The Choral Classroom- The Three I's that include me

Sharing one of the most popular items I have posted

This particular post from a few years ago has received a lot of hits since I started blogging- it really resonates with folks so I like to re-run it once a year- so here you go (and thanks to Sir Rick Bjella, who now teaches at Texas Tech). As I read through this post again, I also like the fact that Larry Doebler was a contributor to this. I met Larry two years ago when he commissioned me for a piece for the yearly Ithaca College Choral Festival- what a brilliant conductor, teacher, and man.

Over the last four years I have combined elements of these suggestions (with Rick's permission) plus my own experiences teaching at the North Carolina Governor's School as the basic material for choral conference interest sessions I have presented in Hong Kong, South Korea, Nebraska ACDA, North Central division ACDA, and Iowa and Tennessee MEA with great success. There is so much rich material here to ponder.

Enjoy the read and the great ideas:

The three I's that don't include me: involvement, investment, (through inside-out rehearsing), independence...leading to integrity

(compiled by Rick Bjella-- contributing: Randal Swiggum, Nick Page, Larry Doebler, Lucy Thayer, Tim Bruneau, Patty O’Toole)

Reprinted by permission of Rick Bjella. 

Who or what is at the center of your rehearsals?
Whose opinions are valued most?
Around whom do your structure your strategies for the daily rehearsal?

Student involvement:

• foster a safe environment ("well, that was creative", “basses I love you dearly...”, “I love the way you truly listen to each other and honor what was said”)
• share affirmations with the ensemble
• provide a more accurate, personalized, positive reflection on student efforts in rehearsal. (i.e. "Glenn you are particularly good at dramatic reading of texts, that is a real gift that you have, that is a contribution that you make in a way that is particularly stunning")
• give the students only the title of the piece ask them “how do you think it will sound?”
• give short writing moments (in journals, portfolios, 3 x 5 cards, board work, post-it notes
• have student led warm ups prescribed by the teacher
• have an improvisation on one note-(the drone has been a powerful musical force throughout the ages-explore different vowels)
• ask YOU questions (addressed directly to students relevant to personal experiences meant to evoke personal opinions “Have you ever ______? How did it feel? Did you ____?)
• develop listening squads: students sit out and listen to rehearsal, offering critical comments
• giving students many opportunities to evaluate both rehearsals and performances (written comments, group discussions, etc.)
• allow the individual person to react with free movement that reflects the phrasing-start simply and then work towards more subtlety
• switching parts so that the student is understanding all of the choral parts
• sing the instrumental accompaniment for understanding of the entire phrase
• move to the pulse of the music- developing body memory
• learn parts through solfege (movable or fixed do depending on the piece) Assists pitch memory and independence
• have singers in positions to be compassionate. (Sing at a nursing home, a soup kitchen, hospital, or funeral, etc.)
• have student compositions based on one phrase or one word
• listening with intent (give them a puzzle, a problem, or a chance to share their opinion of something technically challenging - i.e. This Little Babe).
• fellowship game - sit or stand in a community interview circle (this can also be done in smaller groups as well): a. interview a person in the middle - ask three questions student has a right to ‘pass’ on any question. b. model the activity by being in the center as well.

Student investment and ownership:

