Summer 2010 page 1

Carolina Caroler
An official, Award-Winning publication
of the /orth Carolina Chapter
of the American Choral Directors Association

UPCOMING EVENTS: Inside

Presidents 2, 12
C ACDA FALL COFERECE Message

Programming & 3,5,19

September 17 - 18, 2010 Collaborations

UC Greensboro School of Music SDACDA Honor

Choir Lists
4

Guest Clinician ~ Dr. Jerry Blackstone Is Camelot Over? 6, 20

SDACDA Sacred 7
Music Event
featuring SDACDA Mem- 8
ORTH CAROLIA SIGS! phis Highlights

SDACDA 9
A WORKSHOP Winston-Salem

FOR YOUG VOICES MVAS Info 10-11

Guest Clinician ~ Paul Caldwell /C Sings!

Workshop Info
12-15

A Jazz Primer 18-17

Show Choir 18
and the fourth annual Experiences

MALE VOCAL ARTS SYMPOSIUM State Conference

Clinician
19

Guest Conductor & Clinician: Treasurers Report 20

Chris Kiver ACDA 22
Membership
Application Form

Directories
C ACDA SR. HIGH
/C ACDA Officers 2
WOMES ALL-STATE
/C ACDA Specially 3
January 28 - 29, 2011 Appointed Officers

Greensboro Coliseum & /C ACDA R&S 4-5

Chairs
War Memorial Auditorium
Volume 11, Issue 2
Deanna Joseph, Conductor
Summer 2010
page 2 C a r oCarolina
l i n a C aCaroler
roler

Presidents Message
C ACDA Officers Ginger Wyrick, NC ACDA President
2009-2011

President Ah, the excitement of spring. Its NC ACDA is

Ginger Wyrick anticipated return is like a favorite intentional in
Queens University of refrain, although predictable and well- aligning NC
Charlotte worn, the familiarity of which unwraps Sings! with the
1900 Selwyn Avenue the sounds of an earth awakening from strategic goals of
Charlotte, NC 28274 its cold months of sleep. The warming the national office. Executive Director
704.337.2269
ggw@hwaci.com
days call me to work in the yard Tim Sharp has established four specific
removing debris from the harshness of directives to lead ACDA into the twenty-
Past President winter and pulling the early hardy weeds first century, one of which is to establish
Daniel J. Bara that eagerly attempt to get ahead of the "the opportunity for every child in the
School of Music grass. I also begin preparing the soil United States to sing in a choir." In the
East Carolina University of my vegetable garden. Although the April 2008 Choral Journal, Sharp
Greenville, NC 27858 soil was turned at the end of the growing explains his vision: "We have new
252.328.6243
barad@ecu.edu
season and blanketed with leaves and research that continues to support the
composting material, there is still more fact that music forms an important piece
President-Elect work needed to prepare for new plant- of a child's education and development
Welborn E. Young (Bill) ings this season. Even the best plants (see www.dana.org to download the
UNC Greensboro will not produce abundant vegetables Dana Consortium Report on Arts and
School of Music
without the proper soil balance to feed Cognition: Learning, Arts, and the
P.O. Box 26167
Greensboro, NC 27402 and sustain the growing process. Brain). We know choral singing has the
336.334.5428 fewest barriers for entry of any music-
What are you doing to prepare your
weyoung@uncg.edu making and music-teaching opportunity.
own musical soil to ensure an amazing
Further, there is not one area in ACDA
Secretary growing season? NC ACDA is eagerly
that will not benefit directly from every
Gwen Hall refreshing its own soil through our new
initiative we take in this direction.
Southwest Randolph initiative in arts advocacy coming this
High School ACDA has an advocacy statement poised
fall. Children's Choirs R&S Chair
1641 Hopewell Friends Road to take us in this direction."
Heather Potter is putting together an
Asheboro, NC 27205
336.381.7747
amazing event for our children. "NC The national office has also developed
gwenmcleodhall@earthlink.net Sings! A Workshop for Young Voices" specific strategic imperatives to guide
requires no preparation and registration this forward momentum of the organi-
Treasurer costs include the music. The sessions run zation. The first is "to recognize and
Jeffrey Ward concurrent with our state fall conference embrace our interconnectedness with
East Carolina University and include a special session with other choral music education and
A.J. Fletcher Music Center
Greenville, NC 27858 clinician Paul Caldwell on Friday performance organizations." NC ACDA
252.328.2557 evening for our collegiate students and is pleased to invite and encourage our
wardj@ecu.edu new teachers. The Saturday sessions will colleagues in the American Guild of
be open to all fall conference participants Organists and Choristers Guild to
Membership Chair for observation. Certainly an event not to become involved in NC Sings! We
Daniel J. Bara
miss. Read more about the event on page are sending announcements to these
School of Music
East Carolina University 14. organizations regarding our fall
Greenville, NC 27858 conference and NC Sings! Our goal is to
C ACDA is proud to have received
252.328.6243 see directors and singers representing
barad@ecu.edu
the first Southern Division ACDA Ad-
church, school, community involved in
vocacy Grant in support of C Sings!.
this event.
ewsletter Editor SDACDA President Brad Almquist
Anne M. Saxon announced the award at the Memphis The second strategic imperative is "to
4105 Sewanee Drive conference. The grant will be used to recognize and embrace the need for
Winston-Salem, NC 27106 offset the costs of NC Sings! and allow generativity in our ongoing work as
336.922.4073 us to keep the registration fees in line choral directors. In other words, we
Midpatch@aol.com
with other NC ACDA events. must have a mindset of mentoring:
(Continued on Page 7)
Summer 2010 page 3

Programming & Collaboration

Aaron Jackson, Community Choir R&S Chair C ACDA Specially
Appointed Officers
While attending the Southern Division ACDA Conference in
Memphis, TN, I had the opportunity to attend numerous choral Auditions
concerts featuring community and professional choirs as well as Sam Doyle
college and university choirs. Additionally, I was afforded the 1313 Westminster Drive
privilege of attending and participating in multiple interest sessions. Greensboro, NC 27410
This article recaps one of the sessions that specifically drew my 336.282.0549
attention to the community choir setting. sam2ann@triad.rr.com

