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 Creative Ventures into Music Publishing
Date: May 19, 2012
In case you are new to ChoralNet, we talk about music publishing often on this blog. Here are some of the articles from the past:
With that in mind, I got this email the other day - it sounds like a company that believes in many of the values we've espoused here over the past few years:
My name is Jacob Narverud (jacob@kcmusicpublishing.co). I am the President of Kansas City Music Publishing Co., a new all-digital publishing company in Kansas City. (www.kcmusicpublishing.co)
Here is some information about the company:
BENEFITS FOR THE CONDUCTOR:
-No shipping costs
In case you are new to ChoralNet, we talk about music publishing often on this blog. Here are some of the articles from the past:
With that in mind, I got this email the other day - it sounds like a company that believes in many of the values we've espoused here over the past few years:
My name is Jacob Narverud (jacob@kcmusicpublishing.co). I am the President of Kansas City Music Publishing Co., a new all-digital publishing company in Kansas City. (www.kcmusicpublishing.co)
Here is some information about the company:
BENEFITS FOR THE CONDUCTOR:
-No shipping costs
-Lower prices on all titles
-Items are never out of stock
-Quick access to the complete catalog at all times
-Rehearsal tracks are available for nearly every title
-See and hear the complete score before making a purchase
-Personalize/edit your music before duplicating for your ensemble
-Flexible payment options including PayPal, Credit/Debit Cards, & Invoices
-Scores are sent directly to your email after purchase (no more waiting!)
BENEFITS FOR THE COMPOSER AND ARRANGER:
-A 50% royalty rate on all titles
-A 5 year print and public performance license agreement with the company (you retain your copyright ownership as well as mechanical and synchronization rights)
-Less time between work submission and availability for purchase
-A team of multiple editors
-Audio recordings, biographies, and performance notes available on website
-Advertising and promoting by the company
I encourage you to check out Kansas City Music Publishing. And, in case you are wondering, neither I nor ChoralNet receive anything in return from featuring various publishers or new products.
 Dress rehearsal
Date: May 18, 2012
 Just finished dress rehearsal with the orchestra last night for Haydn's Mass in Time of War (aside: first time I've ever had to tell a tympanist to play louder, but it is a prominent part).
I always find dress rehearsal to be much more stressful than performances. That's the real deadline for knowing your score cold, and there are many more choices to make. That's when the string players will ask why there's a slur in the violin I part and not in the violin II part, and whether we should make them conform. If there's a minor mistake (such as a ragged cutoff), I have to do triage: is this worth stopping for? If not, do I need to remember it until the next stopping place? I always find that every time we stop I've accumulated a half dozen things to say, and having to keep track of that list consumes bandwidth.
Of course, this applies to regular rehearsals, too. But you get more chances in regular rehearsals; the time factor isn't as pressing, and having the orchestra
Just finished dress rehearsal with the orchestra last night for Haydn's Mass in Time of War (aside: first time I've ever had to tell a tympanist to play louder, but it is a prominent part).
I always find dress rehearsal to be much more stressful than performances. That's the real deadline for knowing your score cold, and there are many more choices to make. That's when the string players will ask why there's a slur in the violin I part and not in the violin II part, and whether we should make them conform. If there's a minor mistake (such as a ragged cutoff), I have to do triage: is this worth stopping for? If not, do I need to remember it until the next stopping place? I always find that every time we stop I've accumulated a half dozen things to say, and having to keep track of that list consumes bandwidth.
Of course, this applies to regular rehearsals, too. But you get more chances in regular rehearsals; the time factor isn't as pressing, and having the orchestra increases the number of items to juggle. And with only one orchestra rehearsal, you've got to get through everything, so you can't stop and fix every little thing.
In performance, the only question when you hear a mistake is: can I fix this via gesture? If one part or instrument is playing too loud or too soft, or the tempo is getting apart, I can do something to fix it; otherwise, I can forget it. Performance is being in the zone, in the moment. Things go well or they don't, and I like being free to think about the music and less about how it's being performed. Singers always ask me after a performance how I thought it went, and I never know, because I forget mistakes immediately, unless they're really egregious.
I also find that the singers are much more focused in performance, which makes them more responsive to my conducting as well as less likely to make mistakes. And if I have a memory glitch and forget some cue in performance, it's much more likely they (either singers or players) will come in anyway, or do the sforzando, or whatever.
