ChoralNet - ChoralNet Daily New postings in ChoralNet DailyORIANA Women’s Choir Concert, Gloria, Voices Raised in Praise Julia Lee, %24 %b %2014 %22:%Oct:%th 22OctGMT+0000
ORIANA’S first concert of the season features three masterworks for women’s choir: Holst’s Choral Hymns from the Rig Veda, Britten’s Missa Brevis, and Vivaldi’s Gloria as it might have been presented at the famous Ospedale della Pieta, where Vivaldi was a resident violin teacher and composer.
The program, drawn from the 18th and 20th centuries, presents inspired examples of the gorgeous music available to women’s choirs today.
Mitchell Pady
Artistic Director
8 p.m. Saturday, November 22, 2014
Grace Church on-the-Hill (in the west end), 300 Lonsdale Rd., Toronto        
Tickets: Adults $25. Seniors $20, Students $10.  Tickets available through our website or: 416-978-8849
Contact info:
Welsh pronunciation help please Ron Richardson, %24 %b %2014 %20:%Oct:%th 20OctGMT+0000, I am a member of the Sacramento Mastersingers. We are doing an arrangement of Hunting the Wren (Ble rwyt t'in) for TTBB sung in Welsh. The arr. is by Jeffrey Jones-Ragona and the words are by John Lloyd, late 19th c. 
We have a recording but it goes by very quickly. Is there someone who is a native speaker that we could hook up with and maybe get a pdf of you speaking the text for us or even maybe help us out by phone. 
Any help would be greatly appreciated.
Thanks so much!!!
Music on the Hill Festival Chorus: Call for Singers Carol Bogard, %24 %b %2014 %19:%Oct:%th 19OctGMT+0000

Music on the Hill invites singers to join the Festival Chorus for a Christmas concert to be performed in Wilton on Friday, December 12.  Artistic Director David H. Connell will conduct.  Rehearsals are Tuesdays beginning Nov. 11 from 7 to 9 p.m at Norfield Congregational Church, 64 Norfield Road, in Weston, CT.  Advance registration required.  E-mail  Past performances of the Festival Chorus have included Rachmaninoff's All-Night Vigil; Poulenc's Gloria; Holst's Christmas Day; and works by Britten, Copland, Randall Thompson, Stephen Paulus, and Paul Halley, among others.  The December concert will be a joint performance with the Jubilate Ringers handbell choir.  To receive notice of future opportunities, join the mailing list by visiting the web page.


