Choir Ninja, with Ryan Guth: Recent Episodes

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It's that time again! Back-to-school, new church choir season, community choir getting back into it... Remember to B.R.E.A.T.H.E. Listen as Ryan gives a warm hug of encouragement and a few well-timed reminders to make sure you get started right and stay strong all year!

Sponsored by Choirs Are Horrible - The card game for choir nerds

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This is the final episode of the Choir Ninja Podcast. As always, the goal is to bring value to you choir directors, so Ryan gives you a chance to get to know the people behind the companies that have supported this show. Listen to their origin stories, their goals, and what motivates them to make the choral world better everyday. Ryan also has a special farewell for Choir Nation, and a reminder that there is enough pie for everyone.

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Show Notes: * Donald Beebe and Maryann Beebe, from Sheet Music Deals * + Donald started playing piano as a child, and loved the music store. + PhD in Renaissance Studies from Yale + Shifted to accounting + Passion for early music combined with the desire to get music inexpensively led to the creation of Sheet Music Deals. + Customer care and service is cornerstone of their business. Typical turnaround time is 2 weeks. + They promote Arts Partner relationships, where they work with artists to promote each other’s work. + Choir Nation, what are you looking for in your music store? What experience are you looking for? Donald wants to hear from you! * Jon and Robbin Rose, with My Music Folders * + Jon and Robbin started a community choir. By coincidence, their first rehearsal was the day after 9/11. They were expecting 60 people to show up; double that number came to the first rehearsal. + They started buying folders for their own choir, bought more than they needed to get a discount, and then sold the extras to other choirs. They sold out so fast, they decided, “Let’s do this again!” + Their business has grown from one choral folder to band folders, orchestra folders, and choir robes. + They have worked with several notable clients to custom design the folder they need for their specific needs. + Jon and Robbin are musicians. They use their own products, and are constantly testing and revising their products. + Since they buy and sell directly, the money that the save on not having a distributor gets invested in quality. They never cut corners on quality. + Folders mean something beyond the most utilitarian use. You can get a personalized folder to commemorate a particular achievement or event, like a choir tour. + They are launching “Song a Week,” a music subscription service that will link new composers with new music to high school choir directors. Membership give you a new piece each week, with the right to reproduce as many copies as you want for your choir. The selections will be curated to provide music appropriate for the season. Look for www.song-a-week.com, launching soon. * Don Crafton and Adam Rabung, with Sight Reading Factory * + Don needed something to help his choirs strengthen their sight-reading skills. What he wanted didn’t exist, so he designed what he needed. + A mutual friend connected Don with Adam, a programmer whose job would be to translate Don’s ideas into a computer program. + Their first customers were passionate about the product, so much so that they wrote messages of appreciation, with suggestions for improvements. * Ryan’s assistant, Stevie Berryman, is awesome and Ryan is helpless without her. * Choir Nation is also awesome. Thanks for going along on this journey. * Remember: sharing is important. This is not a zero sum game. There is enough pie for everyone. It is our job to make the pie bigger. A win for you is not a loss for anyone else, and vice versa. You have the ability to do so much good in this world. People just need an invitation, and to know that you care. People need you; they don’t know it yet, but they need you.

Resources/links Mentioned:

• Choir Nation group on Facebook (What should a sheet music retailer do?)

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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Imposter syndrome is real, and it means that you are human and have achieved success. Be thankful that you have these feelings; they mean you are accomplishing something worthwhile. But that doesn’t make it easy to deal with. For this penultimate podcast episode, Ryan returns to one of the post prevalent issues plaguing directors. Name your imposter syndrome, call it out for what it is, and then keep on doing amazing things.

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Show Notes: Feeling like an imposter?

• Yes. Duh. Of course.
• Anyone who has achieved any modicum of success (unless they're up their own butt) deals with imposter syndrome.

What is it?

• It’s the fear that you'll be found out; the idea that you're actually a fraud and don't deserve what you've worked so hard to achieve.
• YOU worked hard and have realized some success.
• And because YOU'RE responsible for your own success, you feel like YOU put yourself there. Which you did. Which is why it's easier to tell yourself you're a fraud.

The reality

• You deserve your success, for the same reason you feel like an imposter: YOU earned it yourself.
• Remember, everyone else is working toward their own successes, so why should you feel like you shouldn't.

Being successful puts you in the spotlight

• Now you not only deal with imposter syndrome, you deal with people who hate you for your success. So, now you speak negativity to yourself for the same reasons:
• • Maybe because you took something other than the traditional path, and they watched you take a shortcut and are envious.
  • Maybe you're just plain talented and don't have to work as hard.
  • Maybe you worked harder than others were willing to work.
  • Maybe your focus was on serving others, and those others are giving you all the attention.
  • Maybe you operate in an environment where your peers believe in a zero-sum game, even though you don't.
  • Maybe you're anti-establishment and just popped out of nowhere, not taking the traditional path to success.
  • Maybe those with a higher degree of education (or debt) are struggling, but you chose a different route.
  • Maybe… You name it.

The problem with listening to your imposter syndrome

• You stop doing what helped you achieve success in the first place.
• You, by proxy, allow your critics to control you and your level of anxiety.
• It's a losing scenario, because if you listen to your imposter syndrome and kill your success your self-talk changes and attacks you for being a failure.

So what do you do?

• Understand that it's part of being successful.
• Say “Of course. Just when I'm trying to enjoy life… Here you are!”
• Name it. (Mine is Phil)
• Put it in a bubble.
• Push it out.
• Affirm, out loud, that you deserve success.
• Name, out loud, all the people that have benefited along the way.
• Keep a “Smile File” of notes, emails, cards, articles, and things having to do with your journey that make you smile.
• Have someone you can talk to about your imposter syndrome who will be your cheerleader. Could be a best friend or spouse, or it could be someone you meet in Choir Nation.

Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility for all aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. In 2017, Ryan created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and for-profit choral ensemble and musical theater business in central New Jersey. Ryan’s choirs have been heard alongside GRAMMY winners Kenny Rogers, Linda Davis, and The Chieftains and on the stages of Boston’s Symphony Hall, Philadelpha’s Mann Music Center, and the Barclays Center in Brooklyn, to name a few. In July 2017, he made his Wolf Trap debut as Chorusmaster with the National Symphony Orchestra as they performed the music of the wildly popular Zelda video game. Ryan was the keynote speaker at the 2017 Iowa Choral Directors Association Annual Summer Symposium, has been a presenter at the Chorus America Annual Conference, and a guest speaker at various other conferences and workshops throughout the year in both the choral and podcasting niches.Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder.

Resources/links Mentioned:

• Agnes Isn’t the Boss of You, with Lynn Lyons
• Choir Nation group on Facebook

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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We begin the Choir Ninja wrap up with a countdown of the stats, names, and episodes that define us. In this antepenultimate episode, Ryan and Stevie look back on the moments and interviews that have stayed with them. Did they mention your favorites?

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Show Notes: * 2 Names * + Find Your Forte + Choir Ninja * 226 episodes featuring my musings, Stevie’s brilliant ideas, and interviews with the greatest minds in the choral world * More than 186,000 unique listens * 8.7 million minutes of audio consumed by Choir Nation * 2736 members of a little Facebook group called Choir Nation * + The most super-concentrated positive, vulnerable, supportive, honest, humble choir group on Facebook. * I’ve met HUNDREDS of really amazing nice choral directors (and a handful of truly horrible people) * 3 happy sponsors * + Sheet Music Deals + My Music Folders + Sightreading Factory * 1 Sponsor that helped me when I needed a boost * + KI Concerts * Top 5 episodes by download numbers * + Your choir sucks because you suck, with Ryan Guth + Technique Tuesday 002 : Male Vocal Range Evaluation + FYF 002 : The importance of being present on the podium with Dr. Joseph Flummerfelt + FYF 004 : Serve with your whole being for a long and happy life, with Dr. Helen Kemp + Find your entry point, with Craig Hella Johnson * And COUNTLESS hours behind a computer and or microphone doing my best. * Ryan’s favorite episodes (in no particular order) * + From a journey standpoint + - FYF 004 : Serve with your whole being for a long and happy life, with Dr. Helen Kemp - FYF 002 : The importance of being present on the podium with Dr. Joseph Flummerfelt - The Creative Roots Run Deep, with James Mulholland - FYF 016 : Turn your setbacks into success (Pts 1 and 2), with Gabriel Crouch - Find your entry point, with Craig Hella Johnson + From a practicality standpoint (Ones that Ryan wishes he’s heard a decade ago) + - The 3 R’s of Sight-Singing, with Jon Duncan and Chris Munce - 4 Functions of the Church Choir: Check Your Priorities, with Brian Hehn - Agnes Isn’t the Boss of You, with Lynn Lyons - Connect with their Culture, with Conrad Weber - How to teach a piece using sequential layering, with Denise Eaton * Stevie’s favorite episodes * + Inspiring/motivational + - Functional Art and Label Makers, with Terry Price - When You’re Not Their First Love, with Beth Richey Sullivan - When You Teach for Generations, with Benita Eldridge - Leave My Christmas Carols Alone, with Dr. John Yarrington - Equality and Dignity for All People, with Sean Baugh - Homeless, Not Voiceless, with Johnathan Palant + How to do things better + - Beer Choir, with Mike Engelhardt - Uke, I Am Your Father, with Christopher Kurt - 8 must-do’s for choral directors in December, with Amanda Simon and Ryan Guth * Thank you! * + Thank you to ALL the Guests + Thank you to the guests that I didn’t get a chance to interview: + - Trey Davis, with Red Shift - Tim Herbel, with In Cahoots Fundraising - Phil Drozda (Prairie Middle School in Aurora, CO) - Mario and Lauraine Guarneri, with BERP & Co. - Matthew Myers * Thank you to ALL the Patrons * Thank you Choir Nation!

Bio: For the first time in many years, Stevie Berryman is soon to be unemployed. The mother of two and wife of one will stay busy creating snarky card games for niche audiences. You can find Stevie teaching or conducting at various handbell festivals around the country, which is not at all a made up job and is in fact something that people pay her to do, even though it’s her favorite way to spend a weekend anyway. Stevie is also active on Facebook about 23 hours a day, so you can usually find her in Choir Nation or Team Handbell. If you are in the Houston area, come to a Houston Chamber Ringers concert and see why an episode all about handbells cracked the top 20 list of most popular Choir Ninja podcasts.

Resources/links Mentioned:

• Choir Nation group on Facebook
• KI Concerts

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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At the end of this episode, Ryan Guth makes an important announcement about Choir Ninja.

If you’ve ever felt stuck in your job, like you couldn’t make your reality match your vision, this episode is for you. Anna Dore talks about what she, as an elementary choir and band director, learned from the Choir Ninja podcast that helped her transform first her attitude and then her program. She has brought an inspiring creative approach to fully engaging her students with their music. Her students have responded, and their parents and Anna’s administration have noticed.

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Show Notes: * Overcoming professional frustration * + Choir Ninja Podcast + Grad School + Program Changes to push my own creativity and vision: + Grant for new risers--Flip Forms; allowed for more movement and dancing in my performances + Themed concerts tied to character education (inspired by Stevie’s episode “Sell Out Your Concerts”. + Cross-curricular collaboration: tie the theme into general education class work; essays, projects, etc. Display student work at the concert. + Extra Performance Elements for higher audience engagement: + - Choreography - Narrators - Solos + Digital Program using Google Slides (inspired by Ryan’s episode “Programs with Impact”) * Theme Ideas: * + “History Has Its Eyes on You”: + - “Journey to the Past” from Anastasia - “Seize the Day’ from Newsies - “My Shot” from Hamilton - “I Was Here” by Lady Antebellum + “Pursue Your Dreams” #Passion #Persistence #Pride + - “Try Everything” from Zootopia - “Climb Every Mountain” from Sound of Music - “A Million Dreams” from The Greatest Showman - “This is Me” from The Greatest Showman + “You’ve Got a Friend in Me” + - “Friend Like Me” from Aladdin - “You’ve Got a Friend in Me” from Toy Story - “I Wanna Be Like You” from Jungle Book - “You’ll Be in My Heart” from Tarzan * Result: * + High engagement from my students + High audience engagement and positive audience feedback + Very positive administrative feedback and support

Bio: Anna Dore is an elementary choir director, band director, and general music teacher at Woodside Elementary School in River Vale, New Jersey. She received her bachelor’s degree in music education from Grove City College in 2012 and is currently pursuing a master’s degree in music education from Montclair State University. She lives in Hawthorne, New Jersey with her husband, Ryan.

Resources/links Mentioned:

• Woodside Elementary School
• Choir Nation group on Facebook

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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November 2018 marks the 100th anniversary of Armistice Day, the end of World War I. It’s an unprecedented milestone of the modern era. Dr. Paul Aitken will observe that anniversary in concert with a performance of his moving and beloved setting of the poem “Flanders Fields,” on location at the Flanders Fields battlefield in Belgium. Dr. Aitken is encouraging choirs around the world to observe this milestone in their own ways, because making music together is sometimes the best possible response to war.

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Highlight to Tweet: “Let’s do concerts of peace this 11/11, and show our true colors.” -Dr. Paul Aitken

Show Notes: * Choir directors like to help people. That can carry over into very different fields, but helping people is helping people. * After getting rejected from doctoral programs at the University of Oklahoma (twice), Paul got permission to audit the program. During that time he set a poem called "In Flanders Fields," by WWI veteran, John McCrae to music. It was the first winner of the Raymond W. Brock Student Composition Competition in 1998. * The powerful piece helped to win him a spot in the OU doctoral program. His current success comes from that difficult place of failure. * Coming up this year: * + A mass choir singing "Flanders Fields" and Paul’s 30-minute-long cantata, "And None Shall Be Afraid" at Flanders Fields proper. + Honoring veterans around the world by remembering the 100th anniversary of Armistice Day (this November 11th) by organizing concerts around the world that feature choirs singing songs of peace and performances of "Flanders Fields" worldwide.

Bio: Dr. Paul A. Aitken (b. 1970) is Director of Music & Worship Arts and Composer-in-Residence at the Cathedral of the Rockies in Boise, Idaho where he oversees more than twenty ensembles and a professional staff of six spanning two campuses.The first ever winner of the ACDA Brock Student Composition Competition for his piece “Flanders Fields,” Aitken is sought after as both conductor and composer. He has been commissioned by organizations such as the American Guild of Organists, the State of Idaho, and the Boise Philharmonic Master Chorale. Aitken made his Carnegie Hall debut in 2010 conducting his major work, And None Shall Be Afraid with a choir of 200 and the New England Symphonic Ensemble. Aitken now has more than 40 compositions to his credit spanning more than two decades of writing.Aitken is a lifetime member of ACDA and has served at State, Division and National levels, including National Chair of Music in Worship. Dr. Aitken holds degrees from the University of Western Ontario, Southern Illinois University at Carbondale, and the University of Oklahoma. He is married to his lovely wife, MacKenzie, and together they are raising four teenage boys and running a very robust real estate business together.

Resources/links Mentioned:

• Paul Aitken’s website
• Paul Aitken on Facebook
• And YouTube
• Or Twitter
• And why not also check out Paul on Soundcloud
• And of course, Instagram
• Choir Nation group on Facebook
• Patreon - Support the podcast!
• Watch THIS version of “Flanders Fields”
• In Flanders FieldsBy John McCrae, 1872 - 1918In Flanders fields the poppies blowBetween the crosses, row on row, That mark our place, and in the sky, The larks, still bravely singing, fly, Scarce heard amid the guns below. We are the dead; short days agoWe lived, felt dawn, saw sunset glow, Loved and were loved, and now we lieIn Flanders fields. Take up our quarrel with the foe! To you from failing hands we throwThe torch; be yours to hold it high! If ye break faith with us who dieWe shall not sleep, though poppies growIn Flanders fields.
• The Da Vinci Code, by Dan Brown, and not Dan Forrest
• The Great British Bake Off
• Giada De Laurentiis has a huge head

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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Life’s happy out in the sticks. It’s also hard, inconvenient, and sometimes lonely. But in this episode, Dr. Dee Wilkins talks to Ryan about why it’s worth it. There are real limitations in rural schools: numbers and funding will always be less than you want. But with creativity, heart, and an entrepreneurial mindset, you can still show you students a little bit of choral heaven. All twelve of them.

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Highlight to Tweet: “Imagine not having anyone within 45 minutes of your school who can play piano.” - Dr. Dee

“Life’s happy out in the sticks.” Dr. Dee Wilkins

Show Notes: * There are real limitations in rural schools: numbers and funding will always be less than you want. You just make it work. * There are also positives to working in rural schools: the interpersonal relationships with students are unmatched, you form close relationships with colleagues and administrators, and there is little to no red tape. * Teaching music in a rural town can be a lonely world. * Participate in collaborative events with other teachers. Learn from each other’s challenges and successes, and lean into their experiences to enrich your own. * Being involved in multi-school events allows small schools to find strength in numbers and perform repertoire that is otherwise beyond their reach. Don’t have an event nearby? Start one. * Students can learn from every choir director they get to work with. * A successful rural music program is all about the positive relationship you have with the students. * Students have to know they are going to be successful when they perform with you

Bio: For nearly 20 years Dr. Marlen Dee Wilkins has been teaching and directing Middle School, High School, Collegiate and Church choral ensembles. He holds degrees from Eastern Arizona College, Northern Arizona College, and the University of Northern Colorado. His current post is the Director of Vocal Music at Oklahoma Panhandle State University. He and his wife Leisel are the proud parents of 8 beautiful children.

Resources/links Mentioned: * Oklahoma Panhandle State University * Choir Nation group on Facebook * Patreon - Support the podcast! * Just a really fine family photo:

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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This episode first aired in July 2017:

Drawing on lessons learned while losing at pool, Ryan shares what it means to have an entrepreneurial mindset as a choir director. You will hear strategies about how to win at pool, how to lose at pool, and how to embarrassingly injure a friend during pool (with a step by step guide in the show notes). You will also hear why it is so important that we mindfully choose which kind of game we are going to play, which entrepreneurial super-skills you already posses, and how to avoid the traps that prevent you from being the real thing.

Highlight to Tweet: “If your win is a standing ovation, you need a bigger win” - Ryan Guth

Show Notes:

• You are already functioning as an entrepreneur in 2 WAYS: Through Task:

Recruitment = Sales Market concerts Concert Programs = Graphic Design Press releases = PR Concerts = Event planning Working one-on-one with a student who’s more invested than the others = Coaching Talking to parents = Counseling/Negotiation Sending detailed emails so your students do what you need them to do = Copywriting Making resources for students like practice tracks = content marketing Updating your “teacher page” = web design Creating and upholding the rules in your choir handbook = Contracts Making an itinerary for your choir’s trip to Disney World = Travel planning Budgeting = Budgeting Picking the uniforms = fashion design Problem solver

Through thought:

Knows his/her own “why” Stands for something Abundance-minded Proactive Solutions-oriented Focused on personal growth and learning. Self-aware Places the greatest value on helping others before themselves. Knows other people's “Why” Takes ego out of the equation Confident in his/her unique value proposition to the world.

• What’s holding you back from being great?

Listening to haters and critics. It’s a long game, and a numbers game. You have to get through your “no’s.” “Good” concerts are part of the process. They aren’t all great. Worrying about things outside your control. Blaming others Comparing yourself to others Zero-sum mentality When you get close to success, imposter syndrome tries to shut you down. The biggest pitfall is sometimes the smallest one: small goals that produce small wins

• Construct a big “win”...not one based solely on applause, scores, or the admiration of others.

Bio:

Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon.

Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best.

Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding.

When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a high school choir director in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America.

Ryan will be the keynote speaker at the Iowa Choral Directors Association Annual Summer Symposium, a presenter at the Chorus America Convention in the Summer of 2017, and a guest speaker at various other conferences and workshops throughout the year.

Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder.

Resources/links Mentioned:

• Choir Nation group on Facebook
• Email Patreon - Support the podcast!
• Instructions for setting up a nut-shot in a game of pool:1. Tell the unsuspecting victim you know a cool trickshot, but that you’ll need him to be your assistant. 2. Place the quarter about 8 inches from the end of the table, right down the center line. 3. Have your victim position himself behind the quarter.4. Hand him the two balls and, whilst patting him on the back, tell him “Now you have 4!”5. Ask the victim to place one ball at each of the corner pockets, hanging over the edge, just about to fall in.6. Direct your victim to place his pointer fingers on each ball to prevent them from accidentally falling into the pocket. 7. He will need to brace himself, so remind him to take a step back and balance on both feet.8. Now, walk to the other end of the table, and explain that through magic and complex feats of 9th grade geometry, in one shot, you will hit the two balls into each pocket. ;)9. Place the cue ball on the dot, aim for the quarter, and… if you hit the quarter just right… it’ll jump off the table directly into the victim’s unsuspecting “huevos rancheros”. 10. Lastly, point at your victim and have a good laugh at his expense.

Sponsored by:

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Sheet Music Deals (Use promo code "NINJA" to receive 20% off all Bri-Lee and Carl Fischer Music publications)

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Imposter Syndrome is a thief; it steals joy from success, and pride from achievement. Feeling like your accolades are undeserved is a common occurrence among artists. Even when you feel secure in your abilities, the fear of looking foolish can keep you from taking the risks that lead to amazing opportunities. Ryan and Stevie discuss how to beat Imposter Syndrome, and the rewards of taking risks.

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Highlight to Tweet: “The truth takes time.” -Stevie Berryman

Show Notes: * Imposter Syndrome - a phrase coined in the 1980’s to describe the nagging fear that you are not as smart or experienced or talented or deserving as people think. You do not deserve, nor have you earned, your success, and soon people will discover you are a fraud. * Imposter Syndrome is the realm of the high achievers. So if you have ever experienced it, you are neither a narcissist nor a slacker. * How to beat it: * + Identify what you are worried about. + Talk about it with a mentor + Focus on the value you bring. Value does not mean perfection. + Claim your wins. You didn’t get here by accident. The people who put you where you are did not make a mistake, you haven’t conned them. + Stop comparing yourself to others. “Comparison is an act of violence against the self.” -Iyanla Vanzant + Check your self talk. Replace “I feel” with “I think.” Ditch language like, “maybe it’s me, but…”. Don’t apologize for asking questions; assume they are valid. + Have courage; embrace ambition. Don’t talk yourself out of taking risks. Say yes to even those opportunities that risk you looking foolish.

Bio: Stevie Berryman is shockingly good at video games. She can fold a fitted sheet so it looks like it came right out of the package. Likewise, her skills as music director and teacher have also been acquired through long hours of arduous and dedicated practice. For much of her career Stevie has directed seven or more ensembles each week, meaning she has 98 years of experience (in dog years). Her effusive energy and wild creativity found a perfect setting in 2013 when she became the Artistic Director of the Houston Chamber Ringers, which has let her smash together her love for music, laughter, and tacos in a truly remarkable way. She has a particular passion for teaching children how to ring, and her innovative methods have made her a sought after educator at area and national handbell festivals. Stevie loves helping other choirs as a private clinician, or planning epic concerts for them as a creative consultant. Her next step in global domination is to take over the choral world, which is a side bonus of her job as Chief Awesomeness Officer at the Choir Ninja Podcast.

Resources/links Mentioned: * Houston FebFest * Tammy Waldrop * Stevie on Facebook * Choir Nation group on Facebook * Patreon - Support the podcast!

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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Yes, your concerts should meet educational standards. Yes, they should also meet your own goals for helping your singers become better musicians. But how about planning concerts so powerful that they change people's’ lives? What if your concerts actually strengthened bonds in your community? Dr. Abby Musgrove from Illinois College talks with Ryan about ways to create concerts that are meaningful to your audience, and how to make sure that audience is comprised of more than just the parents of your singers. Music should be a gift, not an obligation. Here’s how you make that happen.

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Highlight to Tweet: “It’s important that whatever you are doing, you are doing at a quality level.” Abby Musgrove

“People came trusting me that I was going to create something that would change their life.”

Show Notes: * Choir directors are entrepreneurs, and that isn’t a dirty word. * People should come to choir concerts because it’s a great product that adds value to their lives, not because they are obligated to just because their child is singing. * Building Audiences * Keep the main thing the main thing - Quality Matters * + Use quality literature. Don’t dumb things down for your audience. + Are you creating an objectively beautiful product? + Quality music does not mean difficult music. * Why should they even come? * + It’s a lot to ask someone to come to a choral concert. + They could always just watch a choir on youtube instead. + Consider the experience you are giving your audience: the venue, the atmosphere * Themes, Collaborations, and Partnerships * + Pick a generic enough theme that everyone can understand and grasp. + Connect your theme with a collaboration. + Build a relationship with people and groups in your community, where they see value in what you produce. + When you take your group out to sing in the community, ask yourself whether it is a place that could be a potential audience builder. So go sing at the nursing home (service), but ALSO the Chamber of Commerce (potential partners). * Loss leader - Getting them hooked * + A “loss leader” is something that a company gives away...probably at a loss...in order to get people in the door. + Your loss leader could be your theme, your concert title, a group that you are partnering with. * Educating your audience gradually * Being "entertaining" doesn't mean you've sold out!