• have students develop their own text interpretations
• use story telling (composers, personal experiences relating to the text, communing with nature, growing-up, losing loved ones, stories by other artist, authors, poets, visual artist)
• believe in your story
• have the students read a letter (that you or they create) from the composer about her intentions for the piece.
• have the students teach a spiritual, or folk song by rote to the class before passing out the arrangement
• invite student opinions on an artistic decision (e.g. where exactly the crescendo should begin, which vowel color suits the mood of a particular word best, etc.)
• have student-led sectionals
• memorization squads: if the group is having trouble with individuals not memorizing their parts, have a team sit out and check the memorization of individuals in the group
• have students come up with their own warm ups
• have them listen to tapes from their own recording sessions and evaluate the relative quality
• have an anger moment where they allow it to all come out in their singing
• try student grading of each other and themselves (set up a careful list of criteria - they see much more than you do)
• have a choir council or officers to meet and discuss issues from the students’ perspective, to act as spokes people, and to plan social events and group-bonding activities
• use dalcroze activities led by students based upon the music that is being rehearsed
• moving to the pulse of the note values- freeing the eyes from the score
• sing silently - owning the score without singing it/ showing it completely through the eyes-check the memory at a predetermined spot.
• find ways to actively involve them in the drama of the music.
• have student invested towards nuts and bolt needs (library maintenance, attendance)
• have touring planned by students- discussing at the ground level objectives and
• discuss the etymology of words, showing links between one language and another.
• have a student committee set clear goals regarding students able to sing their part alone with musicianship and understanding
• have students write reflections concerning a concert
• consider having student program notes
• have an open forum -- pose a question on curriculum (i.e. “What makes this a good piece of music?”, “What makes an exciting choir rehearsal?, If you had one wish for this choir it would be..) ask a follow-up question/ journal entries
• develop abstract expressions - break the choir into six groups, provide them with markers, crayons, finger paints -- ask the them to illustrate a concept you have been working on such as dotted rhythms open vowels, binary form, the heart of the music.
• run rehearsals of difficult passages in circles (basses, tenors, altos, sopranos) while running the passage have the leader in the middle make suggestions for improvements -- set strict time lines -- change leadership in the middle constantly. (use movement within the circle to solidify different learning styles)
• have a no limits day -- suggest that they can sing in any manner they think is appropriate and the only thing off limits is the ‘can’t’ word.
• student independence:

(knowledge=Independence (K=I) and complete imagination)

• shoot for depicting the text in a synergetic manner not as a result of what the conductor might impose
• show the score through physical movement reflecting dynamic, dramatic, linear and harmonic elements with complete physical understanding
• sing one part and reflect physically another part.
• interact with others through discussion with people not in the choir
• have students understand the integration of all study with the music that is being performed

Developing Student Integrity [IMPLEMENTATION OF THE DREAM]:

Start small. Just as it is difficult to know what to do with a blank page, it is difficult for some students to know what to do with authority. Don't expect overnight change.

• model the behavior you wish to emphasize.
• model them before the rehearsal
• model them during the rehearsal
• model them after the rehearsal
• never stop modeling them

Slowly lead students to independence (i.e. ask students to troubleshoot for a solution to a musical problem instead of volunteering one yourself). This will get them thinking for themselves and eventually, they will think independently all the time and take more responsibility for musical excellence. Know your own musical and emotional interior. If you are not comfortable with the things you are asking students to share, then the students will not respond well.

Constantly invite student input and then LISTEN CAREFULLY TO WHAT THEY SAY. Students have insights into what is going on in the music (or in the group) that you will never have.

Consider the difference between student-centered and student-directed. Is it enough to plan activities around student interest and input? For more adventure, try moving toward student directed activities. Students have many things to teach each other (and you).

Consider these four elements of all rehearsals:

• time
• structure of the ensemble, rehearsal room / form of the rehearsal
• how things are learned and percieved
• pedagogy: who teaches whom? why?

What can you and your students learn as a result of ‘tinkering’ with one of the above elements?

Moving towards a more student-centered rehearsal (like a new idea) can be messy and not always productive on the short run. HOWEVER, investing in a well thought-out process that encourages students to take charge of their own education will be motivating and exciting for them, and for YOU. 

Special thanks to Randal Swiggum, Nick Page, Larry Doebler, Lucy Thayer, Tim Bruneau, Patty O’Toole for their insights into this document.

Sharing one of the most popular items I have posted

This particular post from a few years ago has received a lot of hits since I started blogging- it really resonates with folks so I like to re-run it once a year- so here you go (and thanks to Sir Rick Bjella, who now teaches at Texas Tech). As I read through this post again, I also like the fact that Larry Doebler was a contributor to this. I just met Larry this past year when he commissioned me for a piece for the yearly Ithaca College Choral Festival- what a brilliant conductor, teacher, and man.

Over the last three years I have combined elements of these suggestions (with Rick's permission) plus my own experiences teaching at the North Carolina Governor's School as the basic material for choral conference interest sessions I have presented in Hong Kong, South Korea, Nebraska ACDA, North Central division ACDA, and Iowa and Tennessee MEA with great success. There is so much rich material here to ponder.

