ChoralNet - ChoralNet Daily New postings in ChoralNet DailyChoir Director/8:30 a.m. Traditional Service/Old Bridge UMC/Woodbridge, VA Sally Adams, %31 %b %2014 %02:%Oct:%st 2OctGMT+0000
Old Bridge United Methodist Church / 3966  Old Bridge Rd. / Woodbridge, VA 22192 / 703-730-3895
8:30/Traditional Service Choir Director
The 8:30 Choir Director will:
*Lead hymns and direct the choir in our 8:30 traditional music service
*Work with accompanist, choir members, and other musicians as needed.
*Pick Choir selections for anthems, offertory, prelude, postlude, cantatas and special services. Hymns are selected by the senior pastor.
*Lead the choir in practices, pick "special music," select music through CCLI Song  Select, the Old Bridge Music Library, and music stores for the choir to use.
*Submit an annual budget to support the music ministries of the 8:30/Traditional service at Old Bridge United Methodist Church.
*Answer to the Senior Pastor and the Staff Parish Relations Committee.
* Work 6-8 hours per week at a salary of $28/hour for those with a music degree.
*Be compensated for Funeral, weddings, and special events  over and above weekly duties.
*Send computer sound files, by part, to the choir members.
*Piano skills are a desirable plus.
Please send resumes to STEPHANIE BONSELL no later than Nov. 30, 2014 to
How can we require students to attend a live concert and write a review for 10% of their grade every semester? Kathy Caton, %31 %b %2014 %00:%Oct:%st 0OctGMT+0000 concert review rubric was in place in the music dept when I arrived  at this high school 3 years ago. All  music students are required to attend a live concert every quarter and write an review of that concert  within 10 days of attending....based on the rubric designed.   No paper- 10 points off their grade. band, chorus and orchestra all have the same requirement.
Access to live concerts have been challenging for students of a variety of reasons; financial, transportation, sports and work commitments, etc...
last year i offered "Live streamed concerts" for those that were not able to attend a live event. For those without internet access, I offered a research paper based on a composer we were working with for that quarter, thus making the assignment accessible to all learners.
Is 10% a fair scoring value for this 2 page assignment? Does any other choral directors out there require the same  type of assignment and if so, how do you manage the live concert issue?  Do your instrumental  colleagues have the same rubric and requirement?
I have seens my students grades drop considerably because they had no access to a live event.  is this fair?
Voices to the Virgin Luana Lewis, %30 %b %2014 %22:%Oct:%th 22OctGMT+0000  The Riverside Choral Society presents its Voices to the Virgin concert. Music includes Tarik O’Regan’s Now Fatal Change, plus pieces by Britten, Biebl, Tavener and excerpts from Rachmaninoff’s All-Night Vigil.
Ryland Angel, counter-tenor; Lara St. John, violinist
Patrick Gardner, conductor. Gardner is also Director of Choral Activities at Rutgers University’s Mason Gross School of the Arts, in New Brunswick, N.J.
When:  Friday, December 12, at 8 pm
Where: The Church of Saint Mary the Virgin, 145 West 46th Street (between 6th and 7th Avenues), New York City
Tickets: $75, $35 and $25. Order online at or send a question to  
For More Information: The Riverside Choral Society is at, or 212-780-2181. Questions? Contact
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Norway - International Choir Festival - August 2015 Sara Martin, %30 %b %2014 %21:%Oct:%th 21OctGMT+0000
Have fun, meet new choral friends & discover Norway!
Registration open! 
  • Choral workshops
  • Singing tour in Norway
  • Concerts shared with other international choirs!
All the information:
    Location: Trondheim, Norway