Opera Academy in Bulgaria featuring Gianni Schicchi, Suor Angelica and famous opera scenes Kalin Tchonev, %24 %b %2014 %19:%Oct:%th 19OctGMT+0000
It is with excitement that we announce the Fourth Varna International Opera Academy, which will take place in Bulgaria from May 26-June 21, 2015, in collaboration with the Varna Free University and the opera houses of Varna, Stara Zagora and Plovdiv.
Participants in the academy will receive elaborate training from expert faculty and will participate in a fully-staged orchestral production of Puccini's Gianni Schicchi, Suor Angelica, or orchestral performance of opera scenes.
Participants will be eligible for undergraduate or graduate credit through the Erasmus program. Candidates may apply for partial scholarships.
Live auditions casting lead and supporting roles will take place at four universities in the USA during October, November and December of 2014. To audition, participants should fill out the web form found at and clarify whether they plan to audition at one of our live audition sites or submit a video recording.
To apply, participants should visit to download an application, which can be sent to our office by mail or email. The Early Bird Registration deadline is December 10, 2014 and the final application deadline is February 13, 2015.
ASCAP Foundation Presents Harold Rosenbaum Choral Workshop for Composers in New York City – Date Changed to November 11 Jeffrey James, %24 %b %2014 %18:%Oct:%th 18OctGMT+0000
October 24, 2014
For Immediate Release
Contact: Jeffrey James Arts Consulting
516-586-3433 or
ASCAP Foundation Presents Harold Rosenbaum Choral Workshop for Composers in New York City – Date Changed to November 11
The ASCAP Foundation will present Harold Rosenbaum’s Choral Workshop for Composers on Tuesday, November 11, 2014, from 3:30 to 5:00 PM in the ASCAP Lounge on the 7th Floor of 1900 Broadway in New York, New York.
Harold Rosenbaum, ASCAP member and conductor of The New York Virtuoso Singers, will present topics such as the basics of writing for chorus (ranges, notation, format and font), and tips on how to create a user-friendly score for performers, as well as other practical advice, especially useful to composers submitting choral work to conductors. A brief Q&A will follow.
Each workshop attendee will be offered a complimentary ticket to the New York Virtuoso Singers November 15th performance at Merkin Concert Hall.
RSVP required, as seating is limited. RSVP at
More event information at
Harold Rosenbaum, recipient of the 2014 Ditson Conductor’s Award from Columbia University, is the founder and conductor of the New York Virtuoso Singers and the Canticum Novum Singers. He is also lead choral conductor for Parma Recordings, and a Soundbrush Records artist. He is the 2010 winner of ASCAP’s Victor Herbert Founders Award and the winner of the 2008 American Composer Alliance’s Laurel Leaf Award, given in recognition of “distinguished achievement in fostering and encouraging American music.”
A strong proponent of and advocate for contemporary composers and American composers in particular, Rosenbaum has commissioned more than 60 works, and has conducted more than 475 world premieres. Visit him at the newly re-designed
For more information, contact Jeffrey James Arts Consulting at
Part-time Vocal Director--SF Lise Shelton, %24 %b %2014 %17:%Oct:%th 17OctGMT+0000 DIRECTOR:
We are seeking a VOCAL DIRECTOR to work with high school singers in preparation for and during the 
school musical. We anticipate the director will work with singers before and during the production for a 
total of 50 hours, from November 2014-February 2015. Most of these hours of instruction will take place 
three to four days a week from 3:45-5 p.m. and on occasional Saturdays.
The ideal candidate:
 finds resonance with The Bay School mission and philosophy;
 possesses a Bachelor’s degree or higher in Music, Musical Theater or Vocal Performance;
 has experience:
o working with high school singers as soloists and in ensembles;
o being in a musical production and in directing musical theater performers;
o working effectively with a range of students;
 values individual learning styles;
 brings a diversity of teaching and life experience;
 values collegial collaboration as a means to improve the student experience as well as her/his 
own craft;
 dedicates her/himself to anti-bias and equity work and understands both culturally responsive 
pedagogy and the social justice dimensions of education;
 demonstrates a passion for musical theater as well as for teaching and learning;
 enjoys working with and inspiring high school learners in all areas of school life.
If interested in the position, please send all of the items below to:, attn: Lise 
Shelton, Assistant Head of School. 
1) Cover letter describing your interest in the position as well as how you anticipate contributing 
to the music and theater programs
2) Resume/C.V.
Middle School - need structure for a lesson idea Janice Timm, %24 %b %2014 %16:%Oct:%th 16OctGMT+0000 all - collective wisdom needed and I certainly don't have the time to reinvent something you may already have.
I teach a short activity-based music session to a small 7th grade class (twice a week, 30 minutes at a time), and as a "reward" I am allowing them to each bring in one or two pieces of music for them to teach and share and talk about (the only limits were it had to be school appropriate and it needed to be something that moved them or they love passionately).
Does anyone have a lesson plan or worksheet or even a list of questions/characteristics that will facilitate a lively and learning discussion?  I anticipate many different styles (from country to opera) and would like to talk about how the styles differ (or what they have in common) -- musically structure -- actually I am open to just about anything.
Thanks in advance,
Janice Hawthorne Timm
Ukiah CA
Associate Conductor - Star Valley Children’s Choir Derek Tam, %24 %b %2014 %16:%Oct:%th 16OctGMT+0000
Associate Conductor (Little Star, Level I) of Star Valley Children’s Choir
Star Valley Children’s Choir (SVCC), a non-profit choral organization in the San Francisco Bay Area serving over 70 children, is looking for a dynamic conductor to serve in the part-time position of conductor of the pre-choir and introductory (Little Star and Level I) choirs. Essential duties include direction of the pre-choir and introductory choirs at SVCC’s two locations, as well as participation in concert performances.
Essential job duties:
  • Teach a pre-choir class to children aged 4-6. Develop curriculum for weekly class that helps to develop children’s natural voice, as well as lay the foundation for musical literacy. Recommend students for promotion into the introductory choir.
  • Conduct the Level I choirs, which consist of children aged 5-8. Lead the choir in weekly rehearsal and conduct in performances. Encourage choristers to achieve musicianship and musical literacy goals as outlined in the choir curriculum. Conduct evaluations twice annually to recommend choristers for promotion.
  • Other duties as needed.
  • Bachelor’s in Music Education or Choral Conducting required.
  • Basic piano skills required.
  • One year’s experience of teaching in a school or community preferred.
  • Ability to communicate effectively with other staff members, parents, and the public.
  • Basic skills in Microsoft Office and social media.
  • Commitment to choral education and expanding a growing organization.
To apply: 
  • Electronically submit a letter of interest and a resume or CV with two references to Artistic Director, Derek Tam, at Video clips are welcome, but not required. Subsequent steps in the process include an in-person interview and a potential on-site audition.
This is a part-time position (5 hours on average per week) with no benefits. The associate conductor reports to the Artistic Director of Star Valley Children’s Choir. Most work will occur on Saturday afternoon and Sunday morning; however, there are occasional mandatory events (concerts, retreats, etc.) that require additional hours. Salary is commensurate with experience.
New carols OB Wigley, %24 %b %2014 %16:%Oct:%th 16OctGMT+0000
If there's anyone looking for new arrangements for a xmas program, please have a visit here:
Verbum Caro Factus Est! TTBB
Deo Patri Sit Gloria SSAA 
OB Wigley
Graduate conducting degree openings at the University of Toronto Hilary Apfelstadt, %24 %b %2014 %14:%Oct:%th 14OctGMT+0000
Graduate Choral Conducting Program at the University of Toronto
Applications are invited for the M.M. in choral conducting program at the University of Toronto for the academic year 2015 – 2016.   Materials may be submitted on line by December 1, 2014.   See for further information.   (Applications for the DMA degree will resume for the 2016- 2017 school year.  We have no openings for the upcoming year.)
Master’s degree students gain valuable ensemble experience and podium time with one of three choirs:  Women’s Chamber Choir, Men’s Chorus, or Women’s Chorus, and sing in the MacMillan Singers, a select SATB chamber choir.   Coursework includes individual lessons, a conducting seminar in choral repertory, and courses in vocal/choral pedagogy, orchestral conducting techniques, and musical analysis.   In addition, a variety of elective courses are offered.   Toronto has a rich choral scene and there are numerous opportunities for students to participate as section leads in local ensembles, as well as some conducting internships and independent positions.    The M.M. program is a two-year residency degree.
For further information, please contact Dr. Hilary Apfelstadt, Professor and Director of Choral Activities at
The Age Old Reason for Joy - a free Christmas carol for everyone Robin Mayhew, %24 %b %2014 %14:%Oct:%th 14OctGMT+0000 needed to learn and perform my new, free Christmas carol titled The Age Old Reason for Joy is available as free downloads from the dedicated page on my website (see link below)  There's the SATB score, a 2 part score for schools and young choristers, the words and accompaniment.  There is also a barber shop 4 part score plus other audio tools.  There is a YouTube link where one can see and hear a performance with a lot of smiling faces.  It's such fun to sing and the message will teach the young and remind the older just what Christmas is really all about.  As it's all freely available one could even sing it round the dinner table after the turkey, Christmas pudding and crackers by using a smart phone or tablet.
Best wishes and joyous singing
Magnificat in D Johann Pachelbel Michael J. Seredick, %24 %b %2014 %13:%Oct:%th 13OctGMT+0000ärenteiter - Ausgabe 2877    Concordia Edition 97-7612
Concordia Music webpage new copy price is $18.00.
Johann Pachelbel - Magnificat in D
for Chorus of Four Mixed Voices and Basso Continuo
977612WEB / 1967     Price New: $18.00
I'm offering 60 copies at 1/3 the price of a new copy.
$6.00 each plus shipping costs.
These copies look brand new.
Tempesta di Mare sings Bach, Praetorius and Rosenmuller in Philadelphia Martha Johnson, %24 %b %2014 %13:%Oct:%th 13OctGMT+0000
Laurie Heimes, Drew Minter, Aaron Sheehan, and David Newman all join Tempesta di Mare for a rich line up of music by Bach, Praetorius and Rosenmüller.
This program marks life’s milestones with J.S. Bach’s joyous birthday serenata Durchlauchtigster Leopold!, the modern-time premiere of Johann Rosenmüller’s festive wedding cantata, Es muß dir, wertes Paar, and Bach’s unswerving embrace of earthly life’s end, Komm, du süße Todesstunde, all bookended by vocal concertos for the new year—and the inexorability of time—by Michael Praetorius: Nun helft mir Gottes Gütes preisen and Das alte Jahr ist nun vergahn.
The performance on October 25 will take place at the Presbyterian Church of Chestnut Hill and on October 26 at the American Philosophical Society in Center City. General admission to the concerts is $24, with a few reserved seats remaining at $34. See for more information.
Sessions in Salt Lake: "Vocal Percussion" 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:
The session will focus on vocal percussion and its place in contemporary vocal music. The importance of rhythm, steady beat, tempo, and form will be discussed. A demonstration will include basic percussion sounds using a variety of consonants, learning a variety of styles (swing, jazz, rock, pop), microphone technique for vocal percussion, and the use of throat microphones. Notation for vocal percussion will also be addressed. Sponsored by the A Cappella Education Association.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
Singing in Salt Lake: Anúna Scott Dorsey, %10 %b %2014 %16:%Oct:%th 16OctGMT+0000
Appearing in concert during the 2015 ACDA National Conference in Salt Lake City, Utah:
Anúna was founded in 1987 by Dublin composer Michael McGlynn with the aim of defining and developing a choral expression for his ancient and richly cultural homeland. Much of the group's repertoire explores the relationship between traditional choral ideas and McGlynn's particular  compositional voice. Anúna's name, originally An Uaithne, derives from the term for the three ancient types of Irish music: Suantraí (lullaby), Geantraí (happy song), and Goltraí (lament). Repertoire includes original works set to early texts, traditional arrangements, and works that explore aspects of ritual dating back to the earliest emergence of the Christian churches. Anúna can slip easily between  musical genres from the classical ethos of the BBC Proms to creating the hugely successful, unmannered vocal sound of the original Riverdance. They have appeared on two Grammy Award-winning albums, featured on multiple Billboard Charts, including the Hot 100.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
Who's in YOUR Choir . . . J.K.? Scott Dorsey, %22 %b %2014 %17:%Sep:%nd 17SepGMT+0000 ]]>2015 National Conference Exhibit and Advertising Space Now Available Scott Dorsey, %23 %b %2014 %20:%Jul:%rd 20JulGMT+0000
Interested in gaining access to the biggest choral audience of the 20154-15 academic year?  Then YOU need to advertise and exhibit during the 2015 ACDA National Conference (Salt Lake City, Utah, February 25-28).  Access to this remarkable commercial opportunity is limited to ACDA’s Industry and Institutional members only.
Space in the both the Program Book (the February issue of the Choral Journal) and the exhibit hall is limited, and will sell fast, so do not put this off.
You can LEARN MORE and APPLY online.  Contact Chris Lawrence ( with any questions.
“Five from the Folder: Mixed Voices” by Craig Zamer Scott Dorsey, %15 %b %2014 %15:%Aug:%th 15AugGMT+0000
1.  “Komm, Jesu Komm.” J.S. Bach. BWV 229 cpdl #04012
Funeral Motet for double SATB choir. Can be performed a cappella, with colla parte instruments, or just continuo.  Concludes with a four part chorale.
2.  “Il Carnevale di Venezia.” Giacochino Rossini. cpdl #24368
Lively accompanied chamber quartet in Italian.  Singing beggars in the street asking for charity during the busy time of Carnival.
3.  “Magnificat.” J.S. Bach. BWV 243. C. F. Peters Corp.
Thirty-minute work for choir and orchestra.  SATB soli and SSATB choir. The work is a great center piece for a Christmas or holiday program.
4.  “Lay a Garland.” Robert Pearsall. Oxford University Press.  ed. Bartlett
A cappella, SSAATTBB.  Composed in 1840, this Romantic madrigal uses Renaissance style imitation.  This edition includes a piano reduction.
5.  “Twas the Night Before Christmas.” Ken Darby & Harry Simeone. Shawnee Press
SATB setting of the Clement C. Moore Christmas poem, as recorded by Fred Waring’s Pennsylvanians. SATB soloists and a great piano accompaniment.
(“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
Classical Idol Vocal Competition Eric Townell, %24 %b %2014 %00:%Oct:%th 0OctGMT+0000 Rochester Oratorio Society invites advanced vocal soloists to compete in Classical Idol IX, April 17-18, 2015, in Rochester, New York. Cash awards and performance opportunities. Applications: Information: ]]>Rochester Philharmonic Orchestra Side-by-Side Choral Concert Eric Townell, %24 %b %2014 %00:%Oct:%th 0OctGMT+0000 from the Rochester Philharmonic Orchestra!