Enjoy the read and the great ideas:

The three I's that don't include me: involvement, investment, (through inside-out rehearsing), independence...leading to integrity

(compiled by Rick Bjella-- contributing: Randal Swiggum, Nick Page, Larry Doebler, Lucy Thayer, Tim Bruneau, Patty O’Toole)

Reprinted by permission of Rick Bjella. 

Who or what is at the center of your rehearsals?
Whose opinions are valued most?
Around whom do your structure your strategies for the daily rehearsal?

Student involvement:

• foster a safe environment ("well, that was creative", “basses I love you dearly...”, “I love the way you truly listen to each other and honor what was said”)
• share affirmations with the ensemble
• provide a more accurate, personalized, positive reflection on student efforts in rehearsal. (i.e. "Glenn you are particularly good at dramatic reading of texts, that is a real gift that you have, that is a contribution that you make in a way that is particularly stunning")
• give the students only the title of the piece ask them “how do you think it will sound?”
• give short writing moments (in journals, portfolios, 3 x 5 cards, board work, post-it notes
• have student led warm ups prescribed by the teacher
• have an improvisation on one note-(the drone has been a powerful musical force throughout the ages-explore different vowels)
• ask YOU questions (addressed directly to students relevant to personal experiences meant to evoke personal opinions “Have you ever ______? How did it feel? Did you ____?)
• develop listening squads: students sit out and listen to rehearsal, offering critical comments
• giving students many opportunities to evaluate both rehearsals and performances (written comments, group discussions, etc.)
• allow the individual person to react with free movement that reflects the phrasing-start simply and then work towards more subtlety
• switching parts so that the student is understanding all of the choral parts
• sing the instrumental accompaniment for understanding of the entire phrase
• move to the pulse of the music- developing body memory
• learn parts through solfege (movable or fixed do depending on the piece) Assists pitch memory and independence
• have singers in positions to be compassionate. (Sing at a nursing home, a soup kitchen, hospital, or funeral, etc.)
• have student compositions based on one phrase or one word
• listening with intent (give them a puzzle, a problem, or a chance to share their opinion of something technically challenging - i.e. This Little Babe).
• fellowship game - sit or stand in a community interview circle (this can also be done in smaller groups as well): a. interview a person in the middle - ask three questions student has a right to ‘pass’ on any question. b. model the activity by being in the center as well.

Student investment and ownership:

• have students develop their own text interpretations
• use story telling (composers, personal experiences relating to the text, communing with nature, growing-up, losing loved ones, stories by other artist, authors, poets, visual artist)
• believe in your story
• have the students read a letter (that you or they create) from the composer about her intentions for the piece.
• have the students teach a spiritual, or folk song by rote to the class before passing out the arrangement
• invite student opinions on an artistic decision (e.g. where exactly the crescendo should begin, which vowel color suits the mood of a particular word best, etc.)
• have student-led sectionals
• memorization squads: if the group is having trouble with individuals not memorizing their parts, have a team sit out and check the memorization of individuals in the group
• have students come up with their own warm ups
• have them listen to tapes from their own recording sessions and evaluate the relative quality
• have an anger moment where they allow it to all come out in their singing
• try student grading of each other and themselves (set up a careful list of criteria - they see much more than you do)
• have a choir council or officers to meet and discuss issues from the students’ perspective, to act as spokes people, and to plan social events and group-bonding activities
• use dalcroze activities led by students based upon the music that is being rehearsed
• moving to the pulse of the note values- freeing the eyes from the score
• sing silently - owning the score without singing it/ showing it completely through the eyes-check the memory at a predetermined spot.
• find ways to actively involve them in the drama of the music.
• have student invested towards nuts and bolt needs (library maintenance, attendance)
• have touring planned by students- discussing at the ground level objectives and
• discuss the etymology of words, showing links between one language and another.
• have a student committee set clear goals regarding students able to sing their part alone with musicianship and understanding
• have students write reflections concerning a concert
• consider having student program notes
• have an open forum -- pose a question on curriculum (i.e. “What makes this a good piece of music?”, “What makes an exciting choir rehearsal?, If you had one wish for this choir it would be..) ask a follow-up question/ journal entries
• develop abstract expressions - break the choir into six groups, provide them with markers, crayons, finger paints -- ask the them to illustrate a concept you have been working on such as dotted rhythms open vowels, binary form, the heart of the music.
• run rehearsals of difficult passages in circles (basses, tenors, altos, sopranos) while running the passage have the leader in the middle make suggestions for improvements -- set strict time lines -- change leadership in the middle constantly. (use movement within the circle to solidify different learning styles)
• have a no limits day -- suggest that they can sing in any manner they think is appropriate and the only thing off limits is the ‘can’t’ word.
• student independence:

(knowledge=Independence (K=I) and complete imagination)

• shoot for depicting the text in a synergetic manner not as a result of what the conductor might impose
• show the score through physical movement reflecting dynamic, dramatic, linear and harmonic elements with complete physical understanding
• sing one part and reflect physically another part.
• interact with others through discussion with people not in the choir
• have students understand the integration of all study with the music that is being performed

Developing Student Integrity [IMPLEMENTATION OF THE DREAM]:

Start small. Just as it is difficult to know what to do with a blank page, it is difficult for some students to know what to do with authority. Don't expect overnight change.

• model the behavior you wish to emphasize.
• model them before the rehearsal
• model them during the rehearsal
• model them after the rehearsal
• never stop modeling them

Slowly lead students to independence (i.e. ask students to troubleshoot for a solution to a musical problem instead of volunteering one yourself). This will get them thinking for themselves and eventually, they will think independently all the time and take more responsibility for musical excellence. Know your own musical and emotional interior. If you are not comfortable with the things you are asking students to share, then the students will not respond well.

Constantly invite student input and then LISTEN CAREFULLY TO WHAT THEY SAY. Students have insights into what is going on in the music (or in the group) that you will never have.

Consider the difference between student-centered and student-directed. Is it enough to plan activities around student interest and input? For more adventure, try moving toward student directed activities. Students have many things to teach each other (and you).

Consider these four elements of all rehearsals:

• time
• structure of the ensemble, rehearsal room / form of the rehearsal
• how things are learned and percieved
• pedagogy: who teaches whom? why?

What can you and your students learn as a result of ‘tinkering’ with one of the above elements?

Moving towards a more student-centered rehearsal (like a new idea) can be messy and not always productive on the short run. HOWEVER, investing in a well thought-out process that encourages students to take charge of their own education will be motivating and exciting for them, and for YOU. 

Special thanks to Randal Swiggum, Nick Page, Larry Doebler, Lucy Thayer, Tim Bruneau, Patty O’Toole for their insights into this document.

Morning Person, a dizzying dazzling poem by Vassar Miller

Here is a wonderfully creative poem by Vassar Miller which I set recently for SATB/piano four hands. It is newly published by Roger Dean, cat # 15/2599R. It was premiered in October 2008 by the White Heron Chorale, directed by Rick Bjella, and a second performance by The Festival Singers, Madison, WI, in February 2009, conducted by yours truly.


MORNING PERSON

God, best at making in the morning, tossed
stars and planets, singing and dancing, rolled
Saturn’s rings spinning and humming, twirled the earth
so hard it coughed and spat the moon up, brilliant
bubble floating around it for good, stretched holy
hands till birds in nervous sparks flew forth from
them and beasts---lizards, big and little, apes,
lions, elephants, dogs and cats cavorting,
tumbling over themselves, dizzy with joy when
God made us in the morning too, both man
and woman, leaving Adam no time for
sleep so nimbly was Eve bouncing out of
his side till as night came everything and
everybody, growing tired, declined, sat
down in one long descended Hallelujah.


I discovered this poem in Garrison Keillor's collection Good Poems (I have set 3-4 poems already that I found in this great compilation). I knew nothing about Vassar Miler when I read this poem, but I certainly recognized a text just itching to be set to music! There is so much energy, so much imagery, that it immediately jumped out at me from off the page. So after gaining permission to set from the copyright holder (I'll blog about that later, it's an interesting story) I decided I would join the crew of composers who have tried to paint the Creation (hello, Papa Haydn). Of course, this text is so fresh and creative, most of the heavy lifting has already been done by the poet. I just needed to find an entry point. something to get started with. I felt that once started, this would be one of those pieces "that writes themselves". The germinal idea did come to me, a sort of a blur of primordial electrons spinning in the piano four hands part in a John Adams-ish sort of way (think Short Ride in a Fast Machine). Why piano four hands? So that we can create lots of jangly busy noise, of course, when things really start cooking!