    Ad libitum at Coralua 2014 - Nidaros Cathedral in Trondheim, Norway
    The Frostbound Wood David Solomons, %30 %b %2014 %20:%Oct:%th 20OctGMT+0000 Composer's Choir (directed by Daniel Shaw) have recently recorded a wonderful interpretation of my composition "The Frostbound Wood" (poem by Tom Clarke of Bath UK, whom some of you may know for his own compositions - he asked several composers to set this poem of his...)
    I hope you will enjoy it
    Here is the video:
    The score is available at MusicNeo
    The downloadable mp3 is on CDBaby:
    Kind regards
    (PS another performance by this choir will be coming soon :-))
    Away in a Manger - A cappella arrangement of the English tune Gordon Thornett, %30 %b %2014 %20:%Oct:%th 20OctGMT+0000 you're looking for an unaccompanied choral arrangement of 'Away in a Manger', take a look at . The tune, 'Cradle Song', is the one traditionally associated with these words in the UK, and this arrangement for mixed choir (SATB) also incorporates a soprano soloist. ]]>Choral Conductors Workshop with Rod Eichenberger Debbie Hawblitzel, %30 %b %2014 %17:%Oct:%th 17OctGMT+0000
    Date: July 27 - 31, 2015
    Sponsor: George Fox University
    Location: Cannon Beach, Oregon - (at Cannon Beach Elementary School)
    Info: This 5-day professional development workshop, designed for conductors of choirs at all levels, gives special emphasis to the important role non-verbal skills can play in rehearsal and performance.
    ·    Explore movement activities designed to improve intonation, timbre, rhythmic accuracy and to expand dynamic range.
    ·    Examine the effect of the conductor's posture and gesture on vocal production and choral tone.
    ·    Experience how effective pacing and affirmative instruction improves both focus and retention in the choral rehearsal.
    ·    Enhance practical conducting skills during daily master classes.
    ·    Enjoy daily reading sessions from a large packet of octavos personally selected by Rod Eichenberger.
    Contact Name: Debbie Hawblitzel, managing director
    Contact Phone: 503-554-2620
    Web site:
    Choral Conductors Workshop with Rod Eichenberger Debbie Hawblitzel, %30 %b %2014 %17:%Oct:%th 17OctGMT+0000
    Date: July 13 - 17, 2015
    Sponsor: George Fox University
    Location: Alexandria, Virginia - (at Alfred Street Baptist Church)
    Info: This 5-day professional development workshop, designed for conductors of choirs at all levels, gives special emphasis to the important role non-verbal skills can play in rehearsal and performance.
    ·    Explore movement activities designed to improve intonation, timbre, rhythmic accuracy and to expand dynamic range.
    ·    Examine the effect of the conductor's posture and gesture on vocal production and choral tone.
    ·    Experience how effective pacing and affirmative instruction improves both focus and retention in the choral rehearsal.
    ·    Enhance practical conducting skills during daily master classes.
    ·    Enjoy daily reading sessions from a large packet of octavos personally selected by Rod Eichenberger.
    Contact Name: Debbie Hawblitzel, managing director
    Contact Phone: 503-554-2620
    Web site:
    Part-time Director of Music and Worship Larry Woodruff, %30 %b %2014 %18:%Oct:%th 18OctGMT+0000 United Methodist Church, 5268 Airways Blvd, Memphis, seeks to fill the position: part-time Director of Music and Worship.

    The Director of Music and Worship is responsible for leadership of the adult choir, including music selections, directing the choir, and vocal development.  He/she is responsible for direction of hymns and the adult choir during Sunday morning worship services, as well as special services during the year.   The Director of Music and Worship should be competent with a variety of musical styles.

    The Director of Music and Worship is responsible to the Senior Pastor and the Staff/Parish Relations Committee.

    Qualifications include: 
    • Experience directing music in a church setting.
    • Knowledge of a wide variety of musical styles and the ability to teach the choir.
    • Possess effective interpersonal communication skills.
    • Possess good organizational skills.
    • Possess a positive attitude.
    Job Description is available upon request.
    Salary is negotiable.

    Send resume to:,
    Rev. Larry N. Woodruff
    Longstreet United Methodist Church
    5268 Airways Blvd
    Memphis, TN  38116
    Volti: Youth and Music! Barbara Heroux, %30 %b %2014 %16:%Oct:%th 16OctGMT+0000

    Volti opens its concert season with a celebration of song featuring the high school choirs from our educational outreach program, the Choral Institute for High School Singers. You will be impressed, thrilled and energized by the high-spirited explosion of sound produced by these amazing young musicians.