Bio: Dr. Abby Musgrove is the Director of Choral Activities at Illinois College in Jacksonville, IL, where she conducts choirs and ensembles, teaches conducting and other various music classes, and oversees the Music Education Program. Prior to her appointment at Illinois College, Dr. Musgrove was on the faculty of Aurora University and received degrees from the University of Kansas, University of North Texas, and Millikin University. A native of central Illinois, Dr. Musgrove has taught all ages and levels of music, including choirs and bands, and is an avid church musician. She is also the director of the Jacksonville Symphony Chorale, and the founder and director of the newly-formed Spero Chamber Chorale. Her musical interests are eclectic, from Renaissance polyphony and Baroque chamber to experimental and avant-garde, with plenty of classic rock thrown in. Dr. Musgrove’s research often focuses on connections between the arts, and the science behind aesthetics. She is a fan of science fiction, Shakespeare, steampunk, archeology, and tea. Abby lives in Jacksonville with her husband, Will, and their one-year old daughter, Quincy.

Resources/links Mentioned: * Illinois College * Choir Nation group on Facebook * Patreon - Support the podcast!

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No matter where you direct, there never seems to be enough time or enough money. But there is a ready made support system of people already invested in the success of your program that may help you reclaim more of each. Lara Wolford discusses ways to use parent boosters to help with everything from fundraising to running sound at you concerts. It can be a beautifully symbiotic system that benefits the parents as much as the director!

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Highlight to Tweet: “It gives more enjoyment to know that you contributed to the end process.” -Lara Wolford

Show Notes: * Choirs need a successful Music Boosters program! It’s a symbiotic relationship - they need us as much as we need them. * A functioning and active Boosters program provides an amazing support system for both students and directors. Boosters give parents an opportunity to get involved and support the program in the best way possible. * As a director, it’s important to have a presence in the Music Boosters by keeping them informed, allowing them to be part of decisions that affect them, and supporting them. Directors should function as advisors. * Protect your authority. You need to have the final say about concerts dates, retreats, and especially artistic decisions. There should be clear boundaries and expectations. * Ways your Boosters can help you: * + Fundraising (a necessary part of any choral program) + How best to allocate funds raised + Assessing and assisting with concert needs: someone selling spirit wear, manning the door, running the sound. + Think Tank - they bring different perspectives to the table that can influence our decisions as directors.

Bio: Lara Wolford is the choir director and general music teacher at Bethel Local Schools in Tipp City, OH. In addition to her teaching responsibilities, Lara serves as an advisor for Muse Machine (a locally based arts education program), and stage manages and vocal directs the high school musical productions. In 2014, she directed her first middle school musical, Schoolhouse Rock Live! Jr., and is working to grow that program every year!Lara is a 2012 graduate of Miami University, where she was a student conductor of the Miami University Collegiate Chorale, working with Dr. Jeremy Jones and Dr. Ethan Sperry. She is currently pursuing her Master’s degree in Music Education through Miami’s summer program, and lives in Ohio with her crazy cats Siri, Alexa, and Ursula. Lara is obsessed with riding roller coasters with her nephews, finding ingredients for the perfect smoothie, and discovering new musicals to listen to.

Resources/links Mentioned: * Beth Richey Sullivan-When You’re Not Their First Love * Choir Nation group on Facebook * Patreon - Support the podcast!

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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Just ask. Ask people to come to your concert. Ask people to donate. Ask people to be changed by your music. Sam Brukhman gives the origin story of Verdigris, a new professional choir in the Dallas area. Verdigris is dedicated to the idea of exploring new space in choral music, with the goal of creating unique performances that challenge the audience to experience the familiar in a new way, much the same way patina changes old copper. But behind the artistry there is hard work, sacrifice, and the willingness to take a risk.

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Highlight to Tweet: “You don’t have to be a master to do what you do, as long as you’re willing to learn” -Sam Brukhman

Show Notes: * Sam is the founding director of Verdigris Ensemble. They began with a house concert to launch the group. * There invitation list was created from personal connections, and cold calling the Dallas Symphony donor list. There was one response from that list. The concert didn’t raise musch, but it was enough to get started. * This led to a second house concert, which helped launch a crowdfunding campaign. It was enough to launch their first concert series. * Today, it is easier to create a non-profit choir than ever before because of crowdfunding, blockchain technology, and interest in grassroots startups * Audiences and donors look for aspects of your organization as an excuse to make a donation. You have to make those qualities and aspects apparent in your mission/presentation! * Innovation in choral music is difficult because you are creating something no one has ever done before. Its very easy to get sucked back into the traditional standard * There are 5 qualities to a successful choral organization: * + Strong vision + Dedicated members + Consistent presentation + Collaboration + Dreaming big

Bio: Sam Brukhman is currently the Artistic Director of the Verdigris Ensemble, a new Dallas professional choir exploring the boundaries of the choral medium through creative concert programming, modern instrument technology, unconventional use of space, and decentralized music distribution. He also teaches middle school choir at Brown Middle School in Forney, TX.

Resources/links Mentioned: * The Consolation of Apollo Use the code: FRIENDS10 * Verdigris (the choir) * Verdigris (the patina) * The Golden Ratio * Choir Nation group on Facebook * Patreon - Support the podcast!

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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Music selection is perhaps the most critical decision you make as a choir director. And making that decision can be completely overwhelming when you are looking for something you can successfully sing with 12 sopranos, 4 altos, and 2 basses. But music selection gives you the opportunity to create what Dr. Michael John Trotta calls a “culture of belonging,” where every voice has an important part. And there are resources out there who can help you find the perfect pieces to create that culture in your own choir.

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Highlight to Tweet: “Students know when you are trying to sell them crap.” -Michael John Trotta

Show Notes: * Creating a culture of belonging

Every voice is unique and important. Avoid assigning “hand me downs,” so that every member feel like they are contributing something significant.

• Composition as a response to the choir.

Often commissions are in response to a specific choir’s particular needs. Figure out what your needs are, and what you need in the music to make it work.

• Repertoire selection as a solution to engaging your choir

Sing great music; not hard music...great music.

• Developmental appropriate repertoire
• Setting the stage for a lifetime of great music making
• What directors are looking for in repertoire

Many directors have the same struggle: finding music for the arriving voice/middle school range.

• Music that sounds harder than it is, music that makes your choir sound great

Look for the music that is appropriately, not overly challenging. Many great pieces are not difficult, but the are beautiful.

• BriLee Music / Carl Fischer Series, responding to the needs of teachers

BriLee is an excellent source for middle schools, Carl Fisher for high school repertoire

• Contact Donald at Sheet Music Deals to set up a reading session for your district, and get some help finding exactly what you need for your choir.

Bio: Michael John Trotta is one of the most “exciting and prominent new composers of choral music,” a sought-after conductor, and dynamic clinician. He brings an “intimate knowledge of the human voice,” a “rare sensitivity to the capabilities of a choral ensemble,” and years of experience as an inspiring educator to thousands of singers each year. His award-winning commissions are frequently performed at Carnegie Hall, at national conventions (ACDA, NAfME, AGO, TMEA), and his recordings are broadcast worldwide. Dr. Trotta and his wife Rachel divide their time between New York City and Bay Head, NJ where he works as a full time composer, conductor, and clinician with choirs throughout the world. He recently released an emerging choir series with BriLee/Carl Fischer Music.

Resources/links Mentioned: * Michael John Trotta, composer * BriLee Music * Carl Fisher Music * Choir Nation group on Facebook * Patreon - Support the podcast!

Sponsored by: Introducing Sheet Music Deals!

Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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Not every musician follows the same path. A two-year community college may not be the first thing you think of when you consider pursuing a music studies, but Dr. Lisa Morales explains why it might be the best option for you or your students. Learn just how much can be accomplished in four semesters, and what it means to meet the needs of students, wherever they are. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “At community college, you are there to meet the needs of students...wherever they are” -Lisa Morales Show Notes:

• The Community College Mission
  • Meet the needs of students, wherever they are.
    • No experience beyond singing in the shower
    • High school choir training
    • Years of vocal coaching
  • Prepare the students for a favorable transfer situation, by partnering with 4 year colleges
  • Can study music theory, ear training, sight-singing, applied lessons, performance ensembles
  • Earn a 2 year Associates Arts Degree in Music field of study
• Fine Arts at the Community College – challenges and opportunities
  • Short timeline: just 4 semesters
  • Opportunity for deep nurturing
  • Complete first 2 years of undergraduate for ⅓ of the cost of a 4 year college
• Lone Star College - Tomball
  • Every student an artist
  • Vocal health

Bio: Dr. Morales has worked in higher education for over twenty years, developing curriculum, establishing and building programs, and designing extracurricular activities. Her research interests focus on the interdisciplinary nature of learning and encompass vocal health, bel canto and musical theater style singing technique, as well as performance practice and programming. At LSC-Tomball, Dr. Morales provides leadership for the direction of the music program, teaches honors music appreciation as well as private voice students and directs choral ensembles, including the auditioned chamber ensemble, Timberwolf Singers. Dr. Morales’ students have been accepted into the Houston Grand Opera High School program, Sam Houston State University musical theater and theater programs, the University of Houston-Moores School of Music, Wichita State University musical theater program, and Oklahoma City University Petree School of Music. Additionally, students who have trained with Dr. Morales are now featured singers and performers in various semi-professional and professional venues, including Disneyland in Orlando! She has served on the faculties of University of Tulsa, Northwestern Oklahoma State University, and North Central Texas College. Resources/links Mentioned: * Lone Star College - Tomball * Choir Nation group on Facebook * Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!

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It’s your life; you really can set the goalposts wherever you want them. For those of you who want the top choir in the city, state, division, or country, Choir Ninja is here each week with podcasts to help you reach that goal. And for those of you who want a great choir, a weekly date night with your spouse, and the ability to attend all of your kids’ weekend activities, today Ryan chats with Lesli Olson who shares her method for maintaining a satisfying work/life balance. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “‘We will be better today than we were yesterday” - Lesli Olson Show Notes:

• Mom Game vs. Teacher Game: when one is One is on point, the other is probably struggling. Don’t beat yourself up if you can’t be perfect in both worlds simultaneously.
• Understand and label your priorities. For Lesli, her husband comes first, then her children, and then her students.
• Prioritize spouse: keep a weekly date night, and seek out a group of people who are in similar life circumstances as yourself so that you can learn from and support each other.
• Prioritize children: No work on the weekends: that is for the kids.
• Prioritize students: Give everything you have during class, with the knowledge that you aren’t necessarily available after school or on weekends. Then everyone works hard, knowing outside help is limited.
• And then, let go of the idea of having the best choir in the area/district/state, and focus on having a better today than yesterday; focus on the journey and not the end product with your choirs.
• Find someone older who can mentor you, find someone younger you can mentor. Give and receive.Letting go of the idea of having the best choir in my area/district/state, and focusing on having a better today than yesterday; focusing on the journey and not the end product with my choirs.

Bio: I'm a tatted up mom of four and the wife of a bearded stud and some of my favorite things include choral singing, beer drinking and listening to gangster rap and conservative talk radio. My favorite color is black and I never leave my house without statement lips. I spent a decade teaching elementary music in south Texas, the Bronx and in Anchorage and I am currently in my sixth year directing high school choir in Anchorage, Alaska. Outside of being a mom, I believe the greatest calling on my life is to be a teacher and I am passionate about what I do and the students I teach. I believe everyone can be taught how to sing and that music literacy is far more important than a good choral sound - though the two should definitely be taught hand in hand. As a teacher, I celebrate the successes throughout the journey of learning and try my hardest to not only focus on the end result. I received my bachelors degree in Music Education from Evangel University in Springfield, MO, and my masters degree in Music Education from Texas A & M University - Kingsville in Kingsville, TX. Resources/links Mentioned: * Boundaries, by Cloud and Townsend * Choir Nation group on Facebook - Going to TMEA? Meet up with other Choir Ninjas! Join the Choir Nation Facebook group for time and location. * Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Since beginning this podcast, Ryan has talked to composers, directors, singers, tour managers, authors, and teachers from around the country and the world. But one significant part of our audience has remained a mystery to him until now: parents. Today Ryan talks with Chris and Sarah Jarvis, who both teach at the same high school, and who are the parents of 3 year old Liam. They acknowledge the extra challenges that teaching parents face. The struggle is real, especially when your toddler wants to play with the iPad you are currently directing from. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “‘Can I play with your iPad? No, son, I’m directing from it.’” - Chris Jarvis Show Notes:

• Making it work, when both parents are working in the arts, takes some extra planning and effort.
• Family comes first.
• There are lots of school obligations: concerts, competitions, grades, shows, but you can’t let that overrun your parenting obligations. Block off time just for family, and protect it.
• Tag team when necessary; track and manage schedules to minimize conflicts.
• Use those great volunteers who want to help entertain your child while you are in rehearsal.
• Recognize each other’s need for adult conversation, or the need for no conversation.

Bio: Chris Jarvis was born in Abilene, Texas, but moved to New Mexico when he was 5 years old. He graduated from high school there, and then rushed back to Texas, where he graduated from Lubbock Christian University with a Bachelor of Arts in Music Education. Sarah Jarvis was born and raised in Brownfield, Texas, and she lived there until she also attended Lubbock Christian University, where she earned her Bachelor of Arts in Theatre, and stalked Chris until he married her. They have been married for 6 years, and work as full time parents to Liam Jarvis. As a side gig, they also both teach at Wichita Falls High School in Wichita Falls, Texas, where Chris is the Choir Director and Sarah is the Theatre Director. They also perform regularly together in community theatre productions. Resources/links Mentioned: * Wichita Falls High School * Choir Nation group on Facebook - Going to TMEA? Meet up with other Choir Ninjas! Join the Choir Nation Facebook group for time and location. * Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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You’ve worked hard in choir all year; now it’s time to play hard. Katy, TX Choir director Ruben Alcala shares a comprehensive guide to planning an end of year banquet that sends your students off in style. You can recognize achievements, celebrate student-selected awards, and acknowledge your seniors in a heartfelt and memorable way. Check out the show notes for a detailed guide to planning your banquet, including a complete timeline and suggested award categories. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “Banquets are celebrations of our students and the hard work they have done.” - Ruben Alcala Show Notes:

• Establish a Budget
  • Formal vs. Casual
  • Rental Cost
  • Food and Beverage Minimum
  • Buffet vs. Plated dinner service
  • Menu
  • Audio and Visual Needs (some venues only cover certain aspects, charge for the rest)
  • Time Frame of Event (some venues charge more depending on time)
  • Fundraising
  • Senior Gifts
  • Programs vs No Programs
  • Key People to recognize and invite
    • Principal
    • Choir Vice Principal
    • Booster Board
• Venue
  • Will affect who can attend (Students only/ Family/ Dates)
  • Location and Transportation
  • School
  • Restaurant
  • Banquet Space
  • New Venue- Set appointment for site visit, begin to plan room layout
• Set a Date
  • Avoid School, Religious, Community events
  • Set it at the end of your season
  • Contract timelines
  • Approval forms
  • Set deadline for attendance- prior to when venue needs numbers
  • Once order is in, that’s what you pay (Easy to add, cannot subtract)
• Volunteers- Parent and Students
  • Student Officer Roles
  • No Theme vs Theme (Choir Council)
  • Slideshow (Historians)
  • Set Up
  • Parents
  • Student Check in
• Time Frame
  • Set Up
  • Actual Celebration
  • Tear Down
• Theme/ Decorations
• Awards/ Recognitions
  • Student Chosen Awards (Jimmy Fallon-type awards)
    • Most likely to get caught texting
    • Best Dressed
    • Best Dancer (Guy/ Girl)
    • Biggest Bromance
    • Most Likely to lose something in the Choir Room
    • Choir Mom. Choir Dad
    • Punniest
    • Most Likely to Smile Through the Tears
  • Director Chosen Awards
    • Rookie of the Year (Guy and Girl)
    • Vocal Scholar (Top 2 GPAs)
    • Service Awards (Volunteer)
    • Best Dancer (Guy and Girl)
    • Director Award of Excellence (Every Grade Level)
    • Individual Ensemble Awards
    • Most Improved Guy and Girl
    • Booster Club Board Recognition
    • Award of Excellence
    • Scholarship
    • Four Year Member
    • 7 Year Member
• Slide Show
  • Choir Historians Created
  • Email set for members to submit photos
• Senior Video
  • Student Created if possible
  • Every Senior
  • How Long Have you Been in Choir?
  • What Was Your Biggest Achievement?
  • Most Difficult Part of Being in Choir?
  • Best Memory?
  • How has your experiences in choir prepared you for your future?
  • If you could give advice to yourself as a freshman, what would you say?
  • Any last words to the choir?
• Senior Will and Testament
  • What are you leaving
  • To Whom
  • Why
  • Story
• Traditions
  • Senior Girls wear prom dress
  • Officer Induction
    • Passing of the Flame
• Dance
  • Playlist
  • Sample Outline 4:45 Officers, Directors, and Parent Volunteers arrive to set up 5:45-6:00 Guest Arrival and Check in 6:00 Greeting: Choir President 6:05 Meal Blessing 6:05-6:45 Food Served 6:45 Director Speech 6:50 Slide Show 7:00 Student Chosen Awards 7:25 Letterman Jacket Recognitions 7:30 Director Awards 7:40 Scholarship 7:45 Senior Video 7:50 Senior Will and Testament 8:10 Officer Induction/ Candle Lighting 8:20-9:45 Dance

Bio: Ruben has served as Head Choir Director at Mayde Creek High School in Houston, Texas since 2014. Prior to his work at Mayde Creek, he served as Director of Vocal Music, Head Wrestling, Head Baseball, and Asst. Football Coach at Santa Fe South Middle and High Schools in south Oklahoma City. Ruben graduated with a Master's degree in Choral Conducting from the University of Oklahoma, studying with Richard Zielinski, and a Bachelor of Music from Houston Baptist University, studying with John Yarrington. Ruben was selected as a quarterfinalist for the 2016 Grammy Educator Award and lives in Houston with his beautiful wife- Rebecca, two dogs-Goliath and Billie, and just welcomed his first child, Aaron James. Resources/links Mentioned: * Choir Nation group on Facebook - Going to TMEA? Meet up with other Choir Ninjas! Join the Choir Nation Facebook group for time and location. * Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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There is good work being done in music graduate school research projects. There is good work being done within our public school choir classes. But there is sadly little contact between these two realms. It’s time to step out of our silos and meet our students and audiences where they are. Ryan and Justin discuss Justin’s new book, Letters from the Front Porch: A Simple, Brief, Common Sense Advocacy Approach for Music Education. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “Why should I have to explain why music is important?” -Justin Caithaml Show Notes:

• Justin has written a book called “Letters from the Front Porch: A Simple, Brief, Common Sense Advocacy Approach for Music Education.”
• Those who research music education and those who practice music education are frequently self-sequestered into their own silos. There is not enough meaningful sharing between the two groups.
• Elitism in the choral world continues to inhibit its evolution, as directors remain willfully stuck in learned patterns instead of adapting to new research.
• Choral directors are not exempt from the truth that everyone must pitch themselves. You must advocate for your choir, your job, your students, and your art.
• Chapter 7: Finally, a concert with meaning. Align the arc of a concert so that it takes the audience on an emotional journey.
• Chapter 5: Who’s that Bach Guy, and Why Do You Have a Stuffed Doll of Him on Your Desk? You have to meet your students where they are musically. Connect your lessons to what they already know, and how they are currently consuming music.
• True advocacy is a value-first action. Instead of asking for money to keep your program from being cut, show that what you are doing is of real value to your students and community.

Bio: Justin Caithaml graduated Magna Cum Laude from Baldwin Wallace University in 2014 with a Bachelor of Music Education degree. He currently serves as Choir Director for grades 7-12 at Midview Local Schools, west of Cleveland. In addition, he serves as choir director at Bethel Lutheran Church and is the state advisor for the Tri-M Music Honor Society. He is a board member at the Ohio Alliance for Arts Education and is also a member of the Collaborative for Arts Education in Ohio. An Ohio native, he is a 2010 graduate of Midview High School, where he was a recipient of the National School Choral Award. Resources/links Mentioned: * Download Justin’s book for free! Letters from the Front Porch * Choir Nation group on Facebook - Going to TMEA? Meet up with other Choir Ninjas! Join the Choir Nation Facebook group for time and location. * Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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So they pronounce their “t’s,” but not their “r’s.” What other differences are there between American choirs and our English friends? Victoria Hopkins, one of the creators and hosts of the Total Choir Resources Podcast chats with Ryan about the point of rehearsals, “note bashing,” workplace choirs, and first aid kits. It truly is inspiring to hear about the the growth of community choirs in the UK. Plus, Victoria has a special gift just for Choir Ninja listeners, so make sure you check out this week’s show notes! Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “Rehearsal is for the leader to get the choir from point A to point B in a way that’s engaging and improves the performance of the music.” - Victoria Hopkins Show Notes:

• Total Choir Resources has been around for 6 years. It was created out of frustration for lack of resources for the day to day managing of their choirs by Victoria and her friend Christine Mulgrew. It started as a blog, then developed a podcast about 5 years ago. It is geared to those in leadership positions in choirs, but who have little or no formal training.
• What is the point of rehearsal?
  • The point of rehearsal is for the leader to get the choir from point A to point B in a way that’s engaging and useful, and improves the performance of the music.
  • Also, to get to performance at the right time, neither under-rehearsed nor over-rehearsed.
• Everyone needs to go into rehearsal with a plan.
  • “Note Bashing” - the early stages of rehearsal.
  • Recorded rehearsal tracks are available for everything. It provides extra help for those who need it.
  • Don’t let a section sit doing nothing for very long. Have everyone sing on whatever part your are working. (It reinforces sight-singing, and keeps people engaged. Can’t chat while singing.)
• Join the right community choir. Not every choir is the right fit for every singer.
• Workplace choirs are becoming more popular in England.
• The Choir Rehearsal First Aid Kit. Get rehearsals back on track!

Bio: Victoria Hopkins is a co-founder of Total Choir Resources, an online home for new and developing choir leaders, offering inspirational ebooks, online courses and choral music to a worldwide audience. Victoria leads a chamber choir in her home village on the south coast of England. Resources/links Mentioned: * The Choir Rehearsal First Aid Kit * Total Choir Resources * Choir Nation group on Facebook - Going to TMEA? Meet up with other Choir Ninjas! Join the Choir Nation Facebook group for time and location. * Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Pearls of wisdom just drop out of Denise Eaton’s mouth with every sentence she speaks. In this episode, Denise and Ryan expand on some of the topics covered in her recent blog post (link in the notes below). There is practical advice here for every director, from first year to veteran. This episode WILL change how you direct or teach your choir! Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “We determine the weather in rehearsal.” - Denise Eaton “You’re either getting better or you’re getting worse. Nothing stays the same.” -Denise Eaton Show Notes:

• Self-reflection and self-evaluation is essential to growth.
• Identify ineffective habits.
• Your choir should know the purpose and goals behind your methods.
• Know YOUR choir: the one that is really in front of you, not your choir from last year, and not the one you wish you had. This must inform your repertoire selection.
• Write a real lesson plan, that reflects your score study. Think through how you are going to teach each section, each part. View it through the lens of the learner.
• Score study is essential. You are less of a teacher without it.
• Record your warm ups, so you can check and see if you are getting the tone/vowel/pitch you want. All warm ups should have a purpose.

Bio: Thirty-five year veteran music educator, author and editor Denise Eaton is known for her innovative and practical teaching style. She willingly shares her ideas with a unique, humble and engaging voice, capitalizing on her experiences in the high school and collegiate rehearsal. Denise has presented over fifty workshops in Oklahoma, Georgia, Louisiana, Iowa, Ohio, Florida, Alabama and Texas, including Southern ACDA as well as multiple appearances at Texas Choral Director’s and Texas Music Educator’s Association state conventions. The co-author of three sight- reading books: SMART (Sight Reading Made Accessible Readable and Teachable), SMART Minor, and InSight Singing. She is the editor of Choral Error Detection by Paul Hondorp and is currently writing her 4th book, STEPS: Strategies & Tools Encouraging Proficient Sightsinging. An undergraduate from the University of Texas at Austin, Eaton received the MM in Conducting from Sam Houston State University where she currently teaches Secondary Choral Methods, conducts the SHSU Women’s Choir, coordinates the annual summer Teaching High School and Teaching Middle School Choral workshops, Area Choir workshop and the annual summer All-State Choir Camp. Prior to her 2011 appointment at Sam Houston State University, Eaton had a highly respected career as a high school choir director for twenty-nine years where choirs under her direction performed for numerous state and regional conventions. A strong advocate for music education, Eaton served as the Vocal Vice-President and the President of the Texas Music Educator’s Association. She has been the choral editor at Carl Fischer and BriLee music since 2011. Resources/links Mentioned: * Denise’s blog post that this interview is based on * Denise Eaton on Facebook * InSight Singing: A Multi-Sensory Approach to Reading Music * STEPS Strategies and Tools Encouraging Proficient Sightsinging * STEP Further Flashcards * Choir Nation group on Facebook - Going to TMEA? Meet up with other Choir Ninjas! Join the Choir Nation Facebook group for time and location. * Email Patreon - Support the podcast!

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Blind from birth, Ken Medema has always lived in a world of sound. Known and admired internationally for his improvisation skills, Ken outlines the steps to teaching your choir students how to improvise, unlocking both their voice and their courage. As a bonus, Ken also writes an impromptu country song about Ryan’s new bride, Amanda!

