicants for the conducting masterclass (open to a maximum of 12 conductors) are due on May 1.  Repertoire includes Handel's Messiah (Part I choruses), as well as music by Faure and Lauridsen.   A resident choral ensemble will serve as the chorus.  
For an application form and further information, please go to
or contact Hilary Apfelstadt, Director of Choral Activities, at
Hawai‘i ACDA Professional Development Day Miguel Felipe, %16 %b %2015 %22:%Apr:%th 22AprGMT+0000
The Hawai‘i Chapter of the American Choral Directors Association (HI-ACDA) announces the 2015 Professional Development Day on Saturday September 5th, 2015. This open event specifically welcomes choral conductors, leaders, singers, and students. The 2015 theme is Vocal Production in the Choral Setting.
ACDA Hawai‘i welcomes proposals for presentations at the event. We seek sessions that are dynamic and interactive, with ideas that are authentic to the presenter. These sessions should provide attendees with tools and techniques they can use immediately in their choral rehearsals, whether students, new conductors, or experienced leaders. We encourage presenters to offer proposals that highlight one’s own successes that they’d like to share with colleagues. Topics may include: 
  • Approaches to vocal pedagogy in the choral classroom
  • Techniques to improve overall choral sound and intonation
  • Methods for working with changing voices (adolescent and/or aging)
  • Technological resources for pedagogues
  • Ways to incorporate movement in a rehearsal that translates to performance
If you, or someone you know, are interested please, submit send the following two documents to by May 10, 2015. (PDF or DOC files are accepted, PDF preferred.) 
  • Resume or CV (program bio may suffice if other documents are unavailable)
  • Proposal for session, not to exceed one page
By submitting, you agree that ACDA will not assume financial responsibility for travel, food, or lodging for presenters or interest session participants. This application implies that the presenter and participants are prepared to travel and present if accepted. As with all ACDA conferences, participants—including presenters—must register for the event.
Visit us online:
Join the Manhattan Concert Productions Team Craig Arnold, %16 %b %2015 %21:%Apr:%th 21AprGMT+0000 the 20-person team of practicing musician-administrators at Manhattan Concert Productions in New York City.  MCP is in its 17th year of providing exceptional performance opportunities and hospitality at major venues throughout the world.  Successful candidates will have administrative and singing experience and the ability to assist in the development of the many and varied concerts in MCP's 2015-16 season.
Manhattan Concert Productions has an unparalleled guest faculty to lead masterwork and octavo festival chorus performances; debut opportunities and a Symphonic Series for concert bands and orchestras; the annual New York City Jazz Festival; a critically-acclaimed Broadway Series; and is the proud host of two professional ensembles-in-residence, Manhattan Chorale and the New York City Chamber Orchestra.
Interested applicants are invited to immediately email a letter of interest and resume to:
Molly Malone - Dublin Ballad Bernard Sexton, %16 %b %2015 %21:%Apr:%th 21AprGMT+0000 new arrangement of the popular Dublin ballad, Molly Malone, by Dublin-based composer Bernard Sexton. Preview score and listen to a recording here. 
A  good encore piece!
GAMAC Chorale & Orchestra Scott Dorsey, %16 %b %2015 %20:%Apr:%th 20AprGMT+0000 combined choirs of the Chorale of the Greater Anderson Musical Arts Consortium and Southern Wesleyan University with conductor, Don R. Campbell and the GAMAC Orchestra, will be presenting "Brought to You By the Letter "B" with Bernstein's Chichester Psalms, Brahms' Liebeslieder Waltzer, and the Finale from Beethoven's Ninth Symphony with orchestra. The concert will take place on Friday, April 24, at 7:30 p.m. at Boulevard Baptist Church, 700 Boulevard, Anderson, SC, 29621. Tickets are available in advance (864.231.6147) or at the door.
Rep/composers dealing with disabilities Jennifer Anderson, %16 %b %2015 %17:%Apr:%th 17AprGMT+0000 all --
Looking for repertoire that deals with differing abilities, and/or composers who were disabled....  This is for an auditioned adult choir (SATB) that sings high quality, challenging music.  A cappella/ accompanied/various instruments all o.k.  Different languages are fine.  
Jennifer Anderson, Artistic Director
searching for Boleras Sevillanas Ellie Armsby, %16 %b %2015 %17:%Apr:%th 17AprGMT+0000 friends,
I am looking for the sheet music for BOLERAS SEVILLANAS which seems to have been written by Anton Pann.  I've found multiple YouTube videos of choirs performing this but can't locate the source for the sheet music.  Has anyone ever heard of this or know where I might find it?
Ellie Armsby
Artistic Director
Rainbow Chorale of DE
Executive Director, Apollo Chorus of Chicago Marie Paro, %16 %b %2015 %17:%Apr:%th 17AprGMT+0000
Position:  Executive Director (full-time)
Reports to:  Board of Directors (supervised directly by Board President)
Location:  Chicago, IL
Compensation:  Commensurate with experience
Mission Statement
The Apollo Chorus of Chicago is a distinguished and dynamic volunteer community chorus that performs pre-eminent choral works at premier venues. Bound together since 1872 by a shared love of choral music, Apollo’s 110+ members continually strive to advance musically and to increase appreciation of choral music by presenting concerts for diverse communities throughout Chicagoland.
The Apollo Chorus of Chicago was founded in 1872, making it one of the oldest musical organizations in Chicago and one of the oldest choral organizations in the United States. Its 110+ singers work with acclaimed music director Stephen Alltop to produce choral masterworks season after season, including annual performances of Handel’s Messiah. While Apollo’s programs feature other classic choral pieces like Orff’s Carmina Burana and Haydn’s Theresienmesse, the organization revels in the opportunity to feature sambas alongside spirituals, and the blues with the baroque.
The Chorus was established to boost the city’s morale after the Great Chicago Fire, and it has continued to live up to that legacy in the decades since. The Chorus performs five to six programs during the September-May concert season. Recent programs have included Requiem settings by Verdi, Mozart, and Berlioz; Mass settings by Martin, Mozart, Schubert, Bruckner, Haydn, Chilcott and Daley; Te Deum settings by Handel, Daley, and Dvorak; and Bernstein’s Chichester Psalms. In addition, the Chorus has performed contemporary works from the choral, regional, ethnic and popular repertoires, such as original works by Paulus, Whitacre and Lauridsen; arrangements by Esenvalds, Wilberg, and Staheli; and choral arrangements of work originally sung by the Beatles, Billy Joel, and Queen.
In addition to its regular concert programs, the Chorus has been invited to sing in several television, recording, and live performance collaborations such as the recent Star Wars concert tour, the 125th anniversary gala of Chicago’s Auditorium Theater, and Oprah Winfrey’s farewell special. And each holiday season, both corporations and cultural institutions hire the Chorus to perform caroling programs.
The Opportunity
The Apollo Chorus finds itself at a critical threshold. Historically, Apollo has been led administratively by its Board of Directors, composed entirely of singers in the Chorus. It has traditionally supported its operating costs almost exclusively through ticket sales, but as operating costs and competition for patrons’ leisure time have both continued to grow, the Board has determined that a full-time Executive Director, who will focus on growing visibility and diversifying revenue streams, is needed to ensure the ongoing evolution of the Chorus. Indeed, developing and executing fundraising strategies will be a major focus for the new Executive Director.
In fiscal year 2014, Apollo’s operating revenue totaled approximately $225,000, with concert revenue contributing two-thirds of that total. Annual membership dues, as well as other member contributions and outside fundraising composed the rest. Expenses, however, totaled $283,000.  Robust returns from Apollo’s $1.1 million investment fund helped the Chorus earn a surplus of more than $54,000 in FY14. Nonetheless, given market fluctuations, the Board believes a consistent, diverse revenue stream is needed that does not rely on investment results.
Since the candidate chosen will be the first Executive Director in Apollo’s history, the following represents a possible list of responsibilities with estimated percentage of effort. The Executive Director will be assisted by a part-time Administrative Coordinator whose duties are anticipated by the Board to include daily bookkeeping, ticket sales, and other clerical duties. However, the Executive Director, as the direct supervisor of the Administrative Coordinator, will be responsible for assigning workload as he/she sees fit. The Executive Director will also be able to call on members of the Board of Directors for execution of some of the tasks described below.
Development (About 50%)
  • Develops and executes strategy to recruit and deploy committed members of the Board of Directors from the local arts, philanthropic, and business communities who are not members of the Chorus
  • Devises and executes development strategy for the Chorus, including annual individual gifts, chorus alumni gifts, foundations, corporate sponsors, government agencies, and other non-earned sources of revenue
  • Actively participates in the writing of grants to foundations and government agencies
  • Devises and manages an appropriate and timely gift acknowledgement process
  • Working with the expanded Board of Directors, leads the development of a strategic plan encompassing all aspects of the Chorus’s operations
Financial and Operational Management (About 25%)
  • Develops long-term strategic plan for Chorus operational management.
  • Prepares, for review by officers and board members, the Chorus’s annual budgets. Using the Chorus’s QuickBooks accounts, tracks expenditures against budgets and reports regularly to the Board
  • Interfaces with Music Director, Associate Director/Accompanist, Conducting Apprentice, and others as needed to arrange contracts, venues, supplemental musicians, and logistics for rehearsals and performances
  • Manages relationships with concert venues, soloists, instrumental musicians, and other performers with the Chorus and develops contracts with them to be signed by the President of the Board
  • Oversees and records Chorus disbursements
Meetings (% Subsumed in other responsibility areas)
  • Attends Board Meetings and Executive Committee Meetings as an ex officio member and prepares reports as needed
  • Attends all Chorus meetings and Choral rehearsals as required
  • Attends Committee meetings as determined in discussion with Board President
Public Relations and Concert Promotion (About 15%)
  • Devises strategies to increase/sustain overall ticket sales and revenues so that ticket revenues remain a robust contributor to Apollo’s financial performance
  • Raises public awareness and visibility of the Chorus and its concerts by acting as a public spokesman, maintaining relationships with other musical organizations, venues, news outlets, foundations, corporations, and other interested entities
  • Works to position Chorus as an integral cultural institution in the eyes of regional choral and music organizations, area community and civic organizations, schools and universities, clubs, and other arts groups
  • Shares regular updates with Chorus members
  • Supervises the maintenance of the Chorus website(s), assuring the site is functional and up-to-date, that the online ticketing functions are operational, and that the site provides a positive and engaging picture of the Chorus consistent with the strategic plan
Member Relations (About 10%)
  • With the Board of Directors, develop a long term strategy to support and retain Chorus members, and implement portions of that strategy as assigned by the Board
  • Develops strategies to maintain relationships with former Chorus members in hopes of retaining them as, or converting them into, annual donors.
  • Confident, results-driven self-starter, who is comfortable working in a lean environment
  • Deep familiarity with and passion for the Chicago arts community.
  • Substantial collaboration and team-building skills.
  • Demonstrated understanding of business principles applied to not-for-profit organizations, particularly success at revenue enhancement and sound financial management.
  • A minimum of 3-5 years’ professional experience working with volunteer boards, other volunteers, and staff.
  • Exceptional written and spoken communications skills, with demonstrated ability to articulate a vision to diverse audiences.
  • Demonstrated ability to inspire and motivate others, and demonstrated success building high functioning teams.
  • Prior success in fundraising for major gifts, corporate sponsors, or large foundation grants.
  • Experience-based knowledge of how to increase organizational visibility applicable to the Apollo Chorus.
  • Bachelor’s degree.
  • Graduate degree.
  • Evidence of continuing professional education in business management, arts management, marketing, or fundraising.
  • Evidence of active networks including local business, philanthropic, arts, service, and community organizations.
To Apply
Send current resume and letter of introduction to Marie Paro, President, Apollo Board of Directors,
Apollo Chorus of Chicago is an Equal Opportunity Employer
TWO WEEKS TIL DEADLINE: Deadline May 1, Mentored by Alice Parker, WomenSing's Youth Inspiring Youth--Commissioning Emerging Composers 2015-2016 Composition Competition Teresa Caldwell, %16 %b %2015 %17:%Apr:%th 17AprGMT+0000
Youth Inspiring Youth – Commissioning Emerging Composers Call for Composers
Special 50th Anniversary Edition
“Giving Voice to Women”
As part of its Youth Inspiring Youth-Commissioning Emerging Composers project, WomenSing is pleased to announce its 2015-2016 choral composition competition. In special recognition of WomenSing’s 50th Anniversary Season, “Giving Voice to Women,” this edition of the competition will be open exclusively to young women composersFemale composers, ages 18 through 30, who are residents of California and have not previously won this competition, are eligible to submit samples of their works for consideration.   Up to two winning composers will each create a new work based on River of Words poetry.
Project Description
WomenSing ( and River of Words, Center for Environmental Literacy at St Mary’s College of California (, in special recognition of WomenSing’s 50th anniversary season, are offering young female composers the opportunity to create new choral music, mentored by teaching artist Alice Parker. Up to two winners will be commissioned to write a treble choral work based on the highly inspired children’s poetry from the River of Words project, which will be premiered by WomenSing on June 5 and June 8, 2016. Works will be part of a season-long celebration of WomenSing’s 50th, and should reflect our theme, “Giving voice to women for 50 years.”  Each commissioned composer will receive a commissioning fee of US $1,000 and a recording of the work. Mentoring will include public composer’s workshops in conjunction with WomenSing’s Treble Voices Now new music festival on April 15 and 16, 2016, six weeks prior to the premiere. 
Founded in 1995 by former US Poet Laureate and 2008 winner of the Pulitzer Prize for Poetry, Robert Hass, and writer Pamela Michael, River of Words has energetically enlisted youth from around the world to compete annually in both art and poetry on the subject of the environment.
  • The competition is open to female California residents who have reached their 18th birthday but have not yet reached their 30th birthday by the submission deadline of May 1, 2015, and who have not previously won this competition. 
  • Submissions must be an original work for accompanied or unaccompanied chorus (not necessarily treble), must have been composed within the last three years, and should be between three and five minutes in length.
  • All submissions must be anonymous. The composer’s name must not appear on the score. Please remove all names and identifying marks.
  • Judges for the competition will be Alice Parker, teaching artist; Cristian Grases, advising composer; Charles Bruffy, conductor of the Kansas City Chorale and Phoenix Chorale, and advisor to WomenSing; and Martín Benvenuto, artistic director for WomenSing. The decisions of the judges are final, and up to two winners will be notified by May 29, 2015. WomenSing reserves the right not to award a prize.
  • Each composer will choose texts from the River of Words Collection no later than August 3, 2015.
  • Each composer will deliver a draft for review to the commissioner/s and teaching artist by November 2, 2015.
  • The final approved score and parts, ready for reproduction, will be due no later than January 8, 2016.
  • Workshops with all performers led by Alice Parker will be held on Friday April 15, and Saturday, April 16, 2016 in Orinda, CA, as part of Treble Voices Now, WomenSing’s new music festival.
  • The commissioned works will be premiered by WomenSing on June 5 and June 8, 2016.
  • Deadlines are strictly adhered to due to WomenSing’s performance schedule.
To enter
Please complete the YIY-CEC Cover Sheet, a brief 1-2 paragraph bio, and submit it along with five (5) clearly legible copies of the work. A sealed envelope labeled with the title of the work must accompany each submission. The sealed envelope must contain the attached completed YIY-CEC Call for Composers Cover Sheet, the 5 copies of the choral work, and the brief bio. Please send submissions to:
       WomenSing Youth Inspiring Youth Composition Contest
       P.O. Box 2014
       Orinda, CA 94563
Scores and applications must be postmarked by May 1, 2015.
For further questions please contact Teresa Caldwell, Youth Inspiring Youth-Commissioning Emerging Composers, at
Youth Inspiring Youth – Commissioning Emerging Composers
Call for Composers
Special 50th Anniversary Edition -- “Giving Voice to Women”
To be eligible for consideration in WomenSing’s Youth Inspiring Youth-Commissioning Emerging Composers (YIY-CEC) Project Composition Contest, please complete this form, then print, sign and date the form, and submit it with your biography and five (5) clearly legible copies of your score.
Application Materials must be postmarked by no later than Friday, May 1, 2015.
WomenSing Youth Inspiring Youth Composition Contest
P.O. Box 2014
Orinda, CA 94563                  
NAME:           ____________________________________________________________
DATE OF BIRTH: (month/day/year)__________________________________________
ADDRESS:     ____________________________________________________________
(street address, city, state, zip)
PHONE: ___________________________  ALT PHONE:            ________________________
E-MAIL ADDRESS: ______________________________________________________
TITLE OF THE WORK/Year Composed: _____________________________________________
CHECKLIST:  I have included the following:
      5 copies of an original score, composed within the last three years that is three to five minutes in length, with my name and identifying marks removed.
      My biography
      This completed Competition Cover Sheet
I verify that the above personal information is accurate, and that I am a California resident between the ages of 18 and 29 as of May 1, 2015.
Signature and date
Trinity Wall Street Presents “By the Waters of Babylon: A Celebration of the Power of Black Music in America” (May 7–10) Laura Malick, %16 %b %2015 %17:%Apr:%th 17AprGMT+0000
January 31 of this year marked the 150th anniversary of the momentous decision, made by a bitterly divided U.S. Congress at the end of the Civil War, to abolish slavery. To commemorate the historic sesquicentennial, Trinity Wall Street and its galvanizing Director of Music and the Arts, Julian Wachner, present “By the Waters of Babylon: A Celebration of the Power of Black Music in America” (May 7–10). With composer portraits of Mary Lou Williams and Trevor Weston, a liturgical program showcasing Duke Ellington’s Sacred Service, a historical survey of spirituals led by Stanley Thurston, a reggae dance party, and a special collaboration between vocal innovator Bobby McFerrin and the Grammy-nominated Choir of Trinity Wall Street, this important festival comprises six free events in downtown Manhattan that honor the range of black music in America, and its inextinguishable power to transcend and transform. As Anthony Tommasini recognized in the New York Times when Wachner led Trinity’s forces in their first performance together at Carnegie Hall last month, “adventure and ambition go hand in hand at Trinity Wall Street.”
Listings information:
"By the Waters of Babylon: A Celebration of the Power of Black Music in America"
All concerts are free (with free will offering)
Venues: Trinity Church (TC): Broadway at Wall St; St. Paul’s Chapel (SPC): Broadway at Fulton
Thurs, May 7 at 1pm (TC)
Composer Portrait: Mary Lou Williams
Mary Lou Williams (arr. Pattishall): Zodiac Suite
Chris Pattishall Quintet
Fri, May 8 at 7pm (TC)
Spirituals: “Dett through Dawson and Hogan through Thurston”
Tippett: By and by; Deep River; Go down, Moses; Nobody knows the trouble I see; Steal away
Stanley Thurston, guest conductor
Sat, May 9:
7pm (TC): Composer Portrait: Trevor Weston
Trevor Weston: Truth tones; O Daedalus, fly away home; The gentlest thing; My heart hath trusted in God; Visions of glory; Given sound; Rivers of living water; Ashes; Messe Ancienne; Maa’at musings
10pm (SPC): Reggae Dance Party
Bob Marley’s Soulful Celebration
Sun, May 10:
11:15am (TC): Choral Eucharist
Duke Ellington: Sacred Service
2pm (TC): Finale
Bobby McFerrin and the Choir of Trinity Wall Street
Visit or call (212) 602-0800 for further information
 *   *   *   *   *
For further information: Louise Barder (646) 532 4372,    
For photographs: Michael Lutz, tel. (646) 532 4381,
Request to borrow: "Freedom Trilogy" by Paul Halley Kevin Bailey, %16 %b %2015 %16:%Apr:%th 16AprGMT+0000 Freedom Trilogy
Composer/Arranger/Edition: Halley, SATB edition, instrumental parts
Starting: May
For: 6 months
Copies: 40
Willing to rent: Yes
Wondering if anyone owns this that my church could borrow. If we're able to get it soon, we may do it for a year-end performance; backup plan is to hold off until early fall. Let me know. Thanks.
Mendelssohn Club Chorus Volunteer Auditions for 2015-2016 Open Amanda Schkeeper, %16 %b %2015 %16:%Apr:%th 16AprGMT+0000
Join us!
We welcome singers eager to meet new musical challenges. Mendelssohn Club is a welcoming group that encourages experienced choral singers who appreciate the challenge of learning new material to consider being part of our Philadelphia-based chorus.
When and where auditions are held
Auditions for the 2015-2016 season are being held for all interested volunteer voice parts. Volunteer singer auditions will be held on May 27 and 28, 2015. Auditions and weekly Wednesday evening rehearsals are held at the Settlement Music School, 4th and Queen Streets, in Queen Village, Philadelphia. Free secure parking.
Signing up for the audition
Click here to be considered for an audition, or visit for more information. Your audition request will be sent to the Auditions Committee, and you will be contacted by our Personnel Manager. New volunteer singers may submit audition requests until May 15.

Preparing for the audition
Singers are expected to have prior choral experience and possess some degree of sight-singing ability. Prepare a work of your choice that demonstrates your vocal range. Any genre of classical music is acceptable such as an art song, an aria from an opera or oratorio, or your voice part from a choral work. An accompanist will be provided. Please bring a copy of your music for the accompanist. The audition will also include some sight-reading and tonal memory exercises.

Bonjour, Mon Coeur: 500 Years of French Song Jean Reed, %16 %b %2015 %17:%Apr:%th 17AprGMT+0000 Southern Connecticut Camerata choral chamber ensemble presents
its spring concert at St. Paul's On the Green, 60 East Ave., Norwalk CT 06851. Sunday May 3rd, 5 PM.
Choral, solo, flute and piano repertoire. Includes works by Janequin, Berlioz and others, and features
Hindemith's Six Chansons.  $20 general seating.
Reception of refreshments is provided after the concert. 
Visit for more program and ticket information. 
Kent Tritle interview on the Eastman Choral Institute William Weinert, %16 %b %2015 %16:%Apr:%th 16AprGMT+0000 Tritle recently gave this interview on the upcoming Eastman Choral Institute workshop focussing on the Mozart Requiem this July 20-24:
For more information and to register, visit:
or contact William Weinert at:
Howells Requiem and Brahms Liebeslieder Waltzes - Friday 4/17 - Kansas City, MO John McDonald, %16 %b %2015 %15:%Apr:%th 15AprGMT+0000 ]]>'Dona nobis pacem' for SATB, ca. 2 min. Cyrill Schürch, %16 %b %2015 %15:%Apr:%th 15AprGMT+0000 and instantly available with Digital Print at Sheetmusicplus, a beautiful and subtle setting of the famous text by Cyrill Schürch. This Dona nobis pacem will be a thoughtful and rewarding addition to your choir's repertoire. Have a look here: Dona nobis pacem
Accompanist and vocal coach needed at Summer Camp needed David Walsh, %16 %b %2015 %15:%Apr:%th 15AprGMT+0000 Kenwood & Evergreen in Wilmot, NH is in search of an accompnist to work as a collaborative member of their Drama department. 
You will assist with the rehearsals and execution of 3 musical plays. Each play is divided into age groups. 9 & 10, 11 & 12, 13 - 15 years old. 
The employment dates are June 14 - August 15. Salary is $3500.00 
Job requirements:
  • Must be a competent sight reader
  • Able to transpose music 
  • Familiarity with musical theater is a plus
  • Must be able to accompany solo and choral singers
  • Ability to teach singing is also a plus
What is Camps Kenwood & Evergreen?
At Camps Kenwood & Evergreen, we stand up for what is right and take care of each other. We do our best to create a community that is truly caring and encouraging, fostering an environment where campers are comfortable to explore and take healthy risks. For us, Camp should be a place where being a good friend is the highest value. Camp should also be a place where people can find their greatest successes. 
The Kenwood & Evergreen program is a mixture of sports and arts instruction, outdoor adventure, and recreation. Each weekday, there are three 1-hour activity periods each morning and afternoon, followed by a short evening program after dinner. 
The Kenwood & Evergreen program is designed to provide quality instruction to every child in each of our activities and program areas, and impart values such as tolerance, caring, and good sportsmanship. We believe that it is imperative to provide quality instruction in a nurturing environment. Our campers strengthen their social skills and become more independent with the help of their counselors and coaches, who are great role models and mentors. We strive to find every moment in each day for our children to exceed their own expectations and believe in themselves in a way that they might never have thought possible. In every activity and program we teach the skills that will be vital to every child's success in the 21st century.
How to Apply:
Please submit your resume and cover letter to
Or please complete the online staff application
Looking for great patriotic piece for chorus and orchestra Clyde Thompson, %16 %b %2015 %14:%Apr:%th 14AprGMT+0000'm looking for a great upbeat patriotic piece for an auditioned 40-voice choir and professional orchestra to end the first half of a patriotic concert.  Should be about 3 to 5 minutes long, and it would be a plus if it wasn't too familiar, since we're already doing several standards on the concert, such as "Battle Hymn of the Republic" and "1812 Overture."  Something similar to John Williams' "America: The Dream Goes On" (which isn't available in orchestral arrangement) would be wonderful.   ]]>"Songs for the Young at Heart" Italo A. ( TALLY ) Vassalluzzo, %16 %b %2015 %14:%Apr:%th 14AprGMT+0000
Budapest Music Festival 2016 Gregor Laskowski, %16 %b %2015 %08:%Apr:%th 8AprGMT+0000
2nd International festival of choirs and orchestras in Budapest (Hungary)
29.06. - 03.07.2016
BUDAPEST – a city with one of the best locations in the world
No visitor of the Hungarian capital can resist its beauty. The city enchants, impresses, and fascinates at the same time. The Danube divides the city into the hilly Buda and the flat Pest. The most interesting attractions of Budapest are the Fishermen's Bastion, the Mathias Church, the Royal Castle, the Citadel, and the Parliament building. It is here, “by the beautiful blue Danube,” that the Budapest Music Festival takes place.
CJ Replay: Renissance Ridicule Scott Dorsey, %26 %b %2015 %21:%Mar:%th 21MarGMT+0000
(An excerpt from the Choral Journal article, “Phonetic Fun and Frolic: Alliteration in Elizabethan Part Songs,” by Chris White.)
       An examination of Elizabethan part songs published in current anthologies reveals the prominent use of alliteration requiring the rapid repetition of the consonant [f].  The recurrent use of [f] alliteration may be attributed in part to the names of the principal female subjects of the English verse: Phyllis, Flora, Philomela, Phoebe, etc. However, another, more humorous hypothesis should be considered: the poets and composers could simply have been making a little mischief, teasing themselves and other singers of these part songs who could not articulate an [f] without dental difficulty.
       In sixteenth century England, the principal treatment for a patient's toothache was extraction. As Woodforde noted, “The need for extraction was undoubtedly great. The diet of the well-to-do included a preponderance of sugary cakes and marzipan sweetments; and even meatpies would be topped with a mixture that included a mass of sugar and rosewater.”
       Regardless of the remedy, the extraction of the upper front teeth would have caused speech impediments, particularly with the consonant [f]. To articulate this labiodental consonant, the lower lip must extend upward and make contact with the bottom of the upper set of teeth. Then, the exhalation of air through the mouth is stopped momentarily-causing outward pressure against the back of the upper set of teeth-and an explosion of air upon the release of the lower lip.
       Certainly, a person with missing upper teeth could not articulate an [f] distinctly. Further, since dental adhesives were not available, a person with transplanted teeth or dentures would have also risked dislodging, or expelling the teeth with this plosive sound.
READ the entire article.
Building Skills 23 Richard Sparks, %12 %b %2015 %21:%Apr:%th 21AprGMT+0000 from Daniel Coyle:  Tip #42 "Six ways to be a better teacher or coach"
More than one tip, but six for improving our skills!
  1. "Use the first few seconds to communicate on an emotional level - Effective teaching is built on trust . . . . There are lots of tools for making this connection—eye contact, body language, empathy, and humor being some of the most effective—but whatever you use, make sure you prioritize that connection above all else. Before you can teach, you have to show that you care." I won't add anything to that—we can all see the connection to what we do as conductors.
  2. "Avoid giving long speeches—instead, deliver vivid chunks of information." Coyle talks about the inspiring speeches we see in movies . . . but which rarely work. He says, "When you're coaching [teaching, leading a rehearsal], picture the person's brain lighting up . . . reaching to make new connections. The question is not what big important message you can deliver. The question is, what vivid, concise message can you deliver right now that will guide her [them] towards the right reach?"
  3. "Be allergic to mushy language." We all can be guilty of this. Our instructions need to be clear and concrete. Specific, not general.
  4. "Make a scorecard for learning." Make sure that the "scorecard," however you are measuring the performance of your choir, is measuring the things you want. Think of process (means), not ends. Think about how many of them are physically, visually involved in the rehearsal, how many are using the posture you've modeled for when singing, etc. It's the processes that will lead towards great performances—and your goals (and praise) should be for meeting those means towards better performance.
  5. "Maximise 'reachfulness'. Reachfulness is the essence of learning. It happens when the learner is leaning foward, stretching, struggling, and improving." Make sure your singers are actively involved, singing, trying, thinking, helping each other with feedback. As Coyle asks, "How can you replace moments of passivity with moments of active learning."
  6. "Aim to create independent learners." Work to teach skills, both of technique and of listening, so they can eventually make lots of corrections themselves, can begin to phrase musically themselves. Someday they'll be the ones preparing and performing without you, and perhaps teaching themselves. What have you given them to set them free to make music when you're no longer there?
Meet the ICEP Conductors: Haberman & Patriksson Scott Dorsey, %16 %b %2015 %21:%Jan:%th 21JanGMT+0000
Here are two of the choral conductors who have been selected to participate in the 2015 ACDA International Conductors Exchange Program (ICEP).
If you are interested in learning more about the International Conductors Exchange Program or how to become involved with the conductor exchange in 2015, please contact your ICEP division liaison. Please consider joining our ICEP Group on Facebook or the ICEP Choralnet Community for the latest news and information about the upcoming exchange with South America in 2016 and South Korea in 2017.
Beginning Repertoire Rose Underkofler, %15 %b %2015 %23:%Apr:%th 23AprGMT+0000 am a first year teacher, how do I figure out what a good baseline is for repertoire for my choir at the beginning of each year?  ]]>Part Time Music Director Chris Craun, %15 %b %2015 %22:%Apr:%th 22AprGMT+0000
St. Michael & All Angels Episcopal Church in Portland, Oregon, seeks a dedicated, enthusiastic Music Director with a background in diverse musical traditions, a strong work ethic and commitment to musical excellence, and an understanding of Episcopal liturgy. We seek a person who will join our staff as a team member and also as a valued member of our community. This part-time position (15 hours a week) begins August 15, 2015. The yearly salary is $16,000 - $20,200 depending on the level of education and ability to conduct multiple choirs. Music is vital to the fabric of our community. The mission of St. Michael’s music ministry is to lead the congregation in worship that glorifies God and inspires the soul. Our choirs and instrumentalists work diligently and with great intensity to prepare and offer the finest music possible in a variety of styles and expressions. We seek to grow musically, spiritually and in community to serve the church and the larger community. Our congregation has a strong tradition of participating in the music ministry at St. Michael’s, including singing heartily from the pews on Sundays, attending both liturgical and non-liturgical musical events, and supporting financially its health and growth.
Our ideal candidate will have at least a Bachelor’s degree in choral conducting (Master’s degree preferred), experience conducting church choirs (particularly in the Episcopal tradition), an interest in a diverse array of sacred choral repertoire, strong communication skills and work ethic, and the ability to run efficient rehearsals while working with a variety of personalities.
To apply for this position, please send your resumé with references and letter of interest to Rev. Chris Craun,, or to 1704 NE 43rd Ave, Portland, 97213. The deadline for all application materials is June 1, 2015.
Winners of Youth Composition and Songwriter Competition Becky Chaffee, %15 %b %2015 %22:%Apr:%th 22AprGMT+0000 would like to announce the winners of the Violettes by Becky competition for ages 10 thru 18, and encourage folks to start planning to enter for the competiton next year. Submittal is on-line with score and recording. Register in the fall, and submit by Feb. 14, 2016. See our blog: for details about winners at:  Sign up for our newsletters to keep informed about the next competition. ]]>PHILIP STOPFORD Jesu Lover Of My Soul AND Do Not Be Afraid (with preview videos) Philip Stopford, %15 %b %2015 %20:%Apr:%th 20AprGMT+0000 am delighted to announce the new publication of two of choral pieces with MorningStar Music 
Thank you, and please do enjoy these preview videos! 
Do Not Be Afraid
Jesu/Jesus Lover Of My Soul
Mark Templeton titles available under our new "Print What You Need" download license model Michael Kaulkin, %15 %b %2015 %20:%Apr:%th 20AprGMT+0000 are now gradually making our titles available for download under a user-friendly flat-fee “print what you need" license model.  For a flat fee, you may download scores in PDF format and freely print as many copies as needed. All titles remain available in print as before.  The number of copies you need will determine which option makes the most sense.
As various composers’ titles get up and running, I will announce them here.  As of now, all of Mark Templeton’s titles are available under the new download model.  Mark’s music is beautifully crafted and suits a variety of requirements and occasions.  Here is a breakdown of what we have.  Follow the links to listen and follow scores in a full-screen, unwatermarked viewer.
Here is an overview of Mark Templeton's work on Swirly Music. Swirly Music is a non-profit platform and web store for self-publishing composers.  Visit to browse the rest of our choral offering.
Many thanks,
Michael Kaulkin, Founder
Swirly Music
Concert Attendance Jennifer Gaderlund, %15 %b %2015 %19:%Apr:%th 19AprGMT+0000 it rains it pours!
This week I have had three different students from my middle school program tell me that they cannot attend an upcoming performance. Each one has a seperate reason for not being able to attend. Performance with another music group, sports event, etc. The usual. All of our performances are public knowledge on our performing arts calendar and the school calendar. The policy has always been that an unexcused absence from a performance affects a student's grade. They get a zero. However, they can complete a make-up assignment that is worth 80% of the concert grade. Excused absences are illness and family emergency. Everything else is unexcused.
During the course of a school year anywhere between 5-10 students (out of 120) can't attend a performance at some point. They are given the make-up assignment, they complete it (or not), and life goes on. This week, that is not the case. This week I am public enemy #1 for this absence policy. My administrators are backing me up, thank goodness. 
But it got me thinking...what has changed? And also what are your concert attendance policies? I am curious! Enlighten me!
Jennifer Gaderlund 
Gospel Music Workshop featuring Vaneese Thomas Christopher Boveroux, %15 %b %2015 %16:%Apr:%th 16AprGMT+0000 April 18th, United Christian Church of Austin (3500 West Parmer Lane, 78727) will present a gospel workshop featuring singer Vaneese Thomas. The workshop will go from 10 am to 5 pm, with breaks for food and coffee.  During the workshop, participants will learn about the gospel style, performance tips, and 4 pieces by Andrae Crouch. This workshop is free and open to the public, though donations are appreciated.