    This will be a beautiful evening of choral music by four of the leading high school choirs in the San Francisco Bay Area. Each will bring a short program of their own, and the program will also feature a brief performance by Volti.   The concert will conclude with the combined choirs of nearly 200 singers performing Adon olam for double choir by Salamone Rossi, and Ein Kindelein so löbelich for double choir by Michael Praetorius.

    Participating choirs:
    Acalanes High School, Lafayette
    Ecco from Piedmont East Bay Children’s Choir
    Head-Royce School, Oakland
    Ruth Asawa San Francisco School of the Arts

    Saturday November 1, 2014, 7 PM

    Unitarian Universalist Center, 1187 Franklin at Geary, San Francisco


    GRADUATE STUDIES at the UNIVERSITY OF NOTRE DAME – Full Scholarships Available Janet Rudasics, %30 %b %2014 %16:%Oct:%th 16OctGMT+0000

    Dear Colleagues,

    The Choral Conducting Program of Sacred Music at Notre Dame is pleased to announce the application deadlines for admission to the degrees of Master of Sacred Music and Doctor of Musical Arts in Choral Conducting in the 2015-2016 academic year. We will begin accepting pre-screening videos on December 1st, and completed applications to the Notre Dame Graduate School must be received by January 15th. For information on the application process please visit here.

    The Choral Conducting Program at Notre Dame is particularly suited to young artists interested in the interdisciplinary intersection of music with the sacred arts and with society at large. Our musicology, ethnomusicology and music theory faculty stands among the best in the nation. We support a lively program of student collaborations in recitals a cappella and with chamber orchestras, extensive podium time, grants in support of student research, internships in churches, thematic conferences, national and international tours, and artistic collaborations and interactions with distinguished professionals. Recent and future guests include musical pedagogue José Antonio Abreu, composers James MacMillan, Richard Einhorn, Robert Kyr, Gabriela Lena Frank and Sven-David Sandstrom, and conductors Stephen Cleobury, Nancy Menk and Jan Harrington. Sacred Music at Notre Dame produces a series of Interdisciplinary Sacred Music Drama Projects with a grant from the Mellon Foundation, and leads an ambitious Children's Choir program, under the direction of Professor Margot Fassler and Dr. Mark Doerries, with support from the Lilly Foundation. Other important projects in 2015 include a performance of Mendelssohn's Elijah with world-class opera baritone Nathan Gunn and a conference in Rome organized by music history faculty and MacArthur award winner Dr. Peter Jeffery, with the participation of all choral conducting students.

    The program is competitive, and all students are supported by a full tuition scholarship and a generous stipend. For details, please visit Let me know if we can answer any questions from you or your students.

    With very best wishes,

    Carmen-Helena Tellez, D.M.
    Professor of Music
    Director of the Choral Conducting Program
    Sacred Music at Notre Dame