The RPO with the assistance of the City of Rochester will be presenting another Community Side-by-Side choral concert experience. You will find more details listed below about the event. If you are interested in applying, just click on the link below and fill out the application form.


EVENT: Community Chorus Side-by-Side Concert with the Rochester Philharmonic Orchestra
DATE: Wednesday, January 21, 2015 at 8:00 PM at Kodak Hall at Eastman Theatre

REHEARSAL WITH ORCHESTRA: Tuesday, January 20, 2015 at 7:30 PM-10:00 PM at Kodak Hall at Eastman Theatre
Saturday, November 22nd - 10:00 AM - 12:00 PM
Tuesday, December 2nd - 7:00 PM - 9:15 PM
Tuesday, December 9th - 7:00 PM - 9:15 PM
Tuesday, January 6th - 7:00 PM - 9:15 PM
Saturday, January 17th - 2:00-4:00 PM

Eric Townell will be preparing the chorus and also conducting the concert. The concert will include repertoire by Brahms, Beethoven, Mendelssohn, and Wagner along with some lighter patriotic music.

Deadline for applications is November 1st.

Richard Decker
Artistic Administrator
Rochester Philharmonic Orchestra

composition masterclass with Novi Cantori Ellen Gilson Voth, %23 %b %2014 %22:%Oct:%rd 22OctGMT+0000’ Masterclass – March 28, 2015

The professional chamber choir Novi Cantori announces a composition masterclass on Saturday, March 28, 2015 in Westfield, MA. This special event will explore works in progress, with the director and singers of Novi Cantori providing feedback to the composers present.

This masterclass builds on the success of our Call for Scores last season. It is aimed especially for advanced undergraduate, graduate and young professional composers who value the opportunity to hear their music performed by an outstanding choir and receive feedback on their work and approach to choral composition.

maximum of 5 composers will be selected. These composers will be announced on the Novi Cantori website and in our spring season publicity, and their works may be considered for future performance.

Composers who submitted works for last year’s Call for Scores are eligible to apply. For this masterclass, composers should be within reasonable travel distance of Westfield, MA if selected. Decisions about the number of composers and the repertoire selected are final.

To apply, composers should submit the following by email (preferred) or mail, for consideration:

1) A separate sheet with complete contact information (name/address/phone #/email address), short biography and works list

2) Examples of one or two choral works (compositions or arrangements) for SATB choir that are in progress. They may be accompanied or unaccompanied works, based on a sacred or secular text. Completed works, published or unpublished, will not be considered. The work submitted should have a section that stands sufficiently by itself, and has not been previously performed.

Each piece should:

- be a fully legible score, with accompaniment (if applicable). If an unaccompanied piece, the scores should include a keyboard reduction of the vocal lines.

- show proof of clearance to use text (if not in the public domain)

- include a short statement (2-3 sentences) about the composer’s choice of text, concept of the piece, aspects that have come naturally in the process of writing, and areas of challenge

- include an audio or midi recording (mp3 or CD) – not required but recommended

Scores should be submitted as PDFs (not as notation files).

3) the name and contact information (phone #/email) of a reference who can speak to the composer’s musicianship, skills in writing and responsiveness to critique in a masterclass setting

For full consideration, composers should submit materials by January 31, 2015 to Dr. Ellen Gilson Voth, Artistic Director, at (preferred) or by mail to: Novi Cantori, P.O. 39, Agawam, MA  01001. “Application for masterclass” should be in the email subject line or on the outside envelope.  Incomplete applications will not be considered.


There is no cost to apply for participation. However, composers selected to participate must be able to travel to Westfield, MA to attend the masterclass, and pay the $50 masterclass registration fee.

Application deadline: January 31, 2015 (email or postmark deadline).


Novi Cantori is a professional chamber choir that performs throughout the greater Springfield and Pioneer Valley, MA region. The mission of Novi Cantori is to promote the finest in choral music from the Renaissance to the present, through innovative programming and community connection.