Anyway, my typical stress pattern is an increasing amount of stress up to the orchestra rehearsal, then a much more peaceful time between that and the performance. I still might review the music, continue memory work (if I'm going to conduct without a score), prepare notes for the chorus, and so on, but it seems like much less pressure.
Do you all have the same experience? I'm not really subject to performance anxiety, so maybe others get stressed just because of the performance itself (although not actually looking at the audience must help).
P.S. I've stopped calling them "dress rehearsals" when addressing singers since newbies always seem to be confused about whether they have to wear their concert outfits to the "dress" rehearsal. Now I call them "orchestra rehearsals" or "final rehearsals."
P.P.S. I have a grumble about the Bärenreiter score for this work. The conductor's score doesn't have the clarinet parts included in the orchestra layout (except in one movement), but has them as an appendix, implying that they double the oboes the rest of the time. Yet they have a number of independent parts which took me by surprise at the rehearsal. I expect it's because it's an "urtext" edition and maybe Haydn's manuscript score didn't have the clarinets, but they could have included them on small staves. Some editor at Bärenreiter needs to talk to performers more often.
What is the best way to leave the profession?
Date: May 17, 2012
 I've noted with respect the way LSU has said goodbye to longtime professor Ken Fulton as he retires this year. They've celebrated his tenure with ceremony and class. LSU also included him on the search committee to choose a new conductor.
It doesn't always go that way, does it?
Sometimes there is no celebration and little recognition.
LSU did it right. A hearty congratulations to their administration, alumni, and students.
Ken, congratulations on a job well done.
Seen on Twitter lately
Date: May 16, 2012
I run a constant search for the word "choral" on twitter. Occasionally, I look to see what it brings up.
Here are some of the latest:
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My choral teacher put my in between the two skinniest girls in school for this concert tonight soo basically I'm gonna look like a whale
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U of L Cardinal Singers bound for Cuba 'choral summit': The summit will be a cross-cultural exchange of US and C... http://t.co/Eu5zGRyM
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Nothing calms me down after an awful shift at work more than choral music by @EricWhitacre
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seriously considering dropping out of the choral department.
Interesting, eh?
How Do You Measure a Year in the Choral Life?
Date: May 15, 2012
 In the musical Rent, Seasons of Love asks “how do you measure a year in the life?” The clinical way of doing so sounds something like “Five hundred twenty-five thousand six hundred minutes”, but the song rhetorically asks, how do you really measure a year in the life?
Most of us are completing a year of choral performance, and in various ways, we are called to measure it. For the American Choral Directors Association, I measure activity in members, conferences, budget measurements, programs, and methods of participation and engagement. With those measurements, something similar to “Five hundred twenty-five thousand, six hundred” is likely to appear. But after all the calculations, I am still left with the profound question in my artistic endeavors, “how do I really measure this year?”
If I try to apply math to the performances I have with the Tulsa Oratorio Chorus, I suppose I could count the measures or notes in the Bach motets, cantatas, Magnificat
In the musical Rent, Seasons of Love asks “how do you measure a year in the life?” The clinical way of doing so sounds something like “Five hundred twenty-five thousand six hundred minutes”, but the song rhetorically asks, how do you really measure a year in the life?
Most of us are completing a year of choral performance, and in various ways, we are called to measure it. For the American Choral Directors Association, I measure activity in members, conferences, budget measurements, programs, and methods of participation and engagement. With those measurements, something similar to “Five hundred twenty-five thousand, six hundred” is likely to appear. But after all the calculations, I am still left with the profound question in my artistic endeavors, “how do I really measure this year?”
If I try to apply math to the performances I have with the Tulsa Oratorio Chorus, I suppose I could count the measures or notes in the Bach motets, cantatas, Magnificat, and Mass in B Minor that comprised our 2011-2012 concert year. Another measurement could be to calculate the several thousand audience members, the hours we spent in rehearsal and performance, the personal time we spent studying and learning the scores on our own outside of rehearsal. All of these are significant measurements, and to be sure, they are healthy numbers.