    Craig Cramer – Head of Recruitment
    574-631-7836 or 574-273-9519

    Margot Fassler – Director, Sacred Music Program
    574-631-0384 or 203-430-0506

    Tenor Section Leader - Princeton NJ Noel Werner, %30 %b %2014 %16:%Oct:%th 16OctGMT+0000 Presbyterian Church is seeking a substitute section leader for January 4 - March 29 of 2015.  Weekly rehearsals are on Wednesdays 7:30-9:30 PM, and Sunday services are at 9:15 and 11:00.  We will also be presenting the Durufle Requiem on March 7.  The candidate should work well with volunteer musicians, be a strong sight reader, and be a soloist as well as a choral singer.  This is a stipended position and is based upon the candidate's experience. Contact Director of Music, Mr. Noel Werner,, 6009-924-0103 x 104. ]]>Readings for Veteran's Day Patricia Corbin, %30 %b %2014 %12:%Oct:%th 12OctGMT+0000 are doing a joint concert with a local high school a week after Veteran's Day and we are ending the program with Marta Keen's "Homeward Bound" as an acknowledgement of Veteran's day, that has passed. I would like to have a couple of students read something (a poem, scripture, etc,) prior to that final selection to introduce it.  Any suggestions? ]]>General Use "Run Out" Repertoire Brian Clissold, %30 %b %2014 %12:%Oct:%th 12OctGMT+0000 Listers,
    I would like to put together a 25-30 minute set of fairly easy general pupose music for my SATB adult community chorus. Some accompanied, some a cappella, sacred and secular fun stuff that we can use when we get calls for local community events. A mix of classical, pop, jazz, etc. is fine. I look forward to seeing your suggestions, and thanks in advance!
    Assistant Accompanist Janet Willoughby, %30 %b %2014 %14:%Oct:%th 14OctGMT+0000 Columbus area community chorus is seeking an accompanist to assist at rehearsals and performances between  Jan-June 2015.  . 
    Rehearsals are Sunday evenings and some Wednesdays .  This position would be responsible for one Sunday a month and some Wed evenings and show week.
    The position will play parts or piano accompaniment from the sheet music under the leadership of our musical director. 
    An hourly rate of around $20 is paid for time spent at rehearsals/performances.  An interview will be arranged which will include performing a selection of your choice and sight-reading a song from the current season.
    Please reply with resume to
    Section Leaders needed for Christmas Cantata Christopher Hansen, %30 %b %2014 %13:%Oct:%th 13OctGMT+0000
    Soprano, Alto, Tenor, and Bass section leaders are needed for a Christmas Cantata to be performed at Davis Street United Methodist Church, Burlington NC, on December 21st.  Singers are asked to attend a Wednesday night rehearsal on December 17th and the Saturday dress rehearsal on December 20th.   The performance of the cantata will take place during the 11:00am worship service on Sunday December 21st.  Interested singers should contact the Director of Music Ministries at
    Anton Armstrong & Karen Kennedy in Prima Voce Itali'a by Choirs of America & Perform International Roland Zuehlke, %30 %b %2014 %14:%Oct:%th 14OctGMT+0000
    Italy, a land rich in musical and artistic heritage. Steeped in historical significance. Breathtaking in its beauty. Welcoming in its nature. What better place to host the first ever collaboration between Perform International and Choirs of America? This revolution in festival tours offers the opportunity to learn and sing with two of the pre-eminent choral music educators of our time in iconic, historic sites in Milan, Venice, Florence and Rome. Prima Voce Itali’a: The Maestro Festival Tour will engage, inspire and educate every participant and create profound memories to last a lifetime. Join Anton Armstrong, Karen Kennedy, Gene Peterson and Christopher Scott Olin for an unforgettable experience.  Join us for Prima Voce Itali’a. For more information please visit our website at
    1st Choir Festival in Salzburg Cathedral Anita Jungherr, %30 %b %2014 %13:%Oct:%th 13OctGMT+0000
    Wolfgang Amadeus Mozart: Coronation Mass
    János Czifra, Musical director of Salzburg Cathedral, will conduct 2 days of masterclasses to work on this masterpieces of music, which will be performed with orchestra and excellent soloists in the cathedral on August 28th and 30th 2015.
    Choirs as well as individual singers are welcome to apply.
    If you need any help in hotel bookings, we will be happy to send you a good offer.
    Please find enclosed the general information, if you have any questions, please do not hesitate to contact us.
    Attention: Limited number of participants!
    Please apply with:
    Kunst & Kultur – ohne Grenzen
    Tel: ++43-(0)1-586 73 08
    Choir festival at St. Stephen´s Cathedral, Vienna, AUSTRIA Anita Jungherr, %30 %b %2014 %13:%Oct:%th 13OctGMT+0000
    Joseph Haydn: The Creation 215 years after it’s premiere in English language
    Two years after the premiere of Haydn’s Masterpiece “The Creation” the composer translated his work – the English-speaking premiere took place in the Convent Garden London in 1800 – now, 215 years after this historic event, singers from all over the world have the unique possibility to perform this oratorio in St. Stephen´s Cathedral – in that church where young Haydn once joined the Boys’ choir to make his first experiences in choral music and where he married his wife Maria Anna Aloysia.
    Gerald Wirth, artistic director of the Vienna Boys’ Choir, will conduct 3 days of masterclasses to work on this masterpiece of music, which will be performed with orchestra and excellent soloists in the cathedral on Saturday, July 11th 2015.
    The proceeds of the concert will be used for the restoration of the cathedral.
    Please apply with:
    Kunst & Kultur – ohne Grenzen
    Tel: ++43-(0)1-586 73 08
    Eric Whitacre: Lux Nova (Lux Aurumque Re-Imagined) Matthew Berry, %30 %b %2014 %11:%Oct:%th 11OctGMT+0000

    Lux Nova sees Eric Whitacre's best-selling Lux Aurumque re-imagined with a middle section of new material from his musical Paradise Lost

    This piece for unaccompanied SATB Choir incorporates poetry by Edward Esch, translated into Latin by celebrated American lyricist Charles Anthony Silvestri.