Vaneese Thomas is one of the great voices of our time. Part of a musical royal family that includes her father, R n’ B pioneer Rufus Thomas, and chart-topping sister Carla Thomas, Vaneese has brought her vocal styling to hundreds of recordings, concerts, and films. You can find recordings and more information on Vaneese at For more information about this workshop, please contact Chris Boveroux at or visit us online at
YOUNG PEOPLE'S CHORUS OF NEW YORK CITY PREMIERES FIVE NEW COMMISSIONS FOR ITS RADIO RADIANCE SERIES Angela Duryea, %15 %b %2015 %15:%Apr:%th 15AprGMT+0000 Saturday, April 25, at 7 p.m. SubCulture, New York City’s intimate new downtown performing arts venue at 45 Bleecker Street, will be transformed into a radio recording studio, when the Young People’s Chorus of New York City conducted by Artistic Director/Founder Francisco J. Núñez sings the world premieres of five compositions commissioned for its Radio Radiance broadcast/digital new music series.  The music is being recorded that evening for later broadcast by WWFM, The Classical Network, other public radio stations, and digitally through podcasts. 
The series was created by YPC in 2009 to excite and challenge the music perceptions of young people by reaching them through the kinds of audio technology they use every day:  iPods, iPhones, sound pods, MP3’s, laptops, as well as the time-honored medium of radio.  In their compositions, each of the composers—Samuel Adler, Ryan Lott (aka Son Lux), Caroline Mallonée, Frank J. Oteri, and Aaron Siegel—have been challenged use new ideas and ways of thinking to write for today’s young people in the way they are most likely to enjoy music, not only in concert halls, but on the go. Read more about the composers and their music at
The April 25 concert/recording session will be hosted by YPC’s longtime radio colleague, Soundcheck’s John Schaefer, and attended by all of the composers, who will meet audience members at a Meet-The-Artist reception afterwards.
Tickets for the April 25 Radio Radiance concert/recording are available on the SubCulture website at For more information, call SubCulture at 212-533-5470.
Afterwards, to encourage more young people to become excited and open to this adventurous new music, YPC invites regional youth choruses across the country to study, premiere and broadcast a Radio Radiance work of their choice for audiences in their local areas. The choirs are provided with a Radio Radiance score, support, and in addition, the composers themselves have also been helpful with interpretations and technical questions.  To participate, please email
Head - Full - Falsetto - Reinforced Falsetto in Mass singing (Tenor) mark bruening, %15 %b %2015 %14:%Apr:%th 14AprGMT+0000'm new to choral music (2 years) and to singing but have been taking lessons for over a year now so I'm not a rank beginner.  I am a light tenor with a usable range of G2 - G#4 (full) and A4-C4 (head).   I am running into a problem navigating the passagio (suprise) in the tenor lines of choral Mass works.  The training I've received so far has taught the concept of entering the head voice early in a phrase that will peak (for me) above a G4 and I can do that effectively.
The problem is that a lot of times it's expected that a G#4 or A4 should be sung at a piano level.   Though I have had some success taking down the volume of my head voice notes, getting them to piano is a tall order. Also, they sound "opera-y" not church boy "tenor-y".   
So my question is, will I eventually get to a smooth passagio transition where even the A4 or Bb4 will be light and soft enough to be considered piano or should I switch to a falsetto or reinforced falsetto (to keep the ping) since those registers are naturaly quieter?
Volti and the Piedmont East Bay Children's Choir Premiere Pandora's Gift—A New Staged Multimedia Performance Art Piece for Voices Justin Montigne, %15 %b %2015 %15:%Apr:%th 15AprGMT+0000
Volti and the Piedmont East Bay Children's Choir Premiere Pandora's Gift—A New Staged Multimedia Performance Art Piece for Voices
San Francisco, CA, April 13, 2015—What do you do with a gift from an angry god? Fifty singers explore the beauty, terror, and promise of the Pandora myth through music, poetry, drama, and movement. This choral performance art piece features the Bay Area’s premiere contemporary chamber choir, Volti, as well as the precocious talents of the Piedmont East Bay Children’s Choir. Both groups will dance and sing music of Volti’s composer in residence, Mark Winges, with a libretto by San Francisco poet Denise Newman. Erika Chong Shuch’s stage direction brings the drama to life, and lighting by Allen Willner helps drive home the powerful impact of this unique multimedia work for voices.
The program begins with two other world premieres of works on subjects of mortality and controversial art by two young composers—Ryan Brown and LJ White—winners of Volti’s young composer competition. The audience is invited to a post-concert Inter-ception—an interactive reception with refreshments in which they can share reactions and observations on the performance, and ask questions of the creative team.
Pandora’s Gift is the birth of a new type of contemporary vocal music performance in a dramatic space with visceral impact and immediate audience feedback.
Tickets are $10-$50 and can be purchased at
Pandora’s Gift
Z Space
450 Florida Street, San Francisco
Saturday, May 16, 8:00pm and Sunday, May 17, 4:00pm
Tickets: $10-$50
For additional information, contact: 
Barbara Heroux, Executive Director
Volti’s twenty professional singers, under the direction of founder and Artistic Director Robert Geary, are dedicated to the discovery, creation, and performance of new vocal music. The ensemble’s mission is to foster and showcase contemporary American music and composers, and to introduce contemporary vocal music from around the world to local audiences. The group has commissioned nearly 100 new works, by emerging as well as established composers. Hailed by San Francisco Classical Voice as “undoubtedly the finest collection of new music singers we have,” Volti boasts a 35-year track record of some of the most sophisticated vocal performances in the nation. Composers seek opportunities to partner with these stellar musicians, who are known for their sheer technical brilliance as well as their vibrant, passionate sound. Nationally recognized as a pioneer in new vocal music, Volti has won the prestigious ASCAP/Chorus America Award for Adventurous Programming of Contemporary Music six times. Attending a Volti concert is like visiting a modern art gallery, stimulating the mind, the imagination and the heart. For more information, visit
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Scope, lyricism, and emotional directness Eric William Barnum's "After Music" | MusicSpoke Aliana Kae, %15 %b %2015 %14:%Apr:%th 14AprGMT+0000 William Barnum pens music that possesses an emotional directness without being too saccharine, accessibility without being corny, and lyricism born of a natural gift rather than a struggle. After Music illustrates all of these qualities that we've come to admire in Eric's work, and more. This piece, for mixed choir SATB and piano accompaniment possesses scope, depth, and breadth. This work will take singers on an emotional journey with text that will engage them to think more profoundly about music itself and its place in their lives. 
A setting of text penned by Josephine Preston Peabody, this sentiment is easy for any musician to grasp; that music has the innate ability to "call" and to "move" is widely understood, but how does one imitate that aspect? How do we speak of music's stirring of our heart and its ways, its "otherness" or heavenly qualities? This text gives voice to these questions and speaks to the very heart of its singers. 
See the full score. Hear the entire SoundCloud recording. Buy After Music on MusicSpoke today!
orchestration??? - Warnick arr - Man of la Mancha Michael Sanflippo, %15 %b %2015 %12:%Apr:%th 12AprGMT+0000 Colleagues,
The Clay Warnick arrangement of Man of la Mancha is POP. I was able to find a perusal score and I found rental copies at Baguduce. I need to know if there is/was a companion orchestration for this arrangement. If you know, please respond. If you have it in your library, please let me know! Thank you
Auditions for Bach’s St. John Passion Marsha Gibson, %15 %b %2015 %11:%Apr:%th 11AprGMT+0000
                              BLANCHE MOYSE CHORALE
                         Auditions for Bach’s St. John Passion
The Blanche Moyse Chorale, an affiliate of the Brattleboro Music Center, is now scheduling auditions for new members in all vocal sections. Potential auditioners should be experienced in choral singing, capable of learning music independently, and not intimidated by foreign languages.
The Chorale, founded in 1978, is a chamber chorus of about thirty voices, who strive to attain the high level of musical artistry exemplified by its original director, Blanche Moyse. Although based in the Brattleboro, VT, area, the Chorale includes singers from the wider tri-state region and beyond. Weekly rehearsals are held on Sunday evenings at the Putney School, in Putney, VT.
Since 2007, under the direction of Mary Westbrook-Geha, the Chorale has performed works by Handel, Copland, Stravinsky, Mendelssohn, Britten, Palestrina, Schütz, Brahms, and especially J.S. Bach. Recent Bach concerts have included his Magnificat, Mass in B-minor, Christmas Oratorio, and several cantatas and motets.
This year, the Chorale has just completed an April production of  two 20th-century Latin masses, and is looking forward to a performance of J. S. Bach’s St. John Passion on Columbus Day weekend this fall.  Auditions for this project will be scheduled during the week of April 20, and rehearsals will begin on May 3.
For further information, interested singers should contact Chorale representative Calvin Farwell at 802-257-0496 or before Saturday, April 18. 
"From Heaven to Earth" Michael Main, %15 %b %2015 %13:%Apr:%th 13AprGMT+0000 Arts Chorale of Winchester will present Ola Gjeilo's Sunrise Mass and other unaccompanied works by Paulus, Knystedt, Byrd, Gretchaninoff and Stopford. Featured on this concert is the ensemble's accompanist/organist, Dr. Richard McPherson, in a performance of Francis Poulenc's Concerto for Organ, Strings and Timpani in G Minor.
Saturday, April 25th @8pm. and Sunday, April 26th @3pm. Grace Evangelical Lutheran Church, 26 W. Boscawen St., Winchester, VA
A pre-concert chat will begin 40 minutes before each performance. Admission by donation. $10 per adult suggested.
Michael Main, founding artistic director
New Choral Publications from Canada Leonard Enns, %15 %b %2015 %12:%Apr:%th 12AprGMT+0000 Choral Music (Vancouver) has just released two new works by Canadian composer Leonard Enns: THIS DAY (acappella, suitable for good SATB high school chamber choirs and more advanced groups), and a fresh arrangement of RED RIVER VALLEY for SATB choir with piano or strings (SATB -- chamber choirs).  Score sample, sound file, order info is all on the Cypress site:
The Malta International Choir Festival Composition Competition Gabija Jenciute, %15 %b %2015 %07:%Apr:%th 7AprGMT+0000

Malta has regularly hosted international choir festivals and competitions since 1988. The islands of Malta and Gozo can boast of a very thriving choral scene and – with over 350 churches serving a population of about 400,000 – the choral tradition is, understandably, built around and mostly focused on sacred music.

This year, the Ministry for Tourism and the Malta Tourism Authority will be holding another edition of the Malta International Choir Festival between October 29 and November 1. The organising committee of the Malta International Choir Festival is, for the first time, launching an International Composition Competition for young composers with the intention of providing an opportunity for aspiring composers to have their work premiered and recorded during the festival.

Participating composers in this competition will also have the opportunity to attend a workshop during the festival. The workshop will be led by members of the adjudication panel and will focus on choral writing skills. There is no fee for participating in the workshop but international participants would be required to fund their own travel and accommodation.

We very much look forward to welcoming you to Malta in the coming months.


For more information:

Conductors Sought for Exchange with South Korea Scott Dorsey, %25 %b %2015 %18:%Mar:%th 18MarGMT+0000 American Choral Directors Association (ACDA) is pleased to announce the 2016 International Conductors Exchange Program (ICEP) with South Korea. ICEP is providing opportunities for the next generation of choral leaders to represent the United States as ambassadors to the world in the exchange of music, ideas, and cultures. In 2016, ACDA will host fourteen choral conductors from South Korea who will travel to the United States to be official guests in each of the seven divisions. In turn, the Swedish Choral Directors Association (SCDA) will host fourteen U.S. conductors to be official guests in the summer of 2016.
ICEP Application Deadline: July 10, 2015.
To apply online go HERE
Or visit the ICEP Choralnet Community at
Conference for JHS/MS Choirs Scott Dorsey, %14 %b %2015 %15:%Apr:%th 15AprGMT+0000 ]]>Name That Choir Tune (No. 32) Scott Dorsey, %14 %b %2015 %16:%Apr:%th 16AprGMT+0000
Call for Applicants: Conducting Fellows to tour with Canadian Chamber Choir Corey Ticknor, %14 %b %2015 %23:%Apr:%th 23AprGMT+0000

The Canadian Chamber Choir is now accepting Conducting Fellow Program applications for the Fall 2015 Newfoundland Tour.

Complete information can be found here on the CCC website.

The Canadian Chamber Choir’s Conducting Fellow Program offers emerging or established Canadian choral conductors a unique opportunity to hone their skills through the preparation and rehearsal of challenging repertoire under the leadership of CCC Artistic Director Dr. Julia Davids. Conductors will benefit from advanced in-depth training and immersion in a professional music-making environment while on tour for one week with the CCC. This tour takes place from Sept 25 to Oct 4, 2015.


Successful applicant will be notified by June 1, 2015.

Application Details:

Eligibility: applicants must be legal residents of Canada.

Your application must include:

  • Cover letter
  • Resumé/CV including contact information for three references
  • List of repertoire conducted in rehearsal and performance
  • A link to a video recording of the conductor (front view) in rehearsal or performance
  • Non-refundable application fee of $25 CAD sent via e-Interac to
  • Questions? Please email the CCC General Manager at

Please send your completed application by email to:

CCC Artistic Director: Dr. Julia Davids

Thank you!

Seeking Celtic Christmas Music for Men Thomas Berryman, %15 %b %2015 %00:%Apr:%th 0AprGMT+0000 repertoire suggestions for our Celtic (Gaelic, Welsh, Scottish) themed Christmas concert would be much appreciated.  Fifty voice men's community chorus.  A cappella or accompanied.  Sacred or secular.  Original composition or arranged.  In Welsh, Gaelic or English.
Seeking Sophisticated Secular Christmas Medley for Men Thomas Berryman, %15 %b %2015 %00:%Apr:%th 0AprGMT+0000 suggestions for a sophisticated secular (popular) Christmas medley for men would be much appreciated.
Fifty voice men's community chorus
Piano accompaniment
7-10 minutes
How long is too long to spend on the details? Ian Bock, %14 %b %2015 %23:%Apr:%th 23AprGMT+0000'm currently a saxophone major in College, with aspirations of being a middle school vocal teacher. My question is when does the time come that spending rehearsal after rehearsal trying to really fine tune and almost perfect a song is just too much? The perfectionist in me is worried that I'm not going to be able to find that sweet spot between "We can still improve this" and "They're only middle-schoolers." Any suggestions? ]]>"Another Look at Kurt Weill" Rhoda Wolin, %14 %b %2015 %21:%Apr:%th 21AprGMT+0000 program illustrating the wide range of Weill's compositional contributions from opera to cantatas to Broadway.  The concert will be held at 8:00 pm at The Church of the Redeemer, 36 South Street, Morristown, NJ.   Soloists include Linda and Thomas Smargassi, Chelsea Friedlander and Bradley Lassiter. Tickets are $25, $20 for seniors and students.  Telephone for additional information:  908-963-5780. ]]>Interim Organist Amelia Nagoski, %14 %b %2015 %21:%Apr:%th 21AprGMT+0000

Middlebury Congregational Church is seeking an interim organist to lead congregational singing, accompany the Adult Choir, and play other service music as needed on Sunday mornings from May 2 to June 28. Rehearsals are at 9 a.m., worship begins at 10. $150/wk.

Send resume and letter of interest to Dr. Amelia Nagoski at

Tenor and Soprano Section Leaders for Fall - St. Christopher's Episcopal Church, Gladwyne, PA Scott Drackley, %14 %b %2015 %20:%Apr:%th 20AprGMT+0000 Christopher's Episcopal Church, Gladwyne, PA is looking for a Tenor and Soprano II section leader starting in September. These are 9 month positions. Rehearsal is Thursday from 7:30-9 and Sunday 9:15 with a 10:00 service. Christmas Eve and Holy Week services are also required, with occasional extra services throughout the year. St. Christopher's has a highly skilled choir of volunteers and professionals and is a growing parish with a dynamic young rector. Please email resume to Scott Drackley, Organist/Choirmaster at I will be holding auditions in late May and June. ]]>Prolific Lyricist Seeks same in Composers for Collaboration Ross DiVito, %14 %b %2015 %20:%Apr:%th 20AprGMT+0000 am seeking composers in some or many genres of music as collabortors in the NYC, Boston,
Connecticut areas.   Please play piano, able to write musicn in a fair amount of time, willing to stay in touch with your collaborator on a weekly basis and willing to meet face to face in a PUBLIC PLACE ONLY to see if we are on the same page.  No pay as is standard until we sell something then we would share all equally.  Thanks for the interest.  Ross
Executive Manager, Trenton Children's Chorus Mari Pearlman, %14 %b %2015 %19:%Apr:%th 19AprGMT+0000
Job Title: Executive Manager
Job Type: Part Time – Temporary (August 2015-July 2016)
Location: Trenton Children’s Chorus (TCC) – Trenton, New Jersey
Organization:  TCC is a unique after-school program offering exceptional musical, academic, social and personal opportunities for young people in the Greater Trenton Area. Founded in 1989 as an outreach project of Nassau Presbyterian Church , TCC has grown from 11 children in a single choir to 140 children in seven age-group choirs.  Our mission, to empower the academic, social and spiritual lives of children through artistry in music,  has blended achievement of the highest standards of musical excellence with strong academic and personal values.  One hundred percent of the TCC choristers who have participated in the program through high school have gone on to college.  
Job Summary
The primary responsibilities of the Executive Manager are as follows:
  • Establish and maintain sound and effective organizational management and staff rapport
  • Provide organizational assessments in the areas of program staffing and operations, including the Learning Academy
  • Oversee the day to day operations of the program, proactively identifying operational needs and directing staff as appropriate to meet those needs
  • Oversee and manage the overall program budget, with Financial Manager
  • Supervise operations staff
  • Manage the concert / run out schedule of TCC to ensure musical and learning progress
The Executive Manager reports directly to the President of the Board of Trustees and works closely as needed with the Human Resources Committee.  Additionally, the Executive Manager must relate well with staff and the Board of Trustees.
Reporting to the Executive Manager are the Operations Manager, the Learning Academy Director, the Choir Manager and the Financial Manager. Reporting matrix is the Artistic Director and the Development Director.
Job Requirements / Accountability
  • Weekly staff meeting
  • General supervision and program management Tuesday and Thursday afternoons (choral program) and Wedneday  afternoon (Learning Academy)
  • Present for scheduled concerts and required rehearsals:
    • TCC One Voice Gala
    • Sunday worship with Trinity Episcopal in Princeton
    • Lessons and Carols with Covenant Presbyterian
    • Winter Concert
    • Black History Month concert
    • Spring into Song fundraiser
    • Major donor open rehearsal
    • Final concert
    • Other Run outs TBD and extra rehearsals required for the run out.
Specific Responsibilities
  • Provides organizational leadership to TCC and ensures that the annual plan (strategy, budget, weekly plans) are carried out and that the program continues to flourish
  • Works with the Board President to plan the 2016/17 budget and update of the strategic plan
  • Works with the Board President and the Human Resource Committee to continue work on organizational assessment and Learning Academy focus. Provides assessment and recommendations to Board President
  • Manages the daily interactions of staff, staff with choristers / students, and parents and resolves issues and conflicts as needed
  • Manages staff performance and works with the Artistic Director to manage artistic staff performance
  • Actively assist in development efforts as directed by the Board of Trustees and requested by the Director of Development.
  • Attend TCC Board Meetings as appropriate
  • Perform other duties as assigned by the President of the Board
The following are required minimum qualifications for the position:
  • Demonstrated experience and success in managing an educational program, preferably in the arts, including experience with staff supervision
  • Experience working with a small, collaborative team – demonstrated ability to build a positive / collaborative environment which is in service to the program’s goals and participants
  • Demonstrated ability to build positive and effective relationships quickly through exceptional listening skills, building and commanding respect, building trust
  • Ability to understand and assess situations quickly and identify path forward
  • Demonstrated ability to lean into, address and resolve conflict
  • A proven track record of building diverse relationships and responding to diversity in a way that honors and respects each individual.
  • Ability to deal with a variety of situations with a leadership style that is “cool under pressure” and inspires confidence, even in moments of confusion
  • A Bachelor of Arts degree in education, with a Master’s Degree preferred
  • A minimum of 5 years of experience in leading a team / organization in the areas of education or the arts.
  • Experience working with youth and parents
Part-time, approximately 30 hours per week during the program year (September through June).  Required  hours Tuesday and Thursday, 2:30 pm through 7:00 pm (entire choral rehearsal period); Wednesday, 2:30 through 5:30 (Learning Academy).  Presence required at weekend and evening events, rehearsals, and performances. 
To Apply:
Please send cover letter, resume, and three references to, referencing the Executive Manager in the subject line.
Artistic Director, Trenton Children's Chorus Mari Pearlman, %14 %b %2015 %19:%Apr:%th 19AprGMT+0000
Job Title: Artistic Director
Job Type: Part Time – Temporary (August 2015-July 2016)
Location: Trenton Children’s Chorus (TCC) – Trenton, New Jersey
Organization:  TCC is a unique after-school program offering exceptional musical, academic, social and personal opportunities for young people in the Greater Trenton Area. Founded in 1989 as an outreach project of Nassau Presbyterian Church , TCC has grown from 11 children in a single choir to 140 children in seven age-group choirs.  Our mission, to empower the academic, social and spiritual lives of children through artistry in music,  has blended achievement of the highest standards of musical excellence with strong academic and personal values.  One hundred percent of the TCC choristers who have participated in the program through high school have gone on to college.  
Job Summary
The primary responsibilities of the Artistic Director are as follows:
  • To employ sound and effective choral pedagogy to maintain and improve the current musical level of the choristers, particularly the high school Chorale
  • To build a strong and supportive connection with the choristers
  • To keep TCC in the spotlight, building off the success of the past several years, and ensure that people see the choristers perform
  • To lead the artistic / choral program and goals laid out for the school year through effective working relationships with the artistic staff
The Artistic Director reports directly to the President of the Board of Trustees and works closely as needed with the Human Resources Committee.  Additionally, the Artistic Director must relate well with staff and the Board of Trustees.
Job Requirements / Accountability
  • Tuesday and Thursday through end of Chorale rehearsal, from opening warm-up of all choristers at 4 pm
  • Overseeing and assisting choirs grades K-8, Tuesday and Thursday afternoons 4-5:30
  • Conduct Chorale rehearsal, Tuesday and Thursday afternoons 5:30 – 7:00
  • Hold weekly staff meeting
  • Scheduled concerts and required rehearsals
    • TCC One Voice Gala
    • Sunday worship with Trinity Episcopal in Princeton
    • Lessons and Carols with Covenant Presbyterian
    • Winter Concert
    • Black History Month concert
    • Spring into Song fundraiser
    • Major donor open rehearsal
    • Final concert
    • Other Run outs TBD and extra rehearsals required for the run out.
Specific Responsibilities
  • Conducts and/or oversees the artistic direction and quality of all choirs within the TCC organization including but not limited to:  rehearsals, concerts, tours
  • Effectively organizes the artistic schedules and is aware of and works with individual needs
  • Ensures the choral plan for 2015-16 is carried out and manages the plan/pedagogy that is consistent with the mission of TCC.
  • In collaboration with the Board President and the Executive Manager, ensures the artistic budget is followed
  • Auditions and selects new choristers
  • Manages chorister scholarship opportunities in coordination with Operations Manager, Choir Manager, and Scholarship Fund Manger
  • Oversees placements in summer camp opportunities
  • Actively assists in development efforts as directed by the Board of Trustees and requested by the Director of Development.
  • Attends TCC Board Meetings as appropriate
  • Perform other duties as assigned by the President of the Board or the Executive Manager
The following are required minimum qualifications for the position:
  • Demonstrated effectiveness as a choral conductor with elementary (preferred), middle and high school students (required)
  • Excellent musician and choral pedagogue abilities
  • Possesses high expectations for student performance and behavior
  • Demonstrated effectiveness in working with middle / high school youth with the ability to meet the needs of individuals while maintaining the standards of the choral program
  • Experience working with a small, collaborative team – demonstrated ability to build a positive / collaborative environment which is in service to the program’s goals and participants
  • Demonstrated ability to build positive and effective relationships quickly through exceptional listening skills, building and commanding respect, building trust – this applies to artistic staff as well as with youth
  • Has a proven track record of building diverse relationships and responding to diversity in a way that honors and respects each individual
  • Ability to lead the musical decision making of the artistic staff
  • A Bachelor of Music degree, with a Master’s degree strongly preferred – with a concentration in choral conducting
  • A minimum of 5 years of experience conducting choirs, which must include experience with middle and high school age group
Part-time, approximately 20 hours per week during the program year (September through June).  Required  hours Tuesday and Thursday, 3:30 pm through 7:00 pm (entire choral rehearsal period).  Presence required at weekend and evening events, rehearsals, and performances of Chorale . 
To Apply:
Please send cover letter, resume, and three references to, referencing the Artistic Director in the subject line.
New York City Master Chorale: "One More for the Road" Cabaret Erica Kelly, %14 %b %2015 %18:%Apr:%th 18AprGMT+0000 up on their sold-out performance last season, Thea Kano and the singers of the New York City Master Chorale return to the Duplex with "One More for the Road".
The Duplex Theatre
Wednesday, May 20th
Shows at 7pm and 9pm
Please note that there is a 2 drink minimum
Tickets are $25 with discounts for students and seniors
Tickets available at
BabelSounds™ FREE Mobile App Launches for Singers & Conductors! Trudy Miller, %14 %b %2015 %18:%Apr:%th 18AprGMT+0000, the online foreign language diction resource, announces the launch of its first mobile app - BabelSounds
BabelSounds™ teaches the basic sounds of American English, French, Italian, Latin (Ecclesiastical & Germanic), and Russian (more languages in production). This powerful learning tool was created by diction teachers at top music conservatories specifically for singers and conductors.
BabelSounds™ utilizes the IPA (International Phonetic Alphabet) to show phonetic spellings paired with demonstrations by native speakers. For each phonetic symbol there are two examples of words containing that sound/symbol, each listed with a phonetic guide and spoken demonstration. It’s so easy! Select a language. Click on a sound/symbol or example as many times as you want. Listen carefully and repeat. It is like practice with a native speaker.
The free download of BabelSounds™ includes American English. The languages below can be purchased in-app for $1.99 each or all five (5) bundled together for $7.99. French, Italian, Latin – Ecclesiastical, Latin – Germanic, and Russian. More coming! Available for iOS and Android.
Interesting 20th and 21st Century Repertoire for High School Keegan Fike, %14 %b %2015 %15:%Apr:%th 15AprGMT+0000 again Choralnet,