However, I prefer to measure things differently. Here is how I measure a year in our life:
We experienced profound Celebration in “Singet dem Herrn”
We experienced profound Thankfulness in “Gott, der Herr, ist Sonn' und Schild”
We experienced profound Confidence in "Ein feste burg"
We experienced profound Expectation and Hope in “Wachet auf”
We experienced profound Praise in “Magnificat”
We experienced profound Playfulness in “Pirates of the Carribean”
We experienced profound Joy in Mahler’s “Symphony No. 3”
We experienced Universal Faith in Bach’s “Mass in B Minor”
I am certain that life was richer, better, and more profound for those that we touched in our concert season this year.
May your own measurements lead to a season of productive preparation for another great season of choral music making just ahead.
Mix My Part
Date: May 13, 2012
I got this email about a new service:
I developed an online based software solution for choirs to improve the rate at which they can learn repertoire. The software provides an online multitrack mixer/player and media hosting hub so a teacher/director can prepare recordings of individual voice and instrumental parts and post them for playback by choir or band members very much like a YouTube video so they can be used to practice and sing along at home while controlling each part independently while they all play at the same time. I don't want to burden you with too lengthy an explanation if it doesn't interest you, but maybe you'd like to visit the website and see what my new creation can do.
The website is http://www.mixmypart.com and right there on the home page is a button that says "Launch Demo" which will launch a working version of the software and a sample song. The nice thing about this solution for choir members, is that they would receive an encoded link just
I got this email about a new service:
I developed an online based software solution for choirs to improve the rate at which they can learn repertoire. The software provides an online multitrack mixer/player and media hosting hub so a teacher/director can prepare recordings of individual voice and instrumental parts and post them for playback by choir or band members very much like a YouTube video so they can be used to practice and sing along at home while controlling each part independently while they all play at the same time. I don't want to burden you with too lengthy an explanation if it doesn't interest you, but maybe you'd like to visit the website and see what my new creation can do.
The website is http://www.mixmypart.com and right there on the home page is a button that says "Launch Demo" which will launch a working version of the software and a sample song. The nice thing about this solution for choir members, is that they would receive an encoded link just like a YouTube video link and everything is right there on a single page for them to use. There's no navigating on different pages and the controls are very obvious.
Check it out - the mixer is pretty cool.
The creative mind at work - Eric Whitacre
Date: May 12, 2012
I have long admired how Eric Whitacre uses technology. He recently shared the germ of an idea on his blog - a little motive that may find a way into his next masterpiece:
Have you applauded yet?
Date: May 11, 2012
 One of the newest features on ChoralNet is the  Applaud button, which lets you express agreement with a reply to a forum thread without having to write a separate reply agreeing. Quick and easy. It's similar to the Like button on Facebook.
You can also Applaud replies to Community forums or ChoralBlog. But you can't applaud your own messages; we'll all assume you approve of what you wrote without you having to bother to click a button.
Give it a shot.
Choral Caffeine: Humor in the Choral Rehearsal, Part 2
Date: May 9, 2012
 Let’s continue our look at the value of humor in our work with a little more from Steven Sieck’s article, “ Humor in Choral Rehearsals.” Today Steven tells us that “Humor frees singers to make mistakes without fear . . . .”
Singers will make mistakes. If you’ve been in a professional choir recording session, you know that professionals also make mistakes. No one wants to make them, and you don’t want toencourage such a practice in the rehearsal. Choirs perform the way they rehearse. But if you “bite off heads” when a mistake occurs, you, and the singers, get a very different rehearsal experience and a different sound. Submission and trepidation in singers create the opposite of what we conductors desire from our singers.
Choral music is an art form based on the act of giving: giving your voice, your words, and your spirit. I believe singers should feel free to acknowledge a mistake in rehearsals. For
Let’s continue our look at the value of humor in our work with a little more from Steven Sieck’s article, “ Humor in Choral Rehearsals.” Today Steven tells us that “Humor frees singers to make mistakes without fear . . . .”
Singers will make mistakes. If you’ve been in a professional choir recording session, you know that professionals also make mistakes. No one wants to make them, and you don’t want toencourage such a practice in the rehearsal. Choirs perform the way they rehearse. But if you “bite off heads” when a mistake occurs, you, and the singers, get a very different rehearsal experience and a different sound. Submission and trepidation in singers create the opposite of what we conductors desire from our singers.