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Highlight to Tweet: “My program to win friends through rock&roll wasn’t that successful. I started with 1 friend and graduated with 2.” -Ken Medema

“Daring in one area usually leads to daring in another.” -Ken Medema

Show Notes: * Ken Medema has been blind from birth. High school choir was a revelation for him; a class based on sound instead of sight. He pursued his love of music through college and into a music therapy career before turning to composition and performance. * Three goals for choir experiences: build community; explore new things (improvisation); introduce new music * Every time you speak, you are improvising. You simply respond. * + Start with a melody + Throw in some harmony + Introduce some simple call and response phrases, building each time. + Return to main tune. + Model a phrase too long for a singer to echo; encourage them to respond with something similar. * When encouraging a singer to improvise, kneel in front of them instead of standing over them. This “servant posture” is more welcoming and less intimidating. * Benefits of improvisation: * + Students get to hear their own voice, and the voices of their comrades. + They realize the ability to MAKE music, not just reproduce someone else’s. + People gain courage, not just in the musical realm, but elsewhere.

Bio: Ken Medema has been singing and composing since 1973.His music encompasses solo recordings, improvisation, personal songs for individuals, and tons of choral pieces.Blind from birth, he seeks to offer perspective for the voiceless. the choir room was where he first found his home and freedom to be himself.

Resources/links Mentioned: * Ken’s website * Ken Medema on Facebook * Choirs Are Horrible

• Choir Nation group on Facebook - Going to TMEA? Meet up with other Choir Ninjas! Join the Choir Nation Facebook group for time and location.
• Email Patreon - Support the podcast!

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It’s easy to fall into a rut. It can happen with the music we select, our teaching methods, and even the festivals we attend. But there are lots of opportunities for a festival experience that can reward and motivate your singers, while also giving them a valuable performance experience. Jess McDowell, from Winter Park Ski - Music festival, talks about what to look for in a festival, and what you can do to make sure you have a great experience no matter where you go.

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Highlight to Tweet: “Read. Your. Information. Packet. Don’t scan it; read it.” - Jess McDowell

Show Notes: * Three things to look for in a great festival: * + Great performance space + Fun recreational activity + Fantastic closing/Awards ceremony * Come early and stay late * + Take the opportunity to watch other groups perform + Learn good concert watching etiquette (you can be the audience instead of the performers!) + Arriving early for recreation keeps the festival on schedule + It also lets you interact with the other festival participants. * No matter where you go, there’s one thing you can do to have a great festival experience: read your information packet! Your festival organizers already know the questions you are likely to ask, and they have probably already provided all the information you need. But if you can’t find it, ask!

Bio: Jess McDowell can bake! Cookies, cakes, breads: everything that your personal trainer wants you to stay away from. As if that weren’t skill enough, Jess’ has spent the past 15 years working with music ensembles from all over the nation to bring them to an amazing festival in gorgeous Winter Park, Colorado. Jess is the festival coordinator for Winter Park Ski - Music Festival. Being a complete music nerd, and also an avid skier, Jess gets to combine his love of great performances on stage as well as his love of the beautiful state of Colorado. The only thing that gives Jess more pleasure than baking and organizing group travel is being head “cat herder” and “magic maker” for the acclaimed Turtle Creek Chorale.

Resources/links Mentioned: * Jess McDowell on Facebook * Winter Park Ski - Music Festival on Facebook * Winter Park Ski - Music Festival on Instagram * Winter Park Ski - Music Festival * Game of Thrones * Texas Music Educators Association * Choirs Are Horrible (coming again soon!) * Choir Nation group on Facebook - Going to TMEA? Meet up with other Choir Ninjas! Join the Choir Nation Facebook group for time and location. * Email Patreon - Support the podcast!

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Performance anxiety is just the tip of the iceberg. Lynn Lyons breaks down the process of dealing with anxiety, and explains the difference between regular worry and something more disruptive. Her tips can easily be adapted to help the students in your class approach events like performances, solos, or auditions with more courage and confidence.

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Highlight to Tweet: “When you are comparing yourself to someone else, you are comparing your inside to their outside.” -Lynn Lyons

“Anxiety is a quest for certainty, and there is no way to appease it.” - Lynn Lyons

“It’s a very courageous thing, to be a performer.” -Lynn Lyons

Show Notes: * What's going on with anxiety? Is it as bad as it seems? * + Worry and anxiety are both normal parts of our lives. + When worry takes over, and starts to cause us to avoid certain things, it becomes a problem. + Anxiety says, “No thanks, I’m out.” It leads to avoiding normal daily activities. * Anxiety and worry are particular problems for creative people. Imagination can amplify worry’s effect. * What happens when we try to eliminate worry and anxiety? (Hint: it gets worse!) * + The more you try to eliminate worry, the stronger it gets. + Externalize the worry. When it shows up (because of course it will), recognize it, acknowledge it, and allow it to be there. Then pivot and do whatever you came to do. * What's the connection between anxiety and depression? * + Untreated anxiety is the “speed lane” into depression. + Anxiety is one of the top predictors of depression in adolescents. * We need to normalize anxiety. * Anxiety’s agenda is comfort and certainty. We must learn to tolerate uncertainty. * Live performance is a great arena for learning the skills to cope with uncertainty (anxiety). * What should everyone know about anxiety, but most people don't? * + Breathing alone won’t control your anxiety. It’s a great first step, but there needs to be a follow up. + Worry convinces you that “you can’t handle it.” Everyone hears that voice. But we can change our relationship to that voice. The “what” isn’t as important as “how” you deal with it.

Bio: Lynn Lyons, LICSW is an internationally recognized psychotherapist, author, and speaker with a special interest in interrupting the generational patterns of anxiety in families. Her skill-based approach to anxiety focuses on the need to teach families about HOW anxiety works and what families can do to pull members out of the powerful “anxiety cult” that demands obedience to its need for certainty and comfort. Lynn’s approach uses humor, playful connection, and a constant focus on DOING, an umbrella strategy she has taught to thousands of professionals and families.Lynn is the author of several books, including Anxious Kids, Anxious Parents with Reid Wilson.She maintains a private practice in Concord, New Hampshire where she sees families whenever she’s not on the road teaching.

Resources/links Mentioned: * Lynnlyonsnh.com * Are Smartphones Harming Kids? * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Success has a formula. Since this fall we have been talking to guests about achieving mastery, and now Melissa Lozano echoes those same lessons from a completely different discipline: Brazilian Jiu Jitsu. This world champion competitor brings her lessons from the ring so that you can apply them to your choir.

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Highlight to Tweet: “Martial arts...defines who I am, the journey I’ve made through life, where I’m going, and the impact I want to have on people along the way.” -Melissa Lozano

“Most of us define ourselves by the few losses we’ve had throughout the day. But few of us define ourselves by the 100’s of little wins we’ve had.” -Melissa Lozano

“Don’t let yourself be a cheerleader at the expense of your honesty.” -Melissa Lozano

“Medals are fleeting, but experience isn’t.” -Melissa Lozano

Show Notes: * The young teenage girl is a largely ignored demographic. They are considered “flaky” and unreachable. But they are a demographic that needs to be reached. * + Overcommitted + Access to a lot of media + Huge amount of social pressure + They are unprepared for what we expect them to be responsible for * That skill can outmatch strength is an empowering realization. * Training instills confidence * How to avoid conflict * + Tuck your chin + Square your posture + Make eye contact + Fake it ‘til you make it * It’s hard to shake anyone who truly believes in their own abilities. * Focus on the “inches.” Don’t worry about the impossible goal, break it into inches, and celebrate every little win. Talk yourself through each step. * Your “inch” may not be a win that anyone else recognizes. You have to celebrate yourself. * Take an honest look at your day: you have many more wins than losses. * Competition is vital to keep you honest about your skills. * Don’t let yourself be a cheerleader at the expense of your honesty. * A medal means you had a great day. It’s wonderful, but fleeting. The real win is the experience you gain.

Bio: Melissa Lozano is a World Champion in Brazilian Jiu Jitsu, Mother of 4, cancer survivor and studio owner. Her dedication to the martial arts has been a consistent motivating force in her life and has provided her with the passion and desire to assist others in their own journeys. As a studio owner, she's in a position to help others on their journey to healthier and more confident life styles. Due to the overwhelming need within our communities, Melissa has most recently designed a curriculum for Aggression Defense classes for young teen girls and is currently teaching them at her studio and as an elective to coursework at local private high schools.

Resources/links Mentioned: * M-Pow-R by Melissa Rene Lozano * M-Pow-R on Facebook * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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You have permission to be weird. You have permission to be creative, take risks, and make mistakes. Still unsure? Brian Hehn tells you exactly how easy, cheap, and fun it can be to introduce percussion to your choir, and the reasons why you should. Listen for some creative ways to incorporate percussion into the elements of your worship service in ways that are engaging and organic.

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Highlight to Tweet: “Hit a trash can with a stick. Does it sound kind of bassy? You’ve got your bass.” -Brian Hehn

Show Notes: * When learning a new percussion instrument, the 8 year old and the 80 year old are on equal ground. Any age can have fun with percussion. * No money for instruments? Take some inspiration from “Stomp.” Check out your recyclables and trash cans for different percussive sounds! Go to Goodwill and start smacking things with a stick. * Percussion can be: * + Body percussion + Speech percussion + Percussion instruments + Anything that makes a fun sound when you strike it * Think of ways to weave percussion creatively into your service. Add speech percussion to the scripture reading, or as a Call to a Prayer or Assurance of Pardon. * Use rhythm to engage singers and get their attention at the beginning of rehearsal, and let that body percussion lead into you vocal warm ups. * Percussion in the body as we sing * + Internalized Rhythm + Body movement

Bio: Brian is an inspiring song-leader equally comfortable leading an acapella singing of “It Is Well” as he is drumming and dancing to “Sizohamba Naye.” Experienced using a variety of genres and instrumentations, he has lead worship for Baptists, Roman Catholics, United Methodists, Presbyterians, and many more across the U.S. and Canada. He received his Bachelor of Music Education from Wingate University, his Master of Sacred Music from Perkins School of Theology of Southern Methodist University, and is certified in children's church music (K-12) by Choristers Guild. He has articles published on sacred music and congregational song in multiple journals and co-authored the book All Hands In: Drumming the Biblical Narrative, published by Choristers Guild. While working for The Hymn Society as the Director of The Center for Congregational Song, he is also adjunct professor of church music at both Wingate University in Wingate, North Carolina and Perkins School of Theology in Dallas, TX.

Resources/links Mentioned: * All Hands In: Drumming the Biblical Narrative, by Brian Hehn and Mark Burrows * STOMP * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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The best way to grow your current high school choral program is to fertilize the soil. Start a great middle school feeder program, so that in high school you can spend less time on basic choir fundamentals and more time in depth with the music. Don’t worry if that seems like an impossible task; Adam Serpa breaks down all the steps for you. So whether you are faced with revitalizing a withered existing program, or planting something brand new, we’ve got the information you need to get started now.

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Highlight to Tweet: “Keep loving the kids. Be real...build those relationships, and build good music.” -Adam Serpa

Show Notes: * The need for Middle School Choir Feeder Programs * + Maybe your current feeder program for your high school is weak + Maybe it doesn’t exist + Either way, your next steps are the same. * Making the case to Administrators in the Community * + Could you imagine a district that didn’t start math until high school? Choir is like any other subject. Start early is important for mastery. + Middle school is when many kids are finding their “niche.” + Get stakeholders on board early * Doing Reconnaissance * + Find out what has been done in your district before. + Get familiar with your district’s history + What worked, what didn’t, what has been tried before? + Find out what resources are available. * Getting the Green Light/Deciding on a program Format * + Traditional middle school: chorus as an elective during the school day. + Several K-8’s feeding into one high school: one school hosts a zero hour chorus, then students are bussed to their respective schools. + You (or another teacher) may have to travel to the different schools to work with the middle school aged students. + Even if you can only get to one other school, that’s a start, and will help your high school program. * Marketing/Recruitment * + Use the district’s monthly admin meeting to present your case. Present the options, and ask, “Which way would work best?”. + Word of mouth: talk to students, parents...everyone you can. + Flyers + Hit EVERY back-to-school night + REMIND app + Visit 5th and 6th grade classrooms in the spring * Curriculum-What do you want choir students to know when they get to their freshman year in high school? * The benefits after one or two years * + Performing in the community + The students who have had training in middle school are instant leaders in your high school programs

Bio: Adam Serpa is the Choir Director at Dublin High School in Dublin, CA in the San Francisco Bay Area. This is his first year at Dublin High School, he taught previously at Ripon High School in the CA Central Valley. He received his Bachelors of Music in Choral Education and Vocal Performance from CSU Stanislaus and is pursuing a Master's of Music Education at San Jose State. Adam lives in Modesto with his wife Krista and two awesome cats named Berlioz and Bernstein.

Resources/links Mentioned: * Adam Serpa is on Facebook and Twitter * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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In December especially, choral directors spend their days focused on serving others so much that they often neglect their own needs. Here are some ways to stay charged in the coming weeks until Christmas! You have to take care of yourself before you can take care of others. You have so many in your choirs who depend on your gifts to get them through this often very difficult season. You have the potential to help heal the pain of loss or loneliness that some people feel at this time. It make take extra energy, compassion, and patience in order to serve the members of your choir in a time when energy, compassion, and patience are in short supply.

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Highlight to Tweet: “Pee clear, pee often.” - Amanda Simon

Show Notes: * This is a long, but incredibly rewarding season. Remember to keep these items in mind to maximize the rewards of your work and stay present with those who need you! Keep in mind: You’re a servant and a leader year-round and especially in December! * Wake up with a sense of duty and be grateful! You get to do what you love, and get paid for it. You will make audience members’ days/months/years with your musical offerings. You’ll touch people that you’ll never meet and in ways that you’ll never know. You’re giving families a reason to get together and celebrate with each other for potentially the only time in a year. * Your duty IS your escape from December. If you do it well, you won’t need an escape, because your soul will be fed by what you do. * Thank your family for supporting you/putting up with you by… smiling (sometimes you fake it till you make it so your brain believes your happy – See distress tolerance techniques). showing more affection to your loved ones/significant other. hugging your kids and reading them bedtime stories every night you can. reschedule dinner at a new common time with your loved ones so that you don’t miss that very essential part of your life. * Follow these nutrition guidelines to stay on top of your game Avoid fast food. If necessary, choose healthy options. Eat a big breakfast PROTEIN/COMPLEX CARBS: Eggs scramble (loaded with avocado and veggies like spinach, peppers, tomatoes) Cook in healthy oils such as coconut oil or avocado oil Oatmeal Berries Smoothie (banana, peanut butter, almond milk, with optional protein powder) BUY A NUTRIBULLET * Stay prepared Pack your meals (lunch or dinner) if you won’t be home to make them Carry snacks with you, so you don’t end at in the vending machine Protein bar (like Quest or Luna bars) with less than 10g of sugar Mixed nuts (packs like Trader Joe’s) Apples for appetite suppression “Batch prepare” your meals * Stay hydrated (pee clear and often) It’ll keep you full Heightens energy Keeps the voice working Minimizes the chance of stress headaches Aids in proper digestion Releases toxins * Remember, it’s okay to say no… to requests that may derail your momentum to substances that may slow you down feeling guilty when you’re not working * Don’t give up on exercise If you don’t have a regular routine, you can look up 15 minute exercises on YouTube to do naked in your bedroom before school. * Get sleep 7-8 hours/per night – especially before performances Your DVR is your best friend You can catch up on your shows during the Christmas break Sleep in a dark room Lavender on the pillow Use meditations like these to fall asleep * In the case of a meltdown Go back to gratitude. Close your eyes and do this meditation. (Warning: Bad Language) Breathe in for 4 counts, hold for 2, breathe out for 6. Do a grounding exercise 5 things you see 4 things your hear 3 things you feel 2 things you smell 1 thing you taste

Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly.He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best.Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America.Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder.

Resources/links Mentioned: * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Dan V brings the energy in this episode! Having been a student of the Choir Ninja podcast since the beginning, Dan V uses the things he’s learned combined with his experience as a high-production-quality church musician to transport his choir’s audiences to other world. Listen as he breaks down his formula piece by piece.

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Highlight to Tweet: “If you get caught up in the minutia of learning the notes, the creative process get postponed until the last minute.” - Dan Vukmirovich

Show Notes: The Problem: Most Choir Concerts are BORING. When programming the peppy Spiritual or Gospel song at the end is seen as "innovative", we have a problem.

Creative Content Boxes:

• Planning thematically for your concerts can help you begin to create "crockpots" of song ideas/elements- as you find ideas, you can categorize.
• Helps to reduce the plethora of song possibilities
• Builds a structure that helps "regular people" make sense of that they are hearing AND often improves concert behavior from your audiences
• ALWAYS keep in mind that the goal is SUCCESS of your singers and you may need to adapt your music if it fits them but doesn't fit your group.
• Give your choir INPUT but ultimately YOU must make the final calls. CHOIR BRAINSTORMS are KEY.
• OVER-DELIVER - Goal is to have people walking out and saying "I was NOT expecting that!"
• Think EXPERIENTIAL - This is a DISNEY SATURATED culture who often think of live entertainment with
• EXTREMELY high standards for engagement. It's not enough just to have skills anymore.
• This does amazing things for the morale of the choir. They feel PROUD to be part of something significant.
• The extra 10% makes the 90% SHINE. Don't let all the hard work you do miss the mark by not ENGAGING your audience and choir members.
• Talk about our Fall, H2O: Water Music! concert - explain some simple things we did to dress things up

Areas to consider:

• Welcome area - outside of venue- Usher Team- Programs - paper, virtual- Room Ambience - visuals, lighting, pre-music- Use of Video- Concert Flow - take them on a journey with NO SEAMS- Start with SONG - Grab their attention- Simple Lighting Cues -- Songs - movement, instruments, etc- Audience Participation?- Special Guests - dance, charities, drama, etc.- Outside the box - at least 1 element that is the "NO WAY!" moment- Post-Concert - KEEP THEM IN THE MOOD out the doors - playlist- Reception after - cookies, ice cream, etc.Talk about our Winter, "Let There Be LIGHTS!" Concert and what elements we are including.

ACTION POINTS:

• BRAINSTORM concert ideas for Spring - begin adding to your CROCKPOT.- Share themes in the Choir Nation Group

Bio: Dan Vukmirovich is currently a choral music educator at LaSalle Intermediate Academy in South Bend, IN. He's just started back into teaching after taking a break for several years doing music ministry in a large, contemporary church setting. He had taught at Coldwater High School and Middle School for 7 years, where his groups would consistently receive superior ratings at choral festival. He is married to Lisa who is also a teacher/musician. Two teenaged daughters complete their family, with one studying music at Indiana University's Jacobs School of Music. In his spare time, he likes to inspire others as an online health/fitness coach.

Resources/links Mentioned: * Choir Nation group on Facebook * Email Patreon - Support the podcast! * Dan’s email

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Four Functions of the Church Choir: Check Your Priorities, with Brian Hehn

Brian Hehn will fundamentally change the way you approach directing a church choir. In this episode we explore the four functions of a church choir and how most of us have gotten it backwards for years. It’s time to get excited about enhancing the congregation’s relationship with your choir through sometimes doing less. This one’s a game-changer!

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Highlight to Tweet: “If I had heard this 10 years ago, I wouldn’t have been fired from those three churches.” - @RyanMGuth

Show Notes:

• Church Choirs serve some very specific functions. In order of priority:.1. The church choir leads and enlivens the congregation’s song2. The church choir sings music that the congregation cannot3. The church choir serves as a small-group within the church for faith formation4. The church choir sings beautiful and challenging music to praise God and edify the congregation
• When adopting these functions in that priority order, there are some very real consequences to how we function in the church.1. We cannot understand our role as the "choir director" anymore. We are that, but we're so much more.2. We cannot allow our choir members to understand their primary role as singing TO the congregation. They are singing WITH and FOR before they are singing TO.3. We cannot allow our choir to remain an isolated entity.4. We should not choose literature that the congregation can easily sing and just have the choir do it.5. We must lead, or find leaders from within the group, to spiritually nurture the ensemble.6. We must think liturgically.

Bio:

Brian is an inspiring song-leader equally comfortable leading an acapella singing of “It Is Well” as he is drumming and dancing to “Sizohamba Naye.” Experienced using a variety of genres and instrumentations, he has lead worship for Baptists, Roman Catholics, United Methodists, Presbyterians, and many more across the US and Canada. He received his Bachelor of Music Education from Wingate University, his Master of Sacred Music from Perkins School of Theology, Southern Methodist University, and is certified in children’s church music (K-12) by Choristers Guild. He has articles published on sacred music and congregational song in multiple journals and co-authored the book All Hands In: Drumming the Biblical Narrative, published by Choristers Guild. While working for The Hymn Society as the Director of The Center for Congregational Song, he is also adjunct professor of church music at Wingate University in Wingate, North Carolina. Brian lives in Baltimore, Maryland, with his wife, Eve, and son, Jakob.

Resources/links Mentioned:

• Choir Nation group on Facebook
• Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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Some of our episodes are inspirational in nature, and some are instructive. This one is both. You can’t help but be amazed by what the National Children’s Chorus is doing with their 800 students in 18 ensembles based in 3 major cities. Artistic Director Luke McEndarfer discusses what is ahead for this world-class chorus. But also, you get to hear the logistics behind commissioning an original work. Emmy nominated composer Sharon Farber describes her collaboration with the NCC, and discusses the upcoming premiere of “Children of Light.” And listen all the way to the end, because Luke and Sharon unlock the key elements of a successful chorus!

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Highlight to Tweet: “Children of peace and grace, their song...unlocks the aching heart of the world.” - Sharon Farber

“Joy and desire are where we start for everything.” - Luke McEndarfer

Show Notes:

• Part of the mission of the National Children’s Chorus is to commission new works for children’s chorus.
• Most recent commission was completed by noted composer Sharon Farber.
• NCC Season - “Winter Dream” performances coming up, featuring concepts of darkness and light. How children can remain a light in the world through music.
• Commissioning a work that goes along with this theme: why Sharon was interested in this collaboration. How she approached writing this new piece, “Children of Light”, in Hebrew.
• Compositional styles and considerations taken when writing for children.
• Plans for world and East Coast premieres at Royce Hall in LA and Lincoln Center in NYC this December.
• Why it’s important to create new quality works for children by living composers.
• Most important qualities for a chorister are joy in singing and a strong desire to be there.
• Most important qualities in a conductor are skill in the art of conducting, experience playing an instrument, engaging personality, love of music.

Bio:

The National Children’s Chorus of the United States, under the leadership of Artistic Director Luke McEndarfer, is quickly establishing itself as one of the world’s leading treble choruses, with nearly 700 students in 18 ensembles, based in Los Angeles, New York City, and Washington, D.C. Collaborating with some of the finest music companies in the nation, the group has performed live with the Los Angeles Philharmonic, Los Angeles Opera Company, Los Angeles Master Chorale, Hollywood Bowl Orchestra, Joffrey Ballet, Kronos String Quartet, New York City Master Chorale and American Youth Symphony, among others. Its groundbreaking Season 2017/18, entitled Building Bridges, features exquisite repertoire including notable commissions and premieres at Walt Disney Concert Hall, Royce Hall, Carnegie Hall, Lincoln Center and the Kennedy Center. In July of 2018, the chorus will make its 4th major international tour to Germany, Austria, Czech Republic and Hungary.

Resources/links Mentioned:

• National Children’s Chorus on Facebook
• National Children’s Chorus on Instagram
• Sharon Farber
• Choir Nahttp://sharonfarber.comtion group on Facebook
• Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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The Cost of Early Adoption, with Ryan Guth

The best choir directors are innovators, which is great for their choirs. But there are costs and risks involved in blazing a new trail, and those risks don’t just land on your shoulders, Director; they are shared by your choir. So before you implement that new vision or schedule or teaching method, make sure you are aware of your responsibilities. Ryan shares the lessons he has learned as a lifelong innovator/entrepreneur, focusing on his most recent venture, the Choirs Are Horrible card game.

Tweet this: “If you are going to trailblaze a new path, there is going to be some fallout.” - @RyanMGuth

Show Notes:

• “Early adopters” are those who buy into the product from the first. Whether it’s Tesla, solar panels, or Choir Ninja, early adopters pay a premium for being first in line. The cost is higher, and the product is not as good as it will be in a few years.
• Sometimes you go to a conference or summer class and get a new vision for your choir program. It’s time for big exciting changes! But this means your students are early adopters.
• There are risks involved in being an innovator, and the risks are shared by you and your students.
• Your responsibilities:
• • Admit what you don’t know. Be transparent.
  • Embrace under promising and over delivering.
  • Ask for feedback.
  • It’s okay to apologize when thing don’t turn out according to your plan.

Bio:

Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable.

Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly.He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best.Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America.Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder.

Resources/links Mentioned:

• Ryan’s ICDA Keynote

• Choirs Are Horrible, the World’s Best Choral Card Game

• NEW Choir Emoji Posters! Get them for free!!!

• Choir Nation group on Facebook
• Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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TEACHERS: Share this episode with your choir! In our “winning is everything” culture, the goals of competition seem crystal clear: the medal, the role, the spot in the honor choir. Sometimes when the competition is fierce, those rewards don’t seem worth the effort. But there are rewards inherent in the audition process, and they are enduring. Competition is one of the most effective ways to become better at your art, and it deserves a place in your curriculum.