For more information, visit


"Songs of Thanksgiving:" Music on the Hill on Nov. 9 Carol Bogard, %23 %b %2014 %19:%Oct:%rd 19OctGMT+0000 Music on the Hill Festival Chorus performs songs of celebration and thanks in the spirit of the holiday with Artistic Director David H. Connell, Conductor.
The program features American composers ranging from the 19th century Southern Harmony  to "Breaths" by Ysaye Barnwell of Sweet Honey in the Rock fame.  Included are the Randall Thompson "Alleluia;" "I Will Sing to the Lord" by Imant Raminsh; "The Road Home" by Stephen Paulus; modern renderings of familiar hymns and spirituals; and works by local composers Edward Thompson and the concert's conductor.
This is the first of two holiday concerts by the Festival Chorus.  On December 12th, the chorus will be joined by the Jubilate Ringers for "Sounds of the Season," a Christmas concert, to be held in Wilton at St. Matthew's Episcopal Church.
To receive concert updates or learn about pariticpating in Music on the Hill workshops and ensembles, join the mailing list by visiting
Bass soloist for Handel's Messiah Warren Puffer Jones, %23 %b %2014 %20:%Oct:%rd 20OctGMT+0000
The Kemp Concert Series at the First Presbyterian Church in Oklahoma City seeks a professional caliber Bass soloist for the performance of Handel’s Messiah on December 20th, 2014.  The performance will be with a professional orchestra.
The Bass soloist will sing:
            #5 Thus saith the Lord
            #10 For behold, darkness
            #11 The people that walked in darkness
            #47 Behold, I tell you a mystery
            #48 The trumpet shall sound
-Performance: Saturday, December 20th, 7:30pm
-Dress rehearsal: Saturday, December 20th, 10am-12:30pm
-One additional coaching rehearsal with the conductor, which can be scheduled on Friday, December 19th to accommodate an out-of-town singer, or earlier in December as available.
Market/union rate
(If the contracted singer is from out of town, 2 nights lodging will be provided along with a small travel stipend)
To apply:
Interested singers should send via email to
            -a resume
            -a sample recording (opera or oratorio)
Position open until filled.
Warren Puffer Jones
Music Director
First Presbyterian Church, Oklahoma City
John Rutter Christmas Carols Christine Gaudreau, %23 %b %2014 %18:%Oct:%rd 18OctGMT+0000 Instrumental parts and full scores for 10 John Rutter carols
Composer/Arranger/Edition: John Rutter
Starting: as soon as possible
For: through December 20
Copies: full set of parts
Willing to rent: Yes
The Evergreen Chorale would like to borrow or rent the orchestral parts and the full scores for the following Rutter carols:
What Sweeter Music
Shepherd's Pipe Carol
Carol of the Children
Angels' Carol
Esta Noche
El Noi de la Mare
Carol of the Magi
Carol of the Children
Donkey Carol
Star Carol
Dormi Jesu
Please email Christine Gaudreau at christine@evchorale if you have any of these materials available.
6-week Choral Project Jennifer Anderson, %23 %b %2014 %18:%Oct:%rd 18OctGMT+0000
Skilled choral singers needed for 6-week project in January and February. Quality repertoire is diverse and engaging. VocalPoint was most recently honored by Classical Minnesota Public Radio by being 1 of 3 local choirs chosen to sing at Harmony in the Park. Learn more about auditions at
For This and More (I Thank You Lord) from Raycreations Music John Ray, %23 %b %2014 %17:%Oct:%rd 17OctGMT+0000 your church choir needs an easy to medium anthem for Thanksgiving or general use, please consider 
my newest publication, "For This and More (I Thank You Lord)."
Thank you,
John Ray
Raycreations Music
Looking for new jolly holiday pieces incorporating a children's choir? Gordon Thornett, %23 %b %2014 %16:%Oct:%rd 16OctGMT+0000
The following two Christmas/holiday pieces, which you can both see and hear on, are for adult choirs (SATB) which can also incorporate a unison children’s choir:
Christmas Candles -
Christmas Time in the Eyes of a Child -
The following piece is just for a children’s choir, in Unison (plus optional 2nd part) with piano accompaniment:
The Sleepy Shepherd Boy -

All the above are obtainable from Swirly Music (or if an 'instant print' version is preferred, from
An Italian Celebration with Joseph Martin - Only a few spaces left! Krista Montgomery, %23 %b %2014 %15:%Oct:%rd 15OctGMT+0000
Only a few spaces left! Register today!
Lucca • Florence • Montecatini • Pisa • Rome
With optional extension to Venice
April 15-27, 2015 with optional Venice Extension, April 27-29
  • Perform concerts with JOSEPH and SUE MARTIN in LUCCA and ROME!
  • See FLORENCE, home of Michelangelo's David
  • Behold the famous LEANING TOWER OF PISA
  • Visit the beautiful Tuscan city of LUCCA, which is surrounded by intact Renaissance-era city walls
  • Encounter the sights and sounds of ROME including TREVI FOUNTAIN, THE SPANISH STEPS, THE PANTHEON, PIAZZA NAVONA, and the COLOSSEUM
  • Enjoy hotel accommodations conveniently located in central Rome
  • Enjoy "free time" in Pisa, Montecatini, and Rome for exploration on your own
Full or partial choirs and individuals welcome; non-singers also welcome.
For church and community choirs.
An Italian Celebration details or contact Krista Montgomery, 888-935-5551, Ext. 3
Holy Night/ Silent Night Suzanne Kraai, %23 %b %2014 %13:%Oct:%rd 13OctGMT+0000 anyone know a great arrangement that is a 'show stopper'? 