I am a new choral director who is very much interested in new music, however I am not sure where to start with choral pieces from the 20th and 21st century. What would be good pieces to sing with a high school chorus? My chorus is very open to challenges, but they may not always have the best technique. 
Open auditions for 16-voice, all professional chamber choir in NW Arkansas Stephen Caldwell, %14 %b %2015 %14:%Apr:%th 14AprGMT+0000 highly skilled vocal musicians for a 16-voice, all professional chamber ensemble in NW Arkansas. All voice types considered, SATB. Exceptional reading, language, and aural skills are essential for the successful candidate.
Auditions are by appointment, May 4th - 8th, at the University of Arkansas. Singers will be expected to vocalize their entire range and demostrate their flexibility in modulating vibrato rates and colors. There will also be an extensive aural skills and sight-reading evaluation.
Chamber ensemble will rehearse periodically on Monday evenings as performance schedule dictates. Summer concert season expected to begin Friday July 31st, with the completion of the Faulkner Performing Arts Center in Fayetteville, AR.
Stipends for all selected singers.
To schedule an audition, contact Stephen Caldwell via email,
Visiting Professor of Choral Music Ecucation Steven Zielke, %14 %b %2015 %06:%Apr:%th 6AprGMT+0000
One-year position teaching voice and leading undergraduate opera program.  The position is expected to be filled at the tenure-track level during the 2015-16 year.
Position can be viewed at
Posting Number: 0014450
This position closes:  April 27
50% - Teaching, Advising, and Mentoring: 

Teach opera workshop courses, three terms per year, two of which must include public performances; and, maintain a voice studio of a minimum of 8 students. Create an environment for innovative and successful teaching of opera and voice in collaboration with other voice faculty. 

30% - Creative Activities, Research, and Scholarship: 

Maintain creative and scholarly activities in the vocal and opera area, including professional performances, faculty recitals, presentations at regional/national/international professional organizations, as well as scholarly publications that are validated by peers and communicated in appropriate ways. 
20% - Administration of the Opera area and Departmental and School Service: 

Organize rehearsals, plan performances, and arrange for publicity, venue, and other concert details. Actively recruit and retain high caliber voice students, including visits to secondary schools, offering workshops, and adjudicating. Serve on committees, participate in auditions, and perform other university and professional service as appropriate. Audition voice and opera students, participating in voice area coordination. 
When applying you will be required to attach the following electronic documents: 

1) Letter of application indicating how your qualifications and experience have prepared you for this position (Upload as "Cover Letter"). 
2) Current, comprehensive curriculum vitae. 
3) A one-page teaching philosophy statement (Upload as "Other Document"). 
4) Name, Title, Email address and Phone for a minimum of three references (Upload as "Other Document 2"). 

For additional information please contact Marlan Carlson at 541-737-5591 or 

OSU commits to inclusive excellence by advancing equity and diversity in all that we do. We are an Affirmative Action/Equal Opportunity employer, and particularly encourage applications from members of historically underrepresented racial/ethnic groups, women, individuals with disabilities, veterans, LGBTQ community members, and others who demonstrate the ability to help us achieve our vision of a diverse and inclusive community. 
Isobel Menton Composition Award Simon Loveless, %14 %b %2015 %12:%Apr:%th 12AprGMT+0000 Catholic University is pleased to announce that as part of the celebration of its 25th Anniversary it is initiating a choral composition competition for unpublished and previously unperformed works. 

The theme this year is CELEBRATION

The award has 3 divisions:

  • Open to Australian citizens or residents of any age
  • Prize money of $4,000
  • Awarded to a choral work of 8 to 10 minutes' duration
  • Scored for SATB choir with or without accompaniment
  • Open to Australian citizens or residents of any age
  • Prize money of $2,000
  • Awarded to a choral work of 2 to 4 minutes' duration
  • Scored for SATB choir with or without accompaniment
  • Must be able to function as an anthem in a Catholic liturgical context
  • Open to any student enrolled in a program at ACU in 2015, including international students
  • Prize money of $1,000
  • Awarded to a choral work of 2 to 4 minutes' duration
  • Scored for SATB choir with or without accompaniment

Works submitted must be idiomatic choral compositions that can be sung by a part-singing university-level choir of approximately 20 voices. The text set should be in English or Latin and be free of copyright restrictions.

Deadline and Submission

Scores should be de-identified and marked with a code word. The code word should be included the application form which will include the composer's name and contact details. Applicants for the student division should include their ACU student number on the application form. Applicants should include two bound copies of their works, and all pieces should be typeset (using Finale or Sibelius or equivalent).

The competition opens on Monday 13 April 2015.

The deadline for submission is 5pm EST, Friday 10 July 2015.

The winning entries in each division will be announced on Wednesday 26 August 2015.

For queries about the competition, please contact Dr Timothy McKenry,

The Isabel Menton Choral Award

c/o School of Arts Reception

Australian Catholic University

Level 4, The Mary Glowrey Building

115 Victoria Parade Fitzroy Victoria 3065

  1. Compositions must be unpublished, must not have won any other competition, and must not be under consideration by any publisher or for any other prize for the duration of the competition. Compositions must also have never been previously performed.
  2. ACU will hold the right to convene the first performance of the winning work in each division, and will hold exclusive performance and recording rights for one year after the date the prizes are awarded. Copyright will remain with the author.
  3. Entrants must be citizens or permanent residents of Australia. Any international student currently studying at an Australian university may also apply.
  4. ACU staff members (except the panel of judges) and ACU students are eligible to enter.
  5. Entrants' names must not appear on any page of the work, but only on the entry form.
  6. Multiple entries are permitted. Separate entry forms are required for each entry.
  7. Scores should be on A4, double sided and bound. Pages should be numbered and the title of the work should appear on each page.
  8. Entries will not be returned.
  9. The opening date for entries is Monday 13 April 2015 and the closing date for entries is Friday 10 July 2015. Entries must be postmarked on or before the closing date and be complete with entry form and two copies of the score.
  10. Entries will only be accepted via post, and will not be accepted by email or fax.
  11. ACU reserves the right to not award a prize in any or all divisions or to split the prize money between multiple winners in any division.
  12. ACU reserves the right to require modifications/revisions to winning scores in each division in advance of any performance of the works.
  13. The winning compositions in each division, as well as shortlisted and commended works will be announced on 26 August 2015. Results will be published on the ACU website and may be published in external publications including newspapers, magazines etc. Shortlisted entrants will be notified by email.
  14. The judges' decision will be final and no correspondence about the result will be entered into.
Web Site Survey Scott Dorsey, %04 %b %2015 %17:%Feb:%th 17FebGMT+0000
The American Choral Directors Association wants to know how YOU use its on-line resources.  Please take a few moments to give some feedback on your experience with the ACDA Website and ChoralNet with a simple survey.
Take the ACDA Website Survey!
Conference Morsel: Are Models Mentors? Scott Dorsey, %23 %b %2015 %15:%Mar:%rd 15MarGMT+0000
(An excerpt from the interest session “Models and Mentors: Leadership Development for Choral Conductors,” presented by Hilary Apfelstadt during the 2015 ACDA National Conference.)
       As conductors, we fulfill multiple roles – musicians, scholars, educators, leaders, models and mentors.   All mentors are models, but all models are not mentors.  
       Historically, concepts of leadership have evolved, including trait theories, behavioral theories, situational leadership theory, transactional and transformational theories, servant leadership, and collaborative leadership.  Researchers have found situational leadership theory (SLT) especially relevant to successful conductors, who balance high task and high relationship in rehearsals.
       Everything we do in rehearsals is a model for the musicians whom we lead.   Those of us working with novice conductors can effectively share how we make decisions pertaining to repertoire selection, steps in preparation through score analysis, presentation of pedagogical principles, and the verbal and gestural language we choose.  In doing so, we are modeling effective ways for these less experienced conductors as they begin their careers. 
       Modeling and mentoring differ in that mentoring is deeper and connected to an apprentice-like relationship, such as that between a graduate advisor and student.   Bennett (2013, 96) notes several “personal attributes of artists,” which are relevant to those of us in leadership positions, whether models or mentors:
          1.  Confidence and inner strength
          2.  Openness and adaptability to change
          3.  Motivation and drive
          4.  Resilience and determination
          5.  Passion
       It is easy to see how each of these characteristics serves us well in our role as conductor-leaders.  Our responsibility is to model and nurture these characteristics in our students. 
(Bennett, Dawn.  Understanding the Classical Music Profession: The Past, The Present, and Strategies for the Future.  Hampshire, England and Burlington, VT: Ashgate Publishing, Ltd., 2013.)
(Make plans now to attend your 2016 ACDA Divisional Conference!)
GUEST BLOG: "What Powers the Church Choir?" by Thomas Vozzella Scott Dorsey, %09 %b %2015 %16:%Apr:%th 16AprGMT+0000
       As we begin the 50 days of Easter, following intensive Holy Week worship experiences, I have been renewed with a deeper understanding of why some church choirs give, give and give more, whereas other choirs make the whole experience torture for themselves and their director(s). From Palm Sunday to Easter Day our choir, that usually has one two-hour rehearsal and sings two services weekly, went far and above what is seemingly unimaginable. In summary – our Holy Week included eight services, eleven anthems, four festival hymn settings, children’s choirs, brass and percussion at three services, an abundance of responses, sung Psalms and Canticles, and hymns with and without accompaniment. Plus, we had an additional thirteen hours of rehearsals. I had to say WOW.
       However, mid way through the Easter Vigil I began to feel weary. It was at this moment it all came together for me and my understanding of our choir’s commitment, without limitation, to the choral ministry at St. Andrew’s Episcopal Church, Kansas City, Missouri. What hit me, hit hard, and more intensely than ever before: Our time and our commitment to music ministry is required, and is expected. Why is it expected? “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life”. (John 3:16)

       WARNING: The next paragraph is graphic, not for the faint of heart. Proceed with caution.
       Who do you know that would be beaten/whipped to the point of bleeding, carry a large-heavy wooden cross through their current city of residence, with a crown of thorns pushed deep into the flesh of their head causing blood to run down their face and garments, completely emaciated? Then to top it all off, they are hung from the cross they carried with nails driven through the palms of their hands, and feet. Finally, after they die, a spear is pushed deep in their side, allowing all the blood and water remaining in their body to drain out. Do you know anyone that would do this for you?  Yes, I do, Jesus Christ would, and did!
       This blog may not be filled with the butterflies and the flowers of Easter. It might not include bunnies, baskets and candy. What it does contain, is the reality of the suffering God’s only son, endured on our behalf.
       I am not asking you to believe anything I have written here. I am only sharing with you how my choir and I find the strength to give of ourselves without reservation during Holy Week and throughout the year. It also serves to answer why we do not have the right to complain about how time consuming Holy Week, or any other feast day we celebrate is to the people involved. We do not have the right to whine, until we are willing “…to lay down one’s life for one’s friends”. (John 15:13) or at least “…love your neighbor, as yourself”. (Matthew 22:39):
Love your  Homeless Neighbor…
Love your  Muslim Neighbor…
Love your  Black Neighbor…
Love your Gay Neighbor…
Love your  White Neighbor…
Love your  Asian Neighbor…
Love your  Jewish Neighbor…
Love your  Christian Neighbor…
Love your  Atheist Neighbor…
Love your  Disabled Neighbor… ]]>
Soaring Sounds in Concert Joseph Mendolia, %14 %b %2015 %04:%Apr:%th 4AprGMT+0000 Sounds Vocal Ensemble will be performing "Pillars of American Poetry" at St. Bartholomew's Episcopal Church (3747 34th Street South) in St. Petersburg, Florida. 
Music includes:
~Hymn to the Eternal Flame - Stephen Paulus
~When Lilacs Last in the Dooryard Bloom'd - Ethan McGrath
~I Am Not Yours - Z. Randall Stroope
and many more!
We are extremely excited to be performing the world premier of "The Peace of Wild Things" by composer Rachel DeVore Fogarty! For more information, please visit
We will also be performing this concert on:
Friday, April 24 at 7:30pm at Palma Ceia United Methodist Church, Tampa
Saturday, April 25 at 7:30pm at St. Catherine's Episcopal Church, Temple Terrace
Faculty of Music/Director of Choral Activities - Linn-Benton Community College James Reddan, %14 %b %2015 %01:%Apr:%th 1AprGMT+0000 Faculty (Director of Choral Activities and Head of the Music Program), Linn Benton Community College
JOB SUMMARY:  The faculty member provides a variety of learning opportunities that will encourage and stimulate individual students to develop musical skills and deeper levels of appreciation which will enhance their various life roles. The faculty member will be committed to fostering an environment that enables students to engage in their education and complete their academic goals.
Direct 1 non-auditioned choir, 1 select choir (auditioned), and 2 vocal a cappella ensembles. Work cooperatively with others and participate as a team member of the Performing Arts Department. This participation may include musical collaboration with theatrical events and other on or off campus activities. Teach 2 or 3 general music courses per term such as: Music Appreciation, Music Fundamentals, Music Theory, World Music, Rock Music and Culture, etc. (depending on faculty expertise).
Communicate well with students of diverse academic, ethnic, socioeconomic, and cultural backgrounds, including students with disabilities. Communicate the outcomes of each course taught, grade according to those outcomes, and report student progress toward those goals. Establish and maintain opportunities for reasonable out-of-class contact with students. Work to improve/refine the curricula. Assist in choosing and integrating texts, material, equipment and media to be used in learning. Develop and maintain relationships and communication with Oregon State University Music Program in order to keep curricula aligned for transfer. Develop and maintain relationships and communication with other relevant university music programs. Prepare course descriptions, outlines, syllabi, and other materials related to courses taught. Establish and maintain a class roll, and teach in conformance with approved course outlines. Participate in the faculty appraisal process. Serve as primary advisor for all music majors. Provide advising as assigned for additional students as needed by the college. Act as a liaison within the communities of Linn and Benton counties for the enhancement of cultural enrichment in music and the performing arts. Participate on department, division and college committees as assigned. Work assignment will involve evenings and/or an instructional site beyond the Main Campus. Assess student learning through the use of assessment practices appropriate to the course and discipline. Report assessment data in a timely fashion as part of the college-wide assessment process for the purposes of continuous improvement and student success. Responsible for additional department chair duties including coordination of teaching schedules for adjunct music faculty including practice room usage, lesson times, and schedule music department meeting.
Masters degree in Music, or a related field that includes a minimum of 27 graduate hours in Music. Minimum of 2 years teaching experience involving choral conducting and/or general music classes (theory and/or musicology). Experience in choral direction. The ability to communicate effectively as a teacher and to operate as an effective member of a team. Knowledge of and commitment to teaching strategies and methods which enhance student success at community colleges.
SALARY:  Starting faculty salary range for 2014-2015 is $51,587-$59,197 for a 1.0 FTE, 168-day contract. Salary range for 2015-2016 has yet to be determined. New faculty will be contracted for 168-day contract plus additional 3 days to attend Fall Term Instructional Strategies Institute trainings. Excellent benefit package. 

Please complete the online application and attach the following documents when applying:

1. CV
2. Cover Letter
3. Academic Transcripts showing qualifying degree

In addition to this application, applicants are required to supply a video, website link, WAV file, mp4 file, or audio sample of choral conducting and/or personal performance. Submit video/audio recording to by closing date of position.

Application Deadline: April 30, 2015

Transcripts from a non-U.S. college or university must be accompanied by an international credential agency evaluation. Please see “Academic Transcript Information” on Employment Opportunities home page for more information and a list of agencies which perform this service.

Applications are reviewed for minimum qualifications. In order to be considered, your application must clearly show you meet the minimum qualifications for this position.

U.S. Veterans will need to attach proof of honorable discharge (Form DD-214) to their application to qualify for veteran’s consideration.

WESTCHESTER ORATORIO Dean Travalino, %14 %b %2015 %01:%Apr:%th 1AprGMT+0000
Join the Westchester Oratorio Society on Sunday afternoon May 3, at 3 PM when the group will present a concert featuring Mozart’s Great Mass in C minor, K. 427 performed with the WOS Festival Orchestra and soloists Brynn Terry, Soprano, Mun-Tzung Wong, Mezzo Soprano, Angelo Mazzone, Tenor and Quentin Lee, Baritone at the South Salem Presbyterian Church. The Oratorio Society will also be presenting the composer’s Ave Verum Corpus and Laudate Dominum.  
Artistic Director Benjamin Niemczyk is looking forward to the chorus's fourth collaboration with the Festival Orchestra, the essence of which is created by contractor and first viola, Kallie Ciechomski, who pulls from her network of graduate students and recent graduates of New York's major music schools to create an ensemble that has distinguished itself in previous appearances.  In addition to conducting Westchester Oratorio Society Niemczyk leads the New York Session Symphony, New Westchester Symphony Orchestra, Chrysalis Consort and is music director at St Boniface Oratory Church in Brooklyn.
Founded in 1997 by a group of South Salem residents, including the noted choral conductor, Harold Rosenbaum, Westchester Oratorio Society is known for its performances of early music, traditional choral masterworks and contemporary pieces before local audiences with professional soloists and orchestras, and collaborations with premier groups and artists such as Tiffany Consort and REBEL Baroque Ensemble, as well as its appearances in the New York metropolitan area including with the Brooklyn Philharmonic at Carnegie Hall, the Brooklyn Academy of Music and the Cathedral of St. John the Divine. The group rehearses on Tuesday evenings at the Katonah Village Library.

South Salem Presbyterian Church is located at 111 Spring Street, South Salem, NY 10590. There is full ADA access.  Tickets are $25 General, $30 Door, ($15/20 Students; 40/$50 Preferred), and available online or by phone (914) 763-9389,
High School Vocal Music Teacher -- Full Time Chad Clark, %14 %b %2015 %00:%Apr:%th 0AprGMT+0000 High School is located in the Northeast section of the Denver Metro Area, and is looking for a full-time vocal music teacher starting next August 2015. This postion includes conducting four choirs (Beginning Women, Men's Choir, Adv. Women's Choir, Chamber Singers), and teaching a piano lab course. The program currently has 150+ singers enrolled and the school is looking for a dynamic educator to continue the strong traditions in choral singing. If you have any questions, feel free to email the current director which you can find at the website below. Teaching experience and a Master Degree in Music Education or Choral Conducting is preferred. 
To learn more about the program, please check the program's website at:
To apply visit:
Questions on composition dates Ariah Brown, %13 %b %2015 %22:%Apr:%th 22AprGMT+0000'm working on a project where I need accurate composition dates, not copyright dates, for Steven Hatfield's "All Too Soon" and Kevin A. Memley's "Count on It." If you can help point me in the right direction, please do, and know that I appreciate it very much. ]]>A Tribute to Paul Bouman and Carl Schalk - Oak Park Concert Chorale Spring Concert Paul Lindblad, %13 %b %2015 %22:%Apr:%th 22AprGMT+0000
The Oak Park Concert Chorale (OPCC), conducted by director Paul Lindblad, will present A Tribute to Paul Bouman and Carl Schalk on Sunday, April 19, 2015 at 4:00pm, at Grace Lutheran Church, 7300 West Division Street, River Forest, IL. General Admission is $18; Seniors/Students are $10. Group Rates are available. To order tickets, call 708.383.4742 or email For more information or to order tickets online, visit our website at
OPCC’s spring concert honors prominent local composers Paul Bouman and Carl Schalk. Both are known for their numerous contributions to choral music, and choirs throughout the world have performed their compositions. They have a profound influence on the many facets of church music, especially in the Lutheran denomination. Our concert will showcase recent compositions by both composers, who have continued to write new music throughout their retirement. An assortment of baroque, romantic, and twentieth century works will also be featured, including the premiere of The Wolf and the Lamb by Dr. Philip Gehring, composed especially for our concert. Please join us in celebrating the lifetime achievements of these two composers.
Melodia! In Cuba Christine Soler, %13 %b %2015 %22:%Apr:%th 22AprGMT+0000
Classical Movements proudly announces Melodia! In Cuba, open to choirs across the globe. With esteemed guest conductors Dr. Joshua Habermann and Dr. Digna Guerra leading workshops, individual choir performances in outstanding venues throughout the breathtaking city of Havana, experience in Cuban music and dance workshops and local cultural out reach. This is a rare and wonderful opportunity you won’t want to miss! For more information please contact (703) 683-6040 or or visit
If Music Be The Food Of Love- David Dickau Stylistic interpretations Carly Sobczak, %13 %b %2015 %21:%Apr:%th 21AprGMT+0000 Choral Society! I'm looking for different stylistic interpretations with conducting, texts, breaks, etc. for the piece "If Music Be The Food Of Love" by David Dickau. I've only been able to find 2 good videos of the song to help me. Possibly someone may have another one or an audio recording of the song that could expand my horizon a little.
Thank you! :)
Thoughts on Pop music in small choirs Carly Sobczak, %13 %b %2015 %21:%Apr:%th 21AprGMT+0000'm hesitant to sing Pop Music with smaller choirs, because I've been unable to find good arrangements that have any form of harmony rather than just a unison line.
Has anyone had any experience with this type of scenario or found a good publishing company for Pop Music?
Organist/Music Associate David Sherman, %13 %b %2015 %21:%Apr:%th 21AprGMT+0000
Westminster Presbyterian Church of Cedar Rapids is seeking a part-time Organist/Music Associate that will continue the church's strong tradition of exceptional worship-enhancing music. We are a congregation with a long-standing tradition of musical excellence and strong support for music ministry.  We seek an experienced organist who will build on that great music reputation.
Our Sanctuary instruments include:
  • A Three Manual 43 rank Schantz Organ
  • 5 Foot Steinway Piano
Desired Duties, Skills and Qualifications
  • Select and prepare music for 2 Sunday worship services, including prelude, postlude, creative hymn accompaniments, service music.  Plus additional services and concerts during the year.
  • Summer Saturday evening chapel service.
  • Accompany the choir, soloists, or other musicians in rehearsals and service.
  • Assist in the development of special services, concerts and performances.
  • Assist in the development, leading, and teaching children’s and youth music.
  • Summer youth music camp.
  • Locate and hire substitutes for when on vacation, in coordination with the Music Director.
  • Develop innovative ideas for the music program and church, including new music, different musical styles, collaborations within and outside of the church.
  • Clear concept of being an integral part of the ministerial team in working with staff, musicians, and volunteers.
  • Other duties as needed or that fit with your skill-set.
Anticipated Time Commitment:         10 – 14 Hours a week
Compensation:            In line with American Guild of Organists and Presbyterian Association of Musicians recommendations depending on qualifications
Benefits include:
  • Four weeks paid vacation
  • Continuing Education Stipend that includes an additional week of paid leave.
  • First right of refusal on all Weddings and Funerals
  • The Organist shall have permission to conduct private organ lessons and make the organ available to qualified students.
To apply for this position, please submit a cover letter, resume, and two references to: Westminster Presbyterian Church, 1285 Third Ave SE, Cedar Rapids, IA 52403. Applications may also be submitted electronically to
Please feel free to send additional material such as recordings, videos, or programs.
Should Solo Parts be Taught to the Whole Chorus? Melody Hasbrouck, %13 %b %2015 %20:%Apr:%th 20AprGMT+0000'm currently learning the choral arrangement of Christopher Tin's Kia Hora Te Marino as part of a choral conducting class. This piece has a solo part which is chanted, rather than sung, but is rhythmically complicated and is not in english. Prior to solo auditions, would you teach this part to the whole chorus, offer to help interested students learn it in a separate rehearsal, or leave it to students to learn it on their own? ]]>Keeping Boys Singing? Suggested Rep. for Boys through their voice change? Alex Adams, %13 %b %2015 %19:%Apr:%th 19AprGMT+0000
I'm a first year music teacher who was not a choral major during my undergrad, last year I inherited a middle school aged mixed chorus of about 55 students the chorus is about 70 percent female voices and 30 percent adolescent boys complete with changing voices.

Over the course of the school year I've lost a few of my male singers due to lack of confidence in their shifting voices or to discouragement with their ability to use their newly changed or changing voice.  

I also think my male singers might be uninspired by the pieces in our library there are a lot of love songs and not a lot of stuff that has a "cool/fun” factor. My guys seemed to get a lot more into our three sea shanties than anything else we've sung so far this year.

