Activate! Asks: Erik Whitehill

Fun Facts

      My favorite dessert is butterscotch pudding

      My favorite musical is “The Last Five Years” by Jason Robert Brown

       I am half Swedish and I love to bake pepperkaker

       I can’t live without coffee and Diet Dr. Pepper

      My work is published by four different publishing companies

How many years have you been teaching?

10 years teaching, 11 years in music ministry.

How many students do you see in a typical week?

About 600.

What inspired you to become an elementary music educator?

When I student taught, general music surprised me with how much I liked it. During my church music years, I got to know a lot of great general music teachers and I wanted to emulate them.

Tell us about your funniest teaching moment.

At the end of the year, I let the students request activities and songs from earlier in the year. A little boy shouted out his request, “Dirty old man! Dirty old man!” It took me a moment to realize that he meant “Old Dan Tucker.”

If you could have only one item in your teaching bag, what it would it be and why?

My monkey puppet, Larry. He is tried and true and effective! The kids love him and he makes them feel immediately comfortable in my room.

What is your favorite teaching resource?

I really like "GamePlan" by Jeff Kriske and Randy DeLelles.

What music do you listen to in your free time?

Mostly, I listen to classical piano (Argerich, Rubenstein, Biss) and theater music (Sondheim, Brown, Flaherty)

Tell us about your favorite lesson/unit to teach?

I do a Broadway unit at the end of the year with my fourth graders. I created an interactive whiteboard experience with maps of New York City, pictures and videos from the various theaters to which I have been, etc. It ends with role-playing all the various theater jobs from producing, to being a part of the creative team, to tech crew, to performing. 

What is one piece of advice you would suggest for folks who are new to the elementary music classroom?

Talk to your students like they are humans. Be exacting in your standards, but make sure you don’t forget to show them your personality. Also… in everything you do, remember to be a positive and caring presence in your students’ lives. They need you.

What educator(s) most influenced your teaching style or your life?

Phyllis Whitney, my middle school choir director, who suggested I might play the piano for the choir. Gary Fiscus, my high school choir director, who inspired me to be a music teacher for my career. Weston Noble, my collegiate choir director, who taught me that music feeds the soul.

If there was one instrument you could ban from all elementary music classrooms what would it be and why?

The discount store recorder (I love recorder, but any store with “dollar” in its name is selling a party toy, not an acceptable classroom instrument.)

Tell us about your most memorable performance moment (when you were directing).

Performing “Rhythm of the Rain” by Jerry Estes with 25 kids playing Orff and percussion instruments and 50 children singing. When we were done, someone in the audience shouted, “Do it again!” So we did!

What is your go-to strategy to rein in an unruly class?

If they are lower elementary, Larry the Monkey is an effective behavior management tool. If they are upper elementary, I make them aware that I will treat them like the age of their behavior. If they are focused, I can talk to them like humans. If they are not focused, then I have to become their baby sitter. When this happens, no one is happy.

What excites you most about the future of music education?

Using multi-media and interactive technologies. Also, the research that continues to show music education is beneficial to the “whole child.”

What do you enjoy doing in your free time?

My first response is...free what? What is this "free time" you speak of? Actually, I am an avid Netflix and Hulu viewer. I love to cook and read, and spending time with friends and colleagues is also very important to me.

Would you like to share your story?

We are looking for Activate! subscribers to share their teaching advice and anecdotes. You can complete the interview at www.bit.ly/1T4ikVp. We will share as many responses as we can on our blog, and one lucky subscriber will win a free subscription to Activate! and be featured in an upcoming issue.

 

Challenge Yields Change

"If it doesn't challenge you, it doesn't change you."
                                                       -Fred DeVito

It's important to introduce our students to music that will motivate them to grow as musicians and individuals. Finding pieces with just the right amount of challenge can be difficult, however, as there's often a fine line between too challenging and not challenging enough. The music below addresses this balancing act by incorporating musical aspects that will stretch your singers while also inspiring them to reach for heightened levels of musical artistry.


The Choir Invisible
Carson Cooman

Bold musical lines and expansive harmonies distinguish Carson Cooman's powerful and introspective setting of this well-known George Eliot text. So shall I join the choir invisible whose music is the gladness of the world.

SATB



Remember
Victor C. Johnson

Victor Johnson presents wonderful moments for expressive singing and artistic phrasing in Remember. Cascading sixteenth note motifs and a rich harmonic palette unite the musical fabric and amplify the image-laden text. Then in a rising melody, the songs of earth called out to me ... and music flowed from my heart again.

SATB 



Upon a Wheel of Cloud
J.D. Frizzell

A dazzling showpiece for mature ensembles, J.D. Frizzell's masterful choral writing frames a classic Emily Dickinson poem in this dramatic setting. Upon a Wheel of Cloud begins a cappella and develops into a captivating interplay of vocal lines and piano.

SATB



Three Choral Ayres
Joseph Willcox Jenkins

This set of engaging madrigals by Joseph Willcox Jenkins includes three short movements designed to be performed as a single work. Full of choral color and compositional texture, this collection is well suited for the accomplished ensemble.