Listen [Subscribe on iTunes] [Subscribe on Android]

Highlight to Tweet: “Winning is important. But I want to put it into perspective.” - Ryan Guth

“No one has ever regretted the effort to become a better musician.” - Ryan Guth “You miss 100% of the shots you don't take.” - Wayne Gretzky

Show Notes:

• Competition should have a place in your curriculum. Performance is important, but it’s not everything a musician needs to know. Some lessons are taught better by competition. But there are lots of ways to compete Region/Area/State Auditions Solo and Ensemble contest Auditions for solos in school performance Auditions for parts in school musical School talent show
• What competition teaches How to practice effectively How to budget your time for long term goals How to persevere, even when the music isn’t fun How to focus in the midst of distractions How to perform under pressure How to win How to lose How to prepare for the next audition
• What do you say to your students who win?
• What do you say to your students who lose?
• What you actually win when you win: the spot in the choir, the medal, the rating
• What you actually win even when you lose: Everything you gained in your preparation, you keep. Every bit of technique you perfected, you keep. Every step forward into greater musical maturity and expression, you keep. Every note of expanded range, you keep. Every extra second of breath you gained, you keep. Every nuanced understanding of lyrics or poetry, you keep. Everything you learned about the composer or the music’s historical context, you keep. Every bit of dynamic variation you mastered, you keep. Every bit of confidence and poise you earned, you keep.

Bio:

Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable.

Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly.

He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon.

Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best.

Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding.

When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America.

Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder.

Resources/links Mentioned:

• Choirs Are Horrible, the World’s Best Choral Card Game
• Kintsugi
• NEW Choir Emoji Posters! Get them for free!!!
• Choir Nation group on Facebook
• Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Just because you graduated high school, graduated college, and got a job doesn’t mean that you won’t sometimes still feel like the new kid. Ryan checks back in with podcast favorite and Ukulele Ninja Christopher Kurt about his first quarter teaching in a new school. Sometimes you just need to change your life. Whether that means a new methodology or a new zip code depends on you, but Ryan and Christopher cover some of the questions you should ask to help you decide.

Listen [Subscribe on iTunes] [Subscribe on Android]

Highlight to Tweet: “I can be pretty chill and pretty awesome, but if you’re a butt, that’s gonna change.” - Topher Kurt

Show Notes:

• You know when it’s time for a change. Especially while you are young, try something new. Maybe a new city, with new opportunities is worth a look.
• Don’t just prepare for your first day; over-prepare. Have different lesson plans ready to go based on the students’ level of respect and class participation. First impression are crucial.
• Try to meet with others in the music department before the first day of school.
• Some students might remember you from an interview audition. But prepare students for the idea that you will teach in your own way. Authenticity is key.
• Establish procedure from the first day.
• You have permission to change your life.
• Christopher knew what his dream job was, and that he wasn’t going to realize it where he was. Ask yourself, “What do I want out of my career?” (not job). Not every transition means moving to a new state. But you have to choose to change something.
• A new job is kind of like being a new teacher again; you might just be looking ahead a day at a time. For the first quarter, stick with what you know, and what you know you do well. Second quarter, add something new. Take a new approach to teaching a song. You can make changes to how you teach.
• Make your program your own. What can you bring to your program that is something no one else could do? What makes you indispensable?
• Be daring. Be vulnerable. Let yourself question a lot of what is going on, because only in the questioning will you find the answers.

Bio:

Mr. Christopher Kurt is in his fourth year of teaching and his first year at Liberty Memorial Central Middle School. His first three years were spent teaching 6-8 General & Choral Music at Aldo Leopold Middle School in Burlington, IA. He graduated from Wartburg College in May of 2014 with a Bachelor’s Degree in K-12 Music Education with a Vocal Emphasis. In his first three years, Mr. Kurt was nominated three times for The Hawkeye’s “Teacher of the Year” Award. In the Fall of 2016, he was a presenter at the Iowa Technology & Educators Connection Conference. He has been a guest on the “Choir Ninja” podcast by Ryan Guth, on the episode “Uke, I Am Your Father,” in April of 2017. He will be presenting at the Iowa Music Educators Association Conference in November. He enjoys watching football, playing ukulele, and singing with the Heartland Men’s Choir in his free time.

Resources/links Mentioned:

• The First Days of School, by Harry Wong
• Uke, I Am Your Father (Christopher’s first Choir Ninja episode)
• NEW Choir Emoji Posters! Get them for free!!!
• Choir Nation group on Facebook
• Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Stevie Berryman’s original podcast about writing an awesome biographical summary was a big hit with anyone who could overlook such a tedious topic long enough to listen. And that’s the point. Your bio shouldn’t be boring. And even if you have no professional need to submit a bio for an event, every director can benefit from the self-reflection required for figuring out your personal brand identity. You are amazing at something. Let’s tell people about that.

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Nightmare fuel. I don’t have any other words to describe this choral horror experience, shared by Shane Thomas, Jr. Like all the best Halloween stories, it’s equal parts trauma and comedy. So if you are feeling brave, dear Director, go ahead and listen to the scariest story shared in Choir Nation. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “I have over 500 people sitting in my auditorium. I can’t turn around and say, ‘See you later.’” - Shane Thomas, Jr. Bio: Shane Thomas is in his fourth year as director of choral activities at Martin County High School in Stuart, FL. Choirs under his direction have consistently earned the highest ratings at District, State, and National music performance assessments. Over the last three years, his ensembles have been named “Choir of Distinction” by the Florida Vocal Association State Music Performance Assessment. In the fall of 2016, the OPUS Chorale was invited to perform for the Florida ACDA state conference. He is active as the FVA District 13 chairmen and Secretary for the Florida ACDA. Thomas received his bachelors of music education from Stetson University and Masters of Music in choral conducting from Westminster Choir College. Resources/links Mentioned:

• Martin County High School
• NEW Choir Emoji Posters! Get them for free!!!
• Choir Nation group on Facebook
• Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Conrad Weber is a white, middle class man who has spent his entire music education career in a black, high-poverty school. Conrad talks to Ryan about how to build bridges across the cultural chasm, in a situation where none of the usual standards apply. This interview is raw and heartfelt, and is one everyone should hear, but will especially resonate with those who have ever felt out of step with the choral majority. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “We have to understand the culture of our students. We have to become a student of their culture” - Conrad Weber Show Notes:

• Begin where your students are...and where they are isn’t good or bad--it just is.
• Become a student of your student’s culture. This is their normal. They don’t care about what you think they should become until you connect with who they are right now.
• Create your own definition of success. Success in your program may be defined as progress, rather than a contest win or festival invitation.
• If there is resistance to moving beyond their comfort zone, find ways to build bridges and/or give them a “lifeline” to hang onto while they follow you.
• “Convince a man against his will, and he’s of the same opinion still.” --my Dad, from someone else. Embrace the music of your student’s culture, but also lead them into new territory as you have the leadership capital to spend and as you can build bridges.
• Understand your community and local culture, then remember that you’re performing for them and not your university professors or colleagues.
• Define success as growth and progress in your local context, not as a comparison to other programs.
• Pick your battles with music. If a song isn’t working, sometimes it’s better to try a different avenue to connect than to die on that hill. Other times it’s time to die on a hill because it’s what they need. Time will give you the wisdom to know the difference.
• Value student engagement and your sanity more than proper choral anything.
• No matter how hard it is or slow the progress, teach theory and sight singing. Period. Every student who enters a music class deserves to learn to feed themselves and not just be spoon fed.
• If you’re dealing with students who are academically and/or socially challenged, learn the difference between compassion and pity (my own definitions). Compassion takes into account the reality of the situation, but doesn’t change the goal. Pity lowers the standard and deprives the student of the option to rise to their potential.

Bio: Conrad lives in northwest Florida, and teaches choir at a high-poverty middle and high school across the state line in south Alabama. He graduated with a master’s in Piano Performance from Cincinnati Conservatory, and vowed throughout college that he would never end up in music education. After college, he meandered through church staff, healthcare marketing, and low income real estate. This is his 10th year in music education, and he started the choir program a in the 2nd or 3rd year of teaching. There had been no vocal program for 7 years prior. He has been married for 24 years, has three children, and loves outdoor adventures with his family. Resources/links Mentioned: * Dr. Rosephanye Powell * Dr. Ruby Payne * Contact Conrad! * NEW Choir Emoji Posters! Get them for free!!! * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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You probably never studied graphic design, but your audience still deserves a concert program that doesn’t look like a church bulletin from 1998. If the economic and ecologic costs of paper programs have you concerned, Ryan is here to teach you how to go digital. He will lay out the advantages of digital programs, address some of the disadvantages, and walk you through the process of creating them step by step. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “Before you get up in arms about devices at your concert, let’s weigh the options.” - Ryan Guth Show Notes:

• Physical paper programs (traditional)
  • It is the piece of your concert your audience takes home with them
  • Use canva.com for design assistance to make your programs beautiful and professional looking
• Physical programs (non-traditional)
  • Incorporate something that represents your theme
  • Creates a distinctive keepsake
  • Think creatively - printing on items like balloons or fans may be cheaper than a glossy traditional paper program
• Digital or virtual programs - viewed on your personal digital device
  • Advantages
    • Save paper
    • Save money
    • Save space in the landfill
    • Can be viewed in full color
    • Zoom feature important for visually impaired
    • Content is “clickable” -
      • great for promoting your social media channels
      • or your GoFundMe page
      • or a link to the site for parents to pay for the choir trip
      • link to a virtual ad to businesses that want to support you
      • survey
      • email list subscription
      • concert evaluation
  • Disadvantages
    • Being on their devices could be a distraction during the concert
    • Encourage your audience to keep phone muted and the screen dimmed
  • Access
    • Digital programs are accessed through a url (not a QR code. Come on, man.)
    • Tinyurl.com
    • Create program on Canva.com; add your active links; download as a pdf; upload to google drive; find the “view” url; make a custom “slug” at tinyurl.com
    • Project the program url on the wall

Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: * Canva webinar * Tinyurl.com * Sample digital program here: tinyurl.com/theworkofxmas * QR Codes Kill Kittens, by Alison Kramer and Scott Stratten * NEW Choir Emoji Posters! * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Anne Tomlinson has served as Los Angeles Children’s Chorus Artistic Director since 1996, overseeing the educational and artistic development of the 400-member chorus and conducting LACC’s renowned Concert Choir and Chamber Singers. She has positively impacted the lives of thousands upon thousands of children and helped shape LA’s cultural landscape in myriad ways over the past two decades. Today she talks to Ryan about the all the right keys: the best keys for children to sing in, and the keys for singing for a lifetime. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “Children can learn the basics of singing best in a choir.” - Anne Tomlinson Show Notes:

• About Anne:
  • Anne Tomlinson is the Artistic Director of the Los Angeles Children’s Chorus (LACC).
  • Her background is in piano, not teaching, but she learned from outstanding mentors while accompanying the LACC
  • LACC is famous for bel canto teaching technique, producing a uniquely pure and resonant sound.
• On repertoire:
  • Latin, Italian, German, Hebrew, Spanish, and Japanese are all good language choices for children, focusing on Italianate vowels.
  • When selecting repertoire, focus on educating not just your students, but also your audience. Have the children talk about the piece, helping parents understand why we make these musical choices.
  • Pick repertoire that supports the technique of the choir.
  • Balance your selections, considering, unison, parts, sweet melodies, and more rhythmic selections.
  • Can’t find a piece in a sharp key (better for young voices)? Transpose.
• Your choir is bigger than just the children in it
  • Want to build relationships with other community arts organizations? Just ask for an opportunity to meet and share your goals and vision for a partnership. Invite them to your concerts, have children talk to them, demonstrate how their ticket sales are likely to increase.
  • Teach children how to sing for a lifetime, technique that will allow them to sing in whatever style they choose as an adult. Shaping a singer is a long game, and children can damage their voices singing in styles that are not developmentally appropriate.

Bio: Anne Tomlinson, Artistic Director of the Los Angeles Children’s Chorus (LACC), oversees the educational and artistic development of the Chorus and leads LACC’s renowned Concert Choir and Chamber Singers. Additionally, she is Children’s Chorus Mistress for LA Opera. Tomlinson has worked with celebrated conductors Gustavo Dudamel, Esa-Pekka Salonen, Plácido Domingo, James Conlon and Grant Gershon and prepared the Chorus for performances with LA Opera, Los Angeles Philharmonic and Los Angeles Master Chorale, among other leading organizations. Tomlinson’s film work includes the 2002 Academy Award-nominated documentary Sing!, which chronicles a year in the life of LACC, and the sequel documentaries Sing Opera! and Sing China!. Her live broadcast work includes the January 2005 Chamber Singers performance on NPR’s nationally syndicated program “From the Top.” Tomlinson is a frequent guest conductor and presenter at symposia, workshops and festivals both nationally and internationally. She holds a Bachelor of Music degree from Oberlin College Conservatory of Music and Master’s degree in conducting from Northwestern University, where she studied with Margaret Hillis. Among many awards, Los Angeles Children’s Chorus and Tomlinson are the 2014 recipients of the Chorus America Margaret Hillis award for choral excellence. Tomlinson is stepping down from Los Angeles Children’s Chorus at the conclusion of the 2017-18 season, after 22 years of leading the organization to unprecedented growth and artistic excellence. Resources/links Mentioned: * Los Angeles Children’s Chorus * Chorus America * Coffin's Overtones of Bel Canto * Dinner with Edward, by Isabel Vincent * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Whether you’ve been fundraising for years or are just getting started, you should always be asking “How can I make more money with less time and effort?” It’s not really about selling a product; it’s about thinking like an entrepreneur. In this episode, Elisa lays out the steps for raising money without taking unnecessary time away from your choir. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “The last resort should be having your students sell stuff. Why would you do that? ” - Elisa Jones Show Notes: 1. Know what you need, why you need it, and what it will cost. Start by having a strong proposal that anyone will want to buy into. 2. Hit up your school peeps. Go first to your administration- get approval for everything. Let them know what you’re thinking. Tell them what you need, why you need it, and what it will cost. Then go to your PTA, boosters, parent organizations, etc. 3. Use your concert platform to ask for donations from parents and stakeholders.Collect ‘suggested donations’. Use envelopes. 4. Go after local grants from local organizations and local businesses. Service organizations, foundations, etc. 5. Use businesses donation programs: shopping with scripts, Amazon Smile, then fundraising nights at local businesses like Chili’s, Applebees, or your own local stores and restaurants. 6. Collect donations online. Use your own website before you use a crowdfunding site: you’ll have more control and make more money. 7. Host a fundraiser. The wise teacher will do a fundraiser that also helps fulfill their mission: like a sing-off, talent show, Christmas Caroling, or any number of holiday-themed performances. The smart music teacher will sell things that are donated, like a yard sale, or a silent auction for items that local businesses donate. Your very last resort should be having your students sell stuff. Why why why would you do that? Parents hate that. Students, mostly, hate that. If you’re going to put your students to work, get them to “sell” your need to local businesses for donations. Bio: Elisa Jones specializes in helping music educators build, grow, and manage thriving school music programs. With an MBA alongside her degree in music, she is also a coach and consultant to small businesses and nonprofits around the country. She has been teaching music for nearly 20 years and currently holds the prestigious position of elementary music teacher at a private K-8 Catholic School in Grand Junction, Colorado. She is the voice of the Music Ed Mentor Podcast and is a presenter at the NAfME National Conference 2017. Resources/links Mentioned:

• Music Ed Mentor Podcast
• Music Ed Mentor website
• FREE download!
• Online Grant Writing Workshop
• Choir Nation group on Facebook
• Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Choirs are Horrible the card game comes out today! Coach Steve Cook is the head football coach at the same Higginsville, MO high school where his wife Sarah Cook is a choir director. He has some recommendations for choir directors who want to build a cooperative relationship with their school’s athletic department (other than marrying the head football coach.) Working together brings unique benefits to both departments. After all, you really are already on the same team. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “What better way to recruit them, than through their friends?” - Steve Cook Show Notes:

• Coaches motivate kids to do things they wouldn’t normally want to do. They teach them to work.
• Qualities of a great football player: ability, personality, someone willing to learn and try to get better.
• Pre-game: In the locker room before the game, they don’t review plays. If the players don’t have it down 15 minutes before the game, they aren’t going to. That time is purely for motivation.
• The game is more enjoyable when the audience is involved in participating in some way, like gamesmanship with a crosstown rival.
• There is room for students to be involved in both sports and music. The students who excel in one area frequently excel in both.
• The coaching staff follows Steve’s lead of support and affirmation to the choir program. Setting that attitude is important to a good relationship between the departments.
• Don’t be afraid to reach out. Build personal relationships before schedule conflicts arise.
• Find ways to work together. The choir can lead the national anthem at pep rallies, or help create videos and highlight reels.
• The best strategy in building a working partnership with your athletic department is just to approach them. Don’t use email. Know that everyone is a professional, everyone wants what is best for students.
• There’s one thing the choir has that might be important to the football team: girls. The social aspect of choir is different than what they get in football practice.
• Establish common ground. You are all on the same team.

Bio: Coach Steve Cook is entering his eleventh season as The head coach of the Lafayette County C-1 Higginsville Huskers in Higginsville, MO. In 2015, the Huskers advanced to the Class 2 State Semifinals, falling short the eventual State Champions, the Lamar Tigers. Coach Cook’s teams have won six consecutive MRVC East Championships and four District Championships. In 2011, the Huskers advanced to the Class 2 State Championship Game, finishing second to Lamar Tigers. As his tenure as the huskers head coach, Cook’s teams have amassed a record of 95 and 30. Cook is a graduate of the University of Central Missouri, where he began coaching in Higginsville as a volunteer in the fall of 2000. Coach Cook is married to Sarah Cook, vocal music teacher at Lafayette Co. C-1. Together, they reside on a small farm in Mayview, Mo their children, Miriam (10) and Joel (7). Resources/links Mentioned: * Helen of Troy, the face that launched a thousand ships * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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As choir directors, we train hard to be able to help our singers and students. But whether you studied Music Ed or Sacred Music, it’s unlikely that financial literacy was part of your program. Today Ryan outlines how to read your credit report, and gives some simple tips for strengthening your credit score.

Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet: “Nobody’s going to spend crazy on the gas, because then it starts overflowing and catches fire.” Show Notes:

• Why should you care about your credit score?

  • Other important people will care about your credit score: mortgages, insurance companies, auto loans, furniture stores, your future employers
  • Your piece of mind
  • It helps you set quantifiable goals
  • Identity fraud: who else is using your social security number?
  • Catch errors on your report

• Try Creditkarma.com, a free web service

  • Transunion
  • Equifax

• Dave Ramsey’s podcast

• What’s important to look for:
  • Credit card use: keep it under 30%
  • Payment history: 100%
  • Derogatory remarks
• No credit history? Establish one with something easy to pay off, like gas.
• Derogatory comments? Call them. See if you can get it removed. Often they are willing to work with you.
• Request a credit limit increase. Don’t use it; but having it available improves your credit use percentage.

Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a high school choir director in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned:

• www.creditkarma.com
• Dave Ramsey
• Choir Nation group on Facebook
• Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Church musicians, this is the episode you have been waiting for. One of the most respected directors in the field, Terry Price talks with Ryan about the unique challenges of directing a church choir. This episode is packed with wisdom and actionable advice, but the one about the label maker...we’ll just say that if you don’t already keep one in your choir room, you’ll run out to buy one as soon as this episode is over. Listen Highlight to Tweet: “Church music is a functional art. It has a purpose” - Terry Price “If you want quality singers, you need to do quality music.” - Terry Price Show Notes:

• Mr. Price has spent some time as a public school choir teacher, some time with the Dallas Symphony Chorus, but most of his career has been spent as a choir director in a christian church.
• What’s special about church choirs...
  • Church choirs are unique because they are primarily amateur sings; they are there out of love. They want to be better singers. Terry’s job is to find creative ways to help them to be better.
  • Church music has a purpose; it is not music for music’s sake.
  • A church choir allows us to gather weekly with people we care about and read and sing sacred poetry and scripture; this uniquely beautiful opportunity is not common for non-choir members.
  • Church choirs perform most often, with the least rehearsal time. And there’s a Sunday every week!
  • At the times we need our best singers the most (Christmas and Easter), they are most likely to be absent.
  • Churches are about the business of serving people in a lot of different ways. A great music program can bring people into the life of the church, strengthening it in many ways.
• Keep in mind...
  • Programming a variety of quality music will be satisfying to your singers and congregation. But both are important: quality, and variety.
  • If you are doing contemporary music in a worship service, make sure you are doing it very, very well, otherwise it won’t compare favorably to the music people normally consume throughout their week.
• In rehearsal…
  • Warm ups are important! Listen to John Yarrington’s episodes. Make warm ups specific to the music you will be working on in rehearsal.
  • Talk less, sing more
  • Don’t assume people know what you are talking about, especially when using music terms.
  • Be encouraging. You don’t know what kind of day your singers had when they came into rehearsal.
  • When you are learning, learn...when you are practicing, practice...and when you are performing, perform.
  • Keep things moving, and keep things light. Write down jokes if you can’t remember them...it gives singers a momentary mental break and helps them refocus.
  • Always have new music in your folder. Again...variety is key!
  • Start rehearsal with an easy win, so they can begin with a success.
  • Don’t tailor your rehearsal to the weakest singer. You don’t want them to determine your rehearsal techniques. But you do want to bring them along with you. Find a great singer who can sit near and mentor them.
  • There is no need to embarrass someone by calling them out individually; address sections together.
  • Choir members do not get to correct each other. That is the director’s job alone.
  • Planned social events and parties are important.
• Let them know they are valued…
  • Terry made sure there were always a few extra folders prepared each week. If someone new came to rehearsal, a volunteer would use the label maker so they could hand them a folder with their name already on it, telling them they were already a welcomed choir member before they even sang a note.
  • A “choir buddy” sits with them during rehearsal.
  • Specific gifts to choir members for every 5 years of service.
  • There needs to be a specific dream ahead of you at all times. The choir should always be working towards some goal, milestone, or achievement for inspiration.

Bio: Terry Price has served at some of the largest mainline churches in the US. Each of the choirs experienced considerable growth under his leadership while he instilled musical excellence among the singers. He directed the Christmas Eve celebrations in Bethlehem and has conducted at major church music festivals in the Vatican and across the UK and Europe. He has worked closely with such conductors as John Rutter, Sir David Willcocks, Bob Chilcott, Paul Leddington Wright, Mack Wilberg and Ryan Murphy. He served as Conductor of the Dallas Symphony Chorus ad interim for 2 years. He was awarded the Texas ChoirMaster Award by the Texas Choral Directors Association, and was the first church musician to be so honored. He was involved in 4 recording projects that were nominated for Grammy Awards. Resources/links Mentioned: * John Yarrington on Choir Ninja:

Leave My Christmas Carols Alone Vocal Athletes, Start Your Engines * Business Article link * Contact Terry Price through email * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Achieving Mastery, with Ryan Guth and Stevie Berryman Ryan and Stevie discuss ways choir directors can increase their grit and become masters in their field. Citing Grit: The Power of Passion and Perseverance by Angela Duckworth, they discuss what separates people who want to the be the best in their field from those who actually are. You’ll learn the 4 steps for deliberate practice that will help you progress rather than just put in time. Listen: Highlight to Tweet: “Talent counts. But effort counts twice” - Angela Duckworth “The work comes first.” - @steviebetweetin Show Notes:

• The people who succeed in music, or any endeavour, are the ones who are willing to do the work.
• Work sometimes involves risk. It rarely involves art. But the ones who work will succeed.
• Angela Duckworth defines GRIT as: sustained passion and perseverance for especially long term goals. It is the hallmark for high-achievers in every human domain.
• Even if you were born with talent, you weren’t born an expert. Expertise takes skill over time.
• Talent x effort = skill Skill x effort (over time) = achievement
• To increase your skill, you must put in deliberate practice.

Set a Stretch Goal -- Focus 100% -- Get Feedback --Reflect and Refine * The Choir Nation Facebook group is a great resource for getting feedback! * Time to set your stretch goal! Look for an accountability partner in the Choir Nation Facebook group!

Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a high school choir director in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Stevie Berryman is shockingly good at video games. She can fold a fitted sheet so it looks like it came right out of the package. Likewise, her skills as music director and teacher have also been acquired through long hours of arduous and dedicated practice. For much of her career Stevie has directed seven or more ensembles each week, meaning she has 98 years of experience (in dog years). Her effusive energy and wild creativity found a perfect setting in 2013 when she became the Artistic Director of the Houston Chamber Ringers, which has let her smash together her love for music, laughter, and tacos in a truly remarkable way. She has a particular passion for teaching children how to ring, and her innovative methods have made her a sought after educator at area and national handbell festivals. Stevie loves helping other choirs as a private clinician, or planning epic concerts for them as a creative consultant. Her next step in global domination is to take over the choral world, which is a side bonus of her job as Chief Awesomeness Officer at the Choir Ninja Podcast. Resources/links Mentioned: * Grit: The Power of Passion and Perseverance by Angela Duckworth * Angela Duckworth’s TED Talk * Planet Money * Will Smith will not be outworked * Stevie’s blog * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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A composition entrepreneur, Ryan Main explains the three paths to getting your music published, and tells you what you need to do to succeed in each of them. Through the successes and failures of Kansas City Music Publishing, Ryan learned the nuts and bolts of publishing, and today he shares with you the pros and cons of the three main avenues for publication: traditional publishing houses, an innovative online publishing company, and self-publishing. Listen Highlight to Tweet: “The trick to any of this...is to just start doing it, and the pieces will fall into place.” - Ryan Main Show Notes:

• Traditional publishers: Useful for… • A low-profile composer • A prolific composer • A composer/director looking to raise their profile • A composer looking for more commissionsBut… • For every 1,000 sales you could expect to make about $200 • If a publishing company likes your piece they will promote it more, if it barely makes the cut, it may not even be on a reading session

• Publishing with an innovative publishing company: Useful for… • A composer with at least some profile • A composer who knows they have gold on their hands • A composer who wants to make money but doesn’t want to self-publish (For every 1,000 sales, you could expect to make about $1,400)But… • If a publishing company likes your piece they will promote it more, if it barely makes the cut, they may not promote it • Many don’t offer printed music, specifically with JW Pepper, which is a huge market share

• Self-publishing: Useful for… • A composer with at least some profile • A composer who knows they have gold on their hands • A composer who wants to make money (For every 1,000 sales, you could expect to make about $2,000)But… • Time investment up front • Financial investment up front • Steep learning curve • It is entirely up to you to promote your music

• Things you will need to get your music published through traditional or innovative companies • Good writing • Good engraving • Good recording • Thick skin

• Things you will need to self-publish: • Good writing • Good engraving • Good recording • Thick skin • An entrepreneurial spirit

• Things you will need to self-publish printed music: • All of the previous plus… A commercial printer or a printing company A place to keep stock Nuts and bolts printing knowledge (paper weight, booklet printing, etc.) Ability to fulfill orders quickly and be a good business partner Relationships with retailers

Bio: Ryan joined choir his sophomore year of college and spent most of that year trying to figure out how solfège worked. He’s almost got it now. Ryan loves to write music that is gripping and intense, which probably comes from watching too many superhero movies growing up. In his free time, he likes to spend time with his super cute nieces, walk his dogs, write music, and cook. As a chef, he has been described as “really pretty okay” by a guy that looked kinda like Gordon Ramsay. He has accidentally set two oven mitts on fire and hopes to keep it there. Ryan is the Artistic Director of the Youth Chorus of Kansas City, the Director of Music at Village Presbyterian Church in Antioch, and is an (extremely) active composer and clinician. Resources/links Mentioned: * Connect with Ryan Main on Facebook * Ryan Main * Ryan Main’s website * Ryan Guth’s Choir Posters * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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A Choir Ninja Rewind Today we bring you an encore airing of one of our most popular interviews with a Houston-area director. In today’s episode Ryan and Denise Eaton look at her layering method of sequential teaching. In other words, this is a breakdown of her step-by-step process for teaching a new choral piece to her choirs. Listen: Highlight to Tweet: “Repetition is your friend and the key to successful learning.” -Denise Eaton #choirninja Show Notes: Eaton's Order of Events for Layering Skills in Sequential Teaching

1. Teach rhythms before looking at song (including all like patterns throughout)
   1. Extract and breakdown rhythms for better understanding and skill development
   2. Learning rhythm doesn't only include chanting· singing is also encouraged
   3. Include emphasis on strong beats -always keep the text in mind
2. Add solfege -always with appropriate, desired tone
   1. Introduce the key of the song through previous sight-reading (See resources and sponsor below)
   2. Extract only the melodic contour in solfege (before looking at song) for greater mastery later
   3. Chant solfege in rhythm -add emphasis on strong beats
   4. Chant text in rhythm to reinforce understanding
   5. Add syllabic and word stress emphasizing desired vowels
3. Sing on solfege -with desired vowels and tone
   1. Focus on accuracy
   2. Add in syllabic/ word stress
4. Sing on neutral syllable -with desired vowels and tone
   1. Focus on accuracy
   2. Add in syllabic/word stress
   3. Add in final consonants for rhythmic releases and onset of sound
5. Monotone chant and sing the text -with desired vowels and tone
   1. If singing in parts, separate to different notes of the tonic chord
   2. Add in syllabic/ word stress
   3. Repetition of the release of final consonants will, most likely, be needed
6. Sing on text -emphasizing desired vowels and tone
   1. Focus on pitch accuracy
   2. Add in syllabic / word stress
   3. Explore combinations of voice parts
      1. sop 1 / alto
      2. Sop 1/Sop 2
      3. Alto/Tenor
      4. Sop/Bass
      5. Sop/Tenor
      6. Women
      7. Men

3 Key Takeaways: 1. Score study is absolutely necessary for you to identify items, such as rhythms, to isolate in the earlier steps. 2. Repetition is your friend and the key to successful learning. 3. Always emphasize and insist on desired tone, and vowels.

Resources/links Mentioned: * Denise’s books: InSight Singing (A Multi-Sensory Approach to Reading Music), Choral Error Detection, Sight Singing Made Accessible Readable Teachable, Sight Singing Made Accessible Readable Teachable (MINOR)

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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A Choir Ninja Rewind Today we bring you an encore airing of one of our most popular interviews with a Houston-area director. In today’s episode (Part 1) you will learn what Texas music educator and superstar, Denise Eaton, looks at when choosing repertoire for her choirs so they can be successful a learning through her innovative sequential layering method of teaching (Part 2 - Friday). Listen: Highlight to Tweet: “You need to make a noise before you can refine the noise” -Denise Eaton #choirninja Show Notes:

• Get ‘em in the room and get ‘em singing immediately
  • “You need to make a noise before you can refine the noise”
• No harm singing and sight-singing in unison
  • It elevates the weaker singing
  • Can be VERY artistic
• When choosing music, be conscious of…
  • Tonality
  • Rhythmic development
  • Harmonic rhythm
  • Vocal development
    • Range
    • Tessitura
    • Depth of sound
  • Language
• Use sequential layering (next episode) to teach the music.
  • Sequence matters because of muscle memory

3 Key Takeaways: 1. Score study is imperative for sequential growth for choir. 2. Elevate their strengths and not their weaknesses. 3. You are limited to your own creativity. Don’t let your limitations limit your students.

Resources/links Mentioned: * Book: Vocal Technique: A Guide for Conductors, Teachers, and Singers 1st Edition * Denise’s books: InSight Singing (A Multi-Sensory Approach to Reading Music), Choral Error Detection, Sight Singing Made Accessible Readable Teachable, Sight Singing Made Accessible Readable Teachable (MINOR)

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Stevie Berryman reflects on what it means to return to “normal” after Hurricane Harvey. Part science primer, part therapeutic catharsis, this essay encourages teachers and directors to keep doing their best work, whatever that work is. If you are struggling, if you are weary...it’s okay; you’re in good company. It’s not your fault. You can blame it on the second law of thermodynamics. Listen: Highlight to Tweet: “Nothing is static. Doing nothing is the same thing as assisting decay.” - @StevieBeTweetin When the Waters Rise: On Entropy and High Water Entropy may be an odd metaphor for a musician to adopt, but I grew up in a family of scientists. My mother was a biochemist at a time when her lab still elected a female employee to be the company’s beauty queen, which meant a year-long reassignment as the official company spokesmodel. My father has a PhD in physical chemistry, and spent much of his career advising chemical plants how to clean up their spill before the whole mess froze into the tundra. So while I couldn’t help my son with his AP Physics homework last year, some of the broader concepts have stuck with me. Entropy is a measure of the number of possible arrangements the atoms in a system can have. The higher the entropy of an object, the more uncertain we are about the states of the atoms making up that object because there are more possible states to decide from. As musicians, we can think of this in terms of improvisation. If they were allowed to use only two notes, most people could improvise a song quickly and easily. If you assigned a whole class to write two-note compositions, I suspect many of them would sound similar. There just aren’t that many different ways to arrange two notes. But if you were given an orchestra and asked to improvise a piece of music together, the result would be entirely different. There would be far more chaos and cacophony than in your two-note etude. Metaphorically, then, an orchestra has a greater amount of entropy than a singer with a two note range, because there are more possible arrangements of notes. In this sense, entropy is a measure of uncertainty or randomness. More variables means more chaos and less predictability, less order. When you have lots of possible combinations of notes, not all of them are going to be pleasant. But a few of them...a few of them might be magnificent. Feel free to prove me wrong, but I think John Williams has already cornered the market on stunning two-note themes. For the rest of us, creating something beautiful or brilliant necessitates working in systems with a high level of entropy. This is affirming news for directors everywhere. If your desk is an archeological dig through different strata of music dating back to last year’s winter concert, I can assume two things: you are working in a system with a lot of entropy, and also you have a wealth of music from which to make your selections. Those are both signs of a healthy program. But for those of us living on the Texas Gulf Coast right now, even as the flood waters recede, we are drowning in entropy. We are awash in uncertainty. If your commute is already stressful, just imagine if you suddenly had no car. Everyone has those days when it’s hard to get dressed and out the door on time, but just imagine if you were in a shelter or temporary housing, or if you got to remain in your home, but had to do your laundry at your neighbor’s house. Every single part of your day is harder and more stressful. Everything takes more energy and effort: physically, mentally, and emotionally. Your assumptions are gone; there is no longer any such thing as a foregone conclusion. It’s hard and uncomfortable to live and work in that level of chaos, and for many people this system is not going to stabilize any time soon. This is especially true for teachers. As I write this, my children (one in high school, one in middle school) are midway through their second “first day” of the school year. They had only gone to school for 4 days before Hurricane Harvey shut down a good portion of Texas for a week and a half. I imagine the differences in these children today and on their first “first day.” First day of school excitement and anxiety has a different pitch today. New school supplies and clothes that were a source of pride 2 weeks ago may have been replaced by new school supplies and clothes that are a reminder of what has been lost. Or maybe they haven’t been replaced at all. Few children are ever excited about eating school lunches, but the opportunity for two hot meals a day is one that some of them won’t get at home for a while. In all of this grief, in all of this anger, in all of this uncertainty, in all of this entropy we are asking teachers to restore order to this system, teachers who are possibly dealing with their own losses. And this is what is happening in my school district, where only one school was too damaged to reopen. Further south, you’ll find Aransas County ISD: 100% of their schools were damaged. Not only did they not head back to school today, there is not even a projected date to return. There is no timeline. The entire district is shut down indefinitely. But the silver lining here is that in this level of randomness some of the unexpected outcomes are going to be positive. We see that constantly in the way our neighbors are supporting each other. I see it in the way J. J. Watt, the star defensive end for the Houston Texans, has been able to raise over $27 million dollars for hurricane relief pretty much just by being J. J. I see it in the way our local soccer game favorite Kona-Ice is now driving down streets handing out free sno-cones to anyone working at a cleanup site. I see it when someone in my neighborhood Facebook group asked if anyone was able to run a load of laundry for some out-of-town relief workers, and 47 of us immediately responded. I’ve never before had to wait in line for the privilege of doing someone else’s laundry. I see it in the number of times my family has been turned away from helping at a work site, because they already have all the volunteers they need for that day. Don’t worry, we’ll keep going back. There will still be work tomorrow. And that work is important. You see, entropy can also be understood as the amount of energy in an object unable to do work. Every system experiences energy dispersal, meaning that there is no perfect conversion from energy to work. I think teachers especially can empathize with the second law of thermodynamics, and the notion that the energy we put in seems greater than the work we produce. And that’s what happens on a normal day at work. We just call that “Tuesday.” But when your particular system is hit by a disaster, whether that is high water, forest fire, or the retirement of a favorite teacher, you monumentally magnify the amount of entropy in that system. Understand then, during those chaotic times, you may put in the same amount of energy, but you will accomplish less work. It’s not a question of effort; it’s a law of physics. This is important to understand. If you started a brand new teaching job this year and you’ve been coming home exhausted, ready to go to bed at 8:30, it doesn’t mean something is wrong with you. It just means that you are not exempt from the laws of thermodynamics. In times of stress, your singers and students are less able to produce work. The corollary is that to maintain the same level of work, they will have to increase energy. It’s your job, directors, to recognize when physics is derailing your rehearsal. This is an equation you must balance, so you have two choices. You can demand more energy. Or, you can revise your expectations, so that you are requiring them to produce less work. To jump out of the physics terminology, cut them some slack. They probably aren’t the ones responsible for increasing the amount of entropy in the system, so don’t blame them when the amount of work is diminished. That’s really hard when we have tied our egos to what they produce. If we prioritize literature selections that make us look like brilliant directors over what is appropriately challenging for our choirs, they know it. And while they may be willing to work hard to create something beautiful and magical because that’s the intoxicating part of being a musician, they are less likely to put in the same effort simply to burnish your image. Real talk, friends: as directors, we know when we have over-programmed. And we’ve all done it. And that mistake is one that we need to own entirely, and not put it on the choir to fix. The appropriate fix for over-programming is one that requires the director, not the choir, to sacrifice. Maybe you can shorten a piece. Maybe you cut it entirely. Maybe you swap it for an easier arrangement. The important thing is that these fixes don’t require your choir to pay for your mistake. Berating your choir for not working hard enough, accusing them of not practicing, scheduling additional rehearsals or lengthening the ones you already have...all these are ways of telling your choir that a poor performance is THEIR fault. And sometimes, it may be their fault, but in the specific case of over-programming, no, it’s you, Director. It’s on you. The big problem comes when the entropy upheaval happens during your concert or contest preparations. What may have been appropriate music selections at the beginning of the season are now out of reach, because the increased entropy means that less of their energy can be converted into real work. In this scenario, the director chose appropriate music, and then external forces created a situation in which the choir just wouldn’t be able to perform as well. No one is at fault here. But Director, it’s still your job to fix it. And this is when you have to make that choice: do you reduce the amount of work expected, or do you increase the amount of energy? Sometimes we don’t get a choice. Sometimes a cataclysmic natural disaster happens one week into the new school year. There is no way to reduce the amount of work; you must increase your energy. And if you don’t? Well, the laws of thermodynamics have something to say about that, too. If left alone, the amount of entropy in a system will increase. Basically, by doing nothing, we allow a system to slide into chaos. What is remarkable here is the realization that “leaving things status quo” can never result in things actually staying the same. All matter is subject to the laws of attraction; we are constantly moving towards or away from something. Nothing is ever truly still. This truth applies to every aspect of our lives. In a relationship, you are either working to grow closer to someone, or you are growing further apart. There is no default where everything just stays the way it is. If you practiced piano every day from the time you were 5 to when you were 20, then I know you got better. And if you skip a day of practice you won’t get worse. But if you skip a year of practice, your loss of mastery becomes measurable. You can resume practicing again, you can pour energy into the system and you will get better again. But if you stop, entropy takes over, and your skills again will fade away. Doing nothing is never really doing nothing. Nothing is static. Doing nothing is the same thing as assisting decay. So when your energy levels are tapped and there is still work to be done and entropy is increasing and the water is still rising...you ask for help. As directors we are expected to have the answers. But sometimes we don’t. I don’t know that anyone has the answer for 50” of rain. So we ask for help, and grace, and we extend that same help and grace to others. And we make music, because where there is hope there is music and where there is music there is hope, and I know of no other endeavour that so thoroughly defies the laws of physics, because when we make music together that effort is magnified, and the work we produce is far greater than the energy we put in. So if you need help, there is an online community ready to advise and support you. It’s on Facebook, and it’s called Choir Nation and it’s populated by over 2000 of the most positive and affirming singers and directors on Facebook. And there is the Choir Ninja podcast, and if you have a problem, chances are we have already produced an episode that covers it. But if we haven’t, just ask, and we will. Ryan and I are here to serve you, Choir Nation. So no matter what sort of flood you are dealing with, and no matter what monsters lurk in the high waters, keep making music. And we will help. My name is Stevie Berryman, and I am filling in today for your host Ryan Guth. If this podcast is valuable to you, buy us a cup coffee. You can do that by supporting us on Patreon for as little as $1 per episode. You can also support what we do by giving your business to our sponsors, My Music Folders and Sight Reading Factory. You can find all of these links in this episode’s show notes at www.choir.ninja. Our podcast continues next week with our Voices from Houston series, when we bring you encore replays of some of our favorite interviews with Houston area choir directors. Bio: Stevie Berryman is the Chief Awesomeness Officer for the Choir Ninja Podcast. She lives in northwest Houston, and aside from one small leak, had no damage during Hurricane Harvey. As the Artistic Director for the Houston Chamber Ringers, she is helping flooded churches clean and refurbish handbells and chimes that were damaged, and match donated equipment with the bell choirs who could most use it. Resources/links Mentioned:

• To help victims of Hurricane Harvey, give generously to J. J. Watt’s Flood Relief Fund
• Houston Chamber Ringers
• Aransas County Independent School District
• Choir Nation group on Facebook
• Email Patreon - Support the podcast!

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For the next few episodes, the Choir Ninja podcast will focus on Voices From Houston, lifting up the directors in south Texas as they recover from Hurricane Harvey. This first episode in the series feature a replay of an interview that originally aired back in 2015. This interview is exactly what you need to start the new school year! A truly wonderful sit-down interview with Texas native and Houston-area high school choral director, Adrian O. Rodriguez. Listen in on how you can start your year off right by building an empowered music program through creating trust and staying relevant! Listen: Highlight to Tweet: “I realized that being with those friends in choir, that community, that’s where I wanted to be.” - Adrian Rodriguez Show Notes:

• The moment you knew you’d dedicate your life to music When Adrian was a sophomore in high school, he felt pressured to follow his parents and go into a “more academic” career like a lawyer or doctor. Self-doubt set in, and he contemplated leaving chorus. Then his father encouraged him to try out for TMEA All State Choir. He was accepted. During the festival, Adrian was approached by clinician Betsy Cook Weber, who gave him her business card and encouraged him to apply to the University of Houston. He eventually attended the University of Houston, and owes his success to the support of his father and his mentor Dr. Weber. Later in high school, he took over rehearsal for the chamber choir in his director’s absence. He found out there how much he loved making music with his peers.
• Worst musical moment When Adrian was in college, he lost himself. Because of “impostor syndrome” he was doing musical things to impress others, because he didn’t consider himself as talented as those around him. He was pursuing performance, even though he was in Music Ed. He came to the realization that he didn’t like being in a practice room by himself and loved being with others.
• The proudest musical moment As an upperclassman in college, Adrian got the chance to direct a chamber ensemble of his peers.
• Your “Forte” Adrian recently gave a talk at TMEA entitled “From Passion to Action: Building Empowered Music Programs.” He speaks about his open and vulnerable relationship with his students. He addresses four things on the first day of school with EACH class: What THEY want to learn, what TEXAS expects, what the PRINCIPAL expects, and what HE believes they should learn. Adrian gets it all out on day 1 and creates an unbelievable trust relationship with his kids.
• Most excited about right now Adrian is excited for his second year (he says his first “real” year) at his high school in Austin.
• Advice for your younger self Commit to be relevant to your students and create an education that is meaningful to them.

Bio: Adrian O. Rodriguez currently serves as the Director of Choirs at Stephen F. Austin High School (Sugar Land, TX). In addition to conducting five choirs, he is the music director of the musical theatre program and teaches Advanced Placement Music Theory and Honors Music History. Rodriguez received his Bachelors of Music in Music Education from the University of Houston (2011) and, after finishing his thesis, will have earned his Masters of Music Education from the Westminster Choir College (Princeton, NJ). As an active choral clinician and consultant in Southeast Texas, Rodriguez has worked with a variety of school, church, and community choirs and has been invited to present the Texas Music Educators Association (2015) and the Texas Choral Directors Association (2014). His academic interests include: empowering pedagogical practices, community and culture in school music programs, and building choral sound. Rodriguez is a member of the American Choral Directors Association, National Association for Music Educators, Texas Music Educators Association, Texas Choral Directors Association, and Phi Mu Alpha Sinfonia. Resources/links Mentioned: * Your students are worth the investment, with Dr. Amanda Quist * Natalie Weiss – Breaking Down the Riffs * On presence and keeping secrets, with Betsy Cook Weber * Start with Why: How Great Leaders Inspire Everyone to Take Action * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Some of our episodes talk about a conductor’s journey as a musician, or their philosophical understanding of the nature of choral music. Some episodes are pure toolkits: here’s what you need to solve your problems. This episode has the rare distinction of being both. Dr. Kronauer and Ryan cover the “hows” of directing teenage male voices, as well as the “whys” behind them. You’re going to want to listen to this one twice. Listen: Highlight to Tweet: “Living rigidly is not the game. The game is finding elasticity.” - Steven Kronauer Show Notes:

• Try thinking less in terms of “blend,” and more in terms of “agreement.”
• For the teenage male singer, it’s important to reassure them that change is a part of life. Whatever they are working with (or through) will be fine.
• When dealing with limited range, you need to offer patience and guidance. Provide a model. Avoiding “compensation,” or reaching for a pitch. (“that giraffe thing” - Ryan Guth)
• Posture and alignment are always important, but especially so for teenage boys.
• Accept and love this period of life where you’re going through change!
• Falsetto is huge. HUGE.
• Sing into a straw in a cup of water, so that the sound is focused at the front of the bubbles. It helps practice constant airflow.
• Hum with the tongue between the lips, concentrating on the vibration of the vocal folds while letting go of tensions.
• “You learn to sing by singing.”
• Place your singers according to what will be healthy for them.

Bio: DR. STEVEN KRONAUER, a highly experienced voice teacher, tenor, and conductor, is the conductor of Los Angeles Children’s Chorus’ Young Men’s Ensemble, comprised of young men with changing voices. After completing two Master’s degrees at the University of Michigan, one in Voice Performance and the other in Choral Conducting, Dr. Kronauer began his professional career in the chorus of the Bavarian State Opera in Munich, Germany, as its youngest member ever. During his ten-year engagement, he had the privilege of meeting and studying with many noted singers of the highest echelon, including world famous Verdi tenor Dennis O’Neill and Wagnerian baritone Donald MacIntyre. Dr. Kronauer was employed as a soloist with the Bavarian State Opera for television broadcasts, CD recordings, and live radio performances, appearing with Renee Fleming, Kurt Moll, and many others, in secondary tenor roles. Dr. Kronauer performed the role of Smy in a world premiere of the German opera Peter Pan, by Willfried Hiller, directed by the world famous stage director August Everding. This performance was recorded at the Prinz-Regenten Theatre in Munich, Germany, and distributed by Deutche Gramaphone. Dr. Kronauer has studied oratorio with the finest of the field, including Ernst Haefliger and Peter Schreier, in Germany (while being a guest observer as a conductor at the Deutche Stats Oper in Berlin, Germany). He also studied with tenor John McCollum in the United States. Since then, he established a career in Europe singing oratorio under such noted conductors as Karl Anton Richenbacher and Peter Schneider. Additionally, Dr. Kronauer has sung as a soloist at the Cologne Philharmonic, and with the Munich Philharmonic in Germany. He has sung more than 100 performances of Carmina Burana, internationally. Dr. Kronauer’s interest in opera conducting was enhanced upon becoming acquainted with Zubin Mehta and Wolfgang Sawalisch at the Munich Opera. Dr. Kronauer is a soloist with many organizations since his return from Europe, including a frequent guest with the Angeles Chorale and the National Children’s Chorus, here in Los Angeles. Dr. Kronauer completed his doctorate degree at the University of California, Los Angeles in choral conducting and operatic conducting under the direction of Donald Neuen and William Vendice, respectively. He has worked with Donald Neuen as an assistant conductor with the UCLA Chorale and with Maestro Vendice as the assistant conductor of the UCLA Opera. Previously, The University of Michigan offered Dr. Kronauer the opportunity of completing two Masters Degrees in Vocal Performance (under Lorna Haywood and John McCollum) and Choral Conducting (under Theodore Morrison). There, he was the Assistant Conductor for Jerry Blackstone and the University of Michigan Men’s Glee Club. He has also led a choral workshop at the University of Munich. Dr. Kronauer’s expertise focused on performance practice of American and British chorale music. While in Munich he formed The Munich Opera Chamber Chorus, which sang some of the great chamber music of the Germanic tradition, including the complete Liebeslieder waltzes. Dr. Kronauer has taught on the voice faculty of the Interlochen Arts Camp and at the University of California, Irvine. He also had the honor of presenting a lecture to the National Association of Teacher’s of Singing on the “Dos and Don’ts of Starting a Singing Career in Germany.” Dr. Kronauer taught for three years as a member of the voice faculty, and the music director of the opera program at California State University, Los Angeles, conducting fully staged performances of Hansel and Gretel by Humperdinck and L’incornatione di Poppea, by Monteverdi. Dr. Kronauer was the Acting Chair of the voice department of the University of California, Santa Barbara for two years and the director of opera activities producing. Currently Dr. Kronauer has a busy private voice studio and is on the faculty of California State University, Long Beach at the Bob Cole Conservatory of Music teaching voice and German diction. Resources/links Mentioned: * LA Children’s Chorus * Vocal Wisdom * Choir Nation group on Facebook * Patreon - Support the podcast!

