[1] Accessible range for all singers, or the possibility to rewrite a part to make it work for all students.
[2] Interesting rhythmic content that sticks to the bone (even for a 9th grade boy).
[3] Repertoire where everyone could learn each other’s parts without being bored.
[4] Repertoire that is enhanced by kinesthetic strategies and can assist in making these ‘old’ pieces seem real and hip.
[5] For the few pieces selected that are slow, the melodies are beautiful in all voice parts.
[6] For repertoire in a foreign language, the possibility of accessibility due to either the limited quantity of words, or the possibility of having a portion of the piece performed by soloists or a select group within the choir.
[7] The possibility of doubling the parts with an instrument(s) of choice (if needed or desired), a practice common in the Renaissance.
[8] Pieces that could be performed by professionals and 9th graders alike, and still have challenges for both groups.
[9] Music that held my interest, especially if I was to teach it over a 6-8 week period.
[10] Repertoire where I could successfully ‘sprinkle’ the teaching of the piece in small doses over a long period of time, if they needed nudging to do a piece of this nature or difficulty.
[11] Octavos that all have great recording available to assists the students to aspire to the highest artistry.
[12] Repertoire that they may hold on to for a lifetime.
[13] All pieces available on line through cpdl.org (some with many editions), also Handlo Music* and others.
[14] All of the repertoire selected has other published editions. Please carefully check for errors and consider different ideas by several editors. I usually purchase one copy of all editions.
[15] Many pieces would be enhanced with theatrical movements, dance, or added percussion.
(From the interest session, “Music for Ninth Grade that is Good Enough for the Pros,” by Rick Bjella. Presented during the 2012 Southwestern Division Conference)
Michael Trotta says