SATB



In That Great Gittin' Up Mornin'
Mark Hayes

From Mark Hayes's popular Spirit Suite, this setting of the spiritual standard features uplifting harmony and inventive accompaniment that supports the text and tune. Highlight an exceptional female voice with the optional soprano solo!

SATB


________________________________________________


Mark is a graduate of Wright State University in Dayton, OH, having received a bachelor’s degree in music education and a master’s degree in choral conducting. 

 

Before coming to Lorenz, Mark was the director of choirs at both Howard W. Blake High School for the Performing Arts in Tampa, FL, and Monroe Jr./Sr. High School in Monroe, OH.  Mark is also currently the director of the KCC Concert Choir, an advanced treble choir within the Kettering Children’s Choir organization. The group has toured extensively, and recently sang in the National Cathedral in Washington, D.C. and with the South Cape Children’s Choir and various performing ensembles on a tour throughout South Africa. In the Spring of 2015, Mark also had the privilege of preparing the choir for performances of the Britten War Requiem under the baton of Keith Lockhart, conductor of the Boston Pops. In addition, Mark has been the music director at his church since the age of 18, and regularly travels throughout the country giving workshops on conducting and worship leading. 
 

Mark is the blessed husband of Jennifer and proud father of Michael and Ellie.

New Music for Two-part Choirs

Here are some new two-part pieces for your spring concert consideration!


How Doth the Little Crocodile
Mark Burrows

A delightful musical interpretation of the beloved Lewis Carroll poem, this piece is easy to put together and is an excellent choice for a choir's first experience with part-singing. The catchy melody transitions to a round in two or three parts, giving you practical options for your beginning choirs.

Two-part or Three-part Equal Voices





Out of This World
Julie Gardner Bray

Full of stylistic variety and tonal color, this piece includes a positive message about how imagination and forward thinking sets us free to accomplish great things. I'm riding the tail of a comet, floating through new galaxies. If you're looking for me, you'll find me taking my place among the stars.

Two-part




Ripple of Kindness
Donna Butler Douglas

Artful tonal shifts with a splendid modulation grace this effective piece for young voices that features a meaningful text reflecting on how we all play a part in spreading joy and goodwill as we each make a difference in building a better world.

Two-part





Go Down, Moses
Russell Robinson

Elegantly set to bring out the best in young voices, this cool jazz, laid-back treatment of a favorite spiritual is loads of fun to sing! The repeated sections aid in quick learning and make for a great piece for any program.

Two-part

Happy St. Patrick's Day!

In honor of St. Patrick's Day, here is a performance of Linda Spevacek's"Irish Blessing."

"May the road rise up to meet you.
May the wind be always at your back.
May the sun shine warm upon your face;
the rains fall soft upon your fields.
And until we meet again,
may God hold you in the palm of His hand."

For more information on this piece, click here or on the cover image above

Festival Music for the Middle School Choral Classroom

by Mark Jauss, Advertising Associate and Choral Director

Last month, I put together a blog post that highlighted secondary selections that would bring the festival experience to your high school choral classroom. This post is a follow-up to that post and includes selections for middle school choirs. All of the pieces below have been performed in a variety of festival settings and will recreate this transformative experience in your middle school choral classroom. Enjoy!


Bonse Aba
Victor C. Johnson

Sizzling with celebratory energy, this African folk song loosely translates: "Those that sing have the right to be called the children of God." Hand drum, djembe, and shaker add authentic flavor and opportunities for improvisation, and the vocal parts are repetitive and easy to learn.

Three-part Mixed, Two-part, SATB, SSA, and TTB


Here is a performance by the 2011 Nashua All City Middle School Chorus...

Cantate Deo
G. F. Handel/Becki Slagle Mayo

Becki Slagle Mayo creatively adapts the Hornpipe movement from Handel's Water Music Suite for voices. Complete with original text, contrapuntal texture, and imitative vocal lines, this festive choral gem is sure to make an impact.

Two-part and Three-part Mixed




I Hear America Singing
André J. Thomas

This stunning selection is the perfect attention-grabber for the beginning or conclusion of a concert. Quoting the traditional spiritual Walk Together, Children, André Thomas creates an energetic and rhythmic experience that will make choirs of all shapes and sizes feel successful.

Three-part Mixed, Two-part, SATB, and SSA



Here is a mass choir performance from the 2010 St. Olaf College Choral Day...

She Sings
Amy F. Bernon

The haunting yet whimsical quality of this piece is truly refreshing. Centered around a child who loves to sing during the day and at night "cries for those who have never loved and for those who never sing," this endearing selection will stir the emotions of the audience.

Three-part Mixed, Two-part, SATB, and SSA



 Here is a performance by the 2009 IMEA Middle School Honor Choir...

Oh, Won't You Sit Down?
Greg Gilpin

Greg Gilpin works his magic with this absolutely infectious arrangement! Through the use of rounds, vocal ostinatos and dynamic contrasts, all will be instantly engaged in this energetic and fun-filled work.

Three-part Mixed, Two-part, and SATB




 Here is a performance by the 2008 GMEA All State Middle School Mixed Choir...