    Available in the UK and Europe from

    CJ Replay: Local Gigs for the Choir Scott Dorsey, %25 %b %2014 %20:%Sep:%th 20SepGMT+0000
    (An excerpt from the Choral Journal article, “Scheduling Choral Programs and Community Relations” by Robert L. Garretson)
           What choral conductor has not received numerous requests for programs from various groups in the community? Each conductor must determine how many and on what basis these programs should be accepted. Throughout the country a wide range of practices exists. Some directors accept relatively few programs because they wish to focus their efforts in rehearsals upon the development of musicianship, while other directors strive for the highest possible performance standards which they believe is most readily achieved through extensive performance. These two goals are not incompatible; however, a balance must be maintained.
           Many school music directors express the philosophy that one of the objectives of the school music program is to serve as a bridge of understanding between the school and the community. In striving toward this goal, as well as maintaining a balance between the development of musicianship and performance standards, the director needs specific information about all the program requests received.
           The following is a suggested procedure: 1) Prepare a standard form including such pertinent information as date, time, place, sponsoring group, contact person and phone number, length and type of program desired, the size and nature of the performance hall, estimated audience, the condition of the piano (how recently was it tuned?), and the admission charge, if any. 2) Relate to the inquiring party that you will send them a performance request form to be completed, and that when returned it will receive the prompt attention of both yourself and the choir council (usually consisting of the officers).
           In the initial conversation make clear that all engagements are dependent upon the students' schedules, including examinations and other commitments that might not be readily known to   you. The use of such a form enables the director to secure all necessary information at one time and eliminates, or at least minimizes.
    READ the entire article.
    Improving Skills 3 Richard Sparks, %17 %b %2014 %04:%Oct:%th 4OctGMT+0000
    From Daniel Coyle’s The Little Book of Talent: Tip #5 - Be willing to be stupid.
    The point, of course, isn’t to be stupid, but to be willing to fail, to take risks. Coyle uses the example of Wayne Gretzky falling in practice and says, “As skilled as he was, Gretzky was determined to improve, to push the boundaries of the possible. The only way that happens is to build new connections in the brain—which means reaching, failing, and yes, looking stupid.”
    There is a great Nike ad with Michael Jordan, which you probably already know, but it makes the same point: without taking risks (and failing) you won’t fail . . . but you’re unlikely to grow either.
    But what does this mean for the conductor?
    It certainly means challenging yourself. How can you push yourself beyond your current boundaries, your current skill level?
    Repertoire is one logical area—it’s the basis for all we do, after all. Eric Ericson always maintained that his choirs (and he) grew through the challenges of particular repertoire:
    You asked how technique and proficiency developed, and I can almost mention certain pieces which were "rungs on the ladder" . . . because that's how I feel so strongly when we've learned a difficult and very good piece. I'm thinking naturally from the viewpoint of the Chamber Choir with [Lidholm's] Laudi from 1947, Fyra körer from 1953, then the big pieces of Stravinsky, Nono . . . Dallapiccola perhaps most of all, which is where we learned to read notes and rhythms. And then of course we have a Swedish piece, again by Lidholm [1956--Canto], that we struggled with for half a year. I have a certain sense that, when you "come out on the other side" after having done a piece like Lidholm's Canto, you are a better musician, a better conductor, a better chorister. Canto feels like a final exam for the '50s choral life . . . early pieces that were difficult tonally and rhythmically became less so. Canto combined all the difficulties one was thrown between.
    What repertoire will push your musicianship, your conducting technique, your ability to teach a particular style? The risk of failure or looking stupid is there, but believe me, it’s worth it.