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Happy Birthday, teachers, it’s the episode you’ve asked for! Tech expert Greig Ashurst shares his favorite apps and software for your choir classroom. Ryan and Greig go deep into ways to use a few of these tools to make your rehearsals more productive, but make sure you check out the show notes for an expanded list of essential music tech to explore. Listen: Highlight to Tweet: “Make them engage with their cell phones...they are going to have them anyway.” - Greig Ashurst Show Notes:

• Rehearsal Planning/ Ensemble Management
  • Symbaloo
  • Google Apps For Education (GAFE)
  • Google Classroom
  • Google Docs, Sheets, Slides, Forms
• Notation Applications
  • Sibelius
  • Finale
  • Staff Pad
• Integrating/Accompanying
  • Smart Music
  • Protools
  • Audacity
  • Soundtrap
  • Garage Band
  • Drum Machine Apps
• Other Cool Stuff
  • Bit Links - URL Shortened
  • Blue Yeti microphone
  • Calendly
  • “Cellphones Required” - A concert theme that encourages the audience to use their phones to interact with the performance

Bio: For more than twenty years, Greig Ashurst has developed an impressive conducting and teaching career in many facets of music, technology, and educational philosophy across the United States. A native of Lafayette, LA, he served as a music educator in public and private schools and universities in Louisiana, North Carolina, and Texas. Mr. Ashurst has held the position of Music Director at Cathedral-Carmel School since 2012 where he was selected “Teacher of the Year” for the 2016-2017 school year; an honor for which he was selected twice previously at North Vermilion High School in 2009 and CW Stanford Middle School in Hillsborough, NC in 2003. Additionally, he serves as Youth Music Director at Asbury United Methodist Church of Lafayette, LA. Resources/links Mentioned: * The Greig Ashurst Artist Series Mallets * Greigashurst.com * Cathedral Carmel School * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Authenticity and Experience, with Sean Baugh (Part 2, Following “Equality and Dignity for All People”) Turtle Creek Chorale does not do “stand and sing” concerts. Balancing music with a message is a difficult journey with great rewards, for both the musicians and the audience. Sean discusses the importance of balance in your programming, and gives you guidelines for programming a concert with an activist purpose. Musicians are, at the core, humanitarians. Listen: Highlight to Tweet: “Don’t end with a big smack in the face. End with material that everyone can grab on to.” - Sean Baugh Show Notes:

• Before you program a concert with a message, you have to know where your musicians stand. Get to know them and their perspectives.
• Social activism can have a real impact. After the Pulse nightclub shooting in Orlando, TCC put together a 3 hour long concert in 2 days that raised $18,000 and was viewed by 37,000 people live and online.
• 24-hour Sing In to bring attention to trans* issues.
• Balance is key. Balance your message just as you balance your music.
• Making people uncomfortable is not the goal, although you do want to make them think.
• Sometimes programming for social issues is scary and uncertain. Trust your gut, and if a particular piece would take away from your performance, then don’t program it.
• “Audience members will accept anything you want to sing to them as long as you do it with authenticity and from experience.” -Sean Baugh
• Audiences are probably more open than we give them credit for, as long as you are performing with authenticity.
• Musicians are, at the core, humanitarians.

Bio: Now in his fourth season, Sean Mikel Baugh is the Artistic Director of the Turtle Creek Chorale. Originally from Tulsa, Oklahoma, Sean studied music at Oklahoma Baptist University and the University of Central Oklahoma and was awarded a Master of Music in Conducting degree from the Meadows School of the Arts at Southern Methodist University where he was named outstanding graduate conductor. At the Meadows School, Sean served as assistant conductor of the world-renowned Meadows Wind Ensemble. He has studied with Nancy Hill Cobb, Jack Delaney, Paul Phillips and many others. Sean has been called “expressive and incredibly dynamic, a consummate musician with a side of showman. He exhilarates audience members and singers alike.” He is regularly praised for his innovative programming and expressive technique. His choirs have enjoyed positive reviews and have been lauded for their musicality and emotional performances. An active advocate for male choral music, Sean regularly commissions new works from established composers. Sean also serves as Associate Director of Music and Worship for Dallas-based Cathedral of Hope United Church of Christ where he leads the choir and orchestra for Sunday worship services. Cathedral of Hope is the world’s largest congregation with a primary outreach to the LGBT community. Sean is in demand nation-wide as speaker, guest-conductor and clinician. He has served on the music faculty of the University of Dallas and is an active member of the American Choral Directors Association, Gay & Lesbian Association of Choruses, Texas Choral Directors Association and Chorus America. Resources/links Mentioned: * Turtle Creek Chorale * Hope’s Door * Socrates’ Analogy of the Gadfly * SWACDA * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Sean Baugh skillfully leads the Turtle Creek Chorale in performances of both artistry and activism. Sean talks about how his ensemble of largely untrained singers is able to give powerful performances, leaning heavily on the passion of the musicians. We are all passionate about something, making us all activists, and music is our agent of change. Listen: Highlight to Tweet: “You can do a lot on a little bit of money if you love what you’re doing.” - Sean Baugh Show Notes:

• Sean Baugh rose to his position as Artistic Director of Turtle Creek Chorale through a mixture of fortuitous timing, being willing to pivot when opportunity presented itself, and sharing his ambition with others.
• Turtle Creek Chorale is one of the oldest gay men’s choruses, although it’s membership is comprised of different orientations.
• Few of the members of TCC are professional musicians, and many have no formal choral training. Sean estimates about half do not read music.
• TCC takes seriously its mission to lift up the disenfranchised, standing for equality and dignity for all people.
• Music is the tool that TCC uses to address social issues.
• You can’t predict who will be affected by your performance, or how it will impact them.

Bio: Now in his fourth season, Sean Mikel Baugh is the Artistic Director of the Turtle Creek Chorale. Originally from Tulsa, Oklahoma, Sean studied music at Oklahoma Baptist University and the University of Central Oklahoma and was awarded a Master of Music in Conducting degree from the Meadows School of the Arts at Southern Methodist University where he was named outstanding graduate conductor. At the Meadows School, Sean served as assistant conductor of the world-renowned Meadows Wind Ensemble. He has studied with Nancy Hill Cobb, Jack Delaney, Paul Phillips and many others. Sean has been called “expressive and incredibly dynamic, a consummate musician with a side of showman. He exhilarates audience members and singers alike.” He is regularly praised for his innovative programming and expressive technique. His choirs have enjoyed positive reviews and have been lauded for their musicality and emotional performances. An active advocate for male choral music, Sean regularly commissions new works from established composers. Sean also serves as Associate Director of Music and Worship for Dallas-based Cathedral of Hope United Church of Christ where he leads the choir and orchestra for Sunday worship services. Cathedral of Hope is the world’s largest congregation with a primary outreach to the LGBT community. Sean is in demand nation-wide as speaker, guest-conductor and clinician. He has served on the music faculty of the University of Dallas and is an active member of the American Choral Directors Association, Gay & Lesbian Association of Choruses, Texas Choral Directors Association and Chorus America. Resources/links Mentioned: * Turtle Creek Chorale * GALA Choruses * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Choral elitists beware: we’re calling out the Emperor for having no clothes. Indiana choir director Samantha Patterson finds value in incorporating pop music, sporting events, and yes...even the dab...in her program, which has reaped the benefits of her innovative recruiting strategies. Want to know how to recruit boys, or anyone, into your program? This episode is the how-to guide you’ve been waiting for. Listen: Highlight to Tweet: “No wonder no one wants to be in your class; you pick the worst music.” - Samantha Patterson Show Notes:

• Pop music is the lure, and it drives the interest in Samantha’s program. As the year progresses, she introduces more standard repertoire.
• Starting with something easy and familiar...from the radio...sets them up for early success, and a great first concert experience.
• After the early success, students are more willing to buy into more esoteric music selections.
• Samantha takes her male students to a baseball game every fall. Everyone gets to go on a special outing, but baseball is just for the boys.
• Another key recruiting factor is a special presentation for rising 5th graders. That concert is also high energy, with familiar pop songs.
• Selling concessions at sporting events helps in 2 ways: it raises money for her program, and it gives her the opportunity to meet her students’ friends and ask, “Why aren’t you in choir?”
• Social media can build stronger relationships between you and your students, and also with their parents.
• Including younger children with the high school musical also has multiple benefits: it builds interest in your program in upcoming students, and it increases ticket sales overall.
• Work with your sporting program. Be flexible. Allowing students to participate in other activities creates opportunities for everyone to win.

Bio: Samantha Patterson is the choir teacher at North Clay Middle School in Brazil, Indiana. She is currently in her 7th year of teaching and has taught all grade levels. Her program consists of close to 350 students, with close to 150 being male. Her choirs have sung for events with the NBA, WMBA, Indianapolis Indians, and the State Superintendent. Resources/links Mentioned: * Why Aren’t You in Choir?, podcast episode with Ryan Guth * Follow Samantha’s program on Instagram * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Dr. Eugene Rogers “preaches the word of the singing conductor.” There is singing, and then there is singing that utilizes technical mastery to communicate the meaning and emotion of a piece. Dr. Rogers calls these leaders who are so deeply connected to sound and its purpose Singing Conductors, and reveals the four characteristics they share in common. Listen: Highlight to Tweet: “The choirs are singing from the inside out. ” - Dr. Eugene Rogers Show Notes:

• The “singing Conductor” is a process by which one approaches making the choral art come alive.
• Singing Conductors lead choirs that sing from the inside out. They are completely aware of the technical aspects of choral music, but also deeply rooted in the understanding of the work.
• There are 4 characteristics of the Singing Conductor:
  • they have a heightened sensitivity to building sound
  • they emphasize sound for sound’s sake, and also sound that is directly connected to the context of the piece
  • they often see technical issues as opportunities for vocal warm ups
  • they place a high emphasis on communication and expression
• Think about your process. Look at conductors you admire, and figure out their approach.

Bio: Recognized as a leading conductor, pedagogue, and lecturer, Eugene Rogers has appeared throughout the United States as well as in Africa, Canada, China, Singapore, England, Portugal, Hong Kong, Luxembourg, Mexico, Spain, and Italy. Recently, Rogers received the Sphinx Medal of Excellence for his commitment to issues of social justice and leadership and conducted the University of Michigan Men's Glee Club in Salt Lake City, Utah at the National Convention of the American Choral Directors Association (ACDA). In December 2014, the Naxos recording of Milhaud's monumental L'Orestie d'Eschyle, on which Rogers served as a chorus master, was nominated for a 2015 GRAMMY® Award ("Best Opera Recording"). Rogers is currently associate director of choirs at U-M where he teaches undergraduate conducting, conducts the Men's Glee Club and the University Choir, and is the faculty director of the MPulse Vocal Arts Institute, a national high school summer program. In July, 2018, he will begin his new appointment as the Director of Choirs at Michigan, where he will oversee the graduate choral conducting program and direct the UM Chamber Choir. His past appointments include Macalester College (St. Paul, Minnesota), the Boys Choir of Harlem, Waubonsie Valley High School (Aurora, Illinois), and Anima Young Singers of Greater Chicago (formerly the Glen Ellyn Children's Choir). In 2013, Rogers co-managed the production of the joint CD Ye Shall Have a Song with the Michigan, Yale, and Harvard Glee Clubs, a collaboration celebrating America's three oldest collegiate choirs. Notable guest appearances include the Ministry Branch of Education Inaugural World Youth Choir Festival (Singapore); the Lisbon Summerfest Chamber Choir and Festival Chorus; VocalEssence and the Minnesota Public Radio Harmony in the Park; the Association for Music in International Schools (AMIS) High School Mixed Honor Choir (Luxembourg), the British Columbia Music Education Association Honor Choir; the NAfME All-Northwest High School Mixed Choir; Westminster Chamber Choir (Florence, Italy, and Princeton, New Jersey); Choral Music Experience (London, England); the Interscholastic Association of Southeast Asia High Schools Biennial Music Festival (Singapore); the Colorado All-State Choir; the Oregon All-State Mixed Choir, the Tlaxcala Mexico Second International Festival of Chamber Choirs; Choirs of America Festival (New York); the Oklahoma State University Choral Festival (Stillwater, Oklahoma); the Florida ACDA High School Mixed Honor Choir; the OAKE (Organization of American Kodály Educators) National Youth Honor Choir; the Alabama Middle School All-State Choir; Chorus America San Francisco Conference; the Illinois ACDA Summer Conference; the ACDA North Central Division Middle School Honor Choir; and the Vocalizze Youth Program in Lisbon. 2016-17 appearances include guest- conducting and conference presentations in Latvia, British Columbia, China, Madrid, Portugal, Singapore, California, Georgia, Minnesota, Ohio, Oregon, South Carolina, Texas, Virginia, Washington, and Michigan. In 2015, Mark Foster Publishing began the Eugene Rogers Choral Series, a series featuring emerging composers who specialize in contemporary classical and folk music traditions. In 2011, Rogers traveled to and studied the choral traditions of East Africa (Tanzania) and subsequently published editions of Tanzanian choral music under the Hal Leonard World Music Series. As a singer, Rogers has performed with the World Youth Choir, the Portland Symphonic Choir, the Saint Paul Chamber Orchestra Chorale, and the May Festival Chorus in Cincinnati, Ohio. In addition to his duties as a conductor, teacher, and singer, Rogers is the first national chair of Diversity Issues for the American Choral Directors Association National Conference, co-artistic director of Portugal's Lisbon Summer Choral Festival and, in 2010 and 2011, was the artistic director of the Disneyland Hong Kong Winter Choral Festival. He has served as a panelist for the National Endowment of the Arts and currently serves on the boards of Chorus America, the National Collegiate Choral Organization, and is the ChoralQuest series editor for the American Composers Forum. Rogers holds the Bachelor of Arts degree in choral music education from the University of Illinois at Urbana Champaign and the Master of Music and Doctor of Musical Arts degrees in choral conducting from U-M. Resources/links Mentioned: * Podcast Episode: Put the Text First, with Ryan Guth * Jerry Blackstone * Joe Miller * Emily Ellsworth * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Dr. Eugene Rogers gives you permission to listen to your gut. Whether it’s a move, a job, or even a bold programming choice, you can take risks. Some of them will pay off. Some of them will leave you stranded in New York City with no job and no car. But you will grow from all of them. Listen: Highlight to Tweet: “Choral music was deeply inside of me. I had a real passion for it, no matter what.” - Dr. Eugene Rogers Show Notes:

• Dr. Rogers decided to dedicate his life to music during a piano lesson while he was a high school student. The idea that he could make a living as a musician took root and never wavered.
• He originally thought he would be a singer. But conducting had a natural ease to it that compelled him to study further.
• Conducting allows him to most fully express his musical vision.
• Working for the Boys Choir of Harlem proved to be both a wonderful and a trying experience. Intending to stay in New York until he retired, Eugene was blindsided when the organization announced that because of financial difficulties they would no longer be able to pay him. But the experience reinforced for him that his life would always be centered on music.
• Always listen to your gut! Even when an experience doesn’t turn out the way you expect, you can still learn from it.

Bio: Recognized as a leading conductor, pedagogue, and lecturer, Eugene Rogers has appeared throughout the United States as well as in Africa, Canada, China, Singapore, England, Portugal, Hong Kong, Luxembourg, Mexico, Spain, and Italy. Recently, Rogers received the Sphinx Medal of Excellence for his commitment to issues of social justice and leadership and conducted the University of Michigan Men's Glee Club in Salt Lake City, Utah at the National Convention of the American Choral Directors Association (ACDA). In December 2014, the Naxos recording of Milhaud's monumental L'Orestie d'Eschyle, on which Rogers served as a chorus master, was nominated for a 2015 GRAMMY® Award ("Best Opera Recording"). Rogers is currently associate director of choirs at U-M where he teaches undergraduate conducting, conducts the Men's Glee Club and the University Choir, and is the faculty director of the MPulse Vocal Arts Institute, a national high school summer program. In July, 2018, he will begin his new appointment as the Director of Choirs at Michigan, where he will oversee the graduate choral conducting program and direct the UM Chamber Choir. His past appointments include Macalester College (St. Paul, Minnesota), the Boys Choir of Harlem, Waubonsie Valley High School (Aurora, Illinois), and Anima Young Singers of Greater Chicago (formerly the Glen Ellyn Children's Choir). In 2013, Rogers co-managed the production of the joint CD Ye Shall Have a Song with the Michigan, Yale, and Harvard Glee Clubs, a collaboration celebrating America's three oldest collegiate choirs. Notable guest appearances include the Ministry Branch of Education Inaugural World Youth Choir Festival (Singapore); the Lisbon Summerfest Chamber Choir and Festival Chorus; VocalEssence and the Minnesota Public Radio Harmony in the Park; the Association for Music in International Schools (AMIS) High School Mixed Honor Choir (Luxembourg), the British Columbia Music Education Association Honor Choir; the NAfME All-Northwest High School Mixed Choir; Westminster Chamber Choir (Florence, Italy, and Princeton, New Jersey); Choral Music Experience (London, England); the Interscholastic Association of Southeast Asia High Schools Biennial Music Festival (Singapore); the Colorado All-State Choir; the Oregon All-State Mixed Choir, the Tlaxcala Mexico Second International Festival of Chamber Choirs; Choirs of America Festival (New York); the Oklahoma State University Choral Festival (Stillwater, Oklahoma); the Florida ACDA High School Mixed Honor Choir; the OAKE (Organization of American Kodály Educators) National Youth Honor Choir; the Alabama Middle School All-State Choir; Chorus America San Francisco Conference; the Illinois ACDA Summer Conference; the ACDA North Central Division Middle School Honor Choir; and the Vocalizze Youth Program in Lisbon. 2016-17 appearances include guest- conducting and conference presentations in Latvia, British Columbia, China, Madrid, Portugal, Singapore, California, Georgia, Minnesota, Ohio, Oregon, South Carolina, Texas, Virginia, Washington, and Michigan. In 2015, Mark Foster Publishing began the Eugene Rogers Choral Series, a series featuring emerging composers who specialize in contemporary classical and folk music traditions. In 2011, Rogers traveled to and studied the choral traditions of East Africa (Tanzania) and subsequently published editions of Tanzanian choral music under the Hal Leonard World Music Series. As a singer, Rogers has performed with the World Youth Choir, the Portland Symphonic Choir, the Saint Paul Chamber Orchestra Chorale, and the May Festival Chorus in Cincinnati, Ohio. In addition to his duties as a conductor, teacher, and singer, Rogers is the first national chair of Diversity Issues for the American Choral Directors Association National Conference, co-artistic director of Portugal's Lisbon Summer Choral Festival and, in 2010 and 2011, was the artistic director of the Disneyland Hong Kong Winter Choral Festival. He has served as a panelist for the National Endowment of the Arts and currently serves on the boards of Chorus America, the National Collegiate Choral Organization, and is the ChoralQuest series editor for the American Composers Forum. Rogers holds the Bachelor of Arts degree in choral music education from the University of Illinois at Urbana Champaign and the Master of Music and Doctor of Musical Arts degrees in choral conducting from U-M. Resources/links Mentioned: * Boys Choir of Harlem * Shout out to Corey! * Seven Last Words of the Unarmed * University of Michigan * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Drawing on lessons learned while losing at pool, Ryan shares what it means to have an entrepreneurial mindset as a choir director. You will hear strategies about how to win at pool, how to lose at pool, and how to embarrassingly injure a friend during pool (with a step by step guide in the show notes). You will also hear why it is so important that we mindfully choose which kind of game we are going to play, which entrepreneurial super-skills you already posses, and how to avoid the traps that prevent you from being the real thing. Listen: Highlight to Tweet: “If your win is a standing ovation, you need a bigger win” - Ryan Guth Show Notes:

• You are already functioning as an entrepreneur in 2 WAYS: Through Task:

Recruitment = Sales Market concerts Concert Programs = Graphic Design Press releases = PR Concerts = Event planning Working one-on-one with a student who’s more invested than the others = Coaching Talking to parents = Counseling/Negotiation Sending detailed emails so your students do what you need them to do = Copywriting Making resources for students like practice tracks = content marketing Updating your “teacher page” = web design Creating and upholding the rules in your choir handbook = Contracts Making an itinerary for your choir’s trip to Disney World = Travel planning Budgeting = Budgeting Picking the uniforms = fashion design Problem solver Through thought: Knows his/her own “why” Stands for something Abundance-minded Proactive Solutions-oriented Focused on personal growth and learning. Self-aware Places the greatest value on helping others before themselves. Knows other people's “Why” Takes ego out of the equation Confident in his/her unique value proposition to the world. * What’s holding you back from being great?

Listening to haters and critics. It’s a long game, and a numbers game. You have to get through your “no’s.” “Good” concerts are part of the process. They aren’t all great. Worrying about things outside your control. Blaming others Comparing yourself to others Zero-sum mentality When you get close to success, imposter syndrome tries to shut you down. The biggest pitfall is sometimes the smallest one: small goals that produce small wins * Construct a big “win”...not one based solely on applause, scores, or the admiration of others.

Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program. Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a high school choir director in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan will be the keynote speaker at the Iowa Choral Directors Association Annual Summer Symposium, a presenter at the Chorus America Convention in the Summer of 2017, and a guest speaker at various other conferences and workshops throughout the year. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: * Choir Nation group on Facebook * Email Patreon - Support the podcast! * Instructions for setting up a nut-shot in a game of pool: 1. Tell the unsuspecting victim you know a cool trickshot, but that you’ll need him to be your assistant. 2. Place the quarter about 8 inches from the end of the table, right down the center line. 3. Have your victim position himself behind the quarter. 4. Hand him the two balls and, whilst patting him on the back, tell him “Now you have 4!” 5. Ask the victim to place one ball at each of the corner pockets, hanging over the edge, just about to fall in. 6. Direct your victim to place his pointer fingers on each ball to prevent them from accidentally falling into the pocket. 7. He will need to brace himself, so remind him to take a step back and balance on both feet. 8. Now, walk to the other end of the table, and explain that through magic and complex feats of 9th grade geometry, in one shot, you will hit the two balls into each pocket. ;) 9. Place the cue ball on the dot, aim for the quarter, and… if you hit the quarter just right… it’ll jump off the table directly into the victim’s unsuspecting “huevos rancheros”. 10. Lastly, point at your victim and have a good laugh at his expense.

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I won’t lie. It’s worth listening to this entire podcast just because five and a half minutes into it Dr. Yarrington does an impression of an orchestra warming up, and it gave me life. Besides that, there is valuable information here about vocal warm ups, accountability, choosing appropriate literature, student conductors, and why adults are more frustrating than children. Listen: Highlight to Tweet: “I want my kids to sing well, and be happy they sang well. Other than that, what is there?” - John Yarrington Show Notes:

• You don’t have time not to warm up each week
• Warm ups should be timed (5 minutes is plenty), more about listening than producing, and intentionally productive.
• Program for your students, not for yourself or other directors.
• Put your singers first. That means hard work, hard rules, and no participation trophies.

Bio: After 18 years as the head of the Choral Department at Houston Baptist University, Dr. John Yarrington has retired. During these years, a significant change in the choral culture was accomplished with outstanding concerts of varying repertoire, major works with orchestra, outstanding guests including Alice Parker, Morton Lauridsen, Dan Forrest, James Jordan, and Anton Armstrong. Five trips to the Classic Music Festival in Eisenstadt, Austria were accomplished and the HBU Schola Cantorum was the featured choir singing a concert in the Bergkirche, Haydn's church. Dr. Yarrington is a published composer and author - his latest book is Have We Had This Conversation, published by Sacred Music Press. He has completed a new book entitled "In Pursuit of Musical Excellence, yet to be published. Dr. Yarrington was, for 34 years, a full time church musician and continues today as the Chancel Choir Director of the First Presbyterian Church of Houston. At Pulaski Heights UMC in Little Rock, Arkansas, he started the Arkansas Symphony Orchestra Chorus and was, for a season, interim conductor of the orchestra. He also was Artistic Director of the Arkansas Chamber Singers for several seasons - a professional choral group. Resources/links Mentioned: * Houston Baptist University * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Did you ever want to sit down with one of the great choral directors over coffee and just chat? It might go something like this. Ryan and Dr. John Yarrington cover a lot of ground in this interview, including avoiding yard work in retirement, politically correct Christmas carols, the importance of doing great works and basic literature, reasons why Texas is a choral powerhouse, Alice Parker, not speaking to Robert Shaw, how Ryan self-identifies as Texan, Bach motets, and choral overreach. Listen: Highlight to Tweet: “Adjunct is Latin for “work your butt off for no money” - John Yarrington Show Notes:

• Dr. Yarrington did not spend his career in academia, even though he has recently retired from Houston Baptist University. Instead, his background is mainly in large churches.
• Ya’ll. Just leave his Christmas carols alone. Don your gay apparel or just get out.
• Working with Alice Parker taught him the importance of text.
• Start with the text, and protect it faithfully.