Perhaps with a country or pop vibe? 
Breaking down High School Rehearsal Ciara Hargrove, %23 %b %2014 %11:%Oct:%rd 11OctGMT+0000, All.  I want to get a sense of how others run their rehearsals at the High school level.  I have a successful program that meets every other day for 80 minutes.  I am grateful for this, but I don't have extra time for sectionals, etc.  So... eventually, I end up running line by line and part by part.  This means that at any given time, 3/4 of the chorus is waiting to sing.  I have done "learn the other part" where everyone sings every line we go through, I have had assignments for other parts while I teach one line, I have tried (but not successfully) to run sectionals within class.  This last option is tough due to no other adult in a room with 62 people.  Am I doing the right thing, here?  Do most of you run line by line, part by part?  Is this normal?  Can I attack learning a piece of music in a new way?  Thanks
Finale User Jim Way, %23 %b %2014 %14:%Oct:%rd 14OctGMT+0000 need a Finale user who will input a legible, hand-writen score (4 part + piano) into Finale notation score (music only). I will pay per page. Please let me know your charge.
My email address is
Thank you.
New 15th Century Carol for SATB by Tom Council from Colla Voce Music Chris Matthews, %23 %b %2014 %14:%Oct:%rd 14OctGMT+0000
Click the cover image to view and listen to the score in its entirety.
This subdued setting of a 15th century text, by Tom Council , is an ideal choice for inserting a quiet and reflective moment in your mixed choir's upcoming holiday concert.  Take a listen today at and, while you're there, don't forget to search with the "Christmas" tag to view all of our holiday offerings.
Congratulations to Nicole Melody! Phil Sheets, %23 %b %2014 %13:%Oct:%rd 13OctGMT+0000 Church of the Good Shepherd UMC in Oswego IL is proud to announce the hiring of Nicole Melody of Bolingbrook IL as the new choir director. Ms. Melody has a BA in music from Xavier University in Chicago and has an extensive background in music directing, singing, teaching and editing. The church looks forward to a long and healthy relationship filled with glorious music! ]]>Video: "More than Singing: Girls Choirs Build Community, Character" Sonia Schnee, %23 %b %2014 %11:%Oct:%rd 11OctGMT+0000 Arts News has just released a 5 minute mini-documentary called "More than Singing: Choirs Build Community, Character." The video can be viewed at
The Princeton Girlchoir's annual Children Making a Difference concert teaches young girls about service and community while raising funds for a local nonprofit. The Princeton choir is joined by the newly-formed Philadelphia Girls Choir. "Singing has the mission of creating great citizens," says Philadelphia Girls Choir Music Director Nathan Wadley.  Melissa Malvar-Keylock, Associate Director of the Princeton Girlchoir, explains, “Learning perseverance, learning discipline, all these things are above and beyond just singing beautiful music.”
Visit to access our archive of over 50 cultural and sustainability videos. 
- NJ Arts News 
CJ Replay: Pärt Magnificat Scott Dorsey, %23 %b %2014 %16:%Sep:%rd 16SepGMT+0000
(An excerpt from the Choral Journal article, “Deterministic Techniques in Arvo Pärt's Magnificat” by Allen H Simon)
       Estonian composer Arvo Pärt (b. 1935) has gained notoriety in the 1990s for his minimalist works such as Berliner Messe and Passio. Vestiges of the composer's early experiments with serialism and deterministic techniques, however, still linger in his recent work. His frequently performed Magnificat (1989) is based on a deterministic structuring of rhythm, melody, harmony, dynamics, voicing, and texture, organized around the pattern of word divisions and syllabic stresses in the text. The term "deterministic," as used in this article, refers to a process by which the manipulation of musical elements (pitches, rhythms, harmonies, textures, dynamics, etc.) is determined by formulas or predictable sequences. Serialism is one type of determinism, but composers have used any number of formulas, often extramusical, to determine and manipulate the musical elements of their pieces. In Pärt's Magnificat, these structures and their combinations operate below the surface, creating a riveting diversity within a seemingly static harmony. Part takes a few liberties with the formulas, but the piece remains tightly constructed from a limited palette of musical gestures.
       The rhythms in Magnificat are determined entirely by the syllabification of the text. Dotted bar lines in the score are not metric but are used as word separators with measures ranging from one quarter note to more than a breve in length. For words of two or more syllables, each unaccented syllable is set to one quarter note; the accented syllable receives a longer note. A one-syllable word receives only a quarter note unless it is the first word in a phrase, in which case, it may be a longer note. The longer notes alternate between dotted-half notes and whole notes, an alternation that continues strictly throughout the piece without regard for phrase endings.
       In most cases the last syllable of the final word in each phrase receives a long note, giving the last word two long notes. Any dotted-half note generated by the formula is replaced by a dotted-whole note in this final word. In odd-numbered phrases, a quarter note is slurred to a long note on the stressed syllable. The long note on that syllable, whether a whole note or a dotted-whole note, is reduced by half – a whole note becomes a half note and a dotted-whole note becomes a dotted-half note.
       Pärt introduces two rhythmic variants of this structure. In two phrases the upper voices enter a quarter note later than the lower voice on stressed syllables. One instance occurs at "dispersit superbos," and the second is at "et divites dimisit inanes." In addition, the last phrase of the piece-not the expected doxology but a repeat of the text "Magnificat anima mea Dominum" is
Set in augmentation of the established rhythmic pattern.
READ the entire article.
New ChorTeach Issues Available Scott Dorsey, %22 %b %2014 %20:%Oct:%nd 20OctGMT+0000
The fall issue of ChorTeach (ACDA's online magazine for choral directors at all levels) is online.  This latest installment includes:
     "Having a Vision - A Question of Sanity?" (Meharg)
     "Recruiting, Training, and Mentoring Choral Music Educators to Make a Difference"  (Aamot)
     "Starting a Youth Choir in Your Church" (Zemek)
     "CPDL (Choral Public Domain Library) - A Gold Mine for Choral Directors" (Sickel)
     "Sabbath Rest for Choral Directors" "Benson"
Choral Conductor Salary Survey Scott Dorsey, %03 %b %2014 %17:%Oct:%rd 17OctGMT+0000
In an effort to better understand the current financial condition of those in the choral music profession, we are in the process of soliciting information from choral conductors in the United States and Canada though the Choral Conductor Salary Survey.
This study, produced with the support of the American Choral Directors Association, is designed to examine full-time and part-time conductor compensation from geographical, demographic, and professional perspectives.
The survey is completely anonymous and confidential.  The results of the study will be submitted for publication consideration to the Choral Journal and will be made publically available to those in the choral profession.
TAKE the Choral Conductor Salary Survey.
Singing in Salt Lake: Miller Middle School Advanced Choir Scott Dorsey, %07 %b %2014 %19:%Oct:%th 19OctGMT+0000
Appearing in concert during the 2015 ACDA National Conference in Salt Lake City, Utah:
Established in 2002 under the direction of Anthony E. Arnold, the Miller Choral Music Department is a group of young men and women dedicated to the principle of excellence, striving to do the right thing all the time. Since 2005, the Advanced Choir of the Miller Choral Music Department has not scored any less than unanimous superior ratings at any choral festival they have attended. Highlights include a June 2014 Spotlight Performance  at Carnegie Hall for the Choirs of America Invitational Choral Festival; 2013 First Place, Highest Scoring, and Best Overall Middle School Choral Group at the Heritage Presidential Inauguration Festival in Washington DC; 2012 Gold Award and second-place finish in the Open Division Mixed Choir Category at the 7th World Choir Games in Cincinnati, Ohio.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
Improving Skills 2 Richard Sparks, %14 %b %2014 %02:%Oct:%th 2OctGMT+0000 Coyle's The Little Book of Talent: 52 Tips for Improving Your Skills Tip #3 is, "Steal without apology." This is something I've long believed—it's one of the best ways to acquire new skills. When you see a fine conductor do something—gesture, rehearsal technique, etc.—that works, follow the advice given in the first post, quoting Coyle, "Many hotbeds use an approach I call the engraving method. Basically, they watch the skill being performed, closely and with great intensity, over and over, until they build a high-intensity mental blueprint." Then . . . add it to your repertoire. As Picasso says, "Good artists borrow. Great artists steal."
An interesting example is given:
Linda Septien, founder of the Linda Septien School of Contemporary Music, a hotbed near Dallas that has produced millions of dollars in pop music talent (including Demi Lovato, Ryan Cabrera, and Jessica Simpson), tells her students, "Sweetheart, you gotta steal like crazy. Look at every single performer better than you and see what they've got that you can use. Then make it your own. Septien follows her own advice, having accumulated fourteen three-ring notebooks worth of ideas stolen from top performers. In plastic sleeves inside the binders, in some cases scribbled on cocktail napkins, reside tips on everything from how to hit a high note to how to deal with a rowdy crowd (a joke works best).
I know I can trace some specific gestures or rehearsal techniques I use to particular teachers, mentors, or conductors I've observed. But you have to find a way to make these skills yours. That comes with practice. You have to absorb it so thoroughly that it now belongs to you. And, of course, to quote Ecclesiastes, "There is nothing new under the sun." Those you "steal" from have no doubt "stolen" it from someone else.
You can also absorb certain things unconsciously . . . and that can be good or bad. I know some things I learned as a singer in Rod Eichenberger's University of Washington Chorale as an undergraduate—notably a sense of rhythm and phrasing—gradually became a part of me and my approach to music, and for that I'll be eternally grateful.
But at the same time sometimes we copy things that aren't an essential part of a conductor's success. If you copy Robert Shaw's rehearsing with a towel around his neck instead of his amazing score study habits, it's unlikely your conducting will improve.
So, steal freely. But make sure you practice until the new skill belongs to you . . . and then someone else can steal it from you.
Sessions in Salt Lake: "Musical Theatre Gems" Scott Dorsey, %07 %b %2014 %20:%Oct:%th 20OctGMT+0000
The 2015 ACDA National Conference in Salt Lake City, Utah will feature the interest session:
There is a treasure chest of choral gems in the musical theatre canon that remain fairly unknown. This session will highlight some off-the-beaten-path musical scores by musical greats such as Gershwin, Previn, and Kern that are appropriate for student singers. We will also present a rubric that can be used as a tool for you to look deeper into your program to assess quantitatively and qualitatively which musical score may be your optimum fit. The repertoire covered is viable for fully staged, semi-staged, or concert formats and is appropriate for junior high, high school, college, and university programs.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
Bass Section Leader/Soloist Shawn David Dey, %22 %b %2014 %23:%Oct:%nd 23OctGMT+0000 Section Leader/Soloist for Upper Ridgewood Community Church, 35 Fairmount Road, Ridgewood, NJ.  Choir season runs September-June. 9:15 a.m. call for 10:00 service.  Additional services on Christmas Eve and Good Friday. Rehearsal each Sunday from 11:15 a.m. - 12:30 p.m.  There is no mid week rehearsal.  $106 per week, rehearsal and worship.  Community Church is within easy walking distance of the Ho-Ho-Kus train station. Excellent sight readers who work well with volunteers are encouraged to apply.  Resume and history of paid church work to: Mike Roth, Director of Church Choir, ]]>San Francisco Lyric Chorus Fall 2014 Concerts Helene Whitson, %23 %b %2014 %02:%Oct:%rd 2OctGMT+0000
The San Francisco Lyric Chorus, under the direction of Music Director Robert Gurney, presents:  Holiday Light and Love
Marc-Antoine Charpentier:  Messe de Minuit pour Noël
Thomas Tallis:  O Nata Lux
Morten Lauridsen:  O Nata Lux
Maurice Duruflé:  Ubi Caritas
Ola Gjeilo:  Ubi Caritas
Norman Dello Joio:  The Holy Infant’s Lullaby 
Conrad Susa:  Three Mystical Carols:  The Shepherds Sing  *  This Endrys Night  *  Let Us Gather Hand In Hand
Jerome Lenk, Organ
Cassandra Forth, Soprano
Fiona Friedland, Soprano
Debra Golata, Alto
David Meissner, Tenor
Jonathan Borchardt, Baritone
Richard Mix, Bass
Saturday, December 6, 2014
Sunday, December 7, 2014
St. Mark’s Lutheran Church
1111 O’Farrell Street, near Franklin
San Francisco
Tickets: General $20; in advance & for seniors, $18 
Free admission for students 5-18 with ID.
Please, no children under five.
For ticket purchase and further information, visit our website:
Contact:  (415) 721-4077 or email
Director of Music Ministries Richard C Hart, %22 %b %2014 %21:%Oct:%nd 21OctGMT+0000 