This event was a Community Choirs Roundtable discussion luncheon focusing on program- Conference Exhibits
ming, partnerships, and promotion for community choirs. Leading this luncheon were... Aaron Jackson
Christ Baptist Church
Eric Nelson, Artistic Director of the Atlanta Sacred Chorale, Atlanta, GA; 400 Newton Road
Frank A. Heller, III, Founder and Executive and Artistic Director of Voces Raleigh, NC 27615
Novae, Louisville, KY; 919.573.5454
Kevin Ford, Conductor, Master Chorale, University of Tennessee at aaron@christbaptist.org
Chattanooga, TN;
Conference Site Host
Gary L. Anderson, Conductor, Lexington Chamber Chorale, Lexington KY. Carole Ott
In addition to these lead facilitators, attendees offered input from their varied backgrounds in UNC Greensboro
community choral music, thus making the exchange one of interaction, sharing, networking School of Music
P.O. Box 26170
and collaboration.
Greensboro, NC 27402
Concert programming is broad and complex discussion topic! The group discussed traditional 336.334.5428
ideas such as concerts featuring the music of France, England or any other country, along with cjott@uncg.edu
the traditional college choir program of literature that moves chronologically through
(Continued on Page 5) Lara Hoggard
Award Chair
Sam Doyle
(see Auditions info listed
above)

NC ACDA Wins Grant! SSA All-State Coordinator

Laura Sam
Walter M. Williams
NC ACDA is pleased to announce it is receiving the FIRST High School
Southern Division Advocacy/Development Grant for NC 1307 South Church Street
Sings! A Workshop for Young Voices. The announcement Burlington, NC 27215
336.570.6163
was made by Division President Brad Almquist at the Laura_Sam@abss.k12.nc.us
Memphis Southern Division Conference in March.
Technology Chair
The division launched the pilot grant program this past fall Webmaster
and distributed applications to state presidents and Bert Fox
Lufkin Road Middle School
division R&S chairs. Grant funding was made available to 1002 Lufkin Road
support advocacy for choral music or the development of Cary, NC 27539
special programs in choral music at the state or division 919.387.4465
foxsterb@aol.com
level repertory and standards areas for the 2010-2011
fiscal year. Conference Reading Sessions
Eric Johnson
Ginger Wyrick, NC ACDA President, and Heather Potter, James E. Holmes
R&S Chair for Children's Choirs, shared a vision for a Middle School
211 N. Pierce Street
statewide children's event. When the grant program was Eden, NC 27288
announced, the two met, developed the event parameters, ejohnson@rock.k12.nc.us
(Continued on Page 14) 336.623.9791 x108
page 4 Carolina Caroler

Congratulations
C ACDA
R&S Chairs To our North Carolina Singers that were
Boychoirs
selected to participate in the
Jeremy Truhel Southern Division Honor Choir in Memphis
Forsyth Country Day School
5501 Shallowford Road
P.O. Box 549
CHILDREN'S HONOR CHOIR McKayla Edgren, Cedar Point
Lewisville, NC 27023-0549 Callie Banholzer, Fuquay Varina Sarah Gibbs, Asheville
336.945.3151 Hannah Brown, Wake Forest Tara Jeffries, Stokesdale
jeremytruhel@fcds.org
Anna Louise Flanagan, New Bern Lexi Karabatsos, Gastonia
Childrens Choirs Holly Holder, Kinston Rebekka Mayen, Candler
Heather Potter Jasmine Ismail, Eden Carolyn Panza, New Bern
2005 Scott Avenue Brittany Johnson, Supply Jenny Schaeffer, Shelby
Charlotte, NC 28203
704.408.1685 Maryanna Mitchell, Goldsboro Kadeelyn Schwall, Franklinton
hpotternc@juno.com Madison Parks, Wake Forest Marena Scott, Dobson
Emily Uhlig, Youngsville Allison Stewart, Brevard
College/University Choirs
Carole Ott
Elizabeth Taylor, Asheville
JUNIOR HIGH HONOR CHOIR K. Blair Trexler, Lexington
UNC Greensboro
School of Music Jennifer Beard, Madison Caroline Vaughan, Greenville
P.O. Box 26170 Jamie Luttrell, Apex
Greensboro, NC 27402 Marina Pitofsky, Hickory HIGH SCHOOL MEN'S
336.334.5428
Lyndsay Richard, Gastonia HONOR CHOIR
cjott@uncg.edu
Bailey Watts, Supply Dallas Banks, Lexington
Community Choirs Josh Carlson, Lexington
Aaron Jackson HIGH SCHOOL WOMEN'S Kyle G. Gilliam, Candler
Christ Baptist Church HONOR CHOIR Jerrod Godwin, Dunn
400 Newton Road
Raleigh, NC 27615
Jennifer Bitner, Candler Brandon Greene, Shelby
919.573.5454 Brianna Brix, Newport Zachary Lunsford, Swannanoa
aaron@christbaptist.org Brenna Chisholm, Newport Timothy K. Powers, Reidsville
Beth Coffey, Andrews Daniel Shores, Thurmond
Ethnic and Multicultural
Perspectives
Alison Crouse, Dobson Jeffrey Trufant, Brevard
Wendy Looker
Guilford College
5800 W. Friendly Avenue
Greensboro, NC 27410
336.316.2423
wlooker@guilford.edu

Jazz Choirs
Greg Parker
Chowan University
Department of Music
1 University Place Scenes from SDACDA Conference in Memphis
Murfreesboro, NC 27855-1823
252.398.6201
parkeg@chowan.edu

Music & Worship

Andy Roby
120 North Lafayette Street
Shelby, NC 28150
704.482.3467
music@fbcshelby.org
Summer 2010 page 5