____________________________________________

Mark is a graduate of Wright State University in Dayton, OH, having received a bachelor’s degree in music education and a master’s degree in choral conducting. 

 

Before coming to Lorenz, Mark was the director of choirs at both Howard W. Blake High School for the Performing Arts in Tampa, FL, and Monroe Jr./Sr. High School in Monroe, OH.  Mark is also currently the director of the KCC Concert Choir, an advanced treble choir within the Kettering Children’s Choir organization. The group has toured extensively, and recently sang in the National Cathedral in Washington, D.C. and with the South Cape Children’s Choir and various performing ensembles on a tour throughout South Africa. In the Spring of 2015, Mark also had the privilege of preparing the choir for performances of the Britten War Requiem under the baton of Keith Lockhart, conductor of the Boston Pops. In addition, Mark has been the music director at his church since the age of 18, and regularly travels throughout the country giving workshops on conducting and worship leading. 
 

Mark is the blessed husband of Jennifer and proud father of Michael and Ellie.

Put Down the Pencil!

 by Brody McDonald

So many times I tell my choirs to “begin with the end in mind,” as I learned from Steven Covey. When discussing a performance, I will sometimes ask, “What do you want the audience to say when you finish?” or “What do you want the audience to feel during your performance?” When it comes to singing in a competition, this line of thinking goes a bit farther.

Let’s take for example when my choirs perform at Ohio Music Education Association Large Group Contest each spring. OMEA ratings are:

-I: Superior
-II: Excellent
-III: Good
-IV: Fair
-V: Poor

We discuss what we need to do in order to prove beyond the shadow of a doubt that we deserve a Superior rating. Until recently, I told the students to tell the judges (with their singing) to put down a “I.”

Then something changed.  I judged an ICCA Quarterfinal (International Championship of Collegiate Acappella). As I judged, I was constantly thinking, constantly writing, constantly thinking of what number to circle in each category. How I wished for a group who sang so well I could just listen. Not write. Not circle. Just listen and enjoy.

I realized that I had never fully articulated to my choirs what was in my heart for so long. Since we are in ramp-up for OMEA contest now, I asked my top choir, “What do you want the judges to put down?” I heard a chorus of “I!” and “Superior!” and even some “zero!” (being above a I). Then I said, “I want them to put down their pencils.”

A judge who is caught up in an artistic performance doesn’t want to write or score. They just want to listen. They will gladly take the opportunity to step away from the job of judging to become a happy audience member. If your performance can make that happen, then you’ve won – regardless of your score. Don’t get me wrong – I’m not here to say “we’re all winners!” I don’t think that way. I do, however, think there can be more than one winner in music – which is what makes music different than a basketball game. Anyone who can turn the dots on the printed page into engaging music for the audience is a winner.

When your goal is a score or a winning rank, you aren’t striving towards artistry. If you try to get a specific number out of a judge and fail, then you’re just a failure. If your goal is to create art and you make it, there’s no score or ranking that can invalidate your performance. Creating art is the highest challenge, and if you succeed with your singing, the scores and ranks typically take care of themselves.

At the end of the day, music is an art form. When performed well, it becomes nearly impossible to score. That’s why competitions are both good and bad. They are good because they drive us to make our performances strong enough to become true art, and thus a subjective matter that lives outside of scoring. What a paradox! Yes, there will still be scoring in contests, and there will be ratings awarded. There might be plaques or trophies handed out. Still, the real winners will always be those who created true art on stage and every audience member not holding a pencil.

For more outstanding insights from Brody, be sure to visit his blog at www.brodymcdonald.com!

_____________________________________________

Brody McDonald is the director of choirs at Kettering Fairmont High School and a faculty member of Wright State University in Dayton, Ohio. His choirs have performed regularly at OMEA, ACDA Central Division and ACDA National conferences. In addition, they have performed with international artists such as Kenny Rogers, LeAnn Rimes, The Beach Boys, Kenny Loggins and Pentatonix. His award-winning a cappella group, Eleventh Hour, is the first high school group to be featured on NBC's The Sing-Off. They have also been featured on ABC's Extreme Makeover Home Edition and won a gold medal in the Pop Choral Champions Division at the World Choir Games. Eleventh Hour's studio recordings have been included numerous times on Best of High School A Cappella and have won CARA awards for Best High School Album and Best High School Song.

Brody is at the forefront of the educational a cappella movement, serving as a founder of the A Cappella Education Association and as a nominator/judge for the Contemporary A Cappella Recording Association (CARA). He has presented at numerous educational conferences on pop a cappella in the classroom, and regularly lectures on the topic for ACDA chapters throughout the Midwest. Brody is the author of A Cappella Pop: A Complete Guide to Contemporary A Cappella Singing and the co-owner of Camp A Cappella (www.campacappella.com), an immersive week-long summer camp dedicated to the study of contemporary a cappella.

Brody is a graduate of Bowling Green State University, where he received a bachelor's degree in music education and a master's degree in choral conducting. He is an experienced barbershopper who sang in an international champion college quartet, a top-20 open class quartet, and in a bronze-medal chorus. He has been named one of Choral Director magazine's Choral Directors of Note.