I'm looking for pieces for mixed choir that others have had success teaching through voice change especially things that have a "cool" factor for young guys or feature their voices specifically. What kinds of things have you used that have adolescent male singers have responded to? 
HS Choral Director Matthew Erpelding, %13 %b %2015 %20:%Apr:%th 20AprGMT+0000 high school position for nationally recognized program.  Three curricular/tiered choirs.  150 students placed according to ability levels.  Musical theatre and ACDA choral music background and participation preferred. ]]>Big Choral Music Sale Scott Gillam, %13 %b %2015 %19:%Apr:%th 19AprGMT+0000
New Amsterdam Singers is running out of space to store its library of choral music. Therefore we’re selling over 90 selections, most barely used, to relieve the overflow. The selections are listed below. The Price column lists the price per copy. To limit the labor of our volunteers and expenses such as mailing envelopes and boxes, I’ve set a minimum order of $10.00 and a minimum of 5 copies of any one selection (unless we offer fewer than 5). Final prices will include Media Mail postage and minimum insurance. The rule is first come, first served, but when possible preference will be given to those who order the most of a given selection. To initiate your order, reply to this notice with the composer, selection, and number of copies you wish to purchase, along with your name, the name of your chorus, and your mailing address.  Orders will be sent by US Postal Service at the Media Mail rate. Please allow three to four weeks for delivery.
Selection (** = Christmas)
**Fum, fum, fum (arr. Wilberg)
SATB + piano
**Pat-a-pan (arr. Grundman)
Arcadelt, J.
The white-breasted lovely swan (ed. G. Mason)
Bach, JS
**Gloria in excelsis Deo (Cantata 191; dur: 20’)
Bach, JS
Ich hatte viel bekummerniss (dur:30')
Belwin Mills
Bach, JS
Now thank we all our God
EC Schirmer
Barber, S
Anthony O Daly (fr. Reincarnations)
G Schirmer
Barber, S
Coolin, The (fr. Reincarnations)
G Schirmer
Barber, S
Mary Hynes (fr. Reincarnations)
G Schirmer
Hallelujah from "The Mount of Olives"
C. Fischer
Berger, Jean
Alleluia from "Brazilian Psalm" (arr: Anderson)
Hal Leonard
**Shepherd's farewell to the Holy Family
EC Schirmer
Biebl, F
Ave Maria (duration: 4' 50")
Billings, W
**Bethlehem & Boston (Christmas anthems)
Bloch, E
Sacred Service (Avodah Hakodesh) (choral score)
Brahms, J.
German Requiem (English)
SATB+soli; p
G Schirmer
Britten, B
Festival Te Deum Op. 32
**Infant Jesus, The (choral sc.; Eng. only)
Lauda Sion salvatorem (2 v, va da g, bc)
4 orch parts
Lauda Sion salvatorem (ed. B Grusnick)
Lauda Sion salvatorem (full score)
Byrd, W
**Day Christ was born, The
Byrd, W
Laudibus in sanctis
Laudate Dominum (ed. Hitchcock; instr. Included)
EB Marks
Diemer, EL
**Christmas carol, A
C. Fischer
Diemer, EL
Dance, dance my heart
C. Fischer
Distler, Hugo
**The Christmas Story (1933; dur: 36 min.)
Eccard, J.
When Mary to the temple went (ed. G. Lynn)
Elgar, E.
Four unaccompanied part songs, Op. 53
Finzi, Gerald
All this night
Finzi, Gerald
God is gone up
Fleming, L, arr.
Every time I think about Jesus
Fleming, L, arr.
Give me Jesus
Handel, GF
Judas Maccabaeus (dur: 130 min.)
G Schirmer
Handel, GF
**Messiah (ed. Watkins Shaw; dur: 135 min.)
Handel, GF
Samson (1742; dur: 85')
G Schirmer
Hanson, H.
Song of Democracy (t: Walt Whitman)
C. Fischer
Holst, G
**Christmas Day (1910) (dur: 6' 30")
Triptych 3V, Op.100 (Jesus Christ is risen today)
Triptych 3III, (Mourn, mourn ye saints)
Howells, H
Magnificat & Nunc Dimittis
Howells, H
**Sing lullaby
EC Schirmer
Howells, H
**A spotless rose
EC Schirmer
Ives, C
Psalm 90
Kirkman, T.
Requiem for the masses, (p, tt, snare dr, incl.)
SATB+3 instr,
Lassus, O
Super flumina Babylonis (ed. M. Martens)
Heilig (Holy, holy, holy) (ed. M Klein)
G Schirmer
Cantate Domino
Morley, T
Fire, fire
G Schirmer
Mozart, WA
Six Italian Songs
SAB+3 clar.
Mozart, WA
Vesperae solennes (bsn, 2tt, 3tbn,4v, 2va, 1dba, tmp)
Mozart, WA
Vesperae solennes (K. 339; dur: 26')
Pachelbel, CT
Magnificat (1736' ed. HT David)
Pachelbel, J
Magnificat in G (ed. W. Rodby)
Roger Dean
Missa brevis
Parker, A., arr.
**Seven Carols
C. Fischer
Pergolesi, G
Magnificat (dur: 25') Lat./Eng.
Pinkham, D
**Christmas cantata (dur: 9' 00"; choral score)
R. King
Pinkham, D
Saints preserve us, The: A comic cantata
EC Schirmer
**Hodie Christus natus est
O God, Thou art my God (Psalm 63)
Te Deum Laudamus & Jubilate Deo
G Schirmer
Ramirez, A
Misa Criolla (Spanish/English)
Rutter, John
O praise the Lord of heaven
Schutz, H
**Christmas Story, The (Eng./Ger.)
G Schirmer
Schütz, H
Die mit tränen säen ( text: Psalm 126)
Telemann, GP
O praise the Lord, all ye nations
Telemann, GP
O praise the Lord, all ye nations
instr. Parts
Thompson, R
Choose something like a star (from Frostiana)
EC Schirmer
Thompson, R
Come in (from Frostiana)
EC Schirmer
Thompson, R
Credo (from Mass of the Holy Spirit)
EC Schirmer
Thompson, R
Fare well (t: W. de la Mare)
EC Schirmer
Thompson, R
Frostiana (five selections)
EC Schirmer
Thompson, R
Girl's garden, A (from Frostiana)
EC Schirmer
Thompson, R
Pasture, The (from Frostiana)
EC Schirmer
Thompson, R
Road not taken, The (from Frostiana)
EC Schirmer
Williams, RV
Come away, death (text: Twelfth Night)
Williams, RV
In Windsor forest (dur: 20-25')
Oxford UP
Williams, RV
O mistress mine (fr. 3 Elizabethan Part Songs)
50 ¢
Williams, RV
Wassail song
Williams, RV
Willow song, The (from Othello)
J Wms Ltd.
Verdi, G
Ave Maria (duration: 4' 30")          
Victoria, TL da
**O magnum mysterium
Victoria, TL da
O vos omnes (ed. Thos. Dunn)
SATB + organ
EC Schirmer
Vivaldi, A
Magnificat (ed. GF Malipiero; RV 610a)
Vivaldi, A
Magnificat (ed. GF Malipiero; full score)
Vivaldi, A
Magnificat (2 ob, 2v, 1va, 1vc, 1dba, 1 org.)
8 instr.
Wagner, D
Blessing, glory, and wisdom
HW Gray
Wagner, G.
**He is born
Saul by George Frideric Handel Dennis Malfatti, %13 %b %2015 %20:%Apr:%th 20AprGMT+0000 University of Evansville, University Choir
And The Evansville Bach Singers and Orchestra,
Dennis Malfatti Conductor
by George Frideric Handel
Saturday, April 18, 2015 at 7:00 PM
Eastminster Presbyterian Church, 5501 Washington Avenue
Evansville, IN
Tickets:  $10.00 
students/children are free
(812) 476-3355

Saul (baritone):  Eric McCluskey
Jonathan (tenor):  Matthew O'Neill
David (mezzo-soprano): Andrea Drury
Merab (soprano):  Lisa Clark
Michal (soprano):  Alanna Keenan
High Priest & Witch of Endor (tenor):  Jeremy Aldridge
Ghost of Samuel (baritone):  Daniel Craig
About Handel's Saul
Described as an “epic work of great and noble drama, and of thrilling musical inventiveness,” Handel’s oratorio Saul draws directly from the Old Testament depicting David’s triumphant victory over Goliath and King Saul’s precipitous fall into murderous jealousy over his young warrior's increasing fame.  Combining the musical techniques, styles, and  dramatic flair of Baroque opera and theater with themes from scripture, Handel’s Saul easily stands on equal footing with his other great oratorio, Messiah.  Stunningly beautiful arias, impassioned dialogue sung as recitative, and triumphant choruses combine with one of Handel's most elaborate orchestrations to create a true masterpiece of sacred musical drama.
About the Evansville Bach Singers:
The Evansville Bach Singers was founded in 2011 by Dennis Malfatti, Director of  Choral Activities at the University of Evansville and Director of Music at  Eastminster Presbyterian Church.  The goal of the ensemble is the exploration and performance of sacred cantatas by J.S. Bach and related works.  Since the group's founding, they have performed under the auspices of Eastminster Presbyterian Church's Christianity and the Arts Endowment.  The choir has also performed at University of Evansville with the UE University Choir.  There are currently twenty two singers in the ensemble who are selected through audition.  Each performance is with full orchestral instrumentation and the group has on occasion performed with period instruments.
About the University of Evansville University Choir:
One of four choirs at the University of Evansville, the University Choir has built a reputation for performances of major choral-orchestral masterworks, a cappella music ranging from the Renaissance through the 21st century, part songs, and spirituals.  In May of 2011, the University Choir joined several other choirs from Indiana, Kentucky, New York, and California to perform Haydn's Paukenmesse at Carnegie Hall in New York with the New England Symphonic Ensemble.   This milestone performance for the choir was conducted by University of Evansville's Director of Choral Activities, Dr. Dennis Malfatti who has led the choral program at UE since 2007.  Dr. Malfatti and the University Choir have been invited back to perform a similar concert in Carnegie Hall in June of 2016. 
In January 2013, the University Choir had the distinct honor of performing by invitation at the Indiana Music Educators Association State Convention in Fort Wayne.  This was the choir’s second appearance in recent years at IMEA having also been invited to perform at the convention in 2010 in Indianapolis.  That same year, the choir had the privilege to perform in a master class with the world renowned vocal sextet, The King’s Singers.  The choir has also been selected repeatedly by the Indiana Choral Directors Association to record the Indiana All-State Choir audition piece for dissemination to high school choral students throughout the state.
Assistant Professor of Choral Music with an Emphasis in Music Education Dianne Bass, %13 %b %2015 %18:%Apr:%th 18AprGMT+0000
The Music Department at Martin Methodist College seeks applications for a full-time, tenure-track position in choral music to begin in the Fall of 2015.  The primary responsibilities include: directing the college choral ensembles; teaching conducting, hymnology and choral literature; recruiting for the choral and vocal areas; and working with the education department on the development of courses for a Baccalaureate degree in Music Education.  Additional duties will be negotiated to fulfill needs within the department and may include courses in music theory, applied lessons, and/or other 100-level courses to non-music majors within the general liberal arts curriculum.  The successful candidate will be expected to develop excellent relationships with the state and local music teachers, and maintain a visible profile by engaging in music education service at local and regional levels.
Minimal Qualifications for this position include: an earned doctorate in Choral Conducting or Choral Music Education required for tenure-track position, ABD with considerable experience in the field considered; evidence of successful teaching experience with students in the pre-college and/or college settings; and experience with both sacred and secular choral literature.  Preference will be given to applicants with a doctorate in choral conducting with secondary work in music education, and significant experience teaching and recruiting at the college and/or high school levels. 
Founded in 1870, Martin Methodist College is a four-year liberal arts college with an enrollment approaching 1200 students. On an historic campus located in Pulaski, Tenn., in the beautiful hills of southern Middle Tennessee, the college is convenient to both Nashville (70 miles to the north) and Huntsville, AL (40 miles to the south).  An All-Steinway Institution, the college has a developing music program with the potential for curricular flexibility and growth. 
Please send a letter of interest, current CV, a statement of teaching philosophy, academic transcripts, and contact information for 3 references (email and phone) to Dr. Melissa Martiros, Chair of the Search Committee, at Candidates may be asked to submit teaching videos at a later date.  Salary is contingent upon the final candidates’ background and experience.  Review of applicants will begin May 8th, 2015 and will continue until the position is filled.
the next Ave verum L Pike, %13 %b %2015 %18:%Apr:%th 18AprGMT+0000,
We sing Ave verum by Mozart, Byrd, Saint-Saens and Stephanie Martin. What Ave verum would you suggest we tackle next? The choir prefers unaccompanied repertoire but it is not mandatory.
Stylistic Singing for Modern Romantic Settings Chris McGonigle, %13 %b %2015 %18:%Apr:%th 18AprGMT+0000,
I'm a conducting student working on a modern romantic piece with a small choir!  I'm curious about stylistic elements of neo-romantic and modern choral singing, particularly when it comes to communication of the text, vocal timbre, and phrasing, and how to incorporate those elements into my conducting to communicate the musical ideas.
The piece I am doing is "If Music Be the Food of Love" by David Dickau, if anyone's interested.
Thank you!
Inexperienced choral director seeks Information Keegan Fike, %13 %b %2015 %16:%Apr:%th 16AprGMT+0000 ChoralNet,
I am a guitar player by trade and am slowly learning the ins and outs of choral direction. My question to the community is what are the most indispensible techniques you use when teaching good vocal technique in a group setting? Any replies would be greatly appreciated. 
Princeton University Choirs and Orchestra present VERDI'S MESSA DA REQUIEM Renata Dworak, %13 %b %2015 %16:%Apr:%th 16AprGMT+0000
For the final full performance of the year, the Glee Club and Trego Singers will combine with the Princeton University Orchestra on Friday, April 24 at 7:30PM and Saturday, April 25 at 7:30PM at Richardson Auditorium in Alexander Hall at Princeton University. Conducted by Maestro Michael Pratt, a performing group of more than 200 musicians will perform Giuseppe Verdi’s monumental Messa da Requiem. Joining the ensembles for this performance as soloists are four emerging young artists making an impact on international opera stages: Tiffany Abban, soprano; Katherine Lerner, mezzo-soprano; Anthony Kalil, tenor; and Wayne Tigges, bass-baritone.

Giuseppe Verdi’s Requiem has been beloved by audiences and performers since its premiere in Milan in 1874. A setting of the Roman Catholic mass for the dead, the work explores the full range of human emotions in a style as dramatic as any of Verdi’s operas, blending virtuosic arias and ensembles with towering choral movements. Speaking about the program Maestro Pratt says: “There is no more dramatic work in the entire canon of Western music, and no more vivid setting of the Requiem text. Often referred to as ‘Verdi's greatest opera’ the Requiem is a thrilling—and sometime close to terrifying—experience that our students and their audience will long remember.” Gabriel Crouch says: “The Requiem is a riveting performance experience for both orchestra and chorus and a wonderful opportunity to showcase the immense talent of our student performers.” Glee Club alumni will augment the ranks of the choir, in addition to members of several local ensembles including the Princeton University Chamber Choir and the Kinnara Ensemble. Additionally, this performance marks the first full concert appearance of the William Trego Singers - our newest choral ensemble at Princeton, directed by Renata Dworak, and named after the beloved former director of the Freshman Singers and Glee Club at Princeton University. 

Tickets are just $15 general, $5 students. Purchase tickets for April 24th; Purchase tickets for April 25th
Bass Section Leader Vernon Williams, %13 %b %2015 %15:%Apr:%th 15AprGMT+0000
Trinity Episcopal Church in Moorestown, New Jersey seeks a bass-baritone section leader to start in September 2015. Moorestown is easily accessible from Philadelphia and Princeton.
Rehearsals on Thursday evenings (7:30-9:30). Two Sunday services, one with the parish choir and the second with the quartet serving as the choir. $150 per week. Additional well-paid services throughout the season, including Evensongs, Lessons & Carols, Christmas, Holy Week and spring concert with orchestra. Two Evensongs per season with professional chamber choir. Season runs from September through mid-June.
The choirs sing varied, high-quality repertoire of all periods. Section leaders need excellent sight-reading skills, should be comfortable in a well-blended choir and ideally will have a good feel for early music.
Vernon Williams
Tenors and basses wanted! Summer singing in Provence Kate Cobb, %13 %b %2015 %15:%Apr:%th 15AprGMT+0000 invite you to join a group of singers for a week (eight nights) of intensive choral study, involving a challenging a cappella repertoire.  
Led by Errol Girdlestone, international conductor and choirmaster, and founder member of the Hilliard, we rehearse for up to six hours a day and perform a concert at the end of the week. We are based in the beautiful Luberon region of the south of France (nearest airport Avignon).
We are especially looking  for TENORS AND BASSES as the places for sopranos and altos are now full.  The week is appropriate for experienced choral singers with good sight-reading ability, as well as experienced singers who are able to do their own prior preparation. 
Dates: 8th/16th August 2015
Ensemble Repertoire for 2015:  Frank Martin - Songs of Ariel, Vaughan Williams - Shakespeare Songs, Thomas Tallis - Laudate Dominum omnes gentes & In jejunio et fletu and  John Sheppard - Filiae Hierusalem. 
Cost :270euros (about $335) which includes all tuition. Accommodation can be arranged at the 3* Hotel Notre-Dame de Lumières, a former 17th century convent which has a private pool and all rooms are en-suite and air-conditioned. We rehearse in the hotel’s octagonal chapel each day. Hotel costs vary depending on double or single rooms but dinner, bed & breakfast in a shared room will cost 613.50 euros (about $760) euros per person.  Gourmet dinner guaranteed! If you prefer you can arrange your own accommodation in the area. Non-singing partners are very welcome.
For details please consult our website  
Here's what singers in past years have said in answer to the question, What made you decide to come to this event?:
"Singing with Errol, his choice of music, Provence, good wine and food, warm weather, the high probability that I would enjoy the company of the singers you had invited. The week was good fun, musically challenging (but I expected that!) and it lived up to expectations."   
"I think first and foremost is the chance to sing under Errol’s direction. In my mind he is one of the best choral directors not least because he is a singer himself.  I like the way Errol demands nothing less than the best we can offer but helps the choir enormously to find how to give their best and always with that winning smile".
"I have come away from both years doing this, feeling I have learned more about my own singing, strengths, weaknesses etc. Key elements- a good friendly group, absence of competiveness, so a reasonably similar standard and the immense amount of effective hard work by all the team to make everyone feel welcome and important. Thank you! " 
Places are limited so please don't delay in contacting us!
New Exclusive Pop Choral Editions at Musicnotes Jonathan Miller, %13 %b %2015 %14:%Apr:%th 14AprGMT+0000
Have you been wondering when you’ll be able to buy choral versions of “Uptown Funk,” "Sugar," “Chandelier,” “Geronimo,” “FourFiveSeconds,” and more?
Look no further than here:
I’m pleased to announce a new series of exclusive pop-choral arrangements that we’ve created at Musicnotes. These are brand-new, highly singable choral versions of the hottest pop tunes of early 2015, set by skilled and experienced choral arrangers, and authorized by the publishers. Use them in your spring concerts, your summer showcases, any time you want. These pop choral arrangements are available only at
Read the blog and hear sound clips at
These arrangement are closely modeled on the recorded versions that millions of people know and love. Visit us at, and get your choir singing through these at your next rehearsal.
Henry Purcell's DIDO & AENEAS Linda Price, %13 %b %2015 %06:%Apr:%th 6AprGMT+0000
Marin Baroque Chamber Choir and period instrument Orchestra, Music Director Daniel Canosa, and Stage Director Marla Volovna take us on the enchanting musical journey of Henry Purcell’s English opera Dido & Aeneas. We are joined by the San Francisco Renaissance Dancers, directed by Jennifer Meller. Our orchestra includes Sara Usher on violin, Meg Eldridge on viola, Farley Pearce on cello, and Katherine Heater on harpsichord.
Thrill to the dramatic story of lovers found and lost. The Trojan prince, Aeneas, is shipwrecked in Carthage where he and Queen Dido fall madly in love but, alas, evil witches plot against them.
Dido - Christa Pfeiffer
Aeneas - Mark Bonney
Belinda - Rosemary Beecher Bryant
The performances will take place at 8 PM on Friday June 26th and Saturday June 27th at First Presbyterian Church San Anselmo, 72 Kensington Rd, 94960. The setting is our outdoor courtyard theater, the perfect place for an intimate, magical theater experience! (Reminder: San Anselmo evenings can be cool so please dress accordingly.)
Tickets: $35 general, $30 Seniors/Students, $5, children 10 and under, available at BrownPaperTickets.
Or call 415-497-6634
Recording 3rd grade choir audition for music conference audition Matthew Jenkins, %13 %b %2015 %14:%Apr:%th 14AprGMT+0000 will be recording 3rd grade students to create a CD to submit for an application to perform at our state music educators conference.  The recording will be done in the music room at my school which is a bit larger than a standard elementary classroom.  It is carpeted and has a sloped ceiling with typical ceiling tiles.  The walls are cinder block.  The piano accompaniment will be played on a Clavinova.  I have a parent who has equipment and experience making audio recordings, but not with children's voices.  Any advice/suggestions would be much appreciated. ]]>Down To The River To Pray-Conducting Pattern Rosalind Goodrich, %13 %b %2015 %03:%Apr:%th 3AprGMT+0000 choral conductors! I am currently studing at the University of Southern Maine and was assigned the task of conducting a group in singing Down to the River to Pray arranged by Philipi Lawson. There is a group of three students conducting the piece but we are divided on how to conduct it. I feel it more in two, another memeber in one, and another who is inbetween both options and thought it should be more free form. Any advice as to what may work best? Thanks! ]]>Physical Warm-ups Adam Burdick, %13 %b %2015 %02:%Apr:%th 2AprGMT+0000
I would like the list’s help on brainstorming ideas for physical warm-ups for my choirs. I have several different venues where I’d like to use them, including college-age and senior singers. Here are some thoughts about I would find most useful:
- Not too long (5 minutes?)
- Musical in nature
- Tied into vocal technique (breathing, alignment, etc.)
- Tied into any of the following: tai chi, chi kung, other martial arts, dance, Dalcroze, Laban, Alexander, Bodymapping, Brain Dance. (Other modalities you recommend?)
- Educational about the body and anatomy
- Able to be done in spite of fixed seating (one of my groups rehearses in a lecture hall)
- Some suitable for seated participation
- Some with sensitivity to aging bodies (pain, lack of mobility and flexibility)
- Lends itself to students leading
- Tied into musical accompaniment? (I’ve had mixed results trying this, and haven’t been comfortable with it yet.)
As you might imagine, I’ve experimented with many different sorts of warm-ups over the years, but I still find it harder to keep things new (and the brains engaged) as the quarter goes on. I’m not expecting that your ideas would fit all of these criteria (!), but perhaps my thoughts will spur some suggestions…
2015 Conference Recordings Available Scott Dorsey, %06 %b %2015 %14:%Mar:%th 14MarGMT+0000
As anyone who was present in the halls can attest, the concerts offered during the 2015 ACDA national conference were nothing short of stupendous.
You can relive those brilliant performances – or hear them for the first time – on CD or DVD.  ACDA’s recording partner, Soundwaves, has recorded the concerts on both audio and video.
ORDER your copies today
Conference Morsel: Hottest New Composers Scott Dorsey, %06 %b %2015 %15:%Mar:%th 15MarGMT+0000
(An excerpt from the interest session “Thirty-Something: New Choral Music from Today’s Hottest Young Composers,” presented by Dominick DiOrio during the 2015 ACDA National Conference.)
       New choral music is flowing in many directions these days, with composers borrowing influences from popular music, early music, and folk traditions. This is in no way more clear than in Caroline Shaw's Pulitzer Prize-winning score Partita for 8 voices -- a monumental work that was created over four years while Caroline was singing with the octet Roomful of Teeth and Brad Wells. The Passacaglia from Partita exemplifies all of these things: the influences of the Baroque suite (and Caroline's experience as a violinist playing in string quartets); the colors and inflections of indigenous vocal cultures; and the flexibility and unrestrained vocalism of popular music.
       These trends can be seen in the works of other young composers too. Ted Hearne's rhythmic pulsation and forward motion in his Mass for St. Mary's remind us of rock music, while Jocelyn Hagen's soft blink of amber light washes over us in waves of contemporary color. The music of Michael Gilbertson and Zachary Wadsworth borrows influence from Dowland and Byrd respectively, while my work O Virtus Sapientiae actively quotes a chant of Hildegard, set against original music of my own design.
       Vocal music is moving in many directions, and the definition of a "chorus" is no longer quite as fixed as it once was. The new repertoire by these composers--and so many others--is launching us into a new era of choral composition, where the 24-voice professional chamber chorus is the ensemble par excellence by which all others will be measured.
(Make plans now to attend your 2016 ACDA Divisional Conference!)
Meet the ICEP Conductors: Nelson & Winberg Scott Dorsey, %16 %b %2015 %21:%Jan:%th 21JanGMT+0000
Here are two of the choral conductors who have been selected to participate in the 2015 ACDA International Conductors Exchange Program (ICEP).
If you are interested in learning more about the International Conductors Exchange Program or how to become involved with the conductor exchange in 2015, please contact your ICEP division liaison. Please consider joining our ICEP Group on Facebook or the ICEP Choralnet Community for the latest news and information about the upcoming exchange with South America in 2016 and South Korea in 2017.
Monday Motivation: Start Paddling Scott Dorsey, %26 %b %2015 %15:%Mar:%th 15MarGMT+0000 ]]>Celebrate! Puccini & Beethoven - Choral Art Society of the South Shore Spring Concert Marie Schlag, %13 %b %2015 %00:%Apr:%th 0AprGMT+0000
Choral Art Society of the South Shore, now in its 56th season, will present its spring concert, Celebration! Puccini and Beethoven, at 4pm, on Sunday, May 3, 2015, at the Scituate High School Auditorium, 606 Chief Justice Cushing Highway, Scituate.
Danica A. Buckley, Artistic Director and Conductor, is celebrating her 10th year with Choral Art Society of the South Shore. Following the concert there will be a celebratory reception to which all are invited.
The program includes Puccini’s Messa a 4 Voci con Orchestra and Beethoven’s Choral Fantasy, featuring pianist Sarah Tocco. The guest soloists, all young professional opera singers with careers in Boston and beyond, include Amal El- Shrafi, soprano, Oriana Dunlop, mezzo soprano, Omar Najmi, tenor, and Justin Hicks, bass. Baritone soloist Paul Frazer of Kingston, is a long time member of the chorus.
Accompanying the chorus will be the Choral Art Society Orchestra, made up of professionals from Boston, New Hampshire, and the South Shore, including Scituate High School’s Director of Instrumental Music, Sally Tucker, Flute and Steve Biagini, French Horn, Director of Instrumental Music, Deer Hill School, Cohasset.
Proceeds from each concert help fund the William T. Adams memorial scholarship, awarded each year by Choral Art Society to a high school senior from the South Shore who is going to college to major in music.  In other community service, we provide outreach singing to nursing homes and hospitals.
Tickets are $20 for general admission and $18 for seniors and students. Tickets may be purchased at, Buttonwood Books in Cohasset, and at the door.  
For more information on these concerts or any of our other activities, call 781-500-0021 or go to LIKE us on Facebook!
Creativity, Inspiration, Joy, and Service through the Performance of Choral Music
Alexander Ruggieri Memorial Music Scholarship Seeks Applicants and Donors (Southern California) Christine Maddox, %12 %b %2015 %23:%Apr:%th 23AprGMT+0000
Alexander Ruggieri Memorial Music Scholarship Seeks Applicants and Donors for Third Annual Award
The Ruggieri Scholarship Committee, under the fiscal sponsorship of the San Gabriel Valley Choral Company (SGVCC), is looking forward to awarding the third annual Alexander Ruggieri Memorial Music Scholarship this spring.  This award was established to honor Mr. Ruggieri—conductor, composer, and vocalist—who contributed so much to Southern California’s musical culture before his passing in 2012.
This $250 scholarship will be awarded to a college undergraduate music student who lives in and/or attends school in Southern California.  Please note that high school seniors are also eligible to apply if they intend to enter college in the fall of 2015.  In addition, vocal musicians who are also composers are welcome to apply and submit a manuscript.  Applications will be accepted through April 24.
To obtain an application, please contact the Ruggieri Scholarship Committee at or 626-579-2433.  Information for donating to the scholarship fund is provided, below.
Since the fund was established, four scholarships have been awarded to students from Glen A Wilson High School (followed by the Berklee College of Music), California State University Long Beach (two winners), and Glendale Community College. 
At the time of his passing, Alexander Ruggieri (1952-2012) was the Music Director of the famed Gilbert and Sullivan repertory company Opera A La Carte, the University Campus Choir in Westwood, and the San Gabriel Valley Choral Company.  For five years he was the Artistic Director of the Los Angeles Bach Festival and for seventeen years he was Artistic Director of the Cambridge Singers. He frequently did Russian language coaching for, and occasionally sang with, the Los Angeles Master Chorale. He conducted numerous church choirs in the Los Angeles area, Wichita Falls, TX, and Detroit, MI, over his extensive career.  Mr. Ruggieri’s composition, Madrigals, was awarded first prize in the South Bay Master Chorale’s National Composition Competition in 1998. In 1995, he appeared along with his ensemble, The Cambridge Singers, and the Mormon Tabernacle Choir on the nationally broadcast program Music and the Spoken Word. He was also a noted expert on Russian sacred music.
Donations to the fund can be made online or by check.  Checks should be made out to “San Gabriel Valley Choral Company” and mailed to SGVCC, Attn: Scholarship, 101 E. Foothill Blvd., Monrovia, CA 91016.  If you’d like to make an online donation, please click on the following link:
Note that you do not have to have a PayPal account.  The lower left portion of the screen shows a link to pay by credit card.  Please use the “Special Instructions to the Seller” function on the final page to enter “Scholarship.”
We look forward to being able to support more young, talented musicians. 
Thank you for your consideration,
Ruggieri Scholarship Committee
Songs of Magical Creatures alex murchie, %12 %b %2015 %21:%Apr:%th 21AprGMT+0000
Newcastle upon Tyne Bach Choir, conducted by Eric Cross, presents a concert of English music including a World Premiere by Will Todd. This concert is part of the celebration of the choir's centenary.
Saturday June 13th 7.30 pm.
King’s Hall, Newcastle University, Newcastle upon Tyne, UK.

