(An excerpt from the Choral Journal article, “Honor Choir Taped Auditions: Keys to Success” by David Dietz [p. 45]) Student’s successful acceptance to an ACDA Honor Choir begins with an application process that involves recording individual voices. These tapes are sent to a chairperson’s address and subsequently heard by a panel of choral […]
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CJ Replay: Developing Church Musicians
(An excerpt from the Choral Journal article, “The Training of Church Choir Leaders” by Russell Hammar) The greatest need in the field of church music today is for vital musicians, who are able to work with people; for persons who can develop the potential musical and spiritual resources in others. The choir director, […]
GUEST BLOG: “My Journey Away from Contemporary Worship Music” by Dan Cogan
MY JOURNEY AWAY FROM CONTEMPORARY WORSHIP MUSIC by Dan Cogan I have been what many would call a “worship leader” for close to two decades. When I first became involved in “worship ministry” in an Assemblies of God youth group we sang such songs as The Name of the Lord Is a Strong Tower, As the Deer, Lord […]
CJ Replay: When Basso-Continuo was New
(An excerpt from the Choral Journal article, “Instrumentation of the Basso Continuo in Early Seventeenth-Century Vocal Music,” by Steven Zopfi) During the first half of the seventeenth century, composers created enormous quantities of vocal music employing the new basso-continuo method. Inherent in this new method was a flexibility of instrumentation. Composers rarely specified […]
CJ Replay: Choir Tour Horror Stories
(An excerpt from the Choral Journal article, “What If . . . ? Dealing with the Unexpected in Tour,” by Nina Gilbert [p.55]) Debbie Coleman, now at Bonaire Middle School, Georgia, shares her bad driver story from her years at Warner Robins High School, Georgia. “At Six Flags, we instructed our students not […]
CJ Replay: Choirs & Tires (Both Go Flat)
(An excerpt from the Choral Journal article, “Choral Flatting: Sometimes it’a a Matter of Register Transition,” by Mel Unger) Have you ever wondered why it is harder to sing some pieces in tune than others? And why, when these pieces are raised a semitone, the problem disappears? Flatting seems particularly problematic in F […]