Pr ogr amm ing and Collabor at ions (Continued fro m page 3)

historical periods (i.e., Renaissance, health, a plug for both the choir and the C ACDA
Baroque, Classical, Romantic, 20th Century). hospital. R&S Chairs
However, seemingly more popular concepts Another affiliation could exist between the Male Choirs
were those programs that used cohesively choir and an art gallery or other visual art- Dan Huff
themed literature; for instance, a program oriented group. For example, a choir UNC Chapel Hill
presents music based around an art display CB#3320 Hill Hall
Programming Ideas: or even just one piece of visual art. The Chapel Hill, NC 27599-3320
919.962.4219
Historically and/or concert attendee is then exposed to both dhuff@email.unc.edu
Chronologically-based aural and visual art. A related idea involves a
local artist painting an actual picture during Junior High/Middle School
General Cohesive the concert with the final product being Choirs (Co-Chairs)
Themes Susan Townsend
displayed at the end of the concert. Different 4236 Huntsville Road
Composer-in-Residence elements of the painting might match the Fayetteville, NC 28314
featured music different songs and/or song styles being 910.433.9085
presented. Sjst624@aol.com
with Visions as the theme, something
One final joint venture includes performing Claire Olinik
rather general, allows the artistic director to Rosman Middle School
with other community choirs in your area
select musically varied works that could be 2770 Old Rosman Highway
and/or working with local church choirs
used in succession because of related textual Rosman, NC 28722
to present a major work. Christmas is always 828.885.5574
content. Other theme ideas
a great time to collabo- colinik@transylvania.
include Journeys or
rate with local churches k12.nc.us
Decisions. Others suggested Collaboration Ideas:
and their choirs in a
themes for the entire concert Local Hospital and/or Senior High School Choirs
presentation of Carol Earnhardt
season, not just one program. Retirement Homes Handels Messiah. Glenn High School
For example, In the Spirit
Local Artist/Art Galleries 1600 Union Cross Road
or Musings allowing the The roundtable dialog Kernersville, NC 27284
director to select a broad range Major Works then moved toward 336.771.4500
of both musical and literary a discussion of promo- CEarnhardt@wsfcs.k12.nc.us
settings that could perhaps tions. While programs
Show Choirs
overlap into multiple concerts throughout are wonderful and partnerships are benefi- Mary D. Summerlin
different portions of the year. cial, much is in vain if no one attends the C.E. Jordan High School
concerts. And how shall they hear unless 6806 Garrett Road
One final suggestion concerning program- there is promotion. Promotion is a key Durham, NC 27702
ming was to present a concert based upon component to the success of the community 919.560.3912
the music of a composer-in-residence. This choir. Many of the lead facilitators exhorted mary.doyle@dpsnc.net
is good for the choir and for the composer. the participants to use accessible sources of Two-Year College Choirs
The choir has the opportunity to learn and
promotion that are cost-efficient. Frances Wilson
perform the music of a local composer while Sandhills Community College
working directly with the composer in learn- In addition to using local newspaper, radio 3395 Airport Road
ing the music. And, the composer enjoys the and television, tools like websites, Facebook/ Pinehurst, NC 28374
showcase of his or her own work. This type 919.695.3830
of program can become an excellent tool wilsonf@sandhills.edu
Promotion Ideas:
for drawing a community together to enjoy Womens Choirs
the art, the performers and the composer. Newspaper/Radio/TV Laura Sam
Website/Facebook/Twitter Walter M. Williams
The conversation then led to a discussion of High School
partnerships, meaning the collaboration of Solicit Sponsorships 1307 South Church Street
the community choir with other community Burlington, NC 27215
organizations. One such idea was a partner- 336.570.6163
Twitter (many other social networking sites) Laura_Sam@abss.k12.nc.us
ship between the choir and a local hospital. and even evites are invaluable to the
The program might be themed Music is community choir. They are cost-efficient and Youth & Student Activities
Good for Your Soul, incorporating musical extremely effective means to advertise and
Fred Spano
settings relating music to life. The venue/ UNC Charlotte
promote your events. Use them and use Department of Music
hospital might provide medical screenings them often. It is amazing to see how quickly 9201 University City Blvd.
and/or other services following the concert the word can spread when an evite is sent to Charlotte, NC 28223
all free to the public. The community hears all of your choir members and in turn, these 704.687.4462
good music while working toward good (Continued on Page 19) fspano@uncc.edu
page 6
Is Camelot Over? High School Scheduling Challenges
Carol Earnhardt, High School R&S Chair
Im so excited to represent NC ACDA as the High School
R&S chair. Ive been teaching chorus at Glenn High School
in the Winston-Salem/Forsyth County School System for the
past 12 years and have seen many changes at my school and
in our school system during that time. But, perhaps, the
change that most impacted my classroom happened during
the 2009-2010 school year when our county changed all high
schools to a hybrid schedule a blend of a block schedule
(96-minute classes) with a standard seven-period day sched-
ule (48-minute classes).
Twelve years ago when I took the position at Glenn High
School, I remember flipping
through an MENC journal
searching for ideas to help me
prepare to teach on a block
schedule. A cartoon in the
magazine caught my attention.
The cartoon depicted a
sweaty, worried, frantic
teacher standing in an open
doorway. A sign hung above
the door that read music
room. In the hallway just in front of the door, a construction
worker busily laid cement blocks in the opening to the door-
way - essentially blocking the music teacher in the room. I
thought, Oh boy, Im in trouble! I wanted to be successful
in teaching chorus at the high school level, but all the mes-
sages and articles I read about block scheduling were nega-
tive.
Through blood, sweat, and tears, I was able to adjust to
block scheduling and actually use it to my advantage. I was
fortunate that I had a supportive administration and guidance
office, and that the principal at Glenn was a former band
teacher who wanted a strong music program at the school.
All of my choirs rehearsed on a block schedule. I taught three
classes a day and had one block period for planning. My
advanced SATB choir met daily for 90 minutes the entire
year and received two credits for the class.
I also had an auditioned womens choir that met daily for
90 minutes but because the girls were not required to take
the class for the entire year, I had
a different set of girls in the fall
semester than I had in the spring
semester. I also had two begin-
ning choirs one in the fall
semester and one in the spring
semester. I was in heaven espe-
cially with my advanced SATB
group. Who wouldnt want 90
minutes of rehearsal time every
single day? I LOVED block
scheduling! Then, after 10 years
Carolina Caroler
on the same schedule, the ball
dropped!
In 2008, at a county-wide meeting, our
superintendent discussed changes that
were planned for the high school
schedule for the 2009 school year. I sat at a table with five
high school chorus teachers from my county who all worked
on a seven-period day schedule. A colleague sitting at the
table leaned over and whispered in my ear: CAMELOT is
over! I was confused. So I asked, Camelot? He replied,
Camelot, at Glenn High School - those 90 minute rehearsals
that you love and the perfect little world you have over there
- it is over! You are in the same boat as us now!
The blood left my body as I began to question my ability as a
teacher and as a musician. I felt so unsure of myself. Was
the success I had at Glenn due to my hard work or just due to
the fact that I had so much time with my students? I was
frightened! Frightened that the quality program I had worked
10 years to build would disintegrate before my eyes! What
was I going to do? How would I make sure that my students
continued to have the same quality of musical experiences
that were offered to them during the block schedule?
At the end of the 2009 school year I began to work with my
principal to create a master schedule for the arts classes.
While the school schedule was a hybrid
schedule of 96 minute block classes and
48 minute standard classes, none of the
arts classes were allowed to be taught on
the block schedule. I was assigned to
teach five 48-minute class periods with
two 48-minute planning periods. There
were many times this year that I felt like
the music teacher in the cartoon a
cartoon that was designed to display the
detriment of block scheduling on the Music Department! But
I decided to be creative and find ways to ensure the health of
the choral department at my school and keep my sanity!
In the coming years, I feel that many school systems will
adopt new plans for scheduling and will drop the block-
scheduling format. By no means am I claiming that the
changes I made are the answer to success, but maybe the
examples of my experience will help someone who finds
themselves in the midst of immense change.
1) I kept my advanced choir as it was except decided to
audition only 10th-12th graders for this group. In the past, I
had allowed very talented 9th graders to be a part of the
group. It was a challenge adjusting to a 48 minute
rehearsal from a 90 minute rehearsal, especially since I
wanted the size of the choir to stay the same (55 members!).
The kids HATED the reduction in rehearsal time and we
were not able to learn as much repertoire. But, I decided to
(Continued on Page 20)
Summer 2010 page 7