Bio: After 18 years as the head of the Choral Department at Houston Baptist University, Dr. John Yarrington has retired. During these years, a significant change in the choral culture was accomplished with outstanding concerts of varying repertoire, major works with orchestra, outstanding guests including Alice Parker, Morton Lauridsen, Dan Forrest, James Jordan, and Anton Armstrong. Five trips to the Classic Music Festival in Eisenstadt, Austria were accomplished and the HBU Schola Cantorum was the featured choir singing a concert in the Bergkirche, Haydn's church. Dr. Yarrington is a published composer and author - his latest book is Have We Had This Conversation, published by Sacred Music Press. He has completed a new book entitled "In Pursuit of Musical Excellence, yet to be published. Dr. Yarrington was, for 34 years, a full time church musician and continues today as the Chancel Choir Director of the First Presbyterian Church of Houston. At Pulaski Heights UMC in Little Rock, Arkansas, he started the Arkansas Symphony Orchestra Chorus and was, for a season, interim conductor of the orchestra. He also was Artistic Director of the Arkansas Chamber Singers for several seasons - a professional choral group. Resources/links Mentioned: * University of Oklahoma * Houston Baptist University * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Ryan continues his conversation with Los Angeles based Filipino composer Saunder Choi. In this episode they delve more deeply into the question of what constitutes an authentic cultural exchange. Saunder makes the case for more fully exploring a culture by going beyond the well-known folk or patriotic songs, and looking to their contemporary poetry and stories. Listen: Highlight to Tweet: “Explore music from other countries that are not folk songs.” -Saunder Choi Show Notes:

• Culture shock, moving to the US, and being an immigrant composer. (cultural exchange through music)
• Why musical hybrids are interesting
• Music, social justice, and why mixing the two is inevitable.
• Choral music of Asia and why conductors should go past programming on folk songs of that region. (Globalization hazzuh!)

Bio: Saunder Choi is an emerging LA based Filipino composer. his works been performed, programmed, recorded and read by the USC Thornton Symphony, Boston Philharmonic Youth Orchestra, Philippine Madrigal Singers, the Crossing Choir, the LA Master Chorale, USC Chamber Singers, Peninsula Women’s Chorus, Kalistos Chamber Orchestra and the Oregon Bach Festival Composers Symposium Chorus. He has been commissioned by the L.A. Choral Lab, Andrea Veneracion International Choral Festival, Salt Lake Choral Artists, SYC Ensemble Singers of Singapore, Choral Arts Initiative, University of the East Chorale, University of Visayas Chorale, etc. As an arranger and orchestrator, Saunder has written Tony Award-winner Lea Salonga, the ABS-CBN Philharmonic Orchestra, Maestro Gerard Salonga, the Tim Janis American Christmas Carol Show at Carnegie Hall, Ballet Philippines, and the Hong Kong production of Pippin. As a vocalist, he sung in groups such as the Philippine Madrigal Singers, LA Choral Lab, Tonality, C3LA, USC Chamber Singers, Boston Choral Ensemble, Lore Vocal Ensemble, etc. He also serves as the choir director at St. Matthew’s Lutheran Church in North Hollywood and teaching artist for Pacific Chorale. Saunder holds composition degrees from USC Thornton School of Music (MM) and Berklee College of Music (BM), where his primary teachers include Ted Hearne, Donald Crockett, and Andrew List. Resources/links Mentioned: * Philippine Madrigal Singers * Choral Arts Initiative * Saunder Choi * Saunder Choi on Facebook * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Los Angeles based Filipino composer Saunder Choi was raised in a Chinese family, and his diverse cultural background is informing his voice as an emerging choral composer. Saunder’s motive in composition is to use music to facilitate cultural exchange, telling stories that people might not otherwise hear. Ryan and Saunder discuss Philippine choral culture, family business dynamics, dead white guys, and what it was like to be an immigrant during the 2016 election in this first episode of a two-part series. Listen: Highlight to Tweet: “More and more people are composing pieces...that are not settings of poetry by dead white guys.” -Saunder Choi Show Notes:

• Choral Arts Initiative 5th anniversary concert will premiere of 5 new works by southern California composers, including a new piece by Saunder.
• Saunder had to make a hard decision to pursue composition in the US, against the expectations that he would remain in the Philippines and help run the family business.
• After many tours with the Philippine Madrigal Singers performing folk songs from their respective countries, Saunder began to realize that choral music should go beyond folk songs, and reflect the stories of living people.
• In response to the 2016 election, Saunder reflected heavily on his status as an immigrant in the US. That awareness is infused into his recent works.

Bio: Saunder Choi is an emerging LA based Filipino composer. his works been performed, programmed, recorded and read by the USC Thornton Symphony, Boston Philharmonic Youth Orchestra, Philippine Madrigal Singers, the Crossing Choir, the LA Master Chorale, USC Chamber Singers, Peninsula Women’s Chorus, Kalistos Chamber Orchestra and the Oregon Bach Festival Composers Symposium Chorus. He has been commissioned by the L.A. Choral Lab, Andrea Veneracion International Choral Festival, Salt Lake Choral Artists, SYC Ensemble Singers of Singapore, Choral Arts Initiative, University of the East Chorale, University of Visayas Chorale, etc. As an arranger and orchestrator, Saunder has written Tony Award-winner Lea Salonga, the ABS-CBN Philharmonic Orchestra, Maestro Gerard Salonga, the Tim Janis American Christmas Carol Show at Carnegie Hall, Ballet Philippines, and the Hong Kong production of Pippin. As a vocalist, he sung in groups such as the Philippine Madrigal Singers, LA Choral Lab, Tonality, C3LA, USC Chamber Singers, Boston Choral Ensemble, Lore Vocal Ensemble, etc. He also serves as the choir director at St. Matthew’s Lutheran Church in North Hollywood and teaching artist for Pacific Chorale. Saunder holds composition degrees from USC Thornton School of Music (MM) and Berklee College of Music (BM), where his primary teachers include Ted Hearne, Donald Crockett, and Andrew List. Resources/links Mentioned: * Philippine Madrigal Singers * Choral Arts Initiative * Saunder Choi * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Your music program probably didn’t come with an instruction manual, which is a shame. Fret not, because Justin Caithaml has a list of tools to supercharge your program. These aren’t just teaching tips. This is an explanation of national programs that can impact your choir, and some ways to get school-wide recognition and appreciation for your choir. Listen: Highlight to Tweet: “It’s the music that makes me come to school each day.” - Justin Caithaml’s student Show Notes:

• Consider starting a chapter of the Tri M Music Honors Society.
• “Music In Our Schools Month” is March.
• At the beginning of the year publish a Music Department flyer with all concert dates for the year.
• A school-wide assembly for the choir to give a concert to the entire student body.
• Start your first choir rehearsal with the writing prompt: “It’s the music that….”

Bio: Justin Caithaml graduated Magna Cum Laude from Baldwin Wallace University in 2014 with a Bachelor of Music Education degree. He currently serves as Choir Director for grades 7-12 at Midview Local Schools, west of Cleveland. In addition, he serves as choir director at Bethel Lutheran Church and is the state advisor for the Tri-M Music Honor Society. He is a board member at the Ohio Alliance for Arts Education and is also a member of the Collaborative for Arts Education in Ohio. An Ohio native, he is a 2010 graduate of Midview High School, where he was a recipient of the National School Choral Award. Resources/links Mentioned: * Matters in the Arts (Justin’s blog) * Tri M Music Honors Society * Music in Our Schools Month * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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The best thing we can do for our music education programs is to be actively involved in the discussions that shape our standards. Don’t just respond to decisions that other people make without the benefit of an arts advocate guiding them. In this episode Justin deconstructs the Every Student Succeeds Act, No Child Left Behind, Common Core, and the mysteries of speaking your administration’s language. Listen: Highlight to Tweet: “It’s easy to feel unappreciated….It’s easy to turn negative. The challenge becomes not letting those thing flips the switch in your brain, and maintaining the momentum you’ve already established.” - Justin Caithaml Show Notes:

• In the Every Student Succeeds Act (ESSA) music is listed as its own subject for a well rounded education (for the first time). Federal law now backs you up when you advocate for music education.
• Be aware of your state’s response to the legislation. Be informed, so that you can be an effective advocate.
• Find out how your administration is responding to the ESSA.
• In the 19080’s, when the “A Nation at Risk” report came out, the arts community slow to respond. National standards were not set until the 90’s. We need to be actively involved with the ESSA rollout and implementation, not responding years later to the decisions other people have made.
• How can we communicate the skills we are teaching like other subjects, without compromising the integrity of our own? Our administrators likely do not have fluency in our subject or its language. We are the translators.
• Find ways to uses tools (Sight REading Factory, self-assessment rubrics) to meet standards using the language your administration uses.
• Make use of your opportunities (like concerts) to explain how what they are hearing reflects a standard they have achieved.

Bio: Justin Caithaml graduated Magna Cum Laude from Baldwin Wallace University in 2014 with a Bachelor of Music Education degree. He currently serves as Choir Director for grades 7-12 at Midview Local Schools, west of Cleveland. In addition, he serves as choir director at Bethel Lutheran Church and is the state advisor for the Tri-M Music Honor Society. He is a board member at the Ohio Alliance for Arts Education and is also a member of the Collaborative for Arts Education in Ohio. An Ohio native, he is a 2010 graduate of Midview High School, where he was a recipient of the National School Choral Award. Resources/links Mentioned: * Everything ESSA * ESSA and the arts * Strong Arts, Strong Schools: The Promising Potential and Shortsighted Disregard of the Arts in American Schooling, by Charles Fowler * Valuing Music in Education: A Charles Fowler Reader, Edited with critical commentary by Craig Resta * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Exactly what it says on the tin. In addition to refining your game, you will also discover how the principles of flirtation can be applied to your performances. It’s about caring as much for the context of your performance as the content. It’s also about WikiHow, movie heroes, Stevie’s wedding, pick up lines, Steve Martin, gig boxes, henchmen, and how Ryan picked up his fiancée Amanda. Listen: Highlight to Tweet: “I love the concept of performance as a conversation...most of the time, our performances are monologues.” -Stevie Berryman “Boom! I stole your point, Stevie!” - Ryan Guth Show Notes:

• How to Flirt, according to WikiHow
  • Make eye contact.
  • Smile.
  • Start a conversation.
  • Keep it playful.
  • Compliment them.
  • Craft a pick-up line.
• How to Run a Con
  1. Smile
  2. Get them to say “yes” to something
  3. Give them something
  4. Ask for what you want (be specific), but make it sound like you are doing them a favor.
• The qualities of Bond
  • Confidence = preparation
  • Appearance = planning
  • Energy = work
  • Focus = eliminating distractions

Bio: Stevie Berryman is shockingly good at video games. She can fold a fitted sheet so it looks like it came right out of the package. Likewise, her skills as music director and teacher have also been acquired through long hours of arduous and dedicated practice. For much of her career Stevie has directed seven or more ensembles each week, meaning she has 98 years of experience (in dog years). Her effusive energy and wild creativity found a perfect setting in 2013 when she became the Artistic Director of the Houston Chamber Ringers, which has let her smash together her love for music, laughter, and tacos in a truly remarkable way. She has a particular passion for teaching children how to ring, and her innovative methods have made her a sought after educator at area and national handbell festivals. Stevie loves helping other choirs as a private clinician, or planning epic concerts for them as a creative consultant. Her next step in global domination is to take over the choral world, which is a side bonus of her job as Chief Awesomeness Officer at the Choir Ninja Podcast. Resources/links Mentioned: * http://www.wikihow.com/Flirt * Joe Miller, Westminster Choir * LA Master Chorale * Captivate by Vanessa Van Edwards * Follow Stevie on Facebook: Stevie Be Music * Choir Nation group on Facebook * Email Patreon - Support the podcast! * The happy couple, 1994. Totes adorbs.

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This is the complete toolkit. So you just need to do two things. 1.) Listen to this episode. 2.) Start your own contemporary a cappella ensemble (vocal band). J. D. Frizzell outlines every why, how, and what you need to know to bring this insanely popular vocal experience to your school. Listen: Highlight to Tweet: “Everybody in the area of a cappella education is very open and helpful, so please reach out to us” - J.D. Frizzell Show Notes:

• Contemporary a cappella = a vocal band. It performs popular music, singing the instrumental and percussion lines in addition to the lyrics.
• Contemporary a cappella is a valuable tool for smaller schools to engage students in choir. It is excellent for recruiting students, but also for engaging your audience.
• This style of singing helps drill essential singing skills: pitch, rhythm, tone, diction, etc.
• You have several options for music: buy published charts, arrange it yourself, or get others to arrange for you.
• Vocal percussion: look for a student who can be consistent with their sounds, consistently producing quality sounds, and then...practice. Student needs a solid sense of tempo.
• Mics, sound systems are great, but not mandatory when starting out. There are lots of good options, and no single right answer to the question, “What should I buy?”.

Bio: J.D. Frizzell is the Director of Fine Arts at Briarcrest Christian School in Memphis, TN. He graduated in May 2017 with a doctorate in choral conducting from The University of Kentucky. J.D. has had best selling compositions around the world, with music published by Santa Barbara, Lorenz, Heritage, Colla Voce, Alfred, and others. A leader in the contemporary a cappella movement, he's the co-founder and President of The A Cappella Education Association. His group OneVoice has been on America's Got Talent, performed at ACDA, collaborated with The Swingles and New York Voices, won the Macy's All-School A Cappella Challenge judged by Pentatonix, and recorded with SONY. Resources/links Mentioned: * A Cappella How * Better A Cappella * Deke Sharon at Total Vocal * Robert Dietz * Ben Bram * A Cappella Psyche * Random Notes * The Vocal Company * Camp A Cappella * A Cappella Warm Ups for Pop Choirs, by J. D. Frizzell * One Voice * Jdfrizzell.com * A Cappella Education Association * The National A Cappella convention * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Something happened on the way to the a cappella ensemble. Composer and conductor J.D. Frizzell has some wisdom to share about building relationships with your singers and their parents, and how to maintain a supportive choir program. So before they settle into discussing the mechanics of starting an a cappella ensemble from scratch (catch that episode on Friday), Ryan and J.D. talk about One Voice, Maroon 5, babies, and explosions. Listen: Highlight to Tweet: “Ryan, it was like the school exploded, from the inside out.” - J.D. Frizzell Show Notes:

• Dr. Frizzell started with what he knew, a jazz ensemble. When that didn’t catch on the way he wanted, he tried a cappella, and it was an instant hit.
• The students connected strongly with the material, and were eager to practice it on their own.
• Their desire to get every nuance of their music right has also transformed the rest of the choir program, as those students bring that same drive and work ethic with them to rehearsal with other choirs.
• A successful a cappella group could breed resentment. Head that off by being equally invested and present with each of your ensembles.
• Parents want and need to know that you are competent, in control, and that you care. If they know those “3 C’s,” parents will be your assets and allies.

Bio: J.D. Frizzell is the Director of Fine Arts at Briarcrest Christian School in Memphis, TN. He graduated in May 2017 with a doctorate in choral conducting from The University of Kentucky. J.D. has had best selling compositions around the world, with music published by Santa Barbara, Lorenz, Heritage, Colla Voce, Alfred, and others. A leader in the contemporary a cappella movement, he's the co-founder and President of The A Cappella Education Association. His group OneVoice has been on America's Got Talent, performed at ACDA, collaborated with The Swingles and New York Voices, won the Macy's All-School A Cappella Challenge judged by Pentatonix, and recorded with SONY. Resources/links Mentioned: * One Voice * Your Choir Sucks Because You Suck * Jdfrizzell.com * A Cappella Education Association * The National A Cappella convention * Choir Nation group on Facebook * Email Patreon - Support the podcast!

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Ryan looks back on lessons learned this past year as a choir teacher in a new school/state/culture. This is a must listen for anyone...novice or veteran...who is entering a new classroom (or any choir podium). You might want to make sure you listen to the whole thing. Allllll the way to the end. Listen: Highlight to Tweet: “Wait...can we just end it like that...awkward silence...and then just go to your tag? Could we do that?” - Stevie Berryman Show Notes:

• Keep your ambition in check. (Don’t make changes too soon.)
• Trust takes time.
• Talk less, sing more.
• Concerts are your time to establish yourself in the community.
• Choose your battles.
• New school (state) = New culture
• Create non-classroom bonding experiences.
• Embrace your predecessor.
• Don’t compare your new students to your former students.
• Don’t compare yourself to the previous director.

Resources/links Mentioned: * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Since she’s away at choir camp, it’s “Stevie Week” on the Choir Ninja podcast. Today’s episode is a re-airing of one of our top episodes of the Find Your Forte podcast. Stevie Berryman, of Stevie Be Music, explains how she goes beyond programming to create concert experiences that entertain, sell out, and create raving fans. She gives examples of her own concert experiences and breaks down the essential elements. Listen: Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Since she’s away at choir camp, it’s “Stevie Week” on the Choir Ninja podcast. Today’s episode is a re-airing of one of our top Technique Tuesdays from the Find Your Forte podcast. It’s about how to write a bio that makes audiences root for you before you even step foot on stage. This one is perfect for conductors, teachers, and performers alike. Enjoy! Listen: Show Notes: Ready to write your own? Here’s how to do it: Step 1: Know who you are. That is not the same as knowing what you do. This is about identifying your brand, whatever it is that makes you special. If you cannot articulate in a few clear sentences exactly who you are, then you need to go back and listen to Technique Tuesday episode 16, where Ryan explains how to find your “Why.” Step 2: List your wins. You are good at something that no one will ever give you an award for. Make a list. Maybe you make a great martini. Maybe you are ambidextrous. Maybe you once performed an original kazoo solo in a talent show. Don’t tell us the things you are best at; tell us about those things that best reveal your brand. Step 3: Consider your flaws. Vulnerability can be very attractive. This isn’t therapy, or confession; it’s just a time to acknowledge that you are a complete human, which means you aren’t perfect. Step 4: Think non-linearly. This doesn’t mean to slice up your regular bio, shuffle all your achievements, then deal them out randomly. It just means focus on balance rather than chronology. Take some bad with the good, some serious with the fun. Step 5: Delete something. Coco Chanel infamously recommended, “Before leaving the house, a lady should stop, look in the mirror, and remove one piece of jewelry.” Once you’ve written your bio, go back and delete something. Maybe two somethings. Your bio is too long. I don’t even have to look at it to know it’s too long. It’s a fact: no one is as interested in you as you are. Make it shorter, please. 3 Key Takeaways:

1. Do the best you can, and realize the eye rolls aren’t about you.
2. See their behavior as their pain.
3. Consistently model the respect and behavior you want them to reflect back at you.

Biography: Stevie Berryman has served as the Conductor and Artistic Director of the Houston Chamber Ringers since August 2013. She is the Director of Handbells and Children’s Music at Kinsmen Lutheran Church in Houston and assists with the fourth grade chimes choirs at Frank Elementary School. Stevie began ringing handbells over 20 years ago as a founding member of the Soli Deo Gloria Youth Handbell Choir at St. Stephen’s UMC in Broken Arrow, OK. She’s been ringing ever since all over the country, and is a former member of the Houston Bronze Ensemble. She has a particular passion for teaching children how to ring, and her innovative methods have made her a sought after educator at handbell festivals and in private clinics. Stevie also plays violin, piano, and can bang out “The Hokey Pokey” on ukulele. She can fold clothes like a ninja, including fitted sheets (thanks, Mom). Her children are the most brilliant and beautiful creatures on the planet. She collects shot glasses from universities she has visited (about 50 so far). She quilts (occasionally) and knits (badly) and loves watching terrible action movies with her husband, Paul. Her hobbies include making puns, embarrassing her children, and buying scrapbooking supplies just to look at, apparently. Stevie teaches every chance she gets. She has been an instructor at many events in Area 9 of the Handbell Musicians of America, including numerous Summit and FebFest appearances. She is also active as a private clinician, working with individual choirs in Texas cities including Houston, Bryan, Irving, Brenham, and Fulshear. In 2015 she taught three classes at Pinnacle, the National Handbell Festival in Dallas, TX. That same year the Houston Chamber Ringers were invited to give the opening concert for the event. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Beth Richey-Sullivan discusses strategies for surviving the most perilous of choir director jobs: taking over a program from a rockstar. When your predecessor is both beloved and skilled, the incoming director needs “the skin of an elephant and the heart of a butterfly.” This episode is full of jaw-dropping examples that Beth culls from this past year of taking over from an adored former director. Her warmth, encouragement, and wisdom is required listening for anyone stepping into a new job. Listen: Highlight to Tweet: “You need to have the skin of an elephant, and the heart of a butterfly.” -Beth Richey-Sullivan Show Notes:

• Be transparent with your administration, both in your needs and expectations.
• You need the skin of an elephant, and the heart of a butterfly (Be tough-skinned, but tenderhearted).
• Beth and her husband have fostered 13 children over three years, many of whom deal with their pain with outwardly aggressive behavior. “See their behavior as their pain.”
• “I will treat you with respect, so that you know how to treat me.” It’s a long game, but worth the extra time it takes.
• Beth has a history of dealing with kids with trauma. When a director leaves, it is a loss for them. You're dealing with a traumatic situation.

3 Key Takeaways: 1. Do the best you can, and realize the eye rolls aren’t about you. 2. See their behavior as their pain. 3. Consistently model the respect and behavior you want them to reflect back at you.

Resources/links Mentioned: * Padlet.com * Emotional Intelligence * Find your Adverse Childhood Experience score * Choir Nation group on Facebook * Email Patreon - Support the podcast!

Biography: Beth Richey-Sullivan is a native of Kansas City, Missouri where she completed her undergraduate degree in both Choral & Instrumental Music Education at the University of Missouri, Kansas City, Conservatory of Music & Dance. She received her Master’s of Music in Choral Conducting at UCLA with Donald Neuen. During her eleven years in California, she was very successful. She was the conductor of the Towne Singers in La Cañada, CA for 7 successful seasons and commissioned Eric Whitacre’s “Seal Lullaby” with this 100 voice community chorus. Beth revitalizing a Choral program at Hoover High School & Toll Middle School in Glendale, CA where she conducted Choral Music, grades 6-12. In 2015, she moved home to Overland Park, KS with her husband Pat and three wonderful children. She just completed her first year as conductor at Blue Valley Northwest High School in Overland Park, KS, where both Chamber Singers and Chorale received perfect ratings at State Festival. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Purpose, mission, vision...it’s all the same idea. Why do you do what you do? Now that the pressures of concert and contest season are behind you, it’s time to spend some time wrestling with the big questions. There are no easy answers, but Ryan and Stevie Berryman walk you through the discussions you need to have with your musicians, your board, or just the director in the mirror. Listen: Highlight to Tweet: “It’s important that as musicians we are consumers as well as producers.” - Stevie Berryman Show Notes:

• “Who do you serve?” is one of the most important questions for a group to ask themselves, but it is frequently overlooked.
• Just being good at what you do is not enough to compel an audience to show up for what you do. We are flooded with great performances, both live and in digital formats.
• “Who do you serve” is not necessarily the same question as “Who is your audience”. You might serve your members, your community, your church congregation, other students.
• To figure out your answer, try focusing on the “One Thing.” Brainstorm answers in a journal. Ask “when am I my best self?”
• We all should be consumers of choral music as well as producers. Think of the concerts you attend purely for the pleasure of it, not because you are in any way responsible for it. Why do you show up? In what way are you being served?
• It is so easy to hear great performances that being good at what you do is likely not enough to get people to show up. Refining your concept of who you serve, and reflecting that in your group mission statement, will help you attract the people you want to serve.
• Craft a mission statement that reflects your group’s notion of who they serve. Beyond being the “premiere” music ensemble in your area, what do you really do?
• Use the summer break to answer these big picture questions. Talk about it with your board and your members. Consider having a retreat (at a different location than your rehearsal space) so that everyone in your group can have a voice in this discussion.

3 Key Takeaways: 1. Why should someone care enough about what you do to show up for your concert? 2. Don’t underestimate the value of showing up. Be a consumer of music, not just a producer. 3. Our culture is saturated in outstanding art. That means that just being good, even great, is no guarantee that anyone will listen to you. You delivery of your art is nearly as important as the art itself.

Resources/links Mentioned: * A servant cannot serve two masters * The One Thing, by Gary Keller * Brass Beats * cravat/dickie debate: A cravat is a short, wide strip of fabric worn by men around the neck and tucked inside an open-necked shirt. A dicky is a false shirt front. So while it is not impossible to wear the two together, it is unlikely. * Choir Nation Facebook group: let us know if you use Sight-Reading Factory in your church choir! * Email Patreon - Support the podcast!

Biography: Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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As if free hoodies weren’t enough, Catherine Dehoney introduces you to the wealth of support available through Chorus America. She and Ryan also discuss the changing choral landscape, and exactly what it takes to thrive as a professional community chorus. And yes, for real...free hoodies. Listen: Highlight to Tweet: “Choral singing creates community like no other activity on the planet.” - Catherine Dehoney Show Notes:

• Chorus America primarily assists those choruses serving their communities as 501c3 organizations, but their larger focus is choral arts advocacy.
• Many of the choral fields (church, school, community) overlap, and chorus directors tend to wear more than one hat.
• Chorus America tries to translate non-profit management principles to choruses, to help them survive and thrive in the world of grants and public monies.
• Having a well defined mission is essential.
• Choral music educators are essential in the overall health of the choral field. They are the ones who control the supply pipeline.
• Professionals: support choral educators! Offer up an in class clinic, free concert tickets...anything to help school choirs and their directors, and to refresh their spirits!
• Chorus America provides a tool to survey your audience about their preferences and motivations for attending your concerts.
• If you are not constantly trying to expand your audience, you are losing relevance in your community.
• Choir Nation...Chorus America is giving you hoodie!!!

3 Key Takeaways: 1. Chorus America primarily serves the 501c3 choral community, but networks with all organizations in the choral field. 2. Choral music educators control the future of choral singing. 3. Register for Chorus America, and then email your receipt to membership@chorusamerica.org to claim your hoodie, a special gift for Choir Nation from Chorus America!