JOB TITLE: Director of Music Ministries DATE: October 2014

REPORTS TO: Pastor, The Session, and The Worship Committee


To provide vision and leadership for the music ministry of Trinity Presbyterian Church in accordance with the church's “Vision for Music Ministry” (see attached) and church policies, and in cooperation with the Pastor, the Session, and the Worship Committee.


The “Vision for Music Ministry” (attached) is integral to this position description and provides further guidance regarding the essential duties of the person serving as the Director of Music Ministries.

  1. Conduct the Chancel Choir in weekly rehearsal and services providing appropriate choral music for:

    • Weekly regular Sunday morning worship services

    • Special worship services, including Christmas, Ash Wednesday, Maundy Thursday, and Easter Services

  2. Conduct or provide for the conducting of Chancel Ringers, Trinity's handbell choir and provide appropriate music for regular presentation at selected Sunday morning services.

  3. Assist Pastor as needed in worship design for regular and special services and programs including the recommendation of appropriate hymns, the recruitment of soloists, instrumentalist, and groups where possible.

  4. Effectively plan, select, purchase, and catalog appropriate music in the Church’s music library for the Chancel Choir, vocal soloists, ensembles, and instrumentalists, in accordance with the music budget.

  5. Recruit, encourage, and equip volunteers for participation in and the potential expansion of the church’s music ministry.

  6. Supervise and direct all salaried music staff, including but not limited to the hand bell choir director, accompanist, and music interns as well as all other music program volunteers in leadership capacities. Provide verbal feedback and written evaluations as directed for paid staff in consultation with the pastor, the Worship Committee, and the Personal Committee.

  7. Administer the Music Program by:

    • Planning the program music budget in consultation with the Worship Committee.

    • Abiding by current copyright law

    • Maintaining the church instruments, pianos, handbells, hand chimes, rhythm instruments, etc.

    • Consulting with Pastor and Worship Committee Elders in order to gain session approval for all major expenditures

    • Participating in Worship Committee meetings and other church functions when possible

    • Continually evaluating the entire music program and considering unique ways to grow and expand the music ministry of Trinity.

  8. Participate in continuing education events, such as the Montreat Music Conference, when deemed beneficial.

  9. Develop relationships with Presbyterian organizations to further resource, coordinate, and provide direction for the music ministry program.



Bachelor’s degree or higher, in music. Experience and education in choral directing preferred. Successful completion of a background check. Demonstrated ability to interact effectively and professionally with Church Staff, Session Members, Volunteers, and with the congregation in general. Ability to prioritize workload, multi‐task, adapt to changes, and meet deadlines. Must work scheduled hours as needed.


The above statements are intended to describe the general nature and level of work being performed by an employee assigned to this job. This job description is not intended to be an exhaustive list of all responsibilities, duties, and skills required of the Director of Music Ministries. Depending upon an employee’s experience, training, and development, more discretion may be given to carry out the listed duties.

Vision for Music Ministry

Music Director Search Committee

September 23, 2014

Music is a ministry at Trinity Presbyterian Church and a vital aspect of our life as a church of Jesus Christ. Music is an important way that we articulate our faith so it is a means by which we spread the Gospel. Sacred music is an expression of the spiritual life and thus should connect directly, obviously, and intentionally with spirituality. As ministry, music is one of the ways our members exercise their spiritual gifts and God-given talents “to build up the body of Christ.” As the Apostle Paul states, the church exists “to equip the saints for the work of ministry,” (saints being all believers.)