SACRED MUSIC EVENT FOR SOUTHERN DIVISION

One Song, an ACDA gathering focused towards sacred music leadership, will take place this October at First United
Methodist Church of Marrietta, Georgia. Bryan Black, SD ACDA Music in Worship R&S announced the event in
Memphis and again in the April 2010 Choral Journal. Our Division leadership is committed to provide resources aimed
at the unique needs faced by these conductors.
The title One Song is intended to remind us that our choral discipline transcends the classroom, concert hall and sanctu-
ary. Good singing and good conducting are universal. It reflects ACDA's long-held commitment to include sacred music
as a legitimate member of the choral family.
The conference runs October 21-23. Registration opens at 12:00 noon on Thursday and the event concludes at noon on
Saturday. Participation is open to anyone interested in sacred choral music. Please see the announcement below for
additional information.

Pr esident s Mess age ( Con t i nu e d f ro m p age 2) Scenes from SDACDA Conference in Memphis
Mentoring those looking to us for choral expertise, mentoring
each other, and mentoring those that follow us." NC ACDA
continues to provide resources through Fall Conference with
sessions designed for collegiate and new teachers, MVAS,
Women's All-State, and now NC Sings!
May we continue to establish C ACDA as a leader in
choral music not only in our state but also as a national
model. Congratulations to our wonderful choral directors who
are making a difference in the lives of those who sing under your
leadership. May you bear bountiful fruit this season.
Still singing, Ginger Wyrick
page 8 Carolina Caroler

Southern Division Conference in Memphis:

Great Music with a Southern Flair
Anne Saxon, Newsletter Editor

Memphis is full of sights, sounds, tastes, and smells, everything

from pork barbeque, to the sounds of the trolleys that constantly
run the rails through town, to watching the duck parade at the
Peabody Hotel. Not only did I experience fabulous choral music, I
had the opportunity to experience the essence of what Memphis is
all about: all things Southern, from Elvis to the National Civil Rights Museum. Add
to that the chance to see and make friends and colleagues, the Memphis Conference was
just plain FUN! As many of us had the chance to venture out from the Convention
Center the tune Walkin in Memphis certainly came to mind. Even though quite
touristy at times, the natives are downright genuine and helpful, steering you to the
places you wanted to go with a smile. Graceland lives forever!
The first performance was by the American Spiritual Ensemble on Wednesday evening
of the conference. Touted as being composed of some of the finest singers
in the United States, this group certainly lived up to its name! This was
followed by an all-conference reception at the exhibits where Elvis was on
hand to greet everyone. These events certainly set the stage for great things to
come, and we werent disappointed!
Musical highlights also included the East Carolina Chamber Singers
under the direction of Dan Bara. Following a standing ovation for their
stellar performance, this choir then premiered the Southern Division
performance of this years Raymond W. Brock Choral Commission.All the
Works of Love, written by American composer Joan Szymko, was sung
beautifully. The Honor Choirs were great as well, and as you can see from
page four, North Carolina was certainly well-represented!
The Music and Worship session, as well as a concert by the choir, Brethren, were very
inspirational in St. Peters Church. The aesthetics and the
acoustics were breath-taking!
The Interest Sessions and Roundtable discussions ran the gamut
and had something for everyone. For me these were helpful and
makes one understand that we are not alone in this work that we
do. We all have the same types of issues and challenges: from
recruitment to budgets, to professional skills, and to personal
growth. We also all have the same types of dreams and visions
as we strive to create musical beauty and help make this world
an even better place.
Ive also learned that the greatest choral conductors are the
greatest people as well. What an incredible privilege to be among them. Anne

Scenes from SDACDA

Conference in Memphis
Summer 2010 page 9
page 10 Carolina Caroler

Announcing the Fourth Annual

Male Vocal Arts Symposium
at the
NC ACDA Fall Conference 2010
September 17-18, 2010 in Greensboro, NC
Chris Kiver, conductor

GOALS:
To promote choral singing and vocal artistry among boys and men who currently sing in school, university,
church, and community choirs in North Carolina.
To facilitate multi-generational musical fellowship and mentorship through the formation of a state-wide mens
ensemble which would encompass singers from 8th grade to retirement age.
To introduce male singers to male university voice faculty from North Carolina colleges / universities who will
be offered the opportunity to sing in the MVAS choir, as well as perform in a solo recital for the MVAS
participants.
To engage a national caliber conductor/clinician who will lead rehearsals culminating in performance of varied
mens chorus repertoire.