    Coyle says, “Feeling stupid is no fun. But being willing to be stupid—in other words, being willing to risk the emotional pain of making mistakes—is absolutely essential, because reaching, failing, and reaching again is the way your brain grows and makes new connections. When it comes to developing talent, remember, mistakes are not really mistakes—they are the guideposts you use to get better."
    Another worthwhile book I’ve written about is Mindset by Carol Dweck—the full post is here.
    It deals with two different mindsets regarding learning. From that blog post:
    Dweck says, "Everyone is born with an intense drive to learn. Infants stretch their skills daily. Not just walk and talk. They never decide it's too hard or not worth the effort. They walk, they fall, they get up. They just barge forward."
    Somewhere along the line, though, some children learn that they are being evaluated and become afraid of challenges (and paradoxically, continual praising children as being smart or supremely talented can lead to the fixed mindset).
    She tells of a study where they offered four-year-olds the choice between redoing an easy jigsaw puzzle or trying a harder one. Even at this age, kids who had a fixed mindset--that is, they believed in fixed traits--chose the safe one. They told the researchers, kids who are born smart "don't do mistakes." The other children with a growth mindset--who believed you could get smarter--couldn't imagine doing a puzzle they'd done before. One girl said, "I'm dying to figure them out!"
    Again from Dweck, "So children with the fixed mindset want to make sure they succeed. Smart people should always succeed. But for children with the growth mindset, success is about stretching themselves. It's about becoming smarter.”
    All of us have things we’re comfortable with: our conducting technique, rehearsal technique, our usual way of doing things. Sometimes in order to grow, we have to give up our comfortable ways and change our technique—in a very real sense, change who we are. This almost certainly will mean that for a period of time you’ll be uncomfortable and, in fact, probably won’t do as well. But you need the time to grow those new connections in your brain—and perhaps, feel “stupid” for awhile. But if you’re not willing to go through that process you won’t grow.
    So, if you want to grow and improve, don’t be afraid of mistakes and failure: "be willing to be stupid.” Challenge yourself, put yourself in situations where you’re certain to struggle. And give yourself the opportunity to change and grow.
    DEADLINE is TOMORROW for Student Conducting Award Scott Dorsey, %27 %b %2014 %15:%Oct:%th 15OctGMT+0000 will again offer the Student Conducting Awards during the next national conference, February 25-28, 2015, in Salt Lake City, Utah.
    The objectives of the ACDA Student Conducting Awards are designed to acknowledge and reward outstanding graduate and undergraduate student conductors; to encourage score preparation and advancement of conducting and rehearsal skills; and to promote student activity at the ACDA National Convention.
    These cash prizes are awarded to the winners of the final round of the conducting awards:
         First Prize, Graduate Level: $1000
         Second Prize, Graduate Level: $500
         First Prize, Undergraduate Level: $500 Second Prize, Undergraduate Level: $250
    In addition, the sixteen semi-finalists (up to eight undergraduate and eight graduate) each receive complimentary registration to attend the 2015 National Conference.  The event is sponsored by Manhattan Concert Productions.
    LEARN MORE about the student conducting competition and then APPLY. Application deadline is October 31.
    Sessions in Salt Lake: "Bel-Canto Singing" Scott Dorsey, %10 %b %2014 %15:%Oct:%th 15OctGMT+0000
    The 2015 ACDA National Conference in Salt Lake City, Utah will feature the interest session:
    Choral blend does not have to be bland! Using key bel canto vocal principles, this session will focus on raising the common denominator of vocal ability across an entire choir. Can your choir sing in a harmonically rich, vocally energized fashion while still blending beautifully and singing perfectly in tune? Absolutely! Discover how to remove both the effort and the blandness out of ensemble singing and replace them with self-sustaining, three-dimensional sound that will transform the way your choir feels about what it does. Leave with a new vocabulary and means of conveying important vocal concepts. State-of-the-art acoustical analyses will also be provided.
    LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
    Singing in Salt Lake: Metropolitan Chorus of Tokyo Scott Dorsey, %10 %b %2014 %16:%Oct:%th 16OctGMT+0000