Choral music is an art form based on the act of giving: giving your voice, your words, and your spirit. I believe singers should feel free to acknowledge a mistake in rehearsals. For example, when the choir works on an especially difficult passage and a number of mistakes occur, I can stop and say “That’s pretty much ready for the CD!” There’s laughter, at first awkward or embarrassed but then relaxed. I can then work efficiently on all the mistakes with no resentment from the singers. You cannot control your singers’ fallibility; however, you can control how you respond to it. In my way of thinking, the use of appropriate humor is the most workable solution to the problem.
(To access the full article, simply click the highlighted title. For additional articles on a dazzling array of choral topics, visit ChorTeach.)
Exploring a U.S. Choral Voice
Date: May 8, 2012
Between 1800 and the mid-nineteenth century, major cities in the Eastern United States began their movement past "politics and war", and were able to form professional music organizations such as Boston’s Handel and Haydn Society, which concentrated on full-scale performance of choral music with orchestra; and the New York Philharmonic Symphony Society, which focused on symphonic repertoire. These societies received their material
Between 1800 and the mid-nineteenth century, major cities in the Eastern United States began their movement past "politics and war", and were able to form professional music organizations such as Boston’s Handel and Haydn Society, which concentrated on full-scale performance of choral music with orchestra; and the New York Philharmonic Symphony Society, which focused on symphonic repertoire. These societies received their material from the finest of European composers of the time.
It is a little disorienting to realize that during this time, Mozart’s librettist Lorenzo Da Ponte was now living in New York City and making a living as a grocer, and Napoleon’s older brother, Joseph Bonaparte, former king of Spain, was living in New Jersey. Lines were beginning to blur, but it would still be a while before any U.S. iconoclasts would have the opportunity to study “painting, poetry, music…” as Adams projected.
However, by the turn of the next century, the first musician’s union was formed, not in New York or Boston, but rather, in Memphis, Tennessee, and on the printed charter, pictured in the laurel banner that drapes the document, alongside the classical German composers of Wagner, Beethoven, Bach, Mozart, and Haydn, we see the portrait of Dudley Buck. Yes, Dudley Buck. This signals a new age in the growth of a U.S. voice in choral music, as a New England choral composer is given a place along side the trinity of the “Three B’s”. We now witness our own composer's Mt. Rushmore beginning to develop as we add “Buck” to the German list of Bach, Beethoven, and Brahms.
If and when a U.S. voice was to emerge in choral composition, it would emerge through transplanted Romantic European traditions, Americans studying abroad, European Impressionism, revolutions in industry and technology (think of the piano as industry and technology), Twentieth Century American optimism, and many, many other threads and influences. As Wynton Marsalis describes American blues music, “It's like gumbo in New Orleans, you know. We put everything in there, shrimp, chicken, you can even put chitlins in there if you want 'em--you can put what you want in there, you know what I mean, and it's going to taste good because it's going to be a part of it, but you got to have that roux, and the roux is the thing that makes it a gumbo….”
So, it is a good thing for ACDA and Choral Journal to explore aspects of the “roux” of American choral music in next month's publication and in upcoming symposia. Sometimes its easy to recognize the parts, but it remains an ongoing challenge, as well as a worthy pursuit, to identify the “roux” of an American voice in choral composition.
Stick Time: The Power of Our Art
Date: May 18, 2012
A conducting colleague said to me once, "I never listen to choral music. That's too much like work." I certainly hope I never reach that point. Yes, our craft is indescribably demanding, and the day-to-day grind can be wearing and wearying (especially at this time of the season). Yes, we do need to cleanse our sonic palate with a variety of sounds to keep our musical minds fresh. But . . .
We are ARTISTS. With the brush of ethereal composition in our hands we paint with the colors of emotion laid upon the canvas of the sound from human voices. We have both a responsibility and a privilege to advance the art form while simultaneously benefitting those with whom we make music.