SIGER ELIGIBILITY:
Singers must be recruited and recommended for participation by his choral conductor, who must be a member of
ACDA, and who will be in attendance at the NC-ACDA Fall Conference. Conductors may apply to bring as many
as eight (8) singers from his or her choir, space permitting. When endorsing multiple singers for MVAS, conductors
should consider ensemble balance and submit an octet of 4 tenors and 4 basses. Conductors with multiple
professional appointments, (i.e. a church choir and school choir) may apply to submit singers from more than one
type of choir, but the total allotment of spaces within the MVAS choir per sponsoring member will be determined
by the total level of response. Teachers will be informed of their total allotment by June 1, 2010. Adult male
ACDA members may register themselves to take part in MVAS using the same application process.

Conductors should apply for an allotment within the MVAS Choir by May 15, 2010 for participation in the
MVAS at the Fall Conference. Our goal is to have a choir of 95-120 singers. Ideally, the choir breakdown might
be:
60% student singers in grades 8-12
25% university singers
15% adult singers from church or community choirs

SIGER PREPARATIO:
Because of the calendar proximity of the Fall ACDA Conference with NC Honor Choir Auditions and the
beginning of the school year, minimal pre-conference preparation will be expected of the singers. With this in
mind, conductors should select highly motivated and focused singers with a high potential for success under
these circumstances. The repertoire list for the festival will be published by July 1st, and it will be expected that
each singer possess his own copy of the music prior to the conference. Singers should come to the festival with a
familiarity with the music, but no screening will take place at the conference.
Summer 2010 page 11

LOGISTICS:
The MVAS schedule will run concurrently and in tandem with the NC-ACDA Fall Conference. For the convenience of
the registered ACDA Members wishing to take advantage of both events, every effort will be made to place the MVAS
activities as close to (or on) the UNCG campus as close to the school of music as possible. ACDA Members bringing
student singers for MVAS will be responsible for the conduct of their singers during the course of the 2-day event.
These members should plan to bring additional chaperones to monitor MVAS activities when taking part in other
conference sessions.
A block of rooms for MVAS singers will be reserved at the Downtown Marriot in Greensboro for the overnight stay.
This will be the convention hotel. Junior high and high school students must be carefully chaperoned by parents or
teachers throughout the event, and in the evenings according to National ACDA Policy. Adult singers may also choose
to stay in other Greensboro area hotels if attending the MVAS from a distance.

TETATIVE MVAS SCHEDULE:

Friday, September 17, 2010 Saturday, September 18, 2010
10:00am Registration 8:45am Warm-up
11:00 Rehearsal and Sectionals 9:00 Choir Rehearsal
1:00pm Lunch on your own 11am MVAS Faculty Recital
2:30 Choir Rehearsal 12pm Lunch
4:00 Break 1:30 Choir Rehearsal
4:30 Choir Rehearsal 3:00 Dress rehearsal
6:30 End of Day 1 4:00 Concert
7:00 Meet the Clinicians Reception

REGISTRATIO & FEES:

ACDA members should apply for spaces within the MVAS choir by May 15, 2010. Actual space allotment based
upon total response will be announced by June 1, 2009. ACDA Members endorsing singers for MVAS must fill their
allotment once it has been determined, in order to ensure ensemble balance and viability for our clinician. Actual
MVAS participants must be selected and registered by name by September 1, 2010.

Male Vocal Arts Symposium C-ACDA Fall Conference

Singers $25 each (Full access to MVAS events & Conference Sessions)
ACDA Member Singer $25 each Members $65
College Students $20
(Registration Form on Page 8)

Join our NCACDA

A Facebook Group!
ACD
NC
bo ok! Located on Facebook at NC ACDA
e
Fac Anyone can join, post, and gather lots of chorus-related information
All members are encouraged to post your concerts and
related events that might be of interest!
page 12 Carolina Caroler

NC ACDA is pleased to announce

an exciting new choral experience for North Carolinas children

North Carolina Sings!

A Workshop for Young Voices
With guest clinician

Paul Caldwell
of the Youth Choral Theater of Chicago

in conjunction with the NC ACDA Fall Conference 2010

September 18, 2010
UNCG School of Music

ACDA members may sponsor children in grades 3-6 to participate in this

one-day choral skill-building workshop. This event provides an opportunity
for young singers from school, religious, and community choirs to make
music in a positive environment designed to encourage enthusiasm for
choral singing.

Advance preparation is not required! During check-in on September 18, each

singer will receive a choral packet designed for use during the workshop and
included in the registration fee.

Register by May 15, 2010 to reserve spaces for a maximum of eight children.
Singer allotments may increase as space allows, and additional singers will
be added after June 1, 2010 on a first-come, first-served basis.

Register NOW to include your singers in this exciting event!