Will Todd – Songs of Magical Creatures (World Premiere),
Bliss – Pastoral,
Holst – Hymn of Jesus,
Vaughan Williams – Lord, Thou has been our refuge,
Elgar – Elegy.
Nancy Telfer "Successful Warm Ups" Singer Editions Sarah Kavanagh, %12 %b %2015 %17:%Apr:%th 17AprGMT+0000 music department is selling 58 copies of Nancy Telfer's "Successful Warm Ups, Book 1" and 57 copies of "Successful Warm Ups, Book 2". All copies are singer editions. 10 of them are still in plastic and have never been used.
$3.50 ea. or $375 for all
***We will pay shipping within the United States!
CELEBRATING AMERICA Irene Perrella, %12 %b %2015 %16:%Apr:%th 16AprGMT+0000 Rockland County Choral Society presents “CELEBRATING AMERICA”, music by Randall Thompson, Aaron Copland and Rodgers and Hammerstein, conducted by Philip Hagemann.  Join us Saturday, May 9, 2015 at 8:00  pm at Living Christ Church in South Nyack, NY.  $20/ $15 seniors and students. For tickets and information visit our website:
Program:   Ode to the Virgina Voyage by Randall Thompson
                 Songs from Aaron Copland's arrangements of Old American Songs
                 Medley from "Oklahoma" by Rodgers and Hammerstein
The Lightning Bug Mass Robin Randall, %12 %b %2015 %00:%Apr:%th 0AprGMT+0000 I am trying to track down where I could possibly purchase the music for Ji-Hoon Park's composition of The Lightning Bug Mass.
Is anyone able to help please?
Children’s Choir teacher positions at the Irvine School of Music Cameron Tong, %12 %b %2015 %03:%Apr:%th 3AprGMT+0000
We are actively looking for qualified, experienced, and passionate vocal teachers to teach our children’s choir classes. Our Children's Choir teaching position is a part time position, and we are interviewing for immediate hire and training.
Our current choir classes are offered on Tuesdays, Thursdays, and Fridays, and are comprised of the following classes: Pre choir for ages 4-5; Jr. Choir for ages 5-7; Glee Choir for ages 8-11; Advanced Glee for ages 12+
About the ISM choir classes:
Our choir program teaches vocal basics in a fun group setting. Students learn proper warm-up and breathing exercises, and an introduction to musicianship, including simple sight-singing, rhythm games, and simple harmony. The choir works on a wide range of musical styles from contemporary Disney and Glee songs to Christmas classics and historical folk songs. Movement, games, and basic choreography add to this fun-oriented program. The choir teacher leads the children in two choir concerts a year, and community performances including our engagements at the Irvine City hall.
Our teaching hours at ISM are: M-F 2-9 PM, Sat 9 AM - 4 PM, Sun 9 AM - 2 PM
Job Description:
The incoming choir teachers don't need to have the exact availability of our current choir classes as we can reschedule the choir classes for the right teachers and their weekly commitment to our school. During teaching days, we'd fill in other times with private students to make it worthwhile for the choir teachers to come to teach for us. The teachers should be comfortable working with young children in a group setting and have great classroom management skills.
The choir teachers should fulfill the following requirements:
- be able to demonstrate great classroom management skills that are essential to teaching children in group settings; our motto is "fun but firm."
- be willing to commute to Irvine weekly
- be comfortable and happy working with kids age 4+ if teaching pre-choir
- be able to communicate class expectations to parents and students with confidence and friendly authority
- have experience teaching choir, including having a knowledge of developmentally appropriate repertoire for this age group and how to teach it (ranging from historical, to classical, to pop)
- be personable and warm
- be willing to plan lessons that include singing and movement games for the younger kids
- can lead and conduct the kids during occasional community performances and recitals outside of class time
- can add basic choreography to enhance the singing experience for choir singers
- have degree in music or in progress
- pay is DOE and competitive
We offer the following curriculum support to facilitate choir teaching:
  • library of sheet music and tracks for practice
  • live accompanist for concerts
  • solfege book, curriculum, and flashcards for for sight singing and dictation
  • recommendation forms for moving into the next level of choir
  • mic's for student solo's
  • lesson plan templates
  • choir medal level program to help students track progress from year to year
  • calendar of dates and rehearsals for school performances and city hall performances planned one year out
  • Further training and guidance will be provided by our current teacher
For further information about teaching positions with us, please see:
To apply:
Please submit your resume to
Please also call the following number and leave your answers after the prompt: 949-229-2362
In your email include your favorite book, favorite restaurant, and favorite musical artist
Thank you,
Cameron Tong
ISM Director
Composition Spotlight: Agnus Dei De Profundis Scott Dorsey, %08 %b %2013 %19:%Jan:%th 19JanGMT+0000
(Each week we look at a piece of useful repertoire from the ChoralNet Community Composition Showcase.  A variety of voicings and levels of difficulty will be presented.  Enjoy!)
Agnus Dei De Profundis by Mårten Jansson SSAA with Organ and Strings (click for PDF and Audio)
Level: College or higher
Uses: Lenten Service or Concert, Masterworks Concert
Program Themes: Songs of Pain and Suffering, Supplication
This Piece Would Program Well WithLacrimosa from Requiem by W.A.Mozart available from JWPepper or Sheet Music Plus.
Out of the depths this piece cries out to Thee O Lord!  The opening soprano solo tears at the heavens with pain and supplication.   Goose bumps will be crawling across the collective skin of your audience.   
With altos down to a low Eb and the soprano soloist up to high C this requires some well-trained resources. 
This work is offered free of charge as are many works in the Composition Showcase
Agnus Dei and the De Profundis Mass it is excerpted from are both available from the composer's website:
(Original publication: January 13, 2013)
Sunday Inspiration: Near the Cross (Gospel) Scott Dorsey, %19 %b %2015 %19:%Feb:%th 19FebGMT+0000
Bellevue Chamber Chorus Annual Fundraising Event "Sipping and Song" James McTernan, %12 %b %2015 %00:%Apr:%th 0AprGMT+0000
Saturday, April 25, 2015, 7:00pm - 10:00pm
Enjoy an evening of rustic elegance at Bellevue Chamber Chorus's annual fundraising event, "Sipping and Song"! Start your evening with a generous glass of Matthews' gold award-winning wine complemented by an array of hors d'oeuvres and desserts. Enjoy live choral music performed by Bellevue Chamber Chorus and rousing instrumentals. Join the Silent Auction which includes several luxurious gift baskets and a variety of items. Tickets are $50, call (425) 881-0445 or go online to reserve your ticket today!
Matthews Winery
16116 140th Place NE
Woodinville, WA 98072
(425) 487-9810
Regarding Performing at a regional convention Stephania Abell, %11 %b %2015 %22:%Apr:%th 22AprGMT+0000 have been at my current position for over three years (7) but have a new co-teacher who at the end of this year has been there for just two.  We are considering applying to perform at the regional convention, and if we are fortunate enough to be selected, I want to make sure that he would be able to conduct as well as me.  Anyone know the answer to this? ]]>Douglas Knehans—Lux Dei, New Music for Choir Douglas Knehans, %11 %b %2015 %21:%Apr:%th 21AprGMT+0000
A new CD of sacred works for a cappella mixed choir except for the powerful Missa Brevis that includes organ. Not the usual 'new music' for choir. The disc can be auditoned and purchased from the Douglas Knehans website as well as and other outlets.
Critics have called Knehans' music "wildly inventive" (Miami Herald) and "hauntingly beautiful" (Fanfare Magazine).
You may also purchase scores and choirpacks of scores of all of the music on this disc from the Douglas Knehans website:
Eastman School of Music Choral Concert David Hahn, %11 %b %2015 %21:%Apr:%th 21AprGMT+0000 join us at the Eastman School of Music on Friday, April 17 at 8pm — Kilbourn Hall to hear the Repertory Singers and Women's Chorus perform an eclectic array of choral music. 
Repertory Singers are featuring Stravinsky's Mass and other works by David Fryling, Ola Gjeilo, Johannes Brahms, György Orbán, and Stephen Paulus. 
Repertory Singers is conducted by David Chin and David Hahn, graduate students in conducting at the Eastman School of Music.

The Eastman/UR Women's Chorus is performing a special concert "Voices of Women" featuring works by Francesca Caccini, Chen Yi, Chris Lastovicka, and Moira Smiley. This concert will also include the world premiere of "Ryan Songs" by composer Chris Lastovicka who will be present for this performance.

Women's Chorus will be conducted by Philip Silvey, Kari Francis, and Sanders Lau.
What's on Great Sacred Music, Sunday, April 12, 2015 Robert Kennedy, %11 %b %2015 %20:%Apr:%th 20AprGMT+0000
In case you cannot hear the show live, the playlist is on Spotify
for you to enjoy: GSM - Sunday, April 12, 2015
Don't forget that we have more choral and organ music programmed
on Sunday evenings beginning at 10 p.m. eastern.
Rob Kennedy
Great Sacred Music
The Classical Station
To subscribe to my weekly playlist emailing:  send your email
address to
Thomas Tallis: Audivi vocem
Theatre of Voices, Paul Hillier
Anton Bruckner: Christus factus est pro nobis
Vienna Boys' Choir; Chorus Viennensis, Peter Marschik
Jean-Yves Daniel-Lesur: In Paradisum
Andrew Scanlon, organ
C.B. Fisk organ Op. 126, 2005, St. Paul's Episcopal Church, Greenville, NC
Paul Hillier is one of our most distinguished choral directors. He founded Theatre of Voices in 1990.
We have two Bruckner motets on the playlist this morning. These choral miniatures show the symphonic
master's genius with small forms. Massachusetts native Dr. Andrew Scanlon has on the keyboard faculty
of East Carolina University since 2009. He is also the Organist and Director of Music at St. Paul's Episcopal
Church, Greenville, North Carolina. 
Anton Bruckner: Tota pulchra es Maria
Dresden Choir of the Cross, Martin Flamig
Armin Ude, tenor
Josef Haydn: Kyrie ~ Lord Nelson Mass
Hungarian Radio TV Chorus and Orchestra; Esterhazy Sinfonia, Bela Drahos
J.S. Bach: Trio on Herr Jesu Christ dich zu uns wend, BWV 655
Hans Fagius, organ
1724 Cahman organ in the Kristine Church, Falun, Sweden
Haydn wrote his Lord Nelson Mass in 1798 making it one of six masses which
he wrote towards the end of his life. Bach's organ trios consist of three strands
of music with two parts played on the organ manuals and the third part played
by the feet on the pedal board. It is akin to walking a tight rope.
Herbert Howells: Salve Regina
Choir of Trinity College, Cambridge, Stephen Layton
Arvo Part: Peace upon you, Jerusalem
Ars Nova Copenhagen, Paul Hillier
Joseph Gabriel Rheinberger: Intermezzo ~ Organ Sonata No. 4 in A minor, Op. 98
Scott Dettra, organ
1996 Schoenstein Organ in St. Paul's Parish, K Street, Washington, DC
Salve Regina is a work Howells composed in 1915. It is scored for SSATBB choir.
The Estonian TV Girls Choir premiered Arvo Part's Peace upon you, Jerusalem in
New York in 2003. Josef Rheinberger (1839-1901) taught several musicians including
Boston composer Horatio Parker and conductor Wilhelm Furtwangler.
John Tomkins: Cantate Domino
Quire Cleveland, Ross W. Duffin
Philip Stopford: If Ye Love Me
Utah State University Chamber Singers, Cory Evans
Daniel E. Gawthrop: Chorale
Mary Mozelle, organ
Mander organ in the Princeton University Chapel
English composer John Tomkins was the half-brother of the more famous
Thomas Tomkins and Organist of St. Paul's Cathedral, London from 1621-1624.
English composer Philip Stopford (1977-) is also director of the vocal ensemble
Ecclesium. Daniel Gawthrop is an American composer of choral and organ music.
J.S. Bach: Cantata 67, "Halt im Gedachtnis Jesum Christ"
Holland Boys' Choir; Netherlands Bach Collegium, Pieter Jan Leusink
Ruth Holton, soprano; Sytse Buwalde, alto;
Knut Schoch, tenor; Bas Ramselaar, bass
The German translates as "Hold in remembrance Jesus Christ". Bach continues
the celebratory mood of Easter with this short cantata first performed in Leipzig on April 16, 1724. 
Alessandro Scarlatti: Salve Regina
Montreal Sinfonietta, Charles Dutoit
June Anderson, soprano; Cecilia Bartoli, mezzo-soprano
Alessandro Scarlatti (1660-1725) is known more for his operas than his sacred music.
In fact one commentator referred to Scarlatti's sacred music as 'comparatively unimportant'.
I believe that his setting of Salve Regina refutes that general statement.
Giovanni Pierluigi da Palestrina: Missa Nasce la gioja mia
Tallis Scholars, Peter Phillips
Palestrina's works comprise some 32 volumes in the Breitkopf edition.
Of the over 104 masses he wrote 53 of them are written in the parody style.
Missa Nasce la gioja mia is based on a secular madrigal by Giovan Leonardo Primavera.
Ernest Bloch: Sacred Service
London Philharmonic Choir and Orchestra, Ernest Bloch
Marko Rothmuller, bass-baritone; Dorothy Bond, soprano;
Doris Cowan, contralto
We mark the conclusion of Pesach on April 11 with a performance
from 1950 of Ernest Bloch's moving "Sacred Service" conducted by
the composer.
Anonymous: Magnificat in D
Kenneth Gilbert, organ
This anonymous Magnificat was discovered in Le Livre d'orgue de Montreal
hich is an 18th manuscript brought over from France to Montreal in 1724 by
Jean Girard, a Sulpician monk.
choral version of Torme's "Christmas Song"? Kevin Kelly, %11 %b %2015 %19:%Apr:%th 19AprGMT+0000's maddening when publishers don't provide sample pages and/or audio samples of their publications!
I'm looking for an SATB arrangement of Torme's "Christmas Song," a cappella.   On the Sheetmusicplus site I found one by Kirby Shaw and one by Paris Rutherford, for which samples were included - but there were a lot of other arrangements without samples, and so I can't make a judgement.
Anybody out there have a recommendation?
Looking for SATB, Clarinet, Cello Stephania Abell, %11 %b %2015 %15:%Apr:%th 15AprGMT+0000, ACDA.  Our Band Director will likely be retiring after next year and I would love to have our choir do a piece with him along with our string teacher who plays cello.  Our top choir is fairly advanced, and the band director is an EXCELLENT clarinetist.  String teacher is also very adept at the cello.  I could swear there is a Clausen piece for SATB, cello, and clarinet, but can't remember what the heck it is.  But I digress...
If you have some suggestions, please list them here.  Other instruments in addition to those would be OK in small numbers, as we have excellent HS string and wind players.  Looking for a tear jerker, but I'd take a 'jump out of your seat' piece, too.  Thank you in advance!
ACDA Salutes: Helen Hosmer Scott Dorsey, %08 %b %2015 %15:%Jan:%th 15JanGMT+0000
This is just one of the 74 choral conductors on the ACDA Wall of Honor. LEARN MORE about the Wall of Honor and MEET ALL of the award recipients.
Latin American Symposium Schedule Available Scott Dorsey, %23 %b %2015 %14:%Mar:%rd 14MarGMT+0000 schedule for the Second National Symposium on American Choral Music: Searching for a Latin American Choral Musical Style has been released.
DOWNLOAD the schedule or LEARN MORE about the Symposium today.
Saturday Respite: Play Ball! Scott Dorsey, %07 %b %2015 %14:%Apr:%th 14AprGMT+0000
Baseball season has begun, which means summer can’t be far behind.  While you enjoy this classic cartoon, I’m heading to the ballpark!
Resident Conductor, Radcliffe Choral Society, Harvard University Andrew Clark, %10 %b %2015 %22:%Apr:%th 22AprGMT+0000 Conductor, Radcliffe Choral Society (RCS), the Harvard women's choir
A post-graduate fellowship of the Harvard College Choral Program and Office for the Arts
The Resident Conductor will assist the Director of Choral Activities (the conductor of RCS) in leading rehearsals, concert planning, auditions, and artistic leadership of performance projects and tours as assigned. The Resident Conductor will coordinate artist residencies, outreach projects, provide production support for recording projects, and mentor student-led subset ensembles. In addition to artistic tasks, the conductor will offer significant administrative support for the Harvard Choral Program and work closely with the student leadership of RCS. Other roles include preparing performance materials (translations, notes, orchestral parts), reviewing recordings for admissions applications, and collaborating with the alumnae and the Radcliffe Choral Society Foundation as needed. 

In specific: 

•Lead rehearsals, auditions, concerts, and tours as assigned by Director of Choral Activities; 
•Work closely with student leadership in weekly meetings to facilitate organizational task management and project development and implementation; 
•Assist in concert planning and repertoire selection; 
•Coordinate and oversee outreach projects, festivals, and artist residencies; 
•Coach and mentor student-led ensembles and work closely with student management; 
•Provide administrative support, concert notes and translations, review applicant recordings, and meet with prospective students.
Basic Qualifications: MM in choral conducting
Additional Qualifications: Two years of professional experience preferred. Experience in managing administration for choral ensembles, including concert production, tour planning, and community partnerships and outreach. Skill in teaching foreign language diction for singers. Prociency in Microsoft Office Suite, Google Docs, and Social Media (including Twitter, Facebook, Instagram). Ability to work closely with the Director of Choral Activities, student leaders, alumni/ae, and professional colleagues associated with the Choral Program and the Office for the Arts on a team basis.
Half-time appointment for 1 year, beginning July 1, 2015, with possibility of renewal. Includes full university benefits, including health insurance and Tuition Assistance Program.
Visit this website to apply. 
To learn more about the Radcliffe Choral Society, visit
For more information about the Harvard Choral Program, visit
Concert Countdown Breakdown Angie Willenborg, %10 %b %2015 %19:%Apr:%th 19AprGMT+0000
Hello all! This is my 5th year of teaching and the first time I've had choir EVERY DAY!! I was wondering about what your rehearsals looked like a few weeks before your concert? For instance, 4 weeks before the concert, what specific things to work on? 3 weeks before the concert? 2 weeks, etc.? The last week before the concert?
I have a high school concert and middle school choir (5/6 grade choir and 7/8 grade choir) coming up in a little over 3 weeks. I am almost afraid of burnout on the songs if I keep going over the same things. So, how do you keep things new and fresh, but still trying to drill these songs to perfection?
Thank you!
Full Time Elementary Music Teacher for next fall Bette Weir, %10 %b %2015 %18:%Apr:%th 18AprGMT+0000 for posting for full time Elementary Music position at Henderson Elementary School, Henderson, CO.  Orff training preferred.  In a fast growing area near the Denver International Airport. ]]>Full time High School Choral Director Brighton Colorado Bette Weir, %10 %b %2015 %18:%Apr:%th 18AprGMT+0000 for the job posting for a full time choral position at Brighton High School, Brighton Colorado.  Posting will close soon.   Established traditional program.  Growing community. ]]>Perform and/or present at Podium 2016! Irene Apanovitch, %10 %b %2015 %17:%Apr:%th 17AprGMT+0000
Igniting ideas. Sharing voices.
19-22 May 2016 | Edmonton, AB
The Podium 2016 Conference & Festival Committee invites the submission of applications for choral performance and proposals for the presentation of interest sessions and lecture recitals.
The Podium Festival includes 15 concerts that showcase the diversity of choral music in Canada and beyond.  Within the festival are 3 concert series – the World Music series, the Made In Alberta series, and Podium Late Night which will feature contemporary choral music including vocal jazz and a cappella pop.  The Podium Festival will also feature many concerts outside of these series, and choirs of all ages performing choral music in any genre are encouraged to apply.
In addition to being featured in a Podium Festival concert, invited choirs may perform in one or more school concerts, in pop-up performances in and around the City of Edmonton, and in sharing concerts with other choirs attending Podium.  Invited choirs will receive discounted tickets or festival passes.
The deadline to apply for choral performance at Podium is 15 May 2015.
Interest sessions and lecture recital proposals are invited on a range of topics including conducting technique, choral/vocal music education, choral repertoire, performance, composition, arts administration, and use of technology. Sessions exploring innovation and/or best practice are highly encouraged.
The deadline to submit proposals for interest sessions and lecture recitals is 15 May 2015.
Call For Interest Sessions
Application for Choral Performance
Please feel free to contact us at or 1-855-723-6397 with questions or for more information.
​We look forward to receiving your application and seeing you at Podium 2016 in Edmonton!
summer workshop in Italy -Musica e parole- lorenzo Cipriani, %10 %b %2015 %16:%Apr:%th 16AprGMT+0000

CENTRO INTERNAZIONALE DI STUDI ITALIANI Summer vocal Course for Solo and Choral Singers« PAROLE e MUSICA » August 17 – 26, 2015application deadline : 30 june, 2015

For the secon year the University of Genua (Italy) offers a ten days camp aimed at learning, improving and performing italian language and vocal music. There will be opportunities for singers, chorus members and both for those with and without formal training. Two projects will run side by side ; one to stage a choice of solo arias from operas, oratorios or chamber music and the second to italian choir music selected from XIV to XIX centuries. Instruction will focus on the core fundamentals of singing in italian, breathing, prononciation and diction. The course will take place at the lovely Santa Margherita Ligure, inside the Tigullio bay and is suited to all ages. There is no need to audition. Places will be limited(only 24 participants admitted) so register early to be sure of your place; the course, hosted at the historic villa Durazzo (XVIth) will culminate in a choral concert, free, at 9pm on Wednesday August 26 at villa Durazzo. Choir conductor : Lorenzo Cipriani  ~ vocal technique: Timéa Bata

Day Schedule :

Classes taking place at the magnificent Villa Durazzo

09 - 13 : italian language and grammar lessons *

13 – 16,30 Individual solo singers lessons.

16,30 - 18,15 : warm up, vocal exercises, sectionals.

18,30 - 19h45 : mixed choir.

*An italian test will decide on monday the 17th the precise scheduling. (three differents levels, about 20 people groups for a 2 hour class)

A - Program (chorus)

1. Laudi, early religious songs from XIIIth to

2. Secular songs : Vale de Padoa, O Roma nobilis...

3. Alessandro Scarlatti : Salve Regina

4. Baroque : Provenzale, Marcello.

5. XIXth century composers : Rossini, Puccini...

B - Program (solo singers)

Opera, oratorio arias both in italian or latin ; duets or da camera songs.

Concert dress

White shirt, black trousers, ( no tie ) black shoes. No coloured waistcoats.


Villa Durazzo piazzale San Giacomo di Corte, 3 ~ 16038 Santa Margherita Ligure

23 km east from Genua, Italy tel./fax : 0039-0185-288128

Contact the University of Genova

in Italy Palazzo dell’Università -  Via Balbi, 5 - 20126 Genova phone : tel. : +39 010 2099867

or tel : +39 010 209986  mail :

in France : e-mail :   mobile phone : tel. : + (0)652294477


Opus One Vocal Arts presents "Music for a Royal Wedding" Ryan Pryslak, %10 %b %2015 %14:%Apr:%th 14AprGMT+0000
Opus One Vocal Arts will present a special spring concert,  “Music For A Royal Wedding” taking place at Calvary Episcopal Church, Hillcrest on Friday May 8th 2015 and featuring special guests Jill Broadway, Soprano; Augustine Mercante, countertenor; Ryan Tibbetts, bass; and Members of the Newark Symphony Orchestra.
 The concert will take place on the Friday evening of Mother’s Day Weekend and will be a perfect way to treat your Mother, Grandmother or Wife like “royalty!”
“Music For A Royal Wedding” will take place Friday May 8th 2015 at 7:30p.m. The concert will be performed at Calvary Episcopal Church, Hillcrest 304 Lore Ave. Wilmington, DE 19809. Tickets are $20 for adults, $15 for senior and students, Children under 12 are Free and may be ordered in advance through our Eventbrite website: A “Champagne and Wedding Cake” Reception will be held immediately following the concert.
Musical Director, Ryan Pryslak is extremely excited about this event as Opus One is combining forces with top-notch professional soloists and instrumentalist in the area for a first ever, one-of-a-kind concert experience. Pryslak notes: “We will be taking the audience on a journey through many famous Royal Weddings in history via the music that was written for these special occasions.” The centerpiece of the concert will be a rare performance of a Wedding Anthem, “Sing Unto God Ye Peoples of The Earth” written for Frederick, Prince of Wales and Princess Augusta of Saxe-Goltha by George Frideric Handel performed by Choir, Soloists and Chamber Orchestra. Other music will include selections by Paul Mealor, Eric Whitacre, and Daniel Pinkham.
Opus One Vocal Arts is an ensemble of dedicated singers (both amateur and professional) devoted to performing world-class choral repertoire in the Greater Brandywine Valley.  Since 2006, Opus One Vocal Arts has consistently brought a high-level of musicianship to its performances and continues to focus on innovative and exciting programming to the delight of the audience. Furthermore, Opus One Vocal Arts is regularly sought out to perform for various charity events and offers its time and talents for the greater good of the community. For more information, please call 302-743-1201 or visit
Bass section leader Lou Carol Fix, %10 %b %2015 %13:%Apr:%th 13AprGMT+0000 George's Episcopal Church in Ardmore, PA, needs a bass section leader to finish out the choral season this spring.  We need a bass to sing from Thursday, April 23 rehearsal through Sunday, May 24, 2015.  You may also apply for the permanent bass section leader position that begins in September, 2015.  Good sight-reading skills, some "a capella" singing, primarily classical-style repertoire in a choir of paid and volunteer singers.  Please contact Lou Carol Fix,, to set up an audition (vocalizations, sight-reading, chanting, vocal solo aria from Messiah, Elijah or Bach cantata).  ]]>S-Cubed Sight Singing Multiple License Discount! Dale Duncan, %10 %b %2015 %12:%Apr:%th 12AprGMT+0000 districts along with schools that have multiple music teachers have begun to purchase multiple licenses for teaching S-Cubed Middle School Sight Singing program in order to standardize the way they teach Sight Singing to their students.
Once the first license is purchased, all of the following licenses will cost only $79 each.  
The normal cost of purchasing a singular cost of the program is $209.
Spring is the time to purchase!  
Offer ends April 30, 2015
My YouTube Channel:
God Be In My Head - six-part mixed chorus, a cappella - free David Basden, %10 %b %2015 %10:%Apr:%th 10AprGMT+0000

Announcing a new setting of GOD BE IN MY HEAD – in six parts with no divisi and no staggered breathing, so it will also suit a sextet. It's concise and understated, but employs rich voicings.

Please email me for a PDF of the sheet music – this may be used for performances free of charge.