It is not mere coincidence that in our Presbyterian Church (USA) Constitution in the Directory for Worship, the element of music in the life of the church is described in the broader section on “Prayer.” As Martin Luther said, “The one who sings, prays twice.”

Music as Prayer: Congregational Song

Song is a response which engages the whole self in prayer. Song

unites the faithful in common prayer wherever they gather for worship,

whether in church, home, or other special place. The covenant people

have always used the gift of song to offer prayer. Psalms were created to

be sung by the faithful as their response to God. Though they may be read

responsively or in unison, their full power comes to expression when they

are sung. In addition to psalms the Church in the New Testament sang hymns

and spiritual songs. Through the ages and from varied cultures, the church

has developed additional musical forms for congregational prayer. Congre-

gations are encouraged to use these diverse musical forms for prayer as well

as those which arise out of the musical life of their own cultures.

Music as Prayer: Choir and Instrumental Music

To lead the congregation in the singing of prayer is a primary role

of the choir and other musicians. They also may pray on behalf of the

congregation with introits, responses, and other musical forms. Instrumental

music may be a form of prayer since words are not essential to prayer. In

worship, music is not to be for entertainment or artistic display. Care should

be taken that is not be used merely as a cover for silence. Music as prayer

is to be a worthy offering to God on behalf of the people.

Book of Order, Directory for Worship

W-2.1003, W-2.1004

Trinity Presbyterian Church has enjoyed a top quality music ministry since its founding in 1985. In it and through it we strive for excellence, seek to rise above mediocrity, and work to bring our best to God.

Qualities and Aspects We Seek to Maintain

Music in worship is a compliment to our worship and contributes to it. It is not seen as a performance or an end in itself. We appreciate and seek to maintain a focus on traditional and classical sacred music. The music program has helped us become a singing congregation. The choristers and musicians assist the congregation in expressing faith through music.

Those choristers and musicians are dedicated to this ministry. There is a high expectation for commitment to and participation in the music program, including regular attendance and punctuality.

Trinity has long enjoyed contributions from musicians beyond our membership, including guest instrumentalists and especially the music intern program. The latter affords music students experience in the church setting and also enriches our congregation.

Our music program is a means by which people are attracted to our church. Because of our music emphases many people come to sing and play instruments. Many others come to listen and be led in worship.

Ideas for Expanding Our Music Ministry

We seek ways to develop our music program for children and youth. Our hope is for them to have opportunities to participate in a variety of types of activities in which music figures prominently. We want them to develop a love for music and to have fun expressing faith through music.

Related to our conviction that music ministry should be available to all in some way or other, we wish to see opportunities for novices and non-singers to participate in beginner and educational music activities – for example, a beginner hand-bell choir using simple musical pieces anyone could learn to play.

Music can be an outreach service tool, such as visiting nursing homes, senior care centers, or the children's ward at the hospital. Christmas Caroling could be a project of the choir in which the congregation could participate, bringing holiday cheer to members and friends who need it.

A music director who is open and mindful of the myriad ways music can be an expression of faith and an uplifting experience for all will naturally find opportunities, both sacred and informal, to make music fun and a joyful experience. We wish to explore ways to use additional musical styles and genres as supplements to our traditional focus, but not as substitutes for that focus.

Things to Keep in Mind

We seek someone who will help maintain music ministry at the quality Trinity has always sought, while at the same time developing a deep spiritual connection with God through music. It would be helpful to find a candidate who is both a good choir director and a good song leader. Our goal is music ministry as a team effort with a leader directing the opportunities for wide participation by the congregation. Appreciation for and use of a variety of music genres is desirable and a means to touch the hearts of our congregational participants who are, themselves, diverse in background and interests.

Cherubini's Requiem at Shadyside Presbyterian Church, Pittsburgh (Nov. 2) Mark Anderson, %22 %b %2014 %20:%Oct:%nd 20OctGMT+0000
Shadyside Presbyterian Church Presents Cherubini’s Requiem in C Minor
Shadyside Presbyterian Church presents a Choral Celebration of All Saints on Sunday, November 2, at 4:00 p.m.  The service features Luigi Cherubini’s Requiem in C Minor, presented by the church’s Chancel Choir, under the direction of conductor Mark A. Anderson, Director of Music Ministry.
In recognition of All Saints’ Day, which is traditionally observed on November 1, and in memory of those who have died in the past year, Shadyside Presbyterian Church hosts an afternoon of music and reflection.  The church welcomes the community to hear Cherubini’s setting of the requiem mass, presented in liturgical context, with communion and a homily preached by the Reverend Dr. David B. Antonson.  
Nursery care will be provided during the service.  Worship is free and open to the public; no tickets are necessary to attend.  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.  Free on-street parking is available surrounding the church.  The church’s 1994 Reuter Organ (opus 2175), capable of playing the full range of organ literature, accompanies the choir and leads the congregation in worship.  As an American Classic instrument, it incorporates the German, French, Italian, and English schools of organ building to create an instrument of enormous versatility.  The 105-rank organ helps to uphold the highest standards of sacred music and carries that tradition vibrantly into the twenty-first century.
SATB Section Leaders Needed Lee E. Hoffman, %22 %b %2014 %18:%Oct:%nd 18OctGMT+0000 Presbyterian Church in Sacramento is seeking SATB section leaders. Responsibilities from September through June include rehearsals on Thursdays 7-9 pm, church services on Sundays 10:15 am-12:15 pm, plus additional rehearsals and festival services (e.g. Christmas, etc.). Among the required skills are strong sight reading, ability to lead sectional rehearsals, as well as a collaborative spirit. The choir consists of  volunteers, and it performs repertoire from all stylistic periods. Pay is $40 per appearance (i.e. rehearsal, service), typically $80/week; additional pay for rehearsals and services. Contact Ms. Lee Hoffman, Director of Choirs, at or 916-442-8939 x308 to schedule an audition. The church is located at 1300 N. Street, Sacramento, CA 95814 ]]>Fascinating London Music Auction:11/20/14 Sig Rosen, %22 %b %2014 %13:%Oct:%nd 13OctGMT+0000
Here, for those in well-connected research and collector circles is a prime, unknown source for Bach & his mileau by a member of the Silbermann organ family. Also valuable vocal/choral works by Krenek and the great Kodaly Psalmus Hungaricus! Over 200 lots in all at 34-35 new Bond street.
ALBION - In the Devil's Arse Andrew Throssell, %22 %b %2014 %17:%Oct:%nd 17OctGMT+0000 Youtube video. ENJOY!
MM in Choral Conducting - The Boston Conservatory George Case, %22 %b %2014 %15:%Oct:%nd 15OctGMT+0000



Apply by December 1 for Your M.M. in Choral Conducting!

The Boston Conservatory's M.M. in Choral Conducting is a highly-selective program designed to train conductors to be dynamic and scholarly performers. With intensive coursework in conducting, score study and choral repertoire, the program has a strong academic foundation that will broaden your base of musical knowledge and diversify your skills as a 21st-century conductor. Additionally, you will have a variety of opportunities to be in front of the podium, from conducting in class and private lessons to conducting small and large ensembles.