After the "Adams-ish" oddly metered (usually 4/4 + 1/8, just to throw things off kilter) piano part sets the stage, the choir enters, in some slightly Randall Thompson-ish shifting parallel, and/or contrary motion figures. Things stay energetic for a long time, and at times there are even some suggestions of Stephen Sondheim's more advanced harmonic structures and shifts, usually controlled through the very busy piano/four hands part. Yes, I think it's okay to borrow, even more okay to give credit to where the influences come from (let's see, I have already mentioned three- but they sure aren't a shabby three).

I wanted to create some variety in my setting, so I decided to slow the pace down temporarily (and then go back to musical ideas from the beginning, thus creating a big ABA form). To do this, I decided that after all these mentions of critters cavorting and the general dizziness of creation, I would set apart the mention of the creation of Adam and Eve- humanity. It's hard to for anyone to deny that we are special creatures, and therefore it seemed natural to set us apart from the beginning Allegro. So the piece slows way down, and thought the text doesn't talk about it, my harmonies and slight dissonance in this slower section are a hint of the Fall from grace. The music is purposely a cappella here so that only the human voice is speaking about the first humans. Additionally, the harmonies of this ensuing subplot to the creation story are just a bit churchlike in fashion (far less extended harmony 7th, 9th, and 11ths than the outer sections). But I don't linger to long on this subplot, as I want one more Allegro ride!

To finish, I would have hoped to write a fast and loud ending, as I am trying to write more of those these days- there are just too many contemporary choral pieces in the slow, doleful touchy-feely mode- don't you agree? However, Miller's text pretty much forbade this- as she (and therefore I must follow) lays all of creation to rest for the evening. I'm still happy with the ending, especially the big pile of stretti choral entrances (my college counterpoint teacher, Ben Johnston, would be proud I think) right before the coda.

In conclusion, I loved the energy of this poem and truly enjoyed enhancing it musically. Singers seem to love it, as it gives them a chance to really sing out and tell Vassar Miller's great, dizzying story.

FYI, here are the program notes that were used for the Madison, WI performance:

The music for this setting of Vassar Miller’s poem begins with the swirling of tiny particles in the vastness of space (represented by the piano introduction) as Miller’s “Morning Person” awakens to create the universe, according to the poet – in one day, not six. The enthusiasm in the choir for each new creation is dizzying, and only slows down to reflect upon God’s creation of man and woman—the music here is more subdued, a somewhat melancholy hint at the Fall and banishment from Eden. The music then speeds up again and reaches one more grand climax before every newly created life rests for the evening- whew! Vassar Miller (1924- 1998), wrote her poetry on a special constructed typewriter due to the cerebral palsy which affected her speech and movement. Her poems, most of which dealt with either her strong religious faith or her experiences as a person with a disability, were widely praised for their rigorous formality, clarity, and emotional impact. In 1961 Miller was nominated for a Pulitzer Prize for her collection Wage War on Silence. An outspoken advocate for the rights and dignity of the handicapped, Miller was not only a poet of extraordinary talent, she was a woman whose indomitable spirit enabled her to overcome her significant physical limitations.

Morning Person

Published by Roger Dean Publishing Company
Catalog # 15/2599R

SATB/piano four hands

Spiritual (non-denominational) text in English
Difficulty rating (1-5): 4
Duration: 4:30

Complete perusal score available from Roger Dean or contact www.paulcarey440.net

A wild fun ride as God creates the universe, with an exhilarating text by Vassar Miller,
premiered October 2008 by Rick Bjella's White Heron Chorale.

---

The Three I's that don't include me

The three I's that don't include me: involvement, investment, (through inside-out rehearsing), independence...leading to integrity

(compiled by Rick Bjella, richard.l.bjella@lawrence.edu-- contributing: Randal Swiggum, Nick Page, Larry Doebler, Lucy Thayer, Tim Bruneau, Patty O’Toole)

Reprinted by permission of Rick Bjella.

Who or what is at the center of your rehearsals?
Whose opinions are valued most?
Around whom do your structure your strategies for the daily rehearsal?