David Basden

deebee [at]


“Five from the Folder: Mixed Voices” by Gregory Douma Scott Dorsey, %13 %b %2015 %16:%Jan:%th 16JanGMT+0000
1. “O Quam Gloriosum est Regnum.” Tomas Luis de Victoria. CPDL
 A great example of the Renaissance motet, this piece is accessible like Palestrina's "Sicut cervus" but a bit more complex.
2. “Der Tanz.” Franz Schubert. CPDL
As the title implies, this is a dance tune -- short and sweet -- in a robust, yet lilting 6/8 meter.  Lots of German work awaits, as well as terraced dynamics. 
3. “Oh My Luv's Like a Red, Red Rose.” Rene Clausen, Mark Foster HL35015688
A beautiful setting of Robert Burns' famous poem, Clausen's lyrical lines bring out the best in your singers.  Piano and C instrument accompaniment.
4. “The Gartan Mother's Lullaby.” Neil Ginsberg. Santa Barbara Music Publishing SBMP314
A beautiful Irish folk tune with C instrument and pianio accompaniment.  Great tone-building opportunity.
5. “Kde su kravy moje.” H.A. Schimmerling, Associated Music Publishers L50232780
"Where are my cows?" the text reads.  The choir brings this humorous Slovak text to life with firey diction with operatic hints.
(“Five from the Folder” provides brief, text-length reviews of vocal works currently in the folders of choral directors throughout the United States.  To share five from your folder, contact Scott Dorsey at
Call for Nominations: 2014 Julius Herford Dissertation Prize Scott Dorsey, %23 %b %2015 %17:%Mar:%rd 17MarGMT+0000 Julius Herford Dissertation Prize:
Each year the Julius Herford Prize Subcommittee of the Research and Publications Committee accepts nominations for the outstanding doctoral terminal research project in choral music.   Projects are eligible if they comprise the principal research component of the degree requirements, whether the institution defines the project as a “dissertation,” “document,” “thesis,” or “treatise,” etc.  
When a dissertation may be nominated:
                The prize name indicates the year in which the relevant doctoral degree was conferred.
                Dissertations must be nominated in the calendar year following the year in which the degree was conferred.
                The prize is awarded in the calendar year following the year of nomination. 
The award:
The winner will be awarded a $1000.00 cash prize and a plaque.  The committee reserves the right to award two prizes or no prizes in any given year.
Nomination Requirements and Procedure:
1. An institution may submit only one document for that year’s prize.  In the event that there are two nominations of equal merit from one school, the letter from the Dean, Director or Chair of the music school (described below) must justify the additional nomination.
The submitting faculty member, institution and/or the writer must be currently a member of ACDA in good standing.
2. To nominate a dissertation send, by US mail:
                A)   A signed letter from the Dean, Director or Chair of the music school recommending that the dissertation be considered for the Herford prize.  (Letters from the Chair of the Choral area are not acceptable.)  The letter must include the following information:
                                the name of the student
                                the year in which that student’s degree was granted
                                the full title of the dissertation
                B)   An abstract of the dissertation, from which any material identifying the student or institution has been removed.
                C)   An unbound copy of the dissertation (it may be double-sided). Excepting the title page, any material that identifies the student or the institution must be excised from the document before it is submitted.
                D)  The full name, title and contact information for the faculty member making the submission and the
                full name, current position(s) and contact information for the dissertation’s author (USPS address, email address and phone number(s)).
3. The dissertation and accompanying materials must be received at the national office (address below) by the date announced below (and in the Choral Journal and on the website).  Faxed material will not be accepted.
4. All materials must be submitted together in one envelope.
If one or more of these requirements is not met, the dissertation will be eliminated from consideration. 
Nominations for the 2014 Julius Herford Dissertation Prize must be received between Jan 1 and June 1, 2015. 
Mail applications to:
Craig Gregory

ACDA National Office

545 Couch Drive

Oklahoma City, OK 73102-2207
phone: 405/232-8161-5328;
Who's in YOUR Choir . . . Bobby U.? Scott Dorsey, %24 %b %2015 %21:%Mar:%th 21MarGMT+0000 ]]>Davis Joins ACDA National Staff Scott Dorsey, %09 %b %2015 %18:%Apr:%th 18AprGMT+0000
The American Choral Directors Association is pleased to welcome Scott A. Davis to the National Staff as the Web Designer.
In this newly-created position, Mr. Davis will focus on the design and technical maintenance of ACDA’s various web properties.
Native of San Antonio, Scott moved to Oklahoma City in the fifth grade and is presently residing in Moore, Oklahoma.  After hours, he is a musician, playing drums for the band, Drive.
Brahms Schicksalslied: Is there an arrangement for 2 pianos or piano 4 hands? Steven Edwards, %10 %b %2015 %05:%Apr:%th 5AprGMT+0000 there an accompaniment for the Brahms Schicksalslied for piano 4-hands or for two pianos?
(if so, it would make a nice pairing with the Orff Carmina Burana for 2 pianos and 5 percussion....)
Burbank Chorale Presents Vive L'Amour ! A Celebration of French Choral Music Kyrian Corona, %09 %b %2015 %22:%Apr:%th 22AprGMT+0000 Burbank Chorale, under the direction of Dr. Mikail Shtangrud, presents Vive L'Amour! A Celebration of French Choral Music, featuring Requiem and Cantique de Jean Racine by Gabriel Fauré. This eclectic program pays tribute to five centuries of French music including 16th century Madrigals, Dôme Épais (The Flower Duet) from the opera Lakmé by Delibes, and works by Gabriel Fauré, Maurice Duruflé. Special guests include MUSYCA Children's Choir and the Burbank Chorale Orchestra.
Founded in 1920, the Burbank Chorale is the longest continuously performing arts organization in the San Fernando Valley and one of the oldest musical groups in the state of California. Throughout its distinguished history, the Burbank Chorale has won numerous awards and has performed at historic events including Olympic Chorus during the 1932 Olympic games held in Los Angeles and the World's Fair expositions in San Diego in 1935 and in San Francisco in 1939. In 2007 and 2010, members of the Burbank Chorale participated in the Memorial Day concert at Carnegie Hall under the baton of John Rutter. 
Saturday, May 2, 2015
7:30 p.m.
Burbank First United Methodist Church
700 N. Glenoaks Blvd.
Burbank CA 91502
General Admission $20 at the door
$15 Seniors and children under 12
$15 pre-sale
Call 818-759-9177 or email
Children's Chorus of Washington Victoria Kimble, %09 %b %2015 %21:%Apr:%th 21AprGMT+0000
Auditions for 20th Anniversary season - Children's Chorus of Washington Victoria Kimble, %09 %b %2015 %20:%Apr:%th 20AprGMT+0000
Now Enrolling for our 20th Anniversary season!
Join Children's Chorus of Washington (CCW), the finest in the Nation’s capital -Winner of 2014 DC Mayor’s Arts Award for Excellence in an Artistic Discipline-
Call now (202) 237-1005. No preparation or experience needed, just the love of singing!
Ages 9-18: call now to schedule an audition for placement in one of our performing ensembles (Treble, Bel Canto, Concert Choruses and our Young Men's Ensemble)
Audition dates in May & June:
  • Thursday, May 28
  • Monday, June 1
  • Thursday, June 4
  • Monday, June 8
  • Saturday, June 13
Where?    Metropolitan Memorial United Church, 3401 Nebraska Ave., NW Washington, DC 20016
For younger singers, ages 6 to 9: no audition necessary. Register for Prep Class directly online at
Under the leadership of Founder & Artistic Director Joan Gregoryk, CCW has been committed to artistic excellence and providing high quality music education to all choristers in a stimulating and socially responsive environment. CCW choristers enjoy lifelong friendships, excellent training, and exciting and prestigious performance opportunities with professional adult choruses, orchestras like the National Symphony Orchestra, at venues such as the Kennedy Center.
For more information, please visit or call (202) 237-1005 and we will be happy to answer your questions. Partial Tuition scholarships are provided to all students with demonstrated financial needs.
MISSA BREVIS Anita Smisek, %09 %b %2015 %21:%Apr:%th 21AprGMT+0000 BREVIS for SATB Choir and Organ by BOHUMIL FIDLER (1860-1944), Czech composer, choirmaster, organist.
AP-10440  Alliance Publications, Inc. Alliance Publications, Inc. First publication of work beloved by the composer. Latin text of Ordinary of the Mass - very useable for services today or for concert.
FOUR CIVIL WAR POEMS of HERMAN MELVILLE Anita Smisek, %09 %b %2015 %21:%Apr:%th 21AprGMT+0000 A Cappella - Music by Bryan Beaumont Hats  AP-10490  Alliance Publications, Inc.
1. The Portent 1859 2. Ball's Bluff 1861 3. Shiloh 1862 4. The College Colonel 1865
Available for world premiere by an advanced choir.  Challenging, beautiful work! 
Celebrate the Civil War 150th Anniversary (1865 - 2015)
American Landscapes Jameson (Jim) Marvin, %09 %b %2015 %20:%Apr:%th 20AprGMT+0000 Jameson Singers, Jameson Marvin, Conductor present a concert of American Music entitled American Landscapes. The concert offers a retrospective glimpse of new and old masterworks from the Bay Psalm Book of 1640 to Ronald Perera's North Country of 2012, entitled American Landscapes. Composers include Carol Barnett, Jameson Marvin, Steven Sametz, Samuel Barber, and seldom heard gems by Harvard composers, Ivan Tcherepnin and Donald Martino.
There are two concerts (at 8 p.m.), one at First Church Congregational Cambridge, MA on April 18, the other in Lexington, MA at Hancock Church, May 2. Here is the Concert Program:
Daniel Read                 Windham from American Singing Book            1785
Anon                             Martyrs Tune from the Bay Psalm Book           1640
Carol Barnett arr.          Ninety-Third Psalm from Sacred Harp              1755
J. Marvin arr.                 Swing Low, Sweet Chariott/All Night, All Day   1862
Donald Martino              Eternitie from Seven Pious Pieces       1971
Jameson Marvin            Each Future Song                                 2001
Ivan Tcherepnin             Butterfly Dream / Dartington Stone       1987
Samuel Barber               Reincarnations                                     1942
                                               Mary Hynes
                                               Anthony O’Daly
                                               The Coolin
Ronald Perera                 from North Country                               2012
                                                Fire and Ice  
                                                Going for Water
Steven Sametz                         Munus                                          2003
General Manager, Princeton Girlchoir Hilary Butler, %09 %b %2015 %20:%Apr:%th 20AprGMT+0000
Position Summary: Major responsibilities include management of the non-musical aspects of the choirs, including: coordination of rehearsals and performances; recruitment, training and management of volunteers; and communicating with Princeton Girlchoir’s choristers, families, and patrons.

Organization: Fueled by the power of a girl’s voice, Princeton Girlchoir presents extraordinary performances at home and throughout the world, while educating the musician, building confidence, and fostering a life-long love of singing together.
Founded in 1989 as an after-school activity for a small number of girls interested in choral music, PGC has grown into the area’s premier training and performance choir for girls, with over 260 choristers annually.  The choir presents music from a wide array of genres, conductors, and composers.  While honing their musicianship, our choristers begin life-long friendships, enjoy professional performance opportunities, and travel the world. Choristers in third through twelfth grade come from towns throughout Central New Jersey and Eastern Pennsylvania to rehearse each week from September through May, performing approximately 35 concerts throughout the year. The group has been honored to perform in prestigious concert halls across the country and around the world.
  • Oversee logistical planning and implementation of programs: classes, rehearsals, performances, recruiting, auditions, outreach activities, etc.
  • Produce and manage PGC-organized concerts, tours, and other special events, as well as providing assistance as needed for PGC’s participation in events arranged by other organizations. Work with venues to secure dates and contracts, assist Artistic Director in arranging guest artists, and produce program books and recordings as necessary.
  • Manage all internal communications to provide choristers and families with clear operational information in a timely manner, maintaining accurate choir membership records.
  • Assist in marketing efforts, including the creation of marketing materials, for both internal and external audiences.
  • In coordination with the Parent Association, recruit, manage and retain parent volunteers, providing training to ensure parent success.
  • Assist choir staff during performances and social events.
  • Assist at rehearsals as needed with check in/out, chaperoning, communication distributions, and serve as liaison to PGC program staff.
  • Assist program staff with coordination of travel and tour planning.
  • Assist with the fitting of choral attire for the choirs, maintenance and coordination of uniforms for concerts, and assist with choral attire exchange and orders.
  • Serve on volunteer committees to support program needs.
  • Maintain a well-organized music library, ordering music as necessary. Manage the cataloguing, distribution and re-collection of music, and tracking of music that is not collected.
  • Assume additional administrative responsibilities as assigned by the Executive Director.
  • Associate's degree or equivalent required, Bachelor’s degree preferred.
  • Minimum 2-3 years direct experience in youth development, previous performing arts management experience preferred
  • Experience in “soup to nuts” project management, including planning, budgeting, managing staff/volunteers, execution and financial tracking
  • Ability to move from big picture ideas to the details of implementation and back again, adjusting programs and activities as conditions or feedback require
  • Excellent written and oral communication skills and outstanding interpersonal skills required
  • Administrative and computer skills, including strong background in and knowledge of Microsoft Office (Word, Publisher, Excel) required
  • Ability to work with youth and families from a variety of backgrounds required
  • Ability to work as a member of a team, as well as lead teams of children, volunteers and peers required
  • A passion for music and knowledge of arts management a plus
  • The right candidate will be a capable, independent worker with a strong entrepreneurial spirit, a desire to collaborate, and an ability to work in a fast-paced, changing environment
Reports To: Executive Director, works closely with Artistic Director and Parent Association Chair(s)
Hours: Part-time, approximately 30 hours per week, with potential to increase to full time in the first few months. Flexible schedule, but must accommodate some evening and weekend events, rehearsals, and performances. Starting date late May to early June.
To Apply: Please send cover letter, resume, and three references to and reference General Manager in the subject line. ]]>
Mozart's Requiem Mass in D minor Marjorie Winters, %09 %b %2015 %18:%Apr:%th 18AprGMT+0000
Ars Musica presents "Mozart's Splendid Finale," an exploration of the last year of the composer's life in music and letters culminating in the glorious Requiem.  Concert at 5pm-preconcert talk at 4pm.
St. John the Baptist Roman Catholic Church, 69 Valley Street, Hillsdale, New Jersey 07642
Tickets: $20 in advance; $25 at the door; childen under 13 admitted free.
For more information, please e-mail or call (551) 226-9305.
Mozart's Requiem Mass in D minor Marjorie Winters, %09 %b %2015 %18:%Apr:%th 18AprGMT+0000 Musica presents "Mozart's Splendid Finale," an exploration of the last year of the composer's life in music and letters culminating in the glorious Requiem.  Concert at 8pm-preconcert talk at 7pm.
Ridgewood United Methodist Church, 100 Dayton Street, Ridgewood, New Jersey 07450
Tickets: $20 in advance; $25 at the door; childen under 13 admitted free.
For more information, please e-mail or call (551) 226-9305.
Touring choir seeking a church in ME, NH, RI, or VT for performance on May 24 or 25, 2015 Rick Hoffenberg, %09 %b %2015 %18:%Apr:%th 18AprGMT+0000
The Marywood University Chamber Singers go on tour each May, and the final concert of our May 2015 just tour fell through. We will be in Boston over the weekend of May 22-24, and from there we were planning to drive to Portland, ME, for our final concert on May 25th. I now need to replace that concert with a performance within a few hours' drive of Boston. It could be either on Monday, May 25, or possibly the evening of Sunday, May 24. Our tour program is entirely a cappella, and we would not need housing for the singers. I would appreciate hearing from anyone with possible connections to a prospective concert host in Maine, New Hampshire, Vermont, Rhode Island, or even elsewhere in Massachusetts. I would be happy to send a CD or live audio samples of the choir.
Thank you very much for your assistance!
Dr. Rick Hoffenberg
Director of Choral Activities
Marywood University
Scranton, Pennsylvania
Administrative Manager, Mississauga Festival Youth choir Debbie Bradley, %09 %b %2015 %17:%Apr:%th 17AprGMT+0000
Founded in 1997, the Mississauga Festival Youth Choir is a non-auditioned community youth choir based in Mississauga, Ontario, Canada, led by a volunteer Board comprised primarily of parents of choristers.  The choir is known for its emphasis on multi-cultural programming, presenting songs from around the world in different languages and its inclusiveness. MFYC is comprised of four levels that rehearse once per week.  MFYC presents major concerts during the year and performs at various community events and outreach performances. The choir tours nationally and internationally on a periodic basis. MFYC staff consists of an Artistic Director, Assistant Conductor, Conducting Intern (Volunteer), Junior Conducting Intern (Volunteer), and Accompanist.  MFYC is a volunteer-driven organization whose work is carried out by individuals and committees.
POSITION SUMMARY: MFYC seeks a part-time Administrative Manager for our highly regarded choral organization. Working closely with the Board of Directors and the Artistic Director, the Administrative Manager will have primary responsibility for completion and the timely submission of an annual grant application to the City of Mississauga, ON; will act as chief archivist and have responsibility for the maintenance and updating of key databases; and will coordinate volunteer parents and friends and assist several board members and chairpersons in areas including fundraising, marketing and publicity, mailings, event (concert and appearances) planning and arrangements, oversee procurement and maintenance of choirs needs.
The MFYC Board of Directors is a working board; therefore, the Administrative Manager will not be expected to take full responsibility for marketing, publicity, concert production and fundraising, but will assist the respective board members and committee chairs in these areas.
The Administrative Manager is expected to be available 10 hours per week, including choir dress rehearsals and performances, our annual one day retreat,  attendance at monthly board meetings, usually on Monday evenings at 7:00 pm, and some or all Wednesday night rehearsals, during which time recurring tasks might be completed, attend professional meetings and workshops presented by the City of Mississauga Arts & Culture Department, as well as other arts-related meeting and workshops, which mostly take place during regular business hours and occasionally on weekends. 
GENERAL ADMINISTRATION: Ensure that the accounts payable and receivable up to date; make biweekly bank deposits and keep up-to-date records,  maintain and update membership and mailing list databases; serve as liaison to the board; answer general inquiries and correspondence; make regular trips to the organization’s mail box located in south Central Mississauga; oversee the calendar and assist the Board President with communications to ensure the smooth running of all calendar events and deadlines.. This is a home based position that requires use of computer.
CHOIR MANAGEMENT: Develop and maintain an archive of historical materials, and oversee music library. Oversee preparation of musical scores for rehearsals and events. To prepare order for uniforms, procure them and oversee distribution. Order supplies, music, uniforms, equipment etc. Arrange rental of music and/or equipment.  Assist in planning local, national and international tours. Able to travel as required and be Tour Coordinator.
VOLUNTEER COORDINATION: Coordinate volunteers with board members for specific tasks and functions on an on-going basis.  Maintain project and event management files.
TICKETING: Oversee ticketing processes with the Treasurer and maintain the volunteer box office team, track, deposit and submit report of all sales and income for each performance and event.
FUNDRAISING: The Administrative Manager will be responsible for writing, completing and  compiling grant information and submit our annual City grant application in a timely fashion. Ideally our Administrative Manager would also seek other granting opportunities and complete those applications. Oversee fundraising activities such as but not limited to the sale of poinsettias in the Fall, chocolates as needed, Avon sales and other fundraising opportunities that arise.
MARKETING : The Administrative Manager will   assist the Publicity Chairperson in the implementation of the marketing strategy for the concert season (production and mailing where appropriate of brochures, postcards, e-blasts, social media, etc). 
MEMBERSHIP RECRUITMENT: Actively seek ways to promote organization and increase membership, organize and attend registration sessions and vocal assessments.
CONCERT & EVENT PRODUCTION: As needed, assist the Event Coordinator with contacting venues, negotiating contracts, coordinating rehearsal times and spaces; liaise with musicians and contractors as required by the Music Director or Treasurer. Coordinate volunteers for the concerts and event. Work with volunteer leaders and stage manager on the day of concerts  with special attention to multi-level venues.
REPORTING RELATIONSHIPS:  The Administrative Manager reports to the Board and works closely with the Artistic Director, President and the Treasurer.
QUALIFICATIONS: Experience with arts administration and a successful track record with grant writing and/or fundraising. An undergraduate degree is preferred. The candidate should be self-starting, personable, professional, articulate, excellent customer service skills and willing to work with an active, involved Board. Proficient social media and graphics design skills, as well as the ability to seek out and apply for additional grant funding opportunities are bonuses we would value highly.
GROWTH OPPORTUNITY: This position may be expanded as the choir continues to increase in numbers.
COMPENSATION: $7200 per annum for 48 weeks. 
TO APPLY: Interested candidates should send a Cover Letter and Resume to: 
Resumes will be accepted through April 19, 2015. No phone calls, please.
We will only contact candidates who will be interviewed.
An updated Police and Vulnerable Sector Check is required. 
SYMPHONY CHORUS OF NEW ORLEANS at FRENCH QUARTER FEST Steven Edwards, %09 %b %2015 %15:%Apr:%th 15AprGMT+0000 Chorus of New Orleans performs 11:00 am - 12:15 pm on Saturday, April 11th at the Classical Stage (St. Mary's - Ursuline Convent) for French Quarter Fest. Admission is free.
Program includes:


MUSIC OF LEE HOIBY (1926-2011)

Hymn to the New Age (Brass Quartet & Piano)

Where the Music Comes From (Piano)



(Music from our March 7th Singers of United Lands Festival Concert)

Iran: Lay Lay (unaccompanied)

Ecuador: Andarele (Guitars and Latin Percussion)

Cameroon: Musungedi (African Drums)

Caldwell & Ivory: Bengi Lele (Second Performance of Chorus America Consortium Commissioned Work)



    I. Allegro moderato, maestoso - un poco meno mosso - Tempo I

    II. Lento maestoso - un poco piu mosso - Tempo I

    III. Vivace

    IV. Lento - piu mosso, stringendo


Soprano and Baritone solos; Timpani, Percussion, and Piano




    I. Maestoso - Lively

    II. Slow - Largo

    III. Lively - Resounding! - Exuberant!


Brass Quintet, Timpani, Perussion, and Piano


Symphony Chorus will perform the Dvorak and the Memley in a concert presented by MidAmerica Productions in Carnegie Hall on May 23, 2015.

The University of Pittsburgh Men's Glee Club at Shadyside Pres. Church (April 12) Mark Anderson, %09 %b %2015 %14:%Apr:%th 14AprGMT+0000
The Pitt Men’s Glee Club at Shadyside Presbyterian Church
Shadyside Presbyterian Church presents the University of Pittsburgh Men’s Glee Club, under the direction of Richard Teaster, on Sunday, April 12, 2015, at 10:45 a.m. and 12:30 p.m. The Pitt Men’s Glee Club also will serve as the choir for worship during that morning’s service.
The church welcomes the community to attend worship at 11:00 a.m., preceded by a choral prelude sung by the Pitt Men’s Glee Club beginning at 10:45 a.m. Worship is followed by a time of fellowship with light refreshments at noon in the church’s Sharp Atrium. The audience is then invited to return to the sanctuary from 12:30 to 1:00 p.m. for a free concert from the ensemble.
Founded in 1890, the University of Pittsburgh Men’s Glee Club is celebrating its 125th anniversary this season. It is the musical ensemble at Pitt, as well as the oldest non-athletic extracurricular organization on campus. Beginning as a mere octet, the group now boasts between seventy and eighty members annually.
The Glee Club has performed throughout the United States, Canada, Mexico, and Europe. In addition, the ensemble has sung at two World's Fairs and has been featured in performances on public radio and television throughout Pennsylvania, particularly on WQED-FM in Pittsburgh.
For more information about the Pitt Men’s Glee Club, please visit
Worship is free and open to the public; no tickets are necessary to attend the concert. For information on other musical programs at Shadyside Presbyterian Church, including the church’s Music in a Great Space concert series, call 412.682.4300, or visit
Shadyside Presbyterian Church is centrally located in the heart of Pittsburgh’s university district, just a few blocks away from the campuses of the University of Pittsburgh and Carnegie Mellon University. The church is situated on the corner of Amberson Avenue and Westminster Place, only one block off Fifth Avenue at 5121 Westminster Place, Pittsburgh, Pennsylvania, 15232. Free on-street parking is available surrounding the church.
Music Folder Lights thomas brown, %09 %b %2015 %14:%Apr:%th 14AprGMT+0000 see limited discussion on choralnet, but would like to ask again, what is the BEST choir folder light you have used for singing in a darkened performance space?
Tom Brown
Austin, TX
Looking for informational/engaging video: the human voice Melissa Morrison, %09 %b %2015 %13:%Apr:%th 13AprGMT+0000,
I teach an 8th grade general music class and we are in the middle of our "voice unit". We are singing a lot but I'd like to show a video or short film about the singing voice. Any suggestions?
Fundy Sound Heather Mackenzie, %09 %b %2015 %14:%Apr:%th 14AprGMT+0000 A festival by the  Sea will begin in Saint John NB.
During this inaugural four-day event, choirs will have the opportunity to showcase their own work performing in unique venues throughout the area, including historic churches and renowned outdoor and public spaces. Singers will enjoy enriching developmental and educational experiences with local and international musicians including the opportunity to work with one of the world’s leading choral experts.
Internationally acclaimed composer and conductor Z. Randall Stroope will be the guest conductor for the Festival.  ]]>
UConn Festival Choir presents Carmina Burana Jonathan Harvey, %09 %b %2015 %14:%Apr:%th 14AprGMT+0000

The University of Connecticut's college/community chorus, Festival Choir, presents Carl Orff's monumental cantata Carmina Burana, in von der Mehden auditorium on the Storrs campus at 3pm on Saturday, April 18.

The performance, conducted by Jonathan Harvey, features soprano Lisabeth Miller, tenor Spencer Hamlin, and baritone Sterling Liška. Piano and percussion fireworks courtesy of pianists Mo Tian and Hyun Ju Jang, and percussionists Nathaniel Gworek, Steven McArdle, Robin Patrick, and Rex Sturdevant.

For more information on this performance, and the choirs at UConn, check us out at:

Toronto's Amadeus Choir: Of Heart & Tide: The Gift of Water Olena Jatsyshyn, %09 %b %2015 %14:%Apr:%th 14AprGMT+0000

For those of you who will be in Toronto this coming weekend,
please join us for this multi-media concert event:
Amadeus Choir of Greater Toronto presents
Lydia Adams, conductor Shawn Grenke, piano
GUEST HOST: Ben Heppner, C.C., Amadeus Choir Honorary Patron
SPECIAL GUEST: Roberta Bondar, C.M., O.Ont., M.D., PH.D
FEATURING: Christopher Lee, flute
                     Ed Reifel, percussion 
                     Samuel Morgenstein, percussion
Saturday, April 11, 2015 7:30 pm
Trinity-St. Paul’s Centre, Jeanne Lamon Hall
427 Bloor Street West, Toronto (just west of Spadina)
OUR SINCERE THANKS to Concert Sponsor, Sandra Parsons, a member of the  Amadeus Choir for 20 years.

2 WORLD PREMIERES by Canadian composers:
Sun on Water 
by Hussein Janmohamed
Hussein was the first Doris McCarthy Artist-in-Residence through a program of the Ontario Heritage Trust. It was written especially for the Amadeus Choir of Greater Toronto at the late Doris McCarthy’s home and studio, Fool’s Paradise. Doris McCarthy was an Honorary Patron and a great supporter of the Amadeus Choir. 
With texts and musical influences coming from Western sacred choral traditions, Middle Eastern rhythms, Hindu and Indic Ismaili Muslim devotion, Hussein brings to listeners his inspiration in the mystery of winter sunrises on Toronto’s Scarborough Bluffs.
Of Heart and Tide 
by Sid Robinovitch - poems by E.J. Pratt*
I. Newfoundland - II. Erosion - III. The Sea-Cathedral - IV. Come Not the Seasons Here - V. The Secret of the Sea    
A portrayal of human drama of the sea, Sid Robinovich explains that his work is a story of love, loss, and redemption as seen through the eyes of people on the banks of Newfoundland who are familiar with the sea as a constant back-drop to their lives.
Of Heart and Tide was commissioned for the Amadeus Choir of Greater Toronto in memory of Geoffrey and Irene (Gene) Parsons

Hear Dr. Roberta Bondar's unique presentation about "Water" and see some of her breathtaking photos on the theme of water.
As the first neurologist in space and as a pioneer in space medicine research, Dr. Roberta Bondar will charm, educate and bring to our audiences a world that is seen through a unique lens. When you see the world through the lenses of Dr. Roberta Bondar -the lenses of a medical doctor, scientist, photographer, astronaut and author, you see wonders, human curiosity, an unending drive to reach, and help others reach higher capabilities.....and so much more! .
For more information on Dr. Roberta Bondar and The Roberta Bondar Foundation,
 Also featured are works by Canadian, American and local Toronto composers and arrangers:
The Song My Paddle Sings by Ruth Watson Henderson*
Northern Sketches by Srul Irving Glick*
Water Night by Eric Whitacre
Away from the Roll of the Sea by Allister MacGillivray*
The Bluebird   = a Canadian Folk Song, arr. Derek Holman*
Water Under Snow Is Weary by  Harri Wessman, arr. Shawn Grenke*
Shenandoah  - an American Folk Song, arr. James Erb
The Banks of the Miramichi  - a Canadian Folk Song, arr. John Beckwith*
Flow Gently, Sweet Afton - a Scottish Folk Song, arr. Lydia Adams*
     with Matt Gaskin, soloist
*Canadian composer
We hope to see you this coming Saturday!
Listen to an interview with Lydia Adams, Conductor and Sandra Parsons, Concert Sponsor discussing the 40th Anniversary season of the Amadeus Choir and the April 11th concert "Of Heart and Tide: The Gift of Water" as heard on The New Classical 96.3 FM with Bill Anderson on Bill's Classic Jukebox.  ....... at
3 FULL CONDUCTING spots have opened! 8 day Master Class w/Simon Carrington in Tuscany Brian O'Connell, %09 %b %2015 %12:%Apr:%th 12AprGMT+0000
FULL CONDUCTING positions for an 8-Day Master Class with Simon Carrington have opened for the Sarteano Chamber Choral Conducting Workshop – Soprano/Alto/Tenor
Due to three recent cancellations, there are a limited number of openings in both sessions for Soprano, Alto and Tenor at the Full Conductor and Conducting Auditor tiers.

