MS/JH Contest Selections

by Mark Jauss, Advertising Associate and Choral Director

For music educators, the last half of the year is often just as busy, if not more so, than the first. We understand that the last thing you have time for is an extended search for the perfect, hand-selected contest piece. So that you can spend more time rehearsing and less time reviewing, we've gone through the selection process for you. The five pieces below will inspire your singers towards success in the classroom and on the stage!
 

Festival Gloria
Richard A. Williamson

This energetic, forward-moving concert work is a great learning piece for beginning mixed choirs, with diverse musical styles and engaging vocal lines that flatter a choir of any size.

Three-part Mixed




Lux Aeterna
Mark Burrows

This is a stunning work for young voices that creates a simple beauty from emotional melodic lines. The timeless Latin text comes from the Requiem mass. Light eternal, shine on them. A richly orchestrated performance/accompaniment CD is also available.

Two-part and Three-part Mixed

I Never Saw a Moor
Victor C. Johnson

Emily Dickinson’s inspiring poem receives Victor Johnson’s sensitive musical touch in this impassioned concert selection. With opportunities to teach lyrical singing techniques, phrase shaping, and dynamic contouring and music that naturally promotes a mature sound, this piece is destined to become a repertoire staple.

Three-part Mixed and SATB




If Music Be the Food of Love
Henry Purcell/arr. Russell Robinson

Russell Robinson presents this choral masterwork by Henry Purcell in a well-constructed arrangement for middle school mixed choirs. The music for the first and second verses is identical to aid in quick learning of this especially fine contest selection.

Three-part Mixed, opt. a cappella





Joshua Fit the Battle of Jericho
André J. Thomas
André Thomas was at his creative best when he wrote this energy-driven setting of the spiritual standard. The repeated material makes for quick memorization, allowing you to easily and effectively showcase your singers in a vibrant program pleaser that utilizes a cool jazz piano accompaniment.
Three-part Mixed, SATB, and TTB/TBB




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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.

A Review of Brian Hiller and Don Dupont's "What to Teach When" (by Catherine West)

Grades K-1 and 2-3

 












The names of Brian Hiller and Don Dupont have become increasingly popular over the last few years, and are sure to become more so with the publication of this practical, affordable, yet quite comprehensive curriculum. This three-volume set is modest in size and price compared to a comparable resource, Gameplan: An Active Music Curriculum by Randy DeLelles and Jeff Kriske, but will appeal to the same teacher groups.

Each volume contains repertoire and learning activities for teaching grade-specific elements of rhythm, melody, form, texture and timbre for two grades. The curriculum goals are summarized on one page at the beginning of each grade, and every song or game in the book is referenced back to them. These songs and games are arranged in a suggested order, with brief teaching ideas. Many of these activities reinforce the learning with active movement and instruments (non-pitched used more often than Orff). The visuals for these teaching ideas, available in thumbnails on the page with the music, are included on a CD so they can be printed or projected with ease. Each grade is also provided with a sample assessment tool and a sample lesson which shows how to develop a concept more fully.

  

Many of the materials here are traditional and familiar, but often presented with an imaginative twist (see Wee Willie Winkie below). The series offers a high-quality, affordable, carefully sequenced core music program which could save teachers many hours of preparation. I would suggest augmenting with more listening experiences, creative work, movement, Orff instrument activities, drama, global repertoire and literature. A few examples are provided for all of these, encouraging teachers to go further on their own. The amount of global repertoire improves greatly in the collection for grade three. Whether this is used as a “guide on the side” or the backbone of a music curriculum, it will be useful for many music teachers.

Include the following if you like:

Wee Willie Winkie

The following is an active game from the first volume, suggested for kindergarten. Use the traditional melody (found in M. Murray Ed. Music for Children¸Vol 1).

Lyrics	Movements
Wee Willie Winkie runs through the town, Upstairs and downstairs in his nightgown. Rapping at the window, crying through the lock, “Are the children in their beds, for it’s eight o’clock?”	Move arms to the beat as if walking. Sway side to side. Imitate knocking on a door. Point to wrist as if looking at a watch.

Teach and play the following game: Have the students stand in self-space and tell them that they are in their houses and have to stay in them until Willie visits. Assign one child to be Willie. Explain how as the class sings the song, Willie will walk around the room. On “Rapping at the window,’ he or she will stop in front of a student and perform the movement. Then he or she will trade places with the student who was standing and sit down on the floor in his or her “house” to pantomime sleeping. The new student will assume the role of Willie. Continue in this manner until all students have had a turn to be Willie (and are seated). The last child to be selected should play the role of Town Crier, tip-toeing through the classroom to make sure that all students are “asleep.”

(From Brian Hiller and Don Dupont, What to Teach When: A Thoughtful and Engaging Music Curriculum, Grades K-1)

This review was first published in the journal of Carl Orff Canada (orffcanada.ca) Ostinato Vol. 41, No. 2 (Winter, 2014). Used by permission.

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Toronto Orff Specialist Catherine West was the Editor of Carl Orff Canada’s national journal, Ostinato, for many years. She is the Director of Orff Teacher Training for the Royal Conservatory of Music, where she is also an instructor for all levels of Orff teacher training. She recently completed a term as Instructional Leader in music with the Toronto District School Board, and now works with Smart Start ™, a RCM research program investigating the use of music to enhance cognitive skill development in early childhood. She has an international reputation as an author, workshop clinician, course instructor and arts-in-education consultant.

A Review of Jeanette Morgan's "Music in a Flash" (by D. Brian Weese)

I have thoroughly enjoyed using Music in a Flash in my classroom this year. Because it has three different preset levels of rhythm difficulty, I have been able to use it with every grade level, Kindergarten through Fifth Grade. What I really love is that I can create my own sets, giving me the ability to focus on a particular rhythm.

I typically use Music in a Flash as a rhythm drill activity at the beginning of our music classes. Sometimes we just read and play 10-15 rhythms and go on to the next activity.  Any instruments can be used, or even body percussion.  Often I will ask a student to read the rhythm for the class and then we will perform it several times.  I have also used it as a tool for assessment, asking each student in turn to read (or read and play) the next projected rhythm.  The three preset accompaniments are wonderful to play along with as well.

In addition, many rhythm standards can be accomplished with your students, from reading rhythmic notation to student created rhythms, and every activity is accompanied by a student learning goal.

As a result of using this product, I have seen my students become better readers and musicians as they experience rhythm in an interactive environment.  I have also spent less time making my own Interactive Whiteboard rhythm activities because of the versatility of the application. 

Even though every music classroom is different, I'm confident that Music in a Flash can meet the needs of every music teacher. This incredible product is a must for any music classroom, and I would highly recommend it!

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D. Brian Weese has been a music educator for 12 years and served in several churches working with children's choirs, adult choirs, and various instrumental groups.  He has an undergraduate degree in Music Education from Grand Canyon University in Phoenix, Arizona and a Masters degree in Church Music from The Southern Baptist Theological Seminary in Louisville, Kentucky. He has also completed Orff Level 1 and regularly attends and participates in the Atlanta Orff Chapter.  Currently he teaches elementary music in Walton County, Georgia and loves passing on his love of music to kids. He's been married to his wife, Sonya, for 24 years and they have five great kids who all love music!