Your Opportunities to Perform

Students receive varied opportunities on the podium–with a graduate ensemble of stipend performers, in private lessons and in front of large ensembles.
The Boston Conservatory Conductors' Choir
The Boston Conservatory Chorale
The Boston Conservatory Opera Chorus
The Boston Conservatory Women's Chorus
Assistant Conductor, Newburyport Choral Society
Conducting Partnership with The Boston City Singers
Special engagements with Boston Conservatory music, theater, opera and dance productions


Core Courses

Academic Study
Choral Repertoire I, II, III, IV (Antiquity to the Present)
Score Study: Choral-Orchestral Masterworks
Score Study: A Cappella Masterworks
Theory Elective: Advanced Aural Skills I, II (Score Reading, Atonal Sight-Singing, etc.)
Advanced Pedagogy: Voice

Performance Study
Seminar in Conducting: Choral (Private Lessons and Conductors' Choir)
Seminar in Conducting: Orchestral (Conductors' Orchestra)
Applied Concentrate: Voice Lessons


Your Teachers

George Case, D.M.A., Director of Choral Activities, Conductor of The Boston Conservatory Choruses

Bruce Hangen, Director of Orchestral Activities; Conductor of The Boston Conservatory Orchestra 

William Cutter, D.M.A.


Scholarship Opportunities

Choral conducting students are eligible for merit-based financial aid. The typical award ranges from half to full scholarship. Other opportunities for employment exist through partnerships with the Newburyport Choral Society, Boston City Singers, work-study positions at The Boston Conservatory, and other arts organizations in and around Boston.


Apply by December 1

To learn more:




Office of Admissions
(617) 912-9153


Bach Cantata Choir opens 10th Season with "Kyrie" from B Minor Mass Ralph Nelson, %22 %b %2014 %16:%Oct:%nd 16OctGMT+0000

The Bach Cantata Choir of Portland will present a free concert on Sunday, October 26, 2014 at 2:00pm at Rose City Park Presbyterian Church, 1907 NE 45th Ave in Portland, Oregon.  The concert, under the direction of conductor Ralph Nelson, will feature J.S. Bach’s Cantata #177, the “Kyrie” movement from Bach’s “B Minor Mass,” Jan Zelenka’s “Haec Dies” and Dietrich Buxtehude’s “Missa Brevis.”  The concert is free and open to the public. A free-will offering will be taken.  A silent auction will follow the concert in the church parlor.  Doors open at 1:30pm. 

The 2014-15 season will include a unique presentation of Bach’s B Minor Mass over four separate concerts. At each concert, Artistic Director Ralph Nelson will discuss and demonstrate works familiar to Bach when he was composing each movement of the Mass. In particular, the choir and orchestra will demonstrate previous cantatas which Bach “borrowed” and re-wrote into the B Minor Mass, as well as works by other composers which Bach performed while composing the B Minor Mass.  

Sunday, October 26, 2014  2pm
“The Year  1733 - A Tale of Two Cities – Leipzig and Dresden”
Jan Dismas Zelenka: Haec es Dies
Dietrich Buxtehude: Missa Brevis
J.S. Bach: Cantata No. 177, “Ich ruf zu dir, Herr Jesu Christ”
J.S. Bach: “Kyrie” from Mass in B Minor

Accessible Paulus James Henry, %22 %b %2014 %15:%Oct:%nd 15OctGMT+0000 am conducting a high school choral festival and was hoping to find a Stephen Paulus piece for them to sing. I know there are many to choose from, but this festival requires that the selections be fairly easy (but still SATB); many of the students come to the festival having never even looked at the music, so we'll end up teaching it that day. Any suggestions? ]]>Choral Medley from West Side Story arr Len Thomas Instrumental Parts Beth Mosier, %22 %b %2014 %16:%Oct:%nd 16OctGMT+0000 Instrumental Parts needed
Composer/Arranger/Edition: arr Len Thomas Boosey & Hawks, Hal Leonard
Starting: March 2015
For: 2 months
Copies: Instrumental Parts
Willing to rent: Yes
Boosey & Hawkes say the instrumental parts are out of print for "Choral Medley from West Side Story" arr Len Thomas. The reference number they give is ENB 467. Can anyone help with either telling me where I can rent, buy or borrow these?  I own 70 copies of the SATB choral Medley.   We will need the music from March - May 10, 2015
Thank you!
Beth Mosier
Working with stubborn students... Kelsey Snyder, %22 %b %2014 %11:%Oct:%nd 11OctGMT+0000!
My name is Kelsey and this is my first year teaching full time! I teach four choirs at a high school in central Virginia, where the program has been dwindling down for the past few years. I'm hoping I can move things in a better direction while I am here!
I am having a very hard time with my freshman class. There are about 25 of them, and probably 6 or 7 of them do NOT want to be there. They will not participate, and don't care that their grades suffer. I've tried a few different things, but because they don't want to be there, I sometimes feel like I don't want them there! Because the program is so small right now, I am holding on to full time employment by a thread. Since this is my freshman class, a group of students who I definitely need to stay enrolled next year, what are some things I can do to encourage those stubborn students? Also, I want to make sure my strong, more advanced students in that class don't get bored or lose desire to be there as well. Thanks in advance for any ideas! 
Tenor soloist for Messiah in Maryland William Spencer, %22 %b %2014 %11:%Oct:%nd 11OctGMT+0000 The Harford Choral Society is in sudden need of a tenor soloist for a performance of Messiah in the greater Baltimore area on Saturday evening 20 December (dress rehearsal the evening before).


Please contact HCS via our website for more information, and if possible include a résumé and audio links.

Constellation Men's Ensemble - Premiere Concert Lennie Cottrell, %22 %b %2014 %03:%Oct:%nd 3OctGMT+0000 Men's Ensemble, a new chamber choir in Chicago, is excited to present their first full concert, featuring an ecclectic range of music from around the world. The program will feature music from Russia, India, Georgia, Finland, England, Canada, and the United States. 
Saturday, November 1st, 7:00 pm
Unity Lutheran Church in Andersonville
1212 W Balmoral
Chicago, IL
Free to the public ($10 suggested donation).
Please join us for a reception after the concert!
This project is partially supported by an Individual Artists Program Grant from the City of Chicago Department of Cultural Affairs & Special Events and Illinois Arts Council, a state agency.
Name That Choir Tune (No. 11) Scott Dorsey, %21 %b %2014 %18:%Oct:%st 18OctGMT+0000
Singing in Salt Lake: Voces8 Scott Dorsey, %10 %b %2014 %16:%Oct:%th 16OctGMT+0000
Appearing in concert during the 2015 ACDA National Conference in Salt Lake City, Utah:
Voces8 is one of the most exciting and versatile vocal groups in the world. Performance venues include the Wigmore Hall and Royal Festival Hall in London, Mariinsky Theatre St Petersburg, Tokyo Opera City, Tel Aviv Opera House, National Concert Hall Taipei, Cite de la Musique Paris, Dijon Opera House, National Centre for the Performing Arts Beijing, and Shanghai Concert Hall. The group records for Decca Classics and publishes with Edition Peters. Their London home is the Gresham Centre, forming the hub of their celebrated education work.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
Sessions in Salt Lake: "Gypsy Music" Scott Dorsey, %09 %b %2014 %16:%Oct:%th 16OctGMT+0000