Session I      19 - 26  July 2015  (Sacred Music Session)
Session II     29 July - 5 August 2015  (Mixed Repertoire Session)

The Sarteano Workshop is celebrating its twelfth season, and we’ve expanded (added a Sacred Music session). Come join Simon, Broni and Brian, as well as, conductors from every corner of the globe, as we explore chamber choral music from every era. There are three possible tiers of participation: Full Conductor, Conducting Auditor, and Singer (we heartily welcome interested advanced choral singers!):
Full Conductors - Daily podium time to conduct your assigned piece in Simon Carrington’s daily 4.5 hour Master Class. 
Conducting Auditors - Have a private filmed lesson with Simon and rehearse/conduct in the morning session. Over the course of the week, two Conducting Auditors are chosen to conduct a piece in the final concert, along with the Full Conductors.
Our collaborative workshop is geared to choral musicians with strong vocal ability that have interest in rehearsing and performing unaccompanied chamber choral music. The ensemble is made from the participants – everyone sings, so everyone receives the benefits of each day’s Master Class with Simon. Our goal is to develop rehearsal technique through listening skills development, ensemble building though effective verbal and non-verbal communication and group dynamic skills.
We are excited to open a new session, devoted entirely to sacred music. This session will culminate in a performance in Chiesa di San Francesco, a longstanding wish of Simon's that the final concert be held in one of Sarteano's beautiful churches. The second, mixed repertoire session, will conclude with a final concert in Sarteano's architectural jewel, Il Teatro Comunale degli Arrischianti. Both sessions offer our participants the same time frames for conducting and singing, and in the Musica Sacra session, Broni will offer plainchant singing, in an authentic setting.
Each day, the afternoon session will consist of Master Classes with Simon. This year we are again delighted to offer a Q&A/Dialogue session with Simon. 
The first morning session consists of group Vocal Pedagogy with Bronislawa Falinska (utilizing the Rohmert Method of Functional Voicetraining) exploring new and unique ways to create personal and ensemble sound. The second morning session with Brian O'Connell deals with developing a vital chamber choir emphasizing effective rehearsal strategy. Up to two graduate credits are available through The Boston Conservatory
 For a detailed description of the workshop and an online application form, please visit our website at   Contact: Gail Leicher + 1 781.652.0158
All the best,
Brahms Requiem at Mansfield University this weekend Peggy Dettwiler, %09 %b %2015 %10:%Apr:%th 10AprGMT+0000
On Saturday, April 11 at 7:30 pm and Sunday, April 12 at 2:30 pm, the Mansfield University Festival Chorus will present A German Requiem by Johannes Brahms under the direction of Peggy Dettwiler in Steadman Theatre.  Two Mansfield Music Department alums will be featured soloists:  Annamaria Myers, 1981 graduate from Port Allegany, PA, will sing the soprano solo, and Mark Rehnstrom, 1979 graduate from New York City, the baritone solos.  The performances will include the Festival Chorus with full orchestra of university faculty, students, and area professional players.
Tickets are currently on sale at the Music Department website for $10 to adults, $8 to senior citizens, and $5 to students and children.  Purchase online at under Upcoming Events or call 570-662-4710 to reserve tickets.
Meet the ICEP Conductors: Kenneally & Ternström Scott Dorsey, %16 %b %2015 %21:%Jan:%th 21JanGMT+0000
Here are two of the choral conductors who have been selected to participate in the 2015 ACDA International Conductors Exchange Program (ICEP).
If you are interested in learning more about the International Conductors Exchange Program or how to become involved with the conductor exchange in 2015, please contact your ICEP division liaison. Please consider joining our ICEP Group on Facebook or the ICEP Choralnet Community for the latest news and information about the upcoming exchange with South America in 2016 and South Korea in 2017.
CJ Replay: Brahms Schicksalslied Scott Dorsey, %26 %b %2015 %20:%Mar:%th 20MarGMT+0000
(An excerpt from the Choral Journal article, “Dialectical Thought in Nineteenth Century Music as Exhibited in Brahms's Setting of Holderlin's Schicksalslied” by Alan Luhring)
       The Schicksalslied, Op. 54 (1871), by Johannes Brahms is a setting of Friederich Holderlin's poem of the same name. It is one of three secular poems Brahms set for mixed chorus and orchestra, the others being Nanie, Op. 82 (1881), and the Gesang der Parzen, Op. 89 (1883). All three present a view of mankind and of fate that is supposed to be foreign to Brahms, the composer of The German Requiem and the motets of Opuses 29, 37, 74, and 110. The Schicksalslied has received the most attention partly because of its almost ethereal ending: the work concludes with the orchestra repeating the opening introduction. At one time Brahms intended the chorus to repeat the opening couplet of text as the orchestra performed the final measures.  He allowed himself to be persuaded that this ending was not possible. As he commented in a letter, "The poem is not one from which a patchwork can be made."
       Holderlin's poem consists of three stanzas of blank verse contrasting the conditions of celestial immortals and mankind. The first-two stanzas deal with the immortals, the third with humanity. If is the juxtaposition and the abrupt ending which have caused the poem to be considered dark, pessimistic, or bitter.
       Brahms's setting of the poem demonstrates his usual combination of careful treatment of poetic text and musical intensification of mood. Brahms set the poem as two large sections of music. The first, Langsam, comprises stanzas one and two; the second, Allegro, is stanza three. The orchestral introduction to which Brahms returned for his coda is an integral part of the first section in tempo, mood, and musical material. The Langsam sections are approximately twice the duration of the Allegro, retaining the structural proportions of Holderlin's poem. The contrast
between the two musical sections is heightened by the fact that they are in different keys: E-flat major for the immortals and C minor for mankind.
READ the entire article.
Building Skills 22 Richard Sparks, %27 %b %2015 %01:%Mar:%th 1MarGMT+0000 from Daniel Coyle:  Tip #37 - To choose the best practice method, use the R.E.P.S. gauge. (as always, consider reading the book yourself!)
Coyle says to find the best practice strategy, measure the options with the following gauge, remembering the elements with an acronym:
R: Reaching and Repeating
E: Engagement
P: Purposefulness
S: Strong, Speedy Feedback
Coyle gives great examples of each:
Reaching and Repeating: "Does the practice have you operating on the edge of your ability, reaching and repeating?" For us, we have to find ways to keep our choir members working hard on things that are possible for them, but outside their current ability. There's always something to strive for, not only the difficulty of the music—we can push them to sing with more beautiful sound, more musically and expressively. But it should be rare that we don't demand the singers do something at least a bit outside their current comfort zone. And, of course, repetition or practice (if done correctly) is the way we improve.
Engagement: "Is the practice immersive? Does it command your attention? Does it use emotion to propel you towards a goal?" He uses the example of two trumpet players practicing an excerpt, one just running through it 20 times, the other setting a goal of playing it five times perfectly . . . and if she makes a mistake, she starts the count over again. I know many stories of athletes who do this kind of practice—that they have to make so many shots in a row before they can finish practice, for example. But we also have to find ways to involve his last question about whether it uses emotion or not. If our rehearsal is only technical (even though that may be a part—perhaps even a large part some days—of our practice time) it's unlikely to engage the singers fully. What is the composer trying to express? How is the text expressed through the music? How can the singers express emotion? These are important questions for us and, if we're successful in answering them, we'll engage our singers much more effectively.
Purposefulness: "Does the task directly connect with the skill you want to build?" Coyle uses the example of practicing free throws: one team waits until the end of practice and each player shoots 50 shots—the other scatters free throws throughout the scrimmage so the player has to shoot "tired and under pressure, as in a game." The second is more successful because it has the players practice what they'll actually do in a game (they won't shoot 50 free throws in a row!). I've talked before about finding ways to do intense, short drills to improve what the choir does (related to my series on coach John Wooden), but also  that you also have to find ways to scrimmage/run through music so the choir has the ability to do what they'll need to do at the concert. Right now (as I write this, it's March 26 and our concert is April 14) I'm working with Jan Sandström's challenging (but fun!) Biegga Luohte with my University Singers. There's much that needs to be drilled over and over in short chunks to make the piece work (and for them to master the tricky rhythms and clusters)—but it's also necessary for them to be able to put it all together. So today we rehearsed a few difficult transitions and then ran it for the first time. I will need to continue to mix the two types of practice, gradually moving towards more and more runs of all the repertoire on the concert, so when we get there, we can sing it all confidently, musically, and expressively.
Strong, Speedy Feedback: "Does the learner receive a stream of accurate information about his performance—where he succeeded and where he made his mistakes?" Most of us are used to doing this, of course. It's a major part of what we do in rehearsal. But we need to be reminded that the feedback (to be speedy!) needs to be concise and clear. Don't use more words than necessary. Sometimes it can be general: "You're not together—better ensemble!" At other times it needs to be much more specific: "You're dragging behind because consonants are late--put the vowels on the pulse," or "Altos, you're late after the dot." You have to decide quickly why it isn't right, determine what the necessary feedback is, tell them (or show them) in the fewest words possible (speedy!), and get them singing it again . . . either correctly, or better (after which you might need to refine your feedback so it can be correct).
So for better rehearsals, remember your R.E.P.S.
Join the Four Freedoms Choral Festival - A Musical Tribute to Franklin Delano Roosevelt Bill Bergeman, %09 %b %2015 %00:%Apr:%th 0AprGMT+0000 Freedoms Choral FestivalFranklin Delano Roosevelt delivered his 1941 State of the Union Address with an eye toward America’s involvement in the European war. In the speech, he presented his case for aid to Great Britain and for increased production of war materials. In helping Britain, President Roosevelt stated, the United States was fighting for the universal freedoms that all people possessed. As America entered the war these “four freedoms” — the freedom of speech, the freedom of worship, the freedom from want, and the freedom from fear — symbolized the benefits of world-wide democracy for which America would fight, and became a monument to our modern conception of universal human rights.
Music Celebrations International is pleased to present a special choral event dedicated to those freedoms, and to the great man behind them – the Four Freedoms Choral Festival. The festival will feature a combined force of mixed voices singing en masse with a professional orchestra in Merchant Hall at the Hylton Performing Arts Center in Manassas, Virginia.
Dr. Gary R. Schwartzhoff, Director of Choral Activities at the University of Wisconsin-Eau Claire, will provide artistic direction for Four Freedoms Choral Festival. A special commissioned work by Ethan Wickman, renowned composer and Assistant Professor of Music at the University of Texas at San Antonio, will premiere at the festival performance. The commissioned work will include text from Roosevelt’s Four Freedoms and other presidential speeches, as well as additional inspirational texts that reflect on the freedoms of speech and worship, and freedoms from want and fear.
The Four Freedoms Choral Festival chorus will be anchored by The Master Singers, a community chamber ensemble from Eau Claire, Wisconsin, and is conducted by Dr. Schwartzhoff.
Follow this link to learn more online, and to find out how to participate.
Discover Europe this summer with these Free Preview Tours for Music Directors Bill Bergeman, %08 %b %2015 %23:%Apr:%th 23AprGMT+0000
Ever wanted to tour the Vatican Museum, explore Mozart's birthplace, or kiss the Blarney Stone? This is your chance!

All choir directors interested in taking their ensembles on a concert tour to Europe in 2016 are invited to join us on one of our three Director Preview tours next summer. This is a terrific opportunity to see what their groups will experience, including detailed inspection of potential concert venues.
These tours also visit the sites and venues for the Festival Corale Internazionale di Roma with Z. Randall Stroope, Jubilate Mozart with Jo-Michael Scheibe, and the Prague Choral Celebration with William Skoog.

Each Preview Tour is free when a group registers for their 2016 tour/festival.  Eligible participants include an organization’s music/artistic director, executive director, president, or similar.
Click on the images below to learn more.
Italy Director Preview Tour: June 20-26, 2015Austria and The Czech Republic Director Preview TourIreland Director Preview Tour 2016
iPad for accompanists Carol Walker, %08 %b %2015 %19:%Apr:%th 19AprGMT+0000 recently joined the 21st century and started using ForScore on my iPad when I'm accompanying choirs.  I especially like the convenience of using the bluetooth foot switch to turn pages, and the ability to carry all the music for all the groups I'm working with in one small, neat package.  One of the conductors I work for is leery of my using it in performance -- says he wouldn't want to depend on it, that he wouldn't "trust it" in a performance situation.  I'm interested in hearing from other accompanists who have used this method -- is this a reliable method?  What are the possible pitfalls?  What are the odds the iPad would mysteriously go blank in the middle of the Brahms Requiem?  Does it make sense to always keep my paper copies handy just in case?  Thanks for your time. ]]>Looking for a setting of "What's in a name?" Patricia Smith, %08 %b %2015 %18:%Apr:%th 18AprGMT+0000 am trying to locate an a cappella setting of the line from "Romeo & Juliet:" What's in a name? A rose by any other name...etc. Voicing would be SATB, anything 4 to 8 parts is okay. Prefer something more contemporary but am open to any suggestions. Thanks! ]]>Women's piece for school's 75th anniversary Tina Harris, %08 %b %2015 %18:%Apr:%th 18AprGMT+0000 am in need of a joyful and impressive piece for my all-girl's Catholic HS's 75th anniversary (Fall 2015). It should be a sacred text, we are "St. Francis HS" so something based on or incorporating the Prayer of St. Francis or Sacred Creation would be perfect.  I need it to be "showy" and a crowd pleaser.  Medium difficulty for my 34 voiced SSA(A) Chamber Singers - we'll be singing it toward the start of the school year so it shouldn't be to challenging. Accompanied or not - either is OK.
I'd love some suggestions!
Empire City Men's Chorus Promotes Vince Peterson from Interim to Artistic Director Edward Angelo Enrique, %08 %b %2015 %19:%Apr:%th 19AprGMT+0000
Edward Angelo Enrique
New York, NY, April 6, 2015 –
The Empire City Men’s Chorus promoted Vince Peterson this month from Interim Artistic Director to Artistic Director.  ECMC originally hired Vince Peterson in September 2014 as Interim Artistic Director after the early departure of its previous Artistic Director Matthew Oltman in June 2014.  Board Chair Jeremy Davidson said, "Since starting as Interim Artistic Director last fall, Vince has increased our rehearsal efficiency, increased membership engagement and was well-received by our audience in December 2014. Offering him the position of Artistic Director was an easy decision. We look forward to many, many years of Vince’s artistic leadership that will keep ECMC fulfilling our mission of serving our members and audience alike."  
Upon receiving the news, Artistic Director Vince Peterson commented, "I am thrilled to be at the helm of ECMC at this exciting time in its musical and organizational development. The focus of musical growth over the next two years will include resetting defaults for the singers in terms of musical habits and vocal technique, improving the overall median of musicianship through careful and patient processes, and ultimately creating a culture of graduation within the group, so as to ensure full musical stimulation for all members of different levels of ability and interest. It is my sincere intention to have the concert programming of ECMC reflect its surround community, making the ensemble a sounding board and a mirror, helping people to live as their best selves and igniting social change in the world. I want ECMC's musical identity to be more universal; to breath new life into the wonderful tradition of men's choral singing, and also to innovate, so as to see that this art form which we all hold so dear remains alive and thriving into the next century and beyond."
Vince Peterson is a Brooklyn-based composer, conductor, and keyboardist.  He is the founder of Choral Chameleon, a ground-breaking and modern vocal ensemble in New York City the Organist and Choirmaster of St. Paul’s Carroll Street in Brooklyn and the Director of Children’s Choirs at The Lycée Français de New York.  Vince is also a member of the Board of Directors of The New York Choral Consortium, where he works to develop the choral art and cultivate new program offerings for NYC choruses, their directors, and their administrators.
The Empire City Men’s Chorus is a volunteer all male chorus founded in 1993 and based in New York city.  ECMC is known for performing eclectic multilingual repertoire of predominantly classical music. ECMC consistently presents concerts which boast a variety of well-known composers as well as newly commissioned works by exciting young composers. As a gay and gay friendly organization, ECMC believes that choral music can be a compelling artistic response to pressing issues within our communities.
Learn more about the Empire City Men’s Chorus at
Musica Sacra - Eternal Reflections: Choral Music of Robert Paterson (American Modern Recordings) Amanda Sweet, %08 %b %2015 %19:%Apr:%th 19AprGMT+0000 Sacra, directed by Kent Tritle, releases Eternal Reflections, a vital recording of 21st-century choral music by Robert Paterson on the AMR label
Funded by an overwhelmingly successful Kickstarter campaign with over 200 backers, the latest recording from New York's premiere professional choir, Musica Sacra, presents the delightfully eclectic choral music of New York-based composer Robert Paterson. 
Kent Tritle, the conductor The New York Times calls “the brightest star in New York’s choral music world,” and award-winning composer Robert Paterson, who met as neighbors in New York City, have engaged in a first-rate artistic collaboration on the newest recording from Tritle’s venerable choir Musica Sacra. Recorded at New York’s Academy of Arts and Letters and produced by Grammy®-winning producer Adam Abeshouse, the album features eight works by Paterson and will be released on March 4 under the American Modern Recordings label distributed by NAXOS.
The recording features the world premiere of Lux Aeterna, a deeply moving setting of the classic devotional text that will be performed live for the first time at St. John the Divine [1047 Amsterdam Avenue, New York 10025] on March 4 at 7:30pm.
Tritle explained that “working on recording projects with living composers is essential to Musica Sacra’s mission to expand and modernize the world of choral music.” For Paterson’s part, he says that having his works recorded by a group that The New York Times has described as “just this side of perfection” is “as good as it gets.” 
In addition to Lux Aeterna, the album features two works originally commissioned by the Volti Choir of San Francisco: Eternal Reflections, atmospheric settings of texts by Czeslaw Milosz, Mary E. Frye, and Paul Lawrence Dunbar; and the buoyant three-movement piece The Essence of Gravity. Also included are A Dream within a Dream, a fluid, bittersweet setting of a text by Edgar Allen Poe, and the wild international riff on “Row, Row, Row Your Boat” Life is But A Dream, both originally commissioned by the Chamber Choir of Europe. The Suite from a New Earth, an impassioned four-movement exploration of environmental issues and global warming for orchestra, chorus, and narrator written for the VYOA Choir, sets texts by Wendell Berry, James Joyce, Percy Bysshe Shelley, and William Wordsworth. Youthful concerns bubble up in a pair of pieces with texts by David Cote: Did You Hear?, which addresses the life of teens and the consequences of rumors and gossip; and Snow Day, which expresses the joy of having an unexpected day off.
If you have any questions, or if you are interested in reviewing the album, please contact us.
All best,
Amanda Sweet and Kate Dreyfuss, Bucklesweet Media
Great article by Matt Oltman, Conductor Emeritus of Chanticleer about concert programs Fahad Siadat, %08 %b %2015 %18:%Apr:%th 18AprGMT+0000

Performed five times by Chanticleer, March, 2011

“The individual voices—circling, crisscrossing—were so clear as to be tactile; you practically could trace them with your fingers”
-The San Jose Mercury News

The Boy Whose Father Was God was probably the most ambitious and most carefully constructed program that I ever produced. The idea was to tell the story of the most revolutionary of all historical figures, Jesus of Nazareth. My intent, however, was not to tell the story from a religious point of view (Jesus as God), but rather from a historical point of view (Jesus as Man). I soon discovered that this was going to be more difficult than I had expected, but I can say with absolute certainty that the hours of research, development and rehearsal created a musical experience that was exceptionally moving and memorable.

It is exceedingly difficult to find music that deals with ...

read more at the link:

Creating a database - what categories to include? Julie Ford, %08 %b %2015 %16:%Apr:%th 16AprGMT+0000'm in the process of updating the very rudimentary library database at my church.  When I arrived I inherited a basic excel spreadsheet with only the choral library inputted.  Now I am creating an acess database and working on designing the input form. 
At this point I'm thinking that I will create a single database that holds records for our entire music library - choral, handbell, and instrumental. So here are my questions:
1. Is this crazy-talk? 
2. In such a database, what categories would you find useful and/or necessary?
3. If you have a computerized database, what do you especially like about it, and what would you like changed?
I'm especially interested in hearing wisdom from folks who have a diverse ministry with many different groups to manage.  We have 4 groups that meet on a weekly basis, and 2 more groups that meet intermittently; so I have music that relates to each group, and then I also have music that might be for different combinations of groups. It's all filed in separate locations, so I'm also toying with the idea of re-filing and consolidating some of it.
Julie Ford
Mentored by Alice Parker: WomenSing’s Youth Inspiring Youth—Commissioning Emerging Composers 2015-2016 Composition Competition, Deadline May 1 Teresa Caldwell, %08 %b %2015 %17:%Apr:%th 17AprGMT+0000
Youth Inspiring Youth – Commissioning Emerging Composers Call for Composers
Special 50th Anniversary Edition
“Giving Voice to Women”
As part of its Youth Inspiring Youth-Commissioning Emerging Composers project, WomenSing is pleased to announce its 2015-2016 choral composition competition. In special recognition of WomenSing’s 50th Anniversary Season, “Giving Voice to Women,” this edition of the competition will be open exclusively to young women composersFemale composers, ages 18 through 30, who are residents of California and have not previously won this competition, are eligible to submit samples of their works for consideration.   Up to two winning composers will each create a new work based on River of Words poetry.
Project Description
WomenSing ( and River of Words, Center for Environmental Literacy at St Mary’s College of California (, in special recognition of WomenSing’s 50th anniversary season, are offering young female composers the opportunity to create new choral music, mentored by teaching artist Alice Parker. Up to two winners will be commissioned to write a treble choral work based on the highly inspired children’s poetry from the River of Words project, which will be premiered by WomenSing on June 5 and June 8, 2016. Works will be part of a season-long celebration of WomenSing’s 50th, and should reflect our theme, “Giving voice to women for 50 years.”  Each commissioned composer will receive a commissioning fee of US $1,000 and a recording of the work. Mentoring will include public composer’s workshops in conjunction with WomenSing’s Treble Voices Now new music festival on April 15 and 16, 2016, six weeks prior to the premiere. 
Founded in 1995 by former US Poet Laureate and 2008 winner of the Pulitzer Prize for Poetry, Robert Hass, and writer Pamela Michael, River of Words has energetically enlisted youth from around the world to compete annually in both art and poetry on the subject of the environment.
  • The competition is open to female California residents who have reached their 18th birthday but have not yet reached their 30th birthday by the submission deadline of May 1, 2015, and who have not previously won this competition. 
  • Submissions must be an original work for accompanied or unaccompanied chorus (not necessarily treble), must have been composed within the last three years, and should be between three and five minutes in length.
  • All submissions must be anonymous. The composer’s name must not appear on the score. Please remove all names and identifying marks.
  • Judges for the competition will be Alice Parker, teaching artist; Cristian Grases, advising composer; Charles Bruffy, conductor of the Kansas City Chorale and Phoenix Chorale, and advisor to WomenSing; and Martín Benvenuto, artistic director for WomenSing. The decisions of the judges are final, and up to two winners will be notified by May 29, 2015. WomenSing reserves the right not to award a prize.
  • Each composer will choose texts from the River of Words Collection no later than August 3, 2015.
  • Each composer will deliver a draft for review to the commissioner/s and teaching artist by November 2, 2015.
  • The final approved score and parts, ready for reproduction, will be due no later than January 8, 2016.
  • Workshops with all performers led by Alice Parker will be held on Friday April 15, and Saturday, April 16, 2016 in Orinda, CA, as part of Treble Voices Now, WomenSing’s new music festival.
  • The commissioned works will be premiered by WomenSing on June 5 and June 8, 2016.
  • Deadlines are strictly adhered to due to WomenSing’s performance schedule.
To enter
Please complete the YIY-CEC Cover Sheet, a brief 1-2 paragraph bio, and submit it along with five (5) clearly legible copies of the work. A sealed envelope labeled with the title of the work must accompany each submission. The sealed envelope must contain the attached completed YIY-CEC Call for Composers Cover Sheet, the 5 copies of the choral work, and the brief bio. Please send submissions to:
       WomenSing Youth Inspiring Youth Composition Contest
       P.O. Box 2014
       Orinda, CA 94563
Scores and applications must be postmarked by May 1, 2015.
For further questions please contact Teresa Caldwell, Youth Inspiring Youth-Commissioning Emerging Composers, at
Youth Inspiring Youth – Commissioning Emerging Composers
Call for Composers
Special 50th Anniversary Edition -- “Giving Voice to Women”
To be eligible for consideration in WomenSing’s Youth Inspiring Youth-Commissioning Emerging Composers (YIY-CEC) Project Composition Contest, please complete this form, then print, sign and date the form, and submit it with your biography and five (5) clearly legible copies of your score.
Application Materials must be postmarked by no later than Friday, May 1, 2015.
WomenSing Youth Inspiring Youth Composition Contest
P.O. Box 2014
Orinda, CA 94563                  
NAME:           ____________________________________________________________
DATE OF BIRTH: (month/day/year)__________________________________________
ADDRESS:     ____________________________________________________________
(street address, city, state, zip)
PHONE: ___________________________  ALT PHONE:            ________________________
E-MAIL ADDRESS: ______________________________________________________
TITLE OF THE WORK/Year Composed: _____________________________________________
CHECKLIST:  I have included the following:
      5 copies of an original score, composed within the last three years that is three to five minutes in length, with my name and identifying marks removed.
      My biography
      This completed Competition Cover Sheet
I verify that the above personal information is accurate, and that I am a California resident between the ages of 18 and 29 as of May 1, 2015.
Signature and date
Measure for Measure, A Men's Chorus Meghan Meloy, %08 %b %2015 %16:%Apr:%th 16AprGMT+0000
Measure for Measure, conducted by Steven Lorenz, will present a concert at Cherry Hill Presbyterian in Dearborn, MI on Sunday, April 19 at 4:00pm.  The chorus, which boasts more than 90 male voices, is known for lively and entertaining musical performances. (
Concert tickets are 10 dollars each.  Proceeds from the concert will be used to help fund Cherry Hill Presbyterian's mission and programs.  The church also welcomes concert sponsors of individuals and organizations with a donation of 100 dollars that includes four tickets and recognition in the concert program  
For sponsorships and advance purchase of tickets, please call the church office at 313-563-48100 by Wednesday, April 16, 2015.  Information is also available online at    
SAB Church Choir Anthem - NEW! Steve Kloser, %08 %b %2015 %16:%Apr:%th 16AprGMT+0000 In His Goodness is another new piece from  Written by Steve Kloser, for SAB Choir with piano accompaniment, this anthem is joyful and reverent. 
Listen to the demo at
Kokopelli Press - Portland, OR
A Cappella concert Big Apple & Princeton Chorus' James Danner, %08 %b %2015 %16:%Apr:%th 16AprGMT+0000



We cordially invite you to join us for
The 46th Annual Show of the
Princeton Garden Statesmen
   Sunday, May 3rd, 2015
3:00 PM

West Windsor Plainsboro Community Middle School

55 Grovers Mill Rd

Plainsboro Township, NJ 08536

Click Here For Directions

Barbershop is more than just men singing, it's a brotherhood.  This year the Princeton Garden Statesmen are joining forces with Manhattan's Big Apple Chorus to provide you an extravaganza of entertainment.  Double the size... Quadruple the fun.


Our Featured Guest Quartet ...
The definition of 'throwback' basically means: a reminder of the past.  Music certainly has the power to take us back to that special place, or remind us of that certain someone. This quartet brings together an infectious energy and a love of yesterday's music, and we're certain their fresh spin on familiar melodies will entertain audiences of all ages! 
2012 BHS International 6th Place Finalists 
2013 BHS International 7th Place Finalists
Scroll Down for
Ticket Discounts Exclusively For
Newsletter Subscribers

Dear Tom,


We cordially invite you to join us for an afternoon and evening of fun and song, as the Princeton Garden Statesmen presents its' annual extravaganza of family entertainment.  


Individual and Group Tickets are now available online on the PGS website, or by calling the number below.  Plan to bring your friends and family too!