Summer 2010 page 13

orth Carolina American Choral Directors Association

orth Carolina Sings! A Workshop for Young Voices

September 18, 2010

Requirements for singer eligibility and registration guidelines:

1. Singers must be recommended for participation by their choral conductor, an active member of ACDA, who will
register for and attend the NC ACDA Fall Conference. (Elementary music teachers may recommend children
from their classroom or choir.)
2. Singers must be in third, fourth, fifth, or sixth grade.
3. Initially, conductors may register a maximum of eight (8) singers. Conductors with multiple professional
appointments (e.g. a church choir and a school choir) are encouraged to register singers from more than one
choir, but a total allotment will be given to the sponsoring ACDA member rather than to the choral program.
4. Singer allotments may increase as space allows, and additional singers will be added after June 1, 2010 on a
first-come, first-served basis.
5. Individuals must be selected to fill the singer allotment and registered by name via email by September 9, 2010.
6. Return completed application form and registration fee of $25 per singer space by May 15, 2010 to:
Heather Potter, ACDA R&S for Childrens Choirs
2005 Scott Avenue,
Charlotte, NC 28203
(704) 408-1685
hpotternc@juno.com

APPLICATIO FORM
please print or type

Sponsoring ACDA Member ____________________________________________ ACDA Member #______________

Member Email ____________________________________________________________________________________

Work Phone ____________________ Home Phone____________________ Cell Phone_________________

Ensemble Name ___________________________________________________________________________________

Type of Choir: School Community Religious Institution

Members wishing to send singers from multiple choir types should complete a separate registration form for each choir.
Initial maximum allotment per /C ACDA member is 8 singers.

Ensemble Address _________________________________________________________________________________

City__________________________________________ Zip Code___________________________________________

Total number of spaces you wish to reserve (8, maximum): ___________

Total number of spaces you are confident you could fill, if space allows: __________
page 14 Carolina Caroler
orth Carolina American Choral Directors Association

2010 orth Carolina Sings! A Workshop for Young Voices

Travel Grant Application
Guidelines

This travel grant is a matching funds grant between NC ACDA and member applicants sponsoring singers in
the 2010 North Carolina Sings! A Workshop for Young Voices.
1. Travel monies awarded through this grant program may only be used to offset costs associated with
transporting participants to and from 2010 North Carolina Sings! A Workshop for Young Voices.
2. Applicants and their singers must be present for and participate in the workshop to receive the grant
money.
3. Travel grant applications must be postmarked by June 1, 2010. Recipients will be notified of the
award amount by June 15, 2010.
4. Grant recipients will submit a final report including photocopies of all transportation-related re-
ceipts. This final report must be postmarked by September 24, 2010. Grant money will be distrib-
uted after this final report is received.
5. Applicants bringing singers from more than one organization must submit separate travel grant applica-
tions for each sponsoring organization. Each ACDA member may apply for a maximum of $200 in travel
grant monies.
6. Questions? Email hpotternc@juno.com

NC ACDA Wins Grant (Continued from pa ge 3)

and began writing the proposal. "We are honored to have our event selected by the Division," said
Ginger Wyrick after the announcement was made. "North Carolina recognizes the investment we are
making in choral music by having events such as this for our children. It is imperative that we pass
along the wealth of our choral tradition to the children of North Carolina, not only that they may be
life-long singers, but also that their lives may be enriched by the joy of singing. We are pleased that
the division has chosen to support our efforts."
NC Sings! A Workshop for Young Voices takes place this September in conjunction with Fall
Conference.
Scenes from SDACDA Conference in Memphis
Summer 2010 page 15

orth Carolina American Choral Directors Association

2010 orth Carolina Sings! A Workshop for Young Voices

Travel Grant Application
ACDA Member_________________________________________________________________
ACDA Membership Number______________________________
Email ________________________________________________________________________
Work Phone __________________________ Home Phone ______________________________
Name of School, Community Choir, or Religious Institution
______________________________________________________________________________
Grant Amount Requested ________________________________

Itemized Travel Expenses:

Amount
Vehicle ____________
Gasoline ____________
Driver ____________
Other ____________
Other ____________
Total Travel Expenses ____________

This travel grant is a matching funds grant. Please describe below the source(s) of your income with which you
will match your grant request.
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
________________________________________________

This grant application must be postmarked by June 1, 2010. Please mail to the following address:
Heather Potter, ACDA R&S Chair for Childrens Choirs
2005 Scott Avenue
Charlotte, NC 28203
page 16
Ge tting Star te d: A Jazz Primer
Gregory Parker , J az z R&S Cha ir
I was a latecomer to the world of vocal jazz. There were no
vocal jazz ensembles in my high school, college, or grad
schools when I was a student. My first foray into the genre
was in 2005 when I established an ensemble tasked with
performing madrigals on the one hand and jazz and pop
styles on the other.
However you choose to do it, just do it! I dont need to
preach to the choir (pardon the pun) on the virtues of the jazz
idiom, one of Americas great contributions to the world of
music. Whether it is an upbeat swing tune or a soulful ballad,
jazz engages people. Its combination of African-American
and European musical traditions made it the original fusion
music, and thus a great springboard into cultural discourse.
Its improvisatory elements encourage creativity, a commod-
ity that is increasingly scarce in todays techno-game-
saturated society. Vocal jazz has never been more accessible
than it is now. Whether you work with young children, senior
adults, people with limited musical/vocal backgrounds, or
professional singers, you can find quality charts to fit your
group and your goals.
I am sure that while many of you have had great success with
your vocal jazz groups, others have not yet taken the plunge.
To that end, I have compiled a list of a few resources to help
you get started.
Carolina Caroler
Books
Developing Technique through Jazz/
Pop Styles by Russell Robinson and Jay
Althouse. Alfred Publishing Company.
Robinsons text explains the different
styles, including Broadway Two-Beat,
Rock, Ballad, and Swing and gives warm-up, vocal produc-
tion, and rehearsal techniques for each. Students put what
they have learned from the text into practice through
Althouses compositions in each style. In addition to their
classroom application, these vocal etudes are solid enough
to stand on their own in performance.
Jazz Singers Handbook: the Artistry and Mastery of
Singing Jazz by Michele Weir. Alfred Publishing Company.
The book includes a review of music fundamentals and an
index of terms. It is complimented by a CD that includes
tracks of a number of jazz standards. Weir is on the faculty at
UCLA and is a widely published composer and arranger of
vocal jazz pieces.
Scat! Vocal Improvisation Techniques by Bob Stoloff.
Gerard and Sarzin Publishing Company. This book teaches
vocal improvisation through rhythmic and melodic exercises,
articulation studies, and transcribed solos. It includes an ex-
cellent CD with many exercises in a variety of styles. Stoloff
is Assistant Chair of the Voice Department at the Berklee
College of Music in Boston and a popular clinician, espe-
cially in the area of scat singing.
(Continued on Page 17)
Hinshaw
Scenes from SDACDA Conference in Memphis
Summer 2010 page 17