Student involvement:

• foster a safe environment ("well, that was creative", “basses I love you dearly...”, “I love the way you truly listen to each other and honor what was said”)
• share affirmations with the ensemble
• provide a more accurate, personalized, positive reflection on student efforts in rehearsal. (i.e. "Glenn you are particularly good at dramatic reading of texts, that is a real gift that you have, that is a contribution that you make in a way that is particularly stunning")
• give the students only the title of the piece ask them “how do you think it will sound?”
• give short writing moments (in journals, portfolios, 3 x 5 cards, board work, post-it notes
• have student led warm ups prescribed by the teacher
• have an improvisation on one note-(the drone has been a powerful musical force throughout the ages-explore different vowels)
• ask YOU questions (addressed directly to students relevant to personal experiences meant to evoke personal opinions “Have you ever ______? How did it feel? Did you ____?)
• develop listening squads: students sit out and listen to rehearsal, offering critical comments
• giving students many opportunities to evaluate both rehearsals and performances (written comments, group discussions, etc.)
• allow the individual person to react with free movement that reflects the phrasing-start simply and then work towards more subtlety
• switching parts so that the student is understanding all of the choral parts
• sing the instrumental accompaniment for understanding of the entire phrase
• move to the pulse of the music- developing body memory
• learn parts through solfege (movable or fixed do depending on the piece) Assists pitch memory and independence
• have singers in positions to be compassionate. (Sing at a nursing home, a soup kitchen, hospital, or funeral, etc.)
• have student compositions based on one phrase or one word
• listening with intent (give them a puzzle, a problem, or a chance to share their opinion of something technically challenging - i.e. This Little Babe).
• fellowship game - sit or stand in a community interview circle (this can also be done in smaller groups as well): a. interview a person in the middle - ask three questions student has a right to ‘pass’ on any question. b. model the activity by being in the center as well.

Student investment and ownership:

• have students develop their own text interpretations
• use story telling (composers, personal experiences relating to the text, communing with nature, growing-up, losing loved ones, stories by other artist, authors, poets, visual artist)
• believe in your story
• have the students read a letter (that you or they create) from the composer about her intentions for the piece.
• have the students teach a spiritual, or folk song by rote to the class before passing out the arrangement
• invite student opinions on an artistic decision (e.g. where exactly the crescendo should begin, which vowel color suits the mood of a particular word best, etc.)
• have student-led sectionals
• memorization squads: if the group is having trouble with individuals not memorizing their parts, have a team sit out and check the memorization of individuals in the group
• have students come up with their own warm ups
• have them listen to tapes from their own recording sessions and evaluate the relative quality
• have an anger moment where they allow it to all come out in their singing
• try student grading of each other and themselves (set up a careful list of criteria - they see much more than you do)
• have a choir council or officers to meet and discuss issues from the students’ perspective, to act as spokes people, and to plan social events and group-bonding activities
• use dalcroze activities led by students based upon the music that is being rehearsed
• moving to the pulse of the note values- freeing the eyes from the score
• sing silently - owning the score without singing it/ showing it completely through the eyes-check the memory at a predetermined spot.
• find ways to actively involve them in the drama of the music.
• have student invested towards nuts and bolt needs (library maintenance, attendance)
• have touring planned by students- discussing at the ground level objectives and
• discuss the etymology of words, showing links between one language and another.
• have a student committee set clear goals regarding students able to sing their part alone with musicianship and understanding
• have students write reflections concerning a concert
• consider having student program notes
• have an open forum -- pose a question on curriculum (i.e. “What makes this a good piece of music?”, “What makes an exciting choir rehearsal?, If you had one wish for this choir it would be..) ask a follow-up question/ journal entries
• develop abstract expressions - break the choir into six groups, provide them with markers, crayons, finger paints -- ask the them to illustrate a concept you have been working on such as dotted rhythms open vowels, binary form, the heart of the music.
• run rehearsals of difficult passages in circles (basses, tenors, altos, sopranos) while running the passage have the leader in the middle make suggestions for improvements -- set strict time lines -- change leadership in the middle constantly. (use movement within the circle to solidify different learning styles)
• have a no limits day -- suggest that they can sing in any manner they think is appropriate and the only thing off limits is the ‘can’t’ word.
• student independence:

(knowledge=Independence (K=I) and complete imagination)

• shoot for depicting the text in a synergetic manner not as a result of what the conductor might impose
• show the score through physical movement reflecting dynamic, dramatic, linear and harmonic elements with complete physical understanding
• sing one part and reflect physically another part.
• interact with others through discussion with people not in the choir
• have students understand the integration of all study with the music that is being performed

Developing Student Integrity [IMPLEMENTATION OF THE DREAM]:

Start small. Just as it is difficult to know what to do with a blank page, it is difficult for some students to know what to do with authority. Don't expect overnight change.

• model the behavior you wish to emphasize.
• model them before the rehearsal
• model them during the rehearsal
• model them after the rehearsal
• never stop modeling them

Slowly lead students to independence (i.e. ask students to troubleshoot for a solution to a musical problem instead of volunteering one yourself). This will get them thinking for themselves and eventually, they will think independently all the time and take more responsibility for musical excellence. Know your own musical and emotional interior. If you are not comfortable with the things you are asking students to share, then the students will not respond well.

Constantly invite student input and then LISTEN CAREFULLY TO WHAT THEY SAY. Students have insights into what is going on in the music (or in the group) that you will never have.

Consider the difference between student-centered and student-directed. Is it enough to plan activities around student interest and input? For more adventure, try moving toward student directed activities. Students have many things to teach each other (and you).

Consider these four elements of all rehearsals:

• time
• structure of the ensemble, rehearsal room / form of the rehearsal
• how things are learned and percieved
• pedagogy: who teaches whom? why?

What can you and your students learn as a result of ‘tinkering’ with one of the above elements?

Moving towards a more student-centered rehearsal (like a new idea) can be messy and not always productive on the short run. HOWEVER, investing in a well thought-out process that encourages students to take charge of their own education will be motivating and exciting for them, and for YOU.

Special thanks to Randal Swiggum, Nick Page, Larry Doebler, Lucy Thayer, Tim Bruneau, Patty O’Toole for their insights into this document.

2009 ACDA performance- Lawrence University Concert Choir

(Rick Bjella)





Saturday at ACDA's 2009 national convention was already amazing- performances to die for from the Incheon City Chorale from Korea and the Cantoria Alberto Grau. These two international choirs used so many elements to deliver their musical messages- including staging, lighting, costumes, etc. The only American choir to come close to the approach of these amazing performances was also on Saturday- Rick Bjella's choir from Lawrence Conservatory.

Their program began with an extremely haunting score (by Aussy composer Steven Leek) called Knowee, the Aboriginal name for the sun. In the folk tale, Knowee was once a woman who lived in a time of darkness. One day she left her cave with her bark torch in search of food for her young sun but became lost, and eventually fell off the side of the earth, at which point she and her torch became the sun, traversing the skies in constant desperate search for her way back to the son she left behind in the cave. In the staging of the piece, a few female singers with lanterns roamed the totally darkened concert hall issuing piercing laments and calls; the choir joins in eventually as the piece progresses. This piece was eery, heartbreaking and magical. The rest of the program also included some great off the beaten track pieces from Spain, Portugal, Bulgaria, etc. Tying the program together was the element of folk percussion, played brilliantly by Lawrence percussion professor Dane Richeson. Their final piece was a Venezuelan folk tune with some very fun choralography by Yvonne Farrow.

I have known Rick Bjella for awhile now; he has conducted my music yet I haven't been able to attend those concerts. So this, oddly enough, was my first chance to see him conduct. He's all there in the moment with his choir- nothing left for reserve and no prisoners taken. I'm sure he and the choir were exhausted (in a good way) physically and emotionally from all the preparation this program demanded.

Rick' s programming for this concert reminded me of some of the very creative themed programming and staging that Brad Homes has done with his Milliken University Choir- notably at the ACDA convention in Miami in 2007, but elsewhere as well. Here are two minds who think alike in their desire to create sophisticated programming themes, interesting stage presentation, and unusual music that challenges themselves, their own singers, and the entire audience.

(Note: Rick Bjella will lead the conductor's choir at the Illinois ACDA Summer Retreat this July, hosted by Illinois State University)