Sponsors Wanted
Connect with PGS and our audience.  
This permission-based email goes out to thousands of PGS fans, just like you, who would be interested in supporting people who support the arts, and barbershop-style singing.
You can advertise in this space, as well as in our regular E-Newsletter and Annual Program Book, to show your support, and make a few bucks yourself.
for more information and advertising opportunities.
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 Price at the door will be $25.00 per person

Group  Sales (10 or more) - $12.50 pp

Purchase on or before April 19th for
Special 40% DISCOUNT
Exclusively for Early-Bird Purchasers 
$15.00 Per Person
Prices will increase after that date, so mark your calendars, and order your tickets online today! 
Tickets are now available, and you can get yours by:
  • Clicking this button: undefined
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  • Calling Toll-Free 1-888-636-4449; or
  • Purchasing them at the door the evening of the performance
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David V. Montoya has something to say about Sicut Cervus | MusicSpoke Aliana Kae, %08 %b %2015 %15:%Apr:%th 15AprGMT+0000 V. Montoya's SSA setting of Sicut Cervus rises to the challenge of adding something new to the conversation about Psalm 42. Beautiful counterpoint and harmonic vocabulary make this particular setting especially striking. Not only does David demonstrate his craft, he has a clear understanding of the voice, creating attractive melodies for each part. The ABA form takes the listener from A major to D minor and back. Much like the sound of waves against the shores, the opening A major chords gently push the listener through the minor sub-dominant of D minor, returning the audience to the tranquil waters of A. 
See the full score. Hear the entire SoundCloud recording. Buy Sicut Cervus on MusicSpoke today!
Research for a new project getting children to sing in harmony confidently sara knight, %08 %b %2015 %13:%Apr:%th 13AprGMT+0000 am currently studying music, in one module we have to come up with an community music project. I am trying to gather up enough information about this so this project would be possible. I have never had any experience running a choir. I would like to get children to sing in harmony confidently and work on songs they would enjoy doing. I wanted some advice on the youngest age group that would be able to manage singing in harmony generally, I know it would vary depending on their ability. Also if you have any general pointers on how you can ease a group of children into it, or rep or some exercises to make them have fun, that would be great. I was thinking of doing some rounds to ease them into it with actions etc. Thank you! ]]>Land of Hope and Glory William Spencer, %08 %b %2015 %13:%Apr:%th 13AprGMT+0000 there: Does this exist as a stand-alone choral piece? (It's the last movement of Elgar's 1902 Coronation Ode.) I have seen the SATB/piano arrangement by Arthur Fagge that's published by Boosey & Hawkes, but I'm hoping there's an orchestral version available as a separate item. Any ideas? Thanks! Bill ]]>NEW GROUP! Bay Area Chorale Joseph Mendolia, %08 %b %2015 %13:%Apr:%th 13AprGMT+0000 Bay Area Chorale is a new group forming in the Temple Terrace/Tampa Bay area. It is a non-auditioned community chorus open to anyone 16, or older. The group reheases once per month, on Saturday mornings from 9am-12pm. We will be performing two concerts per year, a holiday concert in December 2015; and a patriotic concert in June 2016. 
This group will also be auditioning for participation in Disney's Candlelight Processional at the Epcot theme park this December. For more information, please contact us at and check out our facebook page at!!!
This group is the community outreach arm of Soaring Sounds Vocal Ensemble.
Copacabana Allyson Johnston, %08 %b %2015 %11:%Apr:%th 11AprGMT+0000 SATB arrangement
Composer/Arranger/Edition: any
Starting: ASAP
For: forever
Copies: as many as possible
Willing to rent: No
I am looking for any arrangement of "Copacabana" preferably SATB.  It seems all arrangements are permanently out of print.  I am willing to purchase.
New SATB Edition of Mendelssohn's Wie dir Hirsch Schreit from Colla Voce Music Chris Matthews, %08 %b %2015 %12:%Apr:%th 12AprGMT+0000
Click the cover image to view the score in its entirety.
Colla Voce Music​ is proud to present this new arrangement by Jerry Weseley Harris of Mendelssohn's Wie dir Hirsch Schreit (Op. 42).  Featuring English text and a very accessible keyboard reduction of Mendelsson's original orchestration, this new edition would be appropriate for a wide range of mixed choirs.  This arrangement would work well for all-state performances or similar choral festivals.  View the score today at and don't forget to take a glance at the "Related Items" to view our other Mendelssohn editions.  
Name That Choir Tune (No. 31) Scott Dorsey, %07 %b %2015 %18:%Apr:%th 18AprGMT+0000
RAIN for SATB Chorus Performed by Matthew Curtis (Demo) Stanley M. Hoffman, %08 %b %2015 %02:%Apr:%th 2AprGMT+0000 all of these years (1988, rev. 1999!), I finally have a demo recording of my composition RAIN, a secular love song for mixed chorus which is still near and dear to my heart. RAIN (SATB, words by Haim Guri, English translation by Mark Elliott Shapiro), was recently recorded by the versatile professional vocalist Matthew Curtis (
I hope you enjoy it! 
To listen to this track click here.
To view a preview of the sheet music click here.
To purchase the score click here
Stanley M. Hoffman, Ph.D.
Chief Editor
Canticle Distributing, 1727 Larkin Williams Road Fenton, MO 63026-2024
ph 800-647-2117 (USA only)    
ph. 636-305-0100 (outside USA and inside metro St. Louis)
fax  636-305-0121
e-mail: morningstar(a)
THREE MINIATURES (SATB) by Stanley M. Hoffman Performed by Matthew Curtis (Demo) Stanley M. Hoffman, %08 %b %2015 %02:%Apr:%th 2AprGMT+0000 MINIATURES
for SATB Chorus unaccompanied
(1. The Lute, 2. The Thunderbolt, 3. The Sun)
Music by Stanley M. Hoffman (1999 [SSAA], arr. 2004 [SATB]) 
Words by Judah al Harizi, 13th century
English Translation by Stanley M. Hoffman
Performed by Matthew Curtis
Music and Translation: © Copyright 2000 by Ione Press, Inc.,
a division of ECS Publishing.
All rights reserved.
ECS Publishing Catalog No. 6435
To hear #1 THE LUTE click here;
to hear #2 THE THUNDERBOLT click here;
to hear #3 THE SUN click here.
To view a preview of or to purchase the score click here.
Stanley M. Hoffman, Ph.D.
Chief Editor
Canticle Distributing, 1727 Larkin Williams Road Fenton, MO 63026-2024
ph 800-647-2117 (USA only)    
ph. 636-305-0100 (outside USA and inside metro St. Louis)
fax  636-305-0121
e-mail: morningstar(a)
Seeking Composers in the NYC Boston Connecticut Areas Ross DiVito, %08 %b %2015 %01:%Apr:%th 1AprGMT+0000 am a very prolific Lyricist seeking the same in a Composer in some or many genres of music.  Please play piano,
able to write music in a fair amount of time, be serious about a collaboration.  No pay as is standard until we sell something then we would share all equally.  Thanks
Our Father Gregorian style arrangement Lucinda Quick, %08 %b %2015 %01:%Apr:%th 1AprGMT+0000 all. I am not a choral leader, but was encouraged that you guys would be able, if anyone, to help me.  Around 1981-1983, while in high school chorus, our Julliard trained choral director (no kidding, in SC!) taught us a beautiful Gregorian chant style version of the Pater Noster.  It was in English, no instumentation of course, and included "thy kingdom come, thy will be done..." as well as using the word debts and debtors, so it was based on a more modern tradition of the verse.  I have not been able to find the arrangement,  nor anyone who remembers it.  I can still sing it.  It is so beautiful, very simple, completely Gregorian chant stylistically (but for a complete chorus, not sure whether four parts or all parts, but female and male voices).  If anyone could point me in a direction, I would so appreciate it.  I know very little about music, and nothing about arrangments and composers of choral music.  I just know how much I loved my choral years!!  
thanks so much in advance.  
Need rep suggestions for larger works Lance Harris, %08 %b %2015 %01:%Apr:%th 1AprGMT+0000 am in the process of planning out a four-year rotation of larger (30-35 minutes) works for my church choir to perform at our annual Resurrection Feast.  This past spring we performed Vivaldi's "Gloria" with a small orchestra and this year we will be performing both Mozart's "Te Deum" and Gorczycki's "In virtute tua Domine".  I also invite members from other church choirs who rarely have the opportunity to sing such things to join us.  My high school singers may also join us if they desire.
I am looking for suggestions for how to fill out the remainder of the years.  Future works we hope to perform are Faure's "Requiem" with instrumental ensemble, as well as possibly the Durante/Pergolesi "Magnificat"
Thanks for the help.
Fifth Avenue Presbyterian Church - Professional Tenor and Bass Choristers Ryan Jackson, %08 %b %2015 %00:%Apr:%th 0AprGMT+0000

The Choir of Fifth Avenue Presbyterian Church

Fifth Avenue Presbyterian Church is currently accepting applications from professional tenor and baritone/bass choristers for permanent positions in the FAPC Choir.

The music program at FAPC employs eighteen outstanding professional singers who provide leadership for the mixed voice volunteer choir, and also sing concerts and services separately as the FAPC Chamber Choir. We are seeking exceptional ensemble singers who are excellent sight readers, have superb pitch, and demonstrate the flexibility to perform in a variety of styles, both within the ensemble and as soloists. The ability to sing comfortably without vibrato is essential.

The choir rehearses regularly on Wednesday evenings, sings services on Sunday mornings and other special occasions (Christmas Eve, Maundy Thursday, Good Friday, etc.), and performs several concerts throughout the year. The choral season runs from September through early June.  Professional choristers take turns serving as soloists during the summer months.

Compensation for these positions is very competitive.  To be considered for a live audition, please submit a letter of interest to FAPC's Director of Music, Ryan Jackson, via email: Please include a current resume and at least one sound file.   

Recent live recordings of the choir:

"In te, Domine, speravi" from Lux Aeterna - Morten Lauridsen:

The Dying Soldier - Traditional, arranged by Mack Wilberg & Nigel Short:

A Ceremony of Carols, op. 28 - Benjamin Britten:

Unusual new work for SATB with soprano, spoken-word actor and piano Michael Kaulkin, %07 %b %2015 %21:%Apr:%th 21AprGMT+0000 Roque Santana's The Children’s Hour is a whimsical setting of the Longfellow poem for soprano solo, spoken word actor, SATB chorus and piano.  It is suitable for a skilled high school or college chamber choir.
Listen and view the entire score here >
Many thanks for taking a look,
Michael Kaulkin
Swirly Music
Kodály and Vaughan Williams in St. Louis Philip Barnes, %07 %b %2015 %21:%Apr:%th 21AprGMT+0000
The Saint Louis Chamber Chorus continues its series of concerts celebrating 'choral titans' with a program devoted largely to Ralph Vaughan Williams and Zoltán Kodály. Fittingly, the venue is St. Mary of Victories Church, home to St. Louis's Hungarian catholic congregation and a landmark design by English architect, George Barnett (1815 - 1898). The repertoire includes works sung in Hungarian: Matrai Képek (Mátra Pictures), Este and Liszt Ferenchez - complemented by Franz Liszt's own Ave Maria (S.20 ii), and two other Kodály works, Homo Perpende Fragilis and An Ode for Music. The Chorus will also sing several works by Vaughan Williams: Five English Folksongs, O Taste And See, Rest, Three Shakespeare Songs (1951), and Valiant-for-Truth. Finally, the Chorus reprises a 2008 commission from Howard Helvey, Evening Song.
The concert begins at 3 pm on Sunday, April 12, and is followed by a reception featuring some traditional Hungarian refreshments. St. Mary of Victories Church is located at 744 South 3rd Street in downtown St. Louis. Admission is by ticket available at the door or in advance through the choir's website,
Philip Barnes, St. Louis (MO)
Full Time Middle School Choir Director sheila gebhardt, %07 %b %2015 %19:%Apr:%th 19AprGMT+0000
This is an outstanding full time middle school choir position in the Salem Keizer (Oregon) School District, which is known for having one of the most outstanding music programs in the country.  
Claggett Creek  MS which is located in the city of Keizer is a primary feeder into McNary High School which is recognized state wide for its outstanding fine arts department.
The district is seeking candidates that are experienced with evidence supporting an outstanding level of achievement in the area of vocal music education.
Supportive administration, excellent salary and benefits.
More information may be obtained on the district website:
Or contact:
Mary Lou Boderman
Supervisor of Music
503-399-3078 ]]>
Full Time High School Choral Director sheila gebhardt, %07 %b %2015 %19:%Apr:%th 19AprGMT+0000
McKay High School Choir
Outstanding full time high school choral position in the Salem Keizer (Oregon) School District, which is known for having one of the most outstanding music programs in the country. The McKay choral program has steadily grown over the past three years both musically and numerically. The Concert Choir from McKay has proudly demonstrated its outstanding ability by qualifying for the state choir championships the past two years.
The district is seeking candidates that are experienced with evidence supporting an outstanding level of achievement in the area of vocal music education.
Supportive administration, excellent salary and benefits.
More information may be obtained on the district website:
Or contact:
Mary Lou Boderman
Supervisor of Music
Tenor Section Leader Needed Michael Nelson, %07 %b %2015 %18:%Apr:%th 18AprGMT+0000,
My name is Michael Nelson and I am the Director of Music at St. John's Presbyterian Church in Devon, PA.
We are currently looking for a Tenor Section Leader for the remainder of the choral season. We are a small choir (about 20 people), with 3 additional paid professionals for each section. We rehearse on Thursday evenings (7:45-9:00) and sing at one Sunday morning service (report time is 8:45, service begins at 9:30). 
The choir will stop singing on the first week of June and does take off for the Summer. While this position is temporary for the remaining weeks of the season, there is the possibility for this person becoming the permanet section leader when the choir resumes in the Fall of 2015.
Please send me a brief description of your interest and church/choral experience. No formal resume is required. My email is
Please note, this is a PAID position. We have been told by other professionals that have worked with us that our rates are very competitive in respect to other main line churches. I will gladly disclose the pay in email communication, but for privacy reasons will not post on this site. 
*If you are interested, but can't make all remaining weeks until the beginning of June, please still get in touch with me. I am more than happy to work with your availability*
I look forward to hearing from you!
New music available for Trinity Sunday Donald Sanborn III, %07 %b %2015 %14:%Apr:%th 14AprGMT+0000 a composer, I wish to let members of this forum know that I have two works for Trinity Sunday available for performance. One is a solo organ work ("Trinity"), and one is an anthem--whose text is derived from a Collect in the Episcopal Book of Common Prayer--which exists for SAB and SATB ("Of the Holy Trinity"). Recordings can be heard at my SoundCloud page: If anyone is interested in the score for either piece, please reply to this post or send me a private message through ChoralNet.
Donald Sanborn III
Accompanist for two gigs - Princeton NJ area Stuart Rosenthal, %07 %b %2015 %14:%Apr:%th 14AprGMT+0000
The Hun School of Princeton seeks an experienced pianist to accompany its upper school chorus at two upcoming events. We anticipate performing three choral pieces totaling about 12 minutes, repertoire TBA. 
REHEARSAL: TBA during the week of 4/20 or 4/27 (half an hour’s coaching, then one hour chorus rehearsal, during the school day, which is between 7:50 and 2:30) – Princeton, NJ (Hun School, 176 Edgerstoune Road)
PERFORMANCE: Friday, May 1st (approx. 8:30-9:30am) – Jackson, NJ (address TBA)
PERFORMANCE: Thursday, May 22nd (approx. 8:30-10:00am) – New Brunswick, NJ (Nicholas Music Center at Rutgers)
Since we only anticipate one rehearsal, it is expected that the pianist will learn the music thoroughly before then, so he/she can be responsive to the conductor and ensemble rather than glued to the score. Pay is $275. If interested, please email Stuart Rosenthal, Director of Vocal Music, at References required.
Jubilee! Leanne Latuda, %07 %b %2015 %16:%Apr:%th 16AprGMT+0000 St. Louis Women's HOPE Chorale joins forces with the Songs of Africa Ensemble in Jubilee!: a celebration of spirituals, gospel songs and African music.
Tuesday, April 14, 2015
7:30 pm
Sheldon Concert Hall
St. Louis, MO
$15/person (tickets can be purchased at the door; price includes "Taste of Ferguson" post-concert reception)
Repertoire includes:
Rainforest Chant (of the Mbuti People of Ituri Rainforest)
Bora Maisha
Wade in the Water
I Hear a Voice a Prayin'
City Called Heaven
Shout All Over God's Heaven
We Are
On Children
African Lullaby
Haille Mamman!
Yenu Bene
I Dream A World
Nothin' Gonna Stumble My Feet
He Never Failed Me Yet
New Edition of Sergei Rachmaninoff - All-Night Vigil Op.37 Matthew Berry, %07 %b %2015 %16:%Apr:%th 16AprGMT+0000 new, affordable edition of Sergei Rachmaninoff's masterpiece, edited by Stuart Campbell and published by Novello. This edition offers a new transliteration of the Church Slavonic text. An audio pronunciation guide is provided online.
Available in the US from:;
Carl Orff Carmina Burana - workshop and performance Hans Hoche, %07 %b %2015 %16:%Apr:%th 16AprGMT+0000 will work out and perform Carl Orff's famous Carmina Burana. August 16 to 23. That alone is not really unique, since it is the most performed choral music in the world.

But it is our location, that makes all the difference: The Monastery of Benediktbeuern in Upper Bavaria, the original place, where these medieval songs were found. We will work it out in the venerable halls of this monastery foundet in the year 725. Its original name was Kloster Buron, and that's where the name Carmina Burana comes from. Songs from Buron.
Under the supervision of professional singers and musicians like the famous Tenor Martin Petzold from the Opera in Leipzig, Klaus Fessmann from the Mozarteum in Salzburg, Adel Shalaby from the University Institute for Music and Percussion in Munich and others, and under the direction of professional singer Andrea Fessmann we will learn and rehearse a full week, which will result in an open-air performance in the cloisters courtyard.
This is the second workshop of that kind and we are looking for singers male and female, who want to work and sing with us.
If you want to have an impression of what it is all about, please watch a 45 minute video (sorry, in German only) about the workshop last year under this link: And visit our website: and
Sing with us and spend a few days in one of the most thilling areas of Germany, on the edge of the Alps. Let us rotate the wheel of Fortuna together!

Interested? Contact us for more details:
Spring Concert: My Spirit Sang All Day Alice Reid, %07 %b %2015 %15:%Apr:%th 15AprGMT+0000! Experience the spirit of love, life, loss, and faith through song.
May 3rd, 3:00pm
Trinity American Lutheran Church
605 W 4th St.
Waterloo, IA

The concert will feature newly commissioned works by Joseph Carey and Tori Ovel; and works by Iowa composer Ralph Kendrick, alongside classics by composers such as Finzi, Weelkes, Whitacre, Hogan, Pachelbel, Brahms, Poulenc, and more.
Bel Canto will be joined by members of Waterloo West High School’s Chamber Choir on three pieces. 

The final piece, When in Our Music God is Glorified, is performed in honor of Minnesota composer Stephen Paulus (1949 - 2014) and will feature a local brass quintet and audience participation. 

We welcome you to join us for a dessert reception following the concert!

Admission is $10. Tickets can be purchased ahead from chorale members, online, or at the door.

Visit for more information.
Gerald Finzi - My Spirit Sang All Day
Thomas Weelkes - All at once well met fair ladies
Eric Whitacre - The Seal Lullaby
Gustav Holst - I love my love
Moses Hogan - I'm Gonna Sing 'Til The Spirit Moves In My Heart
Johann Pachelbel - Magnificat
Johannes Brahms - Warum
Francis Poulenc - Margoton va t'a l'iau
Jules Massenet - Chantez
Tori Ovel - Everywhere is Singing
Joseph Carey - hope begins 
Ralph S. Kendrick - The Etcher
Stephen Paulus - When in Our Music God is Glorified
Exploring Sacred Music Seminar -- Scott Metcalfe on The Peterhouse Partbooks John Yanns, %07 %b %2015 %14:%Apr:%th 14AprGMT+0000 Sacred Music Seminar -- The Renaissance
Scott Metcalfe on The Peterhouse Partbooks (copied c.1540)
The so-called Henrician set of partbooks now residing at Peterhouse, Cambridge were originally five in number, and they contain a large collection of Masses, Magnificats, and votive antiphons. They were copied in the latter years of the reign of Henry VIII at Magdalen College, Oxford, by the professional singer and music scribe Thomas Bull, just before Bull left Oxford to take up a new position at Canterbury Cathedral. The Tenor partbook went missing in the seventeenth century. 
Mr. Metcalfe, the Music Director of Blue Heron (performing in the Basilica on the 15th) is one of North America's leading specialists in music from the fifteenth to the seventeenth centuries.
Join us as we explore one of the richest periods of musical history, producing some of the most beautiful music of all time.
Thursday, April 16
10:30 AM – 12 noon
St. Cecilia Chapel in the Cathedral Basilica of St. Louis
St. Cecilia Chapel in the Cathedral Basilica of St. Louis
4431 Lindell Blvd, St. Louis, MO 63108 
Lunch follows each class for students and teachers to continue the dialogue.
April 16
Single Seminar Sessions: $40
Call 314-533-7662 to register for single sessions
Singers in Accord Concerts -- April 25 & 26 Judy Arnstein, %07 %b %2015 %15:%Apr:%th 15AprGMT+0000
Join Singers in Accord and guest condcutor Dr. Angela Broeker, for a sampling of Appalachian music, Sacred Harp hymns,
African American spirituals, and beloved folk ballads. The choir will be joined by jazz instrumentalists, a bluegrass band,
and ComMUSICation, a children's choir.

Saturday, April 25, 2015, at 7:30 p.m.
Sunday, April 26, 2015, at 2:00 p.m.

Chapel of St. Thomas Aquinas - UST
Preferred Seating = $25.00
General Admission = $15.00
Seniors & Groups 8+ = $10.00
Students FREE with School ID!
**Tickets $5.00 more at the door**
Or call the box office at: 612.597.5483
Concert Program:
Halleluia, arr. Brad Holmes
Idumea, arr. Richard Bjella
Jonah's Song, Peter Schickele, Herman Melville, from Moby Dick
Shenandoah, arr. Mack Wilberg
Bright Morning Stars, arr. Shawn Kirchner
Bring Me Little Water Silvy, Huddie W. Ledbetter, arr. Moira Smiley
Amazing Grace, arr. Will Todd
Get Away, Jordan, arr. Stacey V. Gibbs
Down in the River, arr. J Broeker
Selections by ComMUSICation children's choir
Choral Conductor in Potomac, MD Jason Strunk, %07 %b %2015 %13:%Apr:%th 13AprGMT+0000 School, a co-educational, 2-12, non-denominational day school in Potomac, Maryland, seeks an innovative, experienced, energetic and dedicated candidate to direct the Middle and Upper School Choral Music program. The position begins in August 2015 and involves teaching three graded Middle School ensembles and an Upper School program consisting of a boys', girls' and two mixed ensembles. A full-time teaching position also includes one extra-curricular advisory/coaching role as determined by institutional needs and candidate expertise/interest.

We seek a candidate who values global connections and can guide our students as they develop a deeper understanding of the 21st century world. Collaborative work, interdisciplinary thinking, as well as interest in developing curriculum around essential questions are part of current departmental work. Bullis values teachers who plan student-centered, innovative lessons and who employ a variety of strategies and assessments.

Successful teachers at Bullis are energized by curriculum development and are grounded in current learning theory. They have the desire and techniques to engage students in active learning and teaching for understanding both inside and outside the classroom. Technology use is an ongoing and active development at Bullis for both students and faculty. Candidates should be able to creatively integrate technology to enhance student learning and engagement while working in a one-to-one student-laptop environment.

Skills & Requirements

Qualified candidates will possess a minimum of five years teaching experience and a graduate degree in choral conducting or music education. Candidates should have demonstrated success with both Middle and Upper School choral programs, experience with curriculum development and familiarity with the choral literature canon, as well as a being comfortable with ethnic and world music.

Excellent piano skills and incorporation of Dalcroze, Orff and Kodaly methodologies are expected, as is an ability to engage a variety of learning styles in the classroom. Implementation of technology in the choral rehearsal is fundamental. Experience with concert production and creative team collaboration is essential. Strong organizational, communication and interpersonal skills are required.

Bullis School is located on a scenic 102-acre campus in Potomac, MD and is easily accessible by route 270 from DC and Northern Virginia. Bullis offers a robust benefits package to any employee working 20 or more hours per week that includes health and dental insurance, 401k plan, free daily lunch to all employees, a computer program for staff, and much more. Bullis School is committed to staff diversity, equality, and continued professional growth.

To view a full job description and apply, please go to the careers page on Bullis School's website at
new, unexperienced choir director, in need of some help! Emily Pitzi, %07 %b %2015 %11:%Apr:%th 11AprGMT+0000 am currently a high school band director and have just found out that next year, I will be teaching the high school choir and chamber singers as well. Aside from work done and classes taken during my undergrad, I have no experience running a choir of any kind. I at least have some time (the rest of this school year and the summer) to prepare myself, but I’m not sure where to even begin! Does anyone have any suggestions for me, as to how to prepare myself, ect. My biggest fear is that the chamber singers, a relatively advanced high school level group, will see through my facade and will become bored with I program for them. ]]>From Gesture to Sound - Aleatoric to Asymetrical Scott Dorsey, %31 %b %2015 %18:%Mar:%st 18MarGMT+0000
Arvo Part's Te Deum Joanna Lovell, %07 %b %2015 %02:%Apr:%th 2AprGMT+0000 ]]>National Anthem Sing for Boys 8-16 Tim Salaver, %06 %b %2015 %21:%Apr:%th 21AprGMT+0000 all boys ages 8-16

Come audition with the Golden Gate Boys Choir

Join us in preparing our audition recording to sing for our bay area sports teams.  We will also audition for the Cal Bears and Stanford Cardinal athletic teams.  Learn to sing the National Anthem and other game songs.  Join a local rehearsal, sing the recording, and then perform on the field with the Golden Gate Boys Choir.  Bring your best voice and game face for this truly unique opportunity.


Monday, April 27
4:30 pm to 6:00 pm
St. Mary's Cathedral
Music Rehearsal Room
1111 Gough Street, San Francisco, CA


Wednesday, April 29
4:30 pm to 6:00 pm
St. Margaret Mary's Church
Parish Hall
1219 Excelsior Avenue, Oakland, CA


Thursday, April 30
4:30 pm to 6:00 pm
All Saints Catholic School
22870 2nd Street, Hayward, CA


St. Vincent de Paul Church

4:30 pm to 6:00 pm
2320 Green Street
San Francisco

To register or make an appointment, call (510) 887-4311.  For more information go to

Community Choir Director Trish Wood, %06 %b %2015 %23:%Apr:%th 23AprGMT+0000 Verde Valley Voices, a local non-audition, non-profit choir located in the Verde Valley of Arizona, is seeking a part-time Music Director to lead their choral group of 60+ members. As a non-audition choir, The Verde Valley Voices are diverse in age, skill, and experience. The ideal candidate will not only  bring his or her passion of music to the group, but also be able to teach a variety of skill levels. The ability to work with a wide array of personalities is a must.
The candidate MUST reside in the Verde Valley im Arizona, have a minimum of three (3) years experience conducting a musical group, and have a degree in a music-related field. This is a paid, part-time position.
Interested candidates should submit their resume no later than Thursday, April 30th, 2015.
For questions or additional information, please email, check our web site or call 928-554-4800.
Director of Music - Los Altos United Methodist Church Jennifer Garcia, %06 %b %2015 %22:%Apr:%th 22AprGMT+0000
Los Altos United Methodist Church in East Long Beach is a 600 member congregation with average worship attendance of 280 persons at three principal Sunday morning services.
The Director oversees the church’s music ministry, directs the sanctuary choir (rehearsals and performances), enhances the worship experience and conveys the spirit and mission of the Church. The traditional choir, supported by tenor and base paid section leaders, and an excellent pipe organ and accomplished organist, provides musical leadership at the 11 AM service. The weekly Choir rehearsal is held on Thursday evenings. Our music program includes two handbell choirs, a children’s choral choir and youth choral choir as well as a contemporary Band that leads our 9:20 AM service.
We desire candidates to a minimum of five years prior work experience in choral conducting. A Bachelor of Arts degree is required; graduate work is desirable.
Please visit our web site at to learn more about our church.
Approximate hours and salary. The Director of Music salary is $18,000 and typically requires about a 12 hour work week; including direction of the Sanctuary Choir and Administration of the music program.
Please contact Jennifer at or 562-598-2451 for an application form, the job description and instructions for applying. Please prepare your resume so that it addresses the specific responsibilities of this position.
Return the application form and your resume to her attention, by email. Deadline to apply is April 27, noon.
Finale from Gondoliers Shawn Berry, %06 %b %2015 %20:%Apr:%th 20AprGMT+0000 Orchestra Parts
Composer/Arranger/Edition: Arr. Henry Clough-Leighter
Starting: April 15
For: Returned after May 17
Copies: 1 of each part
Willing to rent: Yes
Looking for Orchestral Parts for Finale from Gondoliers (arr. Henry Clough-Leighter). I have the 2 piano four hand arrangement but would like to use orchestra.
I was told the orchedtra parts are not being rented right now due to some problems with them. This was from the publisher.
I was hoping someone might have knowledge of where else to get them.
Experienced Vivaldi Gloria Singers Needed Tim Salaver, %06 %b %2015 %20:%Apr:%th 20AprGMT+0000 Knox Presbyterian Church Music Ministries Benefit Concert
This benefit concert is dedicated to the memory of my parents, Estrella Echavez and Canuto Salaver, who inspired and dedicated their lives to me and my love for music.  My mother, who died in 1999 from cancer, was a long-time Music Director in San Francisco and Los Angeles.  Her favorite work was Vivaldi’s Gloria which she performed many times with her many choirs. 
This work will be conducted by Menlo Park Chorus Director, April McNeeley and accompanied by John Iosefa.  Choruses joining together for this concert are Menlo Park Chorus, Golden Gate Boys Choir, JKPC Chancel Choir and Encore Vocalists. 
Experienced Vivaldi Gloria singers are invited to join us.  The performance is at John Knox Presbyterian Church in Dublin, CA, on May 16, 2015.   
Vivaldi Gloria Rehearsal and Performance times: 
Sunday, May 3, 6:30 to 8:00 pm at John Knox Presbyterian Church, 7421 Amarillo Road, Dublin (required)
Saturday, May 16, 6:00 to 8:30 pm at John Knox Presbyterian Church, 7421 Amarillo Road, Dublin (performance)
To be included in this memorial benefit concert, please contact Tim Salaver at  Your participation is greatly appreciated and welcome.  Vocal score will be provided.  Free will offering to benefit the JKPC Music Ministries.
Genesis Chamber Singers Kickstarter Project Joseph Young, %07 %b %2015 %01:%Apr:%th 1AprGMT+0000 Chamber Singers is an 8-member professional vocal ensemble located on Boston’s South Shore. Led by Artistic Director Joseph Young, Genesis is innovating the concept of musical performance by integrating the audience into the experience. We want to remove the formal barriers people often feel between themselves and classical musicians. Our singers are professional musicians who seek to share their passion and knowledge with the Genesis audience. Our performances provide opportunities for audience members to discuss the music with the singers --- before, after, and even during the performance. And at select concerts, our featured composer will be present and available to answer questions about how a classical choral piece is created.
Our Kickstarter Project is entering its final hours, and we would be honored to have your support. If you can, please consider pledging any amount in support of engaging choral chamber music on Boston's South Shore. Please visit our website at to find out more!

Dr. Paul Head, will lead us in singing and inspire our conducting at the Summer Conference in Elizabethtown.
As director of choral studies at the University of Delaware, Paul D. Head directs the internationally renowned University of Delaware Chorale, the community-based Schola Cantorum and the UD Symphonic Chorus, which performs frequently with the Delaware Symphony Orchestra. Dr. Head is a native Californian where he taught in the public schools for eight years before completing his Master of Music in Conducting and Music Education at Westminster Choir College of Rider University and a Doctor of Musical Arts in Conducting from the University of Oklahoma. His choirs have toured extensively throughout the United States, Canada, Asia and Europe and have received consistently high acclaim for their musical artistry. Under his direction, the UD Chorale has taken first- and second-place honors at competitive choral festivals in Estonia, Spain and Hungary.