A J a z z P r i m e r (Continued from Page 16)

The Complete Guide to Teaching Vocal Jazz by Stephen Zegree. Heritage Music Press. This is an excellent book that is
designed to help traditional choral directors start a vocal jazz ensemble. There are four appendices that include such informa-
tion as a vocal jazz discography and a music review and evaluation form. A companion CD with numerous examples is
included. Zegree directs Gold Company, the vocal jazz ensemble at Western Michigan University where he is also professor
of jazz piano.
Warm-Ups for Pop, Jazz and Show Choirs by Kirby Shaw. Hal Leonard Publishing Company. Eighteen exercises in different
popular styles with opportunities for students to create their own brief scat solos. With over 2,500 choral compositions and
arrangements in print, Kirby Shaw is ubiquitous in choral music education. He directs the Jefferson State Choral Coalition at
Southern Oregon University.
Online Resources
ChoralNet (www.choralnet.org)
There is a forum on starting a jazz choir at http://www.choralnet.org/view/222126.
Jamey Aebersold Jazz (www.jazzbooks.com)
While this site provides access to a vast array of instrumental charts, there are plenty of
excellent resources for vocal jazz musicians as well.
Phil Mattson (www.philmattson.com)
In addition to a catalog of Phil Mattson Singers CDs and his charts, one can learn about
clinics led by Phil Mattson. In addition to an extensive career as a music educator, Mattson has
written for many top groups, including Chanticleer, Manhattan Transfer, and The Dale
Warland Singers.
The Real Group (www.realgroup.se)
This Swedish vocal quintet offers a number of excellent CDs and charts. Some charts can be
purchased and then photocopied; others are available through Walton Music
(www.waltonmusic.com). The ensemble is experimenting with the concept of offering webcam
workshop sessions in which a member of Real Group would work with any ensemble in the
world via an Internet video conference call.
Sound Music Publications (www.smpjazz.com)
Co-founded by Frank DeMiero, one of the pioneers of high school jazz choirs, this company
will sell you one copy of a chart, then, you can make as many copies of it as you want. They
have an excellent catalog.
University of Northern Colorado Jazz Press (www.uncjazzpress.com)
This well-designed website allows customers to browse charts by composer, style, group type, features, or difficulty level and
includes music for instrumental and/or vocal ensembles.
This is but a cursory glance at a few of the wonderful resources that are available to us in vocal jazz music. I would like to
acknowledge Jaqueline Scanes, Director of Vocal Music at Valley Southwoods Freshman High School in West Des Moines,
Iowa and the R&S Chair for Jazz Choirs for the Iowa Choral Directors Association. Jaquis excellent recommendations have
been helpful to me in locating good resources. I have no doubt that you have great ideas as well, and I would love to hear
them.
Also, I would like to have a jazz choir sing for our Fall Conference in 2011I have thrown down the gauntlet, will you pick it
up? Please email me at parkeg@chowan.edu to let me know what you are doing, what is working well for you, and what you
would like to see us accomplish in North Carolina
Vocal Jazz! Greg

Scenes from SDACDA Conference in Memphis

page 18 Carolina Caroler

Show Choir Experiences and Recommendations

Mary D. Summerlin, R&S Show Choir Chair
When I answered my phone during one of my ography. It provides opportunity for students to get up,
year-end work days last June, I would of never expected move, and sweat and for them to work their bodies
Ginger Wyrick to be on the other end of that phone, physically. Some pieces warrant bigger dancing, some
asking me to be the R&S chair for show choir music. I require simple staging and movement. The students that
asked her what this job entailed, exactly, and she said are big in the theatre world will shine when the pieces
that I was to attend a meeting here, chosen require characteriza-
present a piece there and write this tion, props and scenery.
article. I decided to say yes and now
Show Choir Favorites:
In April, I took my
I am sitting here on my couch, trying to
Rockin Robin
students on a field trip aboard a
figure out what to write! I have been
Hal Leonard/arr. Kirby Shaw Royal Caribbean Cruise line.
teaching for 5 years. I personally can-
They performed in the show
not believe that 5 years have gone by
Wilson Phillips Medley choir genre and were adjudi-
but I am sure the veterans reading this
(this is old but great and cated for their performance.
say that about 20 years. I taught middle
I believe it is out of print! The adjudicator came up on
school for two years and I have been at
If anyone has a good music stage after the performance
C.E. Jordan High School for three
library, you might have this one). and had a workshop with my
years. These first 5 years have been
students. One of the first things
steeped with learning in and out of the
Hit Me With a Hot Note he said to them was of all
classroom. (and Watch Me Bounce) the genres you could have
I cant quite put my finger on Hal Leonard/arr. Mac Huff performed, you picked show
the exact moment when I decided I choir. It is the hardest genre to
loved show choir but I suppose it stems On Stage With the Temptations do well. Not only do you have
from my musical experiences during Hal Leonard/Alan Billingsley to have perfect vowels,
my years in the Durham Public School harmony, tone, breath support
system. I have a love for performing, a Without Love and everything that you would
love for singing, a love for music and a Hal Leonard/Ed Lojeski need for a concert choir type
love for dancing. I happen to think I am piece but you have to be able to
talented at all these things (my husband 70s with a Twist coordinate your body with the
Hal Leonard/Mac Huff
would dispute the dancing comment). I choreographed movements set
adored my experiences on the stage, to music and you all have to do
Ease on Down the Road
singing, dancing and performing and I (with Everybody Rejoice) the same moves, at the same
wanted to expose my students to this Hal Leonard time!
joy. I feel that show choir pieces can be
a very exciting part to every program
and that they have their place in music education. Just
like every other genre, there are good show choir pieces Scenes
and bad ones. from
I have a good arsenal of pieces that I would do Southern
again and again. The same pieces I like, I have found Division
the students also fondly remember. I have also experi- ACDA
enced the opposite side and have chosen pieces that
Conference
were unfavorable and that did not last the test of time.
in
The show choir aspect can provide wonderful
Memphis
opportunities for your students. The dancing/
choreography aspect of this genre is great for those
students who shine in the dancing world and for those
who are willing to lead the class in teaching the chore-
Summer 2010 page 19