Our art melds beauty, truth, passion and power on so many levels that it almost creates its own energy. With that in mind, today let's simply remind ourselves of the inherent majesty of the choral art with incredibly powerful poetry, set in a richly crafted composition, and brilliantly sung. CJ Replay: Ten Singing Sins
Date: May 17, 2012
Group vocal training is possible, even in a large choral setting, but in one-on-one instruction, when the choral director assumes the role of voice teacher, the individual singer really progresses toward the ideals of efficient, artistic singing. The student can experiment with concepts of voice production and expression, modifying and refining them as immediate feedback is received from the teacher. Choral singers are strengthened by taking responsibility for their own performances as soloists (this is the "Oh, so that's what you mean" time). Voice production rudiments encountered in the ensemble setting are amplified and personalized. The unique qualities of each vocal instrument, often subdued in choir for the sake of blend, are discovered and enhanced. A more resonant tone production is encouraged as the "noble" voice emerges. Interpretation of a solo
Group vocal training is possible, even in a large choral setting, but in one-on-one instruction, when the choral director assumes the role of voice teacher, the individual singer really progresses toward the ideals of efficient, artistic singing. The student can experiment with concepts of voice production and expression, modifying and refining them as immediate feedback is received from the teacher. Choral singers are strengthened by taking responsibility for their own performances as soloists (this is the "Oh, so that's what you mean" time). Voice production rudiments encountered in the ensemble setting are amplified and personalized. The unique qualities of each vocal instrument, often subdued in choir for the sake of blend, are discovered and enhanced. A more resonant tone production is encouraged as the "noble" voice emerges. Interpretation of a solo song demands a student's complete familiarity with the composition and evokes a personal response to the text and the music.
The choral director-cum-voice-teacher has a golden opportunity to build singers who, in singing solo, learn to contribute even more to the choir. After twenty years of judging singers, I have found that many fundamental principles of vocal production need to be restated for singers of all ages and at all levels of study. In fact, I have considered having rubber stamps made to simplify writing adjudication sheets. If I did the following headings indicate what they would say.
Stick Time: Conducting Study 8
Date: May 16, 2012
Sometimes in a concert we want (desperately) for one selection to flow into another seamlessly, without the knife of applause that severing performance energy and sonic cohesion. Surely ALL of us have had an elegant transition diminished by a well-intentioned audience member who just HAD to clap their hands.
In today's conducting study, we observe a colleague navigating those waters (okay, let's be fair, the audience is a room full of choral conductors) The challenge in such a moment is to simultaneously (1) release the final chord, (2) provide a preparatory gesture for the next entrance (in this case to the pianist), (3) transition between two different music styles, all while (4) holding the audience from applauding . . . and to do so elegantly. Note too, that our colleague continues to show the vowel shape after the release, thus encouraging a release of sound, not simply a cut-off (there IS a difference).
CJ Replay: New Thoughts on Warm-Ups
Date: May 15, 2012
The first five minutes of the choral rehearsal have the potential to be a dynamic, vital, interactive learning experience. It can be a time to engage the kinesthetic, musical, and cognitive intelligences of each singer. A warm-up incorporating the above skills, made possible by creative and strategic pedagogical planning on the part of the conductor, can enhance the whole rehearsal, and eventually the overall performing ability of the ensemble.
Unfortunately, warm-ups, for many of us, are in a rut, the major scale being the culprit. Too often, we warm up only the vocal mechanism, singing the familiar chromatically ascending major scales and arpeggios along with the piano in rehearsal after rehearsal. Endless chains of five-tone major scales may challenge the voice, but not the mind. The
The first five minutes of the choral rehearsal have the potential to be a dynamic, vital, interactive learning experience. It can be a time to engage the kinesthetic, musical, and cognitive intelligences of each singer. A warm-up incorporating the above skills, made possible by creative and strategic pedagogical planning on the part of the conductor, can enhance the whole rehearsal, and eventually the overall performing ability of the ensemble.
Unfortunately, warm-ups, for many of us, are in a rut, the major scale being the culprit. Too often, we warm up only the vocal mechanism, singing the familiar chromatically ascending major scales and arpeggios along with the piano in rehearsal after rehearsal. Endless chains of five-tone major scales may challenge the voice, but not the mind. The chromatic major rut disengages the brain by exact repetition of the same mundane pattern, never accessing the endless multiplicity of varying major and minor patterns appearing in the repertoire.
Furthermore, "monkey hear, monkey do" of traditional five-tone chromatic warm-ups never seems to move from unconscious to conscious comprehension. It is alarming that an ensemble may move through all twelve major keys several times over the course of a warm-up, yet never consciously acknowledge any key, let alone the movement from one tonality to the next. This lack of cognitive engagement does nothing to build the singers' overall musical understanding. By denying our natural tendency to become creatures of habit, and using the daily warm-up as a developmental sequence, we may introduce a new security to major and minor scales and difficult tonal patterns.
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