N C AC DA Fa l l C o n f e r e n c e 2 0 1 0 C l i n i c i a n
Dr. Jerry Blackstone

Grammy Award winning conductor Jerry Blackstone is Director of Choirs and Chair of the Conduct-
ing Department at the University of Michigan School of Music, Theatre & Dance where he conducts
the Chamber Choir, teaches conducting at the graduate level, and administers a choral program of
eleven choirs. In February 2006, he received two Grammy Awards (Best Choral Performance and
Best Classical Album) as chorusmaster for the critically acclaimed Naxos recording of William
Bolcoms monumental Songs of Innocence and of Experience.
Professor Blackstone is considered one of the countrys leading conducting teachers, and his students have received first
place awards and been finalists in both the graduate and undergraduate divisions of the American Choral Directors
Association. Visit our website for more information: www.ncacdaonline.org.

P r o g r a m m i n g a n d C o l l a b o r a t i o n s (Continued from Page 5)

members then forward it to their friends.
One final thought on promotion was to solicit a business sponsor for each concert. Perhaps this is more challenging logistically
but it may provide great rewards if the corporation is very supportive. It is certainly worth a try. The business gets the adver-
tisement and promotion, and the choir is aided financially. Just thinkall of these ideas came from just one Roundtable and an
Interest Session I attended. So, let me encourage you to attend NC ACDA, Southern Division ACDA and National ACDA
Conferences. These will offer tremendous sources of help for you and your choir. I hope this article has been a help to you as a
director or a choir member serving in leadership. Please feel free to contact me if I can ever be of any assistance.
Aaron R. Jackson
page 20 Carolina Caroler

Is Cam el ot Over ? (Continued from page 6)

focus on QUALITY and not QUANTITY. We had a great the spring concert. We also performed Pop music that was
year! arranged for TTB voices. These boys had never been in an all
male class and it was a very
2) My Womens Choir benefited from the new schedule
positive experience for them.
more than any choir. No longer did I have a fall choir and
Comments I heard throughout
a spring choir, but every girl stayed with me the entire year!
the year included, I am glad the
I was able to plan more enriching activities for this choir
girls are not in here when I
because I knew who I would have for the whole year. In
squeak! and Since the girls are
February, we participated in the Young Women in Harmony
not in here, we get to sing for the
Barbershop Workshop sponsored by the local Sweet
whole class." I made an agree-
Adelines group. Had we been on block scheduling I would
ment with the boys at the begin-
not have had a womens choir advanced enough to participate
ning of the year that if they
in this event. This was the best Womens Choir I have ever
completed the year successfully, they would automatically be
had, and I think their success has a lot to do with the new
placed in my advanced SATB group without an audition.
schedule.
And, oh boy, my mens section is going to be so incredibly
3) With the three extra class periods that were strong for the 2010-2011 school year.
created when we switched to the new schedule,
4) The Womens Glee I created was quite a challenge
I started a Womens Glee Club and a Mens
because the classes were so small and they were split into
Ensemble. The Mens Ensemble included a
two periods. While they learned traditional Womens Choral
group of boys with changing voices (mainly
music throughout the year, I also scheduled a voice recital
9th and 10th graders) who had not auditioned
where the girls could show off their solo voices. I assigned
for my advanced SATB choir. I chose music
each of them a song from a musical, gave them voice lessons
of varying genres that I thought would be
in class, then invited all of their parents to a formal voice
challenging and fun for boys of this age. We performed
recital (with snacks) at the end of the semester. It was a great
barbershop carols at Christmas and a 'doo-wop' medley at
learning experience and the girls appreci-
ated the individual work to improve their
vocal skills and their confidence.
The Carolina Caroler is the official newsletter of the North Carolina chapter The new schedule this past school year
of the American Choral Directors Association. Articles and advertisements
presented challenges and opportunities. I
may be submitted to: Anne M. Saxon at Midpatch@aol.com. Articles may be
have learned to be flexible and I have also
submitted via email as Word documents. Times New Roman, or similar, with
font size 11 is preferred. Please do not double space after punctuations
learned to be creative. I had to rethink my
(periods)a practice held back in the days of typewritersit is not necessary philosophy of teaching and find ways to
with word processing. create a rich learning environment and an
enriching choral experience for all of my
Issue Deadline Publication students. Most of all, I have learned that
Fall June 15 July 15 CAMELOT is not over! CAMELOT just
Spring Dec. 15 Jan. 15 looks a little different!
Summer April 15 May 15 (Posted Online)
NC ACDA reserves the right to edit any application for appearance and to edit
all materials proposed for distribution.
Advertising Rates
The Carolina Caroler will accept advertising at the following rates:
Full page-$150.00 (c. 7.5x10)
Half page-$100.00 (c. 7.5x4.5)
Quarter page-$50.00 (c. 3.75x4.5)
Discounts are available on multiple ads of the same design. Rates listed are for
camera-ready copy or digital .jpg or .pdf file. A check made payable to North
Carolina ACDA must accompany the order. Advertisers will NOT be billed.
Copy will not run without advance payment. Advertising copy is subject to
editorial approval. The editor reserves the right to head and/or box any Scenes from SDACDA Conference in Memphis
advertisement bearing confusing resemblance to editorial material.
Summer 2010 page 21

Scenes from SDACDA Conference in Memphis

page 22 Carolina Caroler
Summer 2010 page 23