Resources/links Mentioned: * Chorus America * NEA - National Endowment for the Arts * Definition of insanity * Cantus * Intrinsic Impact Audience Survey – audience surveying data from 23 different choruses about the value audiences get from different types of choral programming. https://www.chorusamerica.org/advocacy-research/intrinsic-impact-audience-project-executive-summary * Chorus America 2009 Chorus Impact Study – this research shows the civic impact of choral singers plus provides data on the benefits of choral singing for kids in schools. https://www.chorusamerica.org/publications/research-reports/chorus-impact-study * https://www.chorusamerica.org/advocacy-research/intrinsic-impact-audience-project-full-repo * Email Patreon - Support the podcast!

Biography: Catherine Dehoney, president and CEO of Chorus America, brings a wealth of experience in arts management and fundraising to her work in the choral field. She took on her current role at Chorus America in 2015, coming from the position of executive director of development at the Castleton Festival. Dehoney previously served as the chief development officer at Chorus America for over ten years. Her other experience includes a nine-year tenure as senior director of development at Gallaudet University, capital campaign management, development consulting for a variety of arts nonprofits, and fundraising positions at the League of American Orchestras, the Council for Advancement and Support of Education, and the Friends of the John F. Kennedy Center for the Performing Arts. Dehoney received her BA in music from the College of William and Mary and continues to be an avid singer, having sung professionally in church choirs and with a jazz band. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Choir Ninja REWIND: Part 2 of Gabriel Crouch’s inspirational first year appearance on the podcast. This part goes deep into why choir experiences are important, whether you end up as a choral professional or an investment banker. It also touches on some startling differences between choral education in America and Great Britain. Listen: Highlight to Tweet: “The best thing that we can do, as educators, is give a generation of students an idea of beauty that will sustain them through their life, wherever it takes them.” - Gabriel Crouch Resources/links Mentioned:

• Princeton University
• Patreon - Support the podcast!

Biography: Gabriel Crouch is Director of Choral Activities and Senior Lecturer in Music at Princeton University. He began his musical career as an eight-year-old in the choir of Westminster Abbey, where he performed a solo at the wedding of HRH Prince Andrew and Miss Sarah Ferguson. After completing a choral scholarship at Trinity College, Cambridge, he was offered a place in the renowned a cappella group The King’s Singers in 1996. In the next eight years he made a dozen recordings on the BMG label (including a grammy nomination), and gave more than 900 performances in almost every major concert venue in the world. Special collaborative projects saw him working and performing with some of the world’s most respected artists, including percussionist Evelyn Glennie, pianists Emmanuel Ax and George Shearing, singer Barbara Hendricks and ‘Beach Boy’ Bruce Johnston. Since moving to the USA in 2005, first to run the choral program at DePauw University in Indiana, and now at Princeton University, he has built an international profile as a conductor and director, with recent engagements in China and Australia as well as Europe and the United States. In 2008 he was appointed musical director of the British early music ensemble ‘Gallicantus’, with whom he has released four recordings under the Signum label to rapturous reviews, garnering ‘Editor’s Choice’ accolades inGramophone and Early Music Review, and, for the 2012 release ‘The Word Unspoken’, a place on BBC Radio’s CD Review list of the top nine classical releases of the year. When the academic calendar allows, Gabriel maintains parallel careers in singing and record production, crossing the Atlantic frequently to appear with such ensembles as Tenebrae and The Gabrieli Choir, and in the US, performing recitals of lutesong with such acclaimed lutenists as Daniel Swenberg and Nigel North. As a producer his latest credits have included Winchester Cathedral Choir, The Gabrieli Consort and Tenebrae. His achievements in the choral world have led to many invitations to adjudicate choral competitions, notably the mixed choir final of ‘Sainsbury’s Choir of the Year’ (televised by the BBC). His work as a singer, coach and musical director has led to his name appearing in the London Times’ list of ‘Great British Hopes’. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Sometimes a perceived set-back is really the best way forward. There is so much gold in this early two-part episode that it’s worthwhile to spotlight it now. In this segment, Gabriel discusses his upbringing in a musical family, and his early ambivalence towards music, even while entering Cambridge on a music scholarship. He goes on to recount a less-than-stellar first year at DePauw University, where he was learning to conduct on the job. It’s ultimately uplifting, as Gabriel and Ryan go on to discuss how our failures make us better. Listen: Highlight to Tweet: “Brahms studied counterpoint every day of his life. If it was good enough for him, it should be good enough for us.” - Gabriel Crouch Resources/links Mentioned:

• Narcissus and Goldmund: A Novel
• The Greatest Glory of Our Muses
• Jeeves & Wooster
• The Liar, by Stephen Fry
• Patreon - Support the podcast!

Biography: Gabriel Crouch is Director of Choral Activities and Senior Lecturer in Music at Princeton University. He began his musical career as an eight-year-old in the choir of Westminster Abbey, where he performed a solo at the wedding of HRH Prince Andrew and Miss Sarah Ferguson. After completing a choral scholarship at Trinity College, Cambridge, he was offered a place in the renowned a cappella group The King’s Singers in 1996. In the next eight years he made a dozen recordings on the BMG label (including a grammy nomination), and gave more than 900 performances in almost every major concert venue in the world. Special collaborative projects saw him working and performing with some of the world’s most respected artists, including percussionist Evelyn Glennie, pianists Emmanuel Ax and George Shearing, singer Barbara Hendricks and ‘Beach Boy’ Bruce Johnston. Since moving to the USA in 2005, first to run the choral program at DePauw University in Indiana, and now at Princeton University, he has built an international profile as a conductor and director, with recent engagements in China and Australia as well as Europe and the United States. In 2008 he was appointed musical director of the British early music ensemble ‘Gallicantus’, with whom he has released four recordings under the Signum label to rapturous reviews, garnering ‘Editor’s Choice’ accolades inGramophone and Early Music Review, and, for the 2012 release ‘The Word Unspoken’, a place on BBC Radio’s CD Review list of the top nine classical releases of the year. When the academic calendar allows, Gabriel maintains parallel careers in singing and record production, crossing the Atlantic frequently to appear with such ensembles as Tenebrae and The Gabrieli Choir, and in the US, performing recitals of lutesong with such acclaimed lutenists as Daniel Swenberg and Nigel North. As a producer his latest credits have included Winchester Cathedral Choir, The Gabrieli Consort and Tenebrae. His achievements in the choral world have led to many invitations to adjudicate choral competitions, notably the mixed choir final of ‘Sainsbury’s Choir of the Year’ (televised by the BBC). His work as a singer, coach and musical director has led to his name appearing in the London Times’ list of ‘Great British Hopes’. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Contests are over, your concert was a smash, but yikes...there are still two weeks of class left! We sourced several skilled Choir Ninjas for this episode to bring you classroom tested ideas to keep kids singing, keep kids learning, and to keep you happy. You might even find yourself coming out ahead on your preparations for the fall! Listen: Download the massive list of activities   Resources/links Mentioned: * Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Fighting to save music and arts in his school system inspired Justin to become an advocate for music in his community. Now he shares his vision for what it means to be an advocate for your music program. This episode will renew your fire for teaching and your faith in your purpose. Listen to the depth of wisdom from this rising star in the music education world. Listen: Highlight to Tweet: “At the end of it all, it’s the music that matters. That’s what will change lives.” - Justin Caithaml Show Notes:

• “Proactive advocacy” means starting with the students first.
  • Complete the prompt: “It’s the music that…”
• Identify and network with your community stakeholders
  • Local artists, artists in residence, or visiting artists
  • PR and marketing outreach
  • School board members
• We need not defend music existence. We need not define ourselves by how we relate to other subjects. Two main philosophy "camps"
  • Music for music's sake
  • Music enhancing academic goals
• Our "Why" must align with our "What" (Read Start with Why!)
• Avoid the scarcity mindset in advocating your program. You matter. Make no apology for your existence.
• A great music program advocates for itself. There is no substitute for this organic, genuine advocacy.
• A win for one choir is a win for all of us. Lift each other up.
• You are a self-fulfilling prophecy. You must know, every day, why you are there, and that you are making a difference in the lives of your students.

3 Key Takeaways: 1. Overt student buy-in into your mission is imperative. 2. Get the attention of your community stakeholders. 3. Your program is worthwhile, and it makes a difference. Arts have an impact, and should be valued by everyone, not just your students.

Resources/links Mentioned: * Start With Why by Simon Sinek * Patreon - Support the podcast!

Biography: Justin Caithaml graduated Magna Cum Laude from Baldwin Wallace University in 2014 with a Bachelor of Music Education degree. He currently serves as Choir Director for grades 7-12 at Midview Local Schools, west of Cleveland. In addition, he serves as choir director at Bethel Lutheran Church and is the state advisor for the Tri-M Music Honor Society. He is a board member at the Ohio Alliance for Arts Education and is also a member of the Collaborative for Arts Education in Ohio. An Ohio native, he is a 2010 graduate of Midview High School, where he was a recipient of the National School Choral Award. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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With over 600 choral compositions in publication, Prof. James Mulholland of Butler University chats with Ryan just before a concert exclusively of his works (including a new commission). Dropping the names of legends and movie quotes with equal ease, Prof. Mulholland reminisces on his early creative influences with surprising wit and tenderness, and advocates passionately for the careful regard for text. Listen: Highlight to Tweet: “When did you start loving music? That’s like asking, ‘When did you start loving your mother?’” -James Mulholland Show Notes:

• Prof. Mulholland has a strong relationship with poetry, inspired by his father’s love for the art. His upbringing included a memorable time when he was 17, sitting around a table with his father’s friends: Tennessee Williams, William Faulkner, and Truman Capote.
• He was drawn to his mother’s piano playing, and he emulated her.
• He is starting his 54th year at Butler University. It is a good fit for a man who considers himself more of a creator than a performer.
• He counts the English composers Purcell, Britten, and Warlock among his compositional influences, with their flowing melodies.
• He speaks of coming from a “magic” environment, surrounded by great singers like Leontyne Price, Beverly Sills, and Eleanor Steber
• Working with Robert Shaw was horrible and wonderful.
• Music lifts texts and gives them light, magnifying certain words and phrases you wouldn’t otherwise understand.

3 Key Takeaways: 1. Don’t knock athletics. They bring men to your campus. 2. Surround yourself with brilliant and creative people, and soak in every second. 3. Spend more time reading poetry and teaching text. There is no greater purpose in music.

Resources/links Mentioned: * Tennessee Williams, William Faulkner, Truman Capote * Butler University * Robert Shaw * As Good As It Gets * Jerry Maguire * Patreon - Support the podcast!

Biography: James Quitman Mulholland, composer, is Professor of Music at Butler University and was Director of Music at First-Meridian Heights Presbyterian Church. He started the study of composition, voice, piano and various musical instruments at the age of twelve. At Louisiana State University, he completed his BM and MM in Voice and Composition, followed by four years as a Graduate Assistant at Indiana University, working toward the degree of DMA in Performance and Literature. His compositions have been chosen as required repertoire on over forty states' high school choral lists, and, in addition, have been performed at the last four national conventions of the ACDA. Many of his compositions have become standard repertoire for children's choirs throughout the country, as well as most collegiate and professional ensembles. In 1995 he was named as Louisiana State University's School of Music Alumnus of the Year. In 1996 he was selected by the ACDA to compose the Raymond W. Brock Memorial Composition which was performed at all of the Regional Conventions. Outside of his selective writing, he accepts approximately ten commissions a year. He has received commissions and performances in Canada, Australia, New Zealand and throughout Europe. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Sometimes bad rehearsals happen to good directors. Sometimes it’s our fault, sometimes it’s their fault, sometimes it’s the tides or moon phase or astrology or who knows. The good thing is that no matter how many lemons they throw at you, you always get to choose how to react. Choose to make lemonade! Ryan tells you how in today’s episode. Listen: Highlight to Tweet: “Your mindset is a self-fulfilling prophecy” -Ryan Guth Show Notes:

• E + R = O (Event + Reaction = Outcome)
• Things we can control
  • Preparation: When we aren’t prepared, we project our insecurities on the choir.
  • Expectations: What are they based on?
• Things the choir can control
  • Energy level (high or low)
  • Have 3 solutions for every problem (Thanks Amanda Quist)
• Take back control
  • Do something non-musical, like take the choir for a walk
  • Bribe!
  • Compliment Box (see Facebook group)
• Unplanned event
  • Fire drill: go ahead and sing outside!
  • Community tragedy: Acknowledge it and talk it out with your choir. Some members may have been affected.
  • Standardized Testing: Take it easy. They kids have had a long day already.
  • Low attendance: gather around the piano and do things you can be successful with like unison passages, rhythm isolation or even sight singing.

3 Key Takeaways:

1. No matter why you lost control of rehearsal, you can get it back. No bad rehearsals!
2. Make lemonade out of lemons; you are a creative person!
3. E + R = O; the power to control is in your hands

Resources/links Mentioned:

• The Success Principles, by Jack Canfield
• Build a Better Choir, with Dr. Amanda Quist
• Choir Nation on Facebook - Compliment Box
• Patreon - Support the podcast!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

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Dr. Amanda Quist takes us through a typical warm-up for the Westminster Choir College freshman choir. You’ll learn how, in just 5-7 minutes, she addresses the building blocks of great sound. Plus, you’ll take some fun detours into topics like cell phone policy and how to classify voices. Listen: Highlight to Tweet: “You need to have 3 ways to solve any problem” - Amanda Quist Show Notes:

• Amanda directs the (compulsory) freshman choir at WCC, so she is first director students meet. Her goal is to take a group of unfamiliar singers with widely-varying levels of experience and make a unison sound.
• Day 1: sing and build community (students see how they are connected); talk about music they love, their major, who they are; start with voice building - 5-7 minute warm up; next do something physical
• Low energy? Have them move...step-touches, or something fast-paced like a call and response.
• Buy in is tougher for the students without choir experience. Knowing the reason behind the exercises helps them buy in.
• No cell phone use in rehearsal, no tolerance.
• Breath - long exhalations on different sounds; must warm up breath, it’s connected to mindfulness
• Tone - balance between light and dark (chiaroscuro)
• Intonation - clear and resonant, with clear overtones; begin building triads; build their ears with solfege scales, scales in different modes
• Sight-reading is the most crucial skill for incoming freshmen to have.

3 Key Takeaways: 1. Go into rehearsal with a plan, but be willing to change it when you assess the energy level of the students. 2. The fundamentals are crucial and should be practiced every rehearsal: voice-building, breath, tone, intonation. 3. The most valuable skill a high school director can give their students is the ability to sight-read.

Resources/links Mentioned: * Episode 7: Your Students are Worth the Investment, with Dr. Amanda Quist

Bio: Dr. Amanda Quist is Associate Professor of Conducting at Westminster Choir College, where she conducts the Chapel Choir, Westminster Kantorei, and teaches graduate and undergraduate conducting. Kantorei was selected to perform at the Eastern Division ACDA Conference in February 2014 for her “Building Sound” workshop, was invited to sing at the American Handel Festival the previous year, and was selected as a National Finalist for the American Prize. During her work with the Westminster Symphonic Choir she collaborated with the New York Philharmonic, Philadelphia Orchestra, Dresden Staatskapelle, and composers Ola Gjeilo and Tarik O’Regan. Dr. Quist recently served as Chorus Master for the North American premiere of Toshio Hosokawa’s Matsukaze for Spoleto Festival USA and the Lincoln Center Festival. The New York Times and Charleston Post and Courier reviews described the chorus’ performance as “beautifully prepared,” “gripping,” with a “gossamer web of voices,” and “bridging the vocal and instrumental textures with perfect intonation.” Dr. Quist is Director of the Westminster Vocal Institute, and she was previously Director of Choral Activities at San José State University. She was selected to be the 2014 recipient of Westminster of Rider University’s Distinguished Teaching Award, and other honors include the prestigious James Mulholland National Choral Fellowship and the Audrey Davidson Early Music Award. Her research focus is voice science and pedagogy in the choral setting, and she recently presented an Interest Session for the National ACDA Conference in Salt Lake City. An active adjudicator and clinician, recent and upcoming appearances include the California All-State, Texas All-State, Delaware All-State, Tennessee All-State, and Vermont All-State honor choirs. She has also conducted honor choirs and served as an adjudicator in Arizona, Michigan, New York, Arkansas, Georgia, and New Jersey. She recently served as the Pennsylvania ACDA Summer Conference headliner, and as summer conducting faculty for Connecticut State University. An active mezzo-soprano, recent solo engagements include performances with the Monmouth Civic Chorus and Orchestra, Symphony Silicon Valley, Fuma Sacra, Princeton Pro Musica, and Princeton University. Dr. Quist serves as the National ACDA R&S Chair for Youth and Student Activities and ACDA Mentorship Co-Chair. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for best pricing - usually reserved for bulk purchases only!)

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After all your work, it’s time to debrief the troops. Directors, feel free to be critical of yourself in private. But when you are in post-concert analysis with your singers, it’s all about counting your wins. In this unique episode you get a full recording of Ryan talking to his class the day after their spring concert. Singers are in a position to notice things that you don’t, so a wise Choir Ninja will value their perspective. Listen: Highlight to Tweet: “If you do something well, you should do more of that thing.” - Ryan Guth Show Notes:

• Before the concert: Timestamp- 5:40

Get the perspective of the ushers and greeters The decorations, program, pre-concert music, and welcome staff should set the tone for the concert * During the concert: Timestamp- 12:50

This is where most of your wins are. Call them out, and celebrate them! * After the concert: Timestamp- 39:00

Your response to comments after the show is always, “Thank you, I’m glad you enjoyed it.” 3 Key Takeaways: 1. Count your wins. Call them out by name, and celebrate them! 2. Performers have a different perspective of the concert than the director. Mine their perspectives to make your next concert even stronger. 3. When your audience expresses their appreciation for your performance, allow them to do so. Don’t cut them off or list your mistakes. Accept compliments and criticism with grace.

Resources/links Mentioned: * Uke, I Am Your Father; with Christopher Kurt * Michael Englehart * Full House, for some reason * This is what Utah looks like:

• There’s a HUGE CONTEST underway! Follow the link to enter!

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for THE BEST pricing!)

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Benita Eldridge was born and raised in Elmira, NY, and she has been teaching music there for 34 years. What’s the secret to her longevity? A supportive administration, commitment to her job and community, a firm hand guiding her class, and an overarching love for her students. Listen: Highlight to Tweet: "I don’t care if you don’t sing well. I do care if you work." - Benita Eldridge Show Notes:

• Born, raised, 34 years teaching in the same town: Elmira, NY
• Teaches 7th grade at Broadway Academy, where 34% of the students are in chorus, and 64% in a performance class (chorus, orchestra, or band)
• You need tough love in a town with 2 prisons and a psyche center. Procedure is king in her classroom.
• Hold them to high standards, but support them, and fight for them when needed. Maintain “a safe, loving, caring, but firm environment”
• Relationships with students matter. They come back years later.
• What are the keys to being a tough love teacher who has a lasting impact? Be committed in you job, to your community, to your students; overarching theme is love...you don’t have to like your students, but you have to love people. Support from administrators. Know your crap. Take risks. Listen to podcasts. Be willing to learn. Have your kids buy into that.
• Use humor. Be willing to be the one who is silly or vulnerable, but then be serious about the work, and get it done.
• Benita uses Sight Reading Factory!

3 Key Takeaways: 1. Be committed in your job, to your community, and to your students 2. Love your students. You don’t always have to like them, but there must be an overarching theme of love in your classroom. 3. Take risks and keep learning!

Resources/links Mentioned: * Contest Alert!

• Patreon drive...help us get to 100 Patrons!
• Facebook Patrons only group: Want to join? Become a patron!
• Choir Nation Facebook group: Where the cool kids hang out

Bio: 34 Year Veteran Choral & General Music Teacher Music History & Elementary Music Elmira City School District/hometown All County Guest Conductor Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for THE BEST price)

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You’ve given the final cut off, you’ve taken the last bow, but the show’s not really over until Elvis has most definitely left the building. In today’s episode you’ll find tips for talking to members of the audience, releasing your choir after a job well done, and celebrating afterwards. End your concert in a way that’s satisfying for your singers, your audience, and yourself. Listen: Click and Highlight to Tweet: Kids tend to think self-deprecation is a form of humility. It’s not. Show Notes: After the show

• Remain “ON” until you get in the car.
• Leave “briskly” to enhance “mystery”
  • draw the curtain
  • dismount the risers
  • exit the hall
• Get back to the green room
  • Address your choir
  • Dismiss them to greet their people
• Greet your people ASAP
  • Shake hands
  • Take photos with the choir members if asked
  • Kiss a baby
  • If you feel awkward because no one is walking up to you, then walk up to them and say “Thank you for coming!’
  • This is not a time for parent/teacher conferences. Dismiss everything irrelevant by saying “I’d be happy to discuss this with you at another time. Email me your question?”
• Learn to accept a compliment
  • “Thank you. I’m really glad you enjoyed it”
  • Self-deprecation is NOT humility
• Learn how to respond to a criticism
  • “Thank you. I’m really glad you enjoyed it”
  • Keep it positive - “I see where you’re coming from.”
  • Redirect: “What DID you enjoy?”
  • Don’t engage negativity.
• Learn to reflect later
  • With yourself
  • With peers in the choir
• Recruit help to break down the performing area/reset the room
  • This should not be the director’s job by themself
• Celebrate with people who support you.
  • It feels good.
  • It may be up to you to schedule this ahead of time

3 Key Takeaways: 1. Leave like you mean it, not like you are unsure of what to do next 2. Two main groups need your attention immediately after the concert: your singers and your audience. 3. After the concert, it’s time to celebrate. Hold off on any critical analysis until the next day.

Resources/links Mentioned: * It’s time for a contest! BIG PRIZE for the winner...personal concert planning consultation session with Ryan Guth and Stevie Berryman, PLUS, we’ll design a print ready program for you. Hit the ground running this fall! * Check out the amazing voice work of Tim Paige! He’s the voice of the Choir Ninja intro. * Briskly

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) Also Sponsored by: My Music Folders (Use promo code “NINJA” at checkout for THE BEST price)

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It’s possibly the most important podcast Ryan has ever recorded! You’ll laugh, you’ll cry, and you’ll learn all about the awesome new changes at Choir Ninja! Listen: Click to download episode! Show Notes: There are so many awesome things discussed in this podcast, but we’d prefer you listen to it than read about them. Otherwise, it ruins the surprise! Quote to Tweet: I deal with ninjas all the time. 3 Key Takeaways:

1. Choir Ninja is awesome, and getting awesomer
2. You are awesome. Yes, you, Little Ninja!
3. Become a Patron of the show, because, damn. It’s just that awesome.

Resources/links Mentioned: * Support Choir Ninja on Patreon * Houston Chamber Ringers on Facebook * Episode #94, “Uke, I Am Your Father,” with Christopher Kurt

Additional Things That Are Awesome: * Exploding guitars * This kid * Mortal Kombat on Sega Genesis * Game of Thrones * This movie * This swimming pool:

• This song
• Unicorn cookies that poop rainbow sprinkles

• This piano:

• This Choir Ninja

• This trailer

• Ryan Gosling memes:

• Avocados

• Breaking Bad
• This video

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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Your concert can be more than a curriculum review. Capture and maintain your audience’s attention throughout the duration of your concert by minding your flow, mimicking an art museum, and telling them everything. Tweet This: Give your concert “French portions”: small servings, intense flavors. Click to download episode! Show Notes:

• Do everything “briskly”
  • all movement must be rehearsed so it goes quickly
  • Rehearse ALL logistics
• No dead air
  • Connect everything together
    • with music
      • feature soloists
    • with speaking
• Make sure your flow is intentional
  • Do you start with the youngest group just because they’re the youngest?
  • Beware of arbitrary programming
  • account for choir members in multiple groups
    • uniform changes
    • who needs to be where and when
    • sometimes you’ll have to rework the physical layout of the concert and rehearse the logistics more
• Make every piece important to your audience
  • Think of walking an art museum
    • YOU are the curator of your own musical museum
      • Every piece has a reason for being
      • share that with the audience
      • make it easy for them to follow
  • Make sure programs contain ALL texts/translations
    • Even English
    • Even Popular Music
    • No budget for printing a million pages?
      • Make an e-program available
      • project texts on the wall
  • Introduce your pieces
    • Put the piece in context
      • historically
      • politically
      • what was the story?
      • what was the composer’s/poet’s “why”?
      • why did YOU program this piece?
• Assure that there’s balance within the program
  • tempos
  • texts (heavy/light-hearted)
  • length of individual selections
• Your concert should pack a punch
  • French portions (rich flavor - small portions)
  • Keep it under 75 minutes
    • if it’s more than that, you have two concerts
• Send em home humming!

3 Key Takeaways: 1. It’s all about the flow of the show, so make it intentional. 2. Make every piece important to your audience. 3. Put EVERYTHING in your program. Or on a screen. Or in a script. But by God, put it somewhere.

Resources/links Mentioned: * Support Choir Ninja on Patreon * My course on Teachers Pay Teachers: Design Gorgeous Programs using Canva

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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Christopher Kurt explains how you can become a Ukulele Ninja like him. Besides being quirky, fun, and astonishingly on trend at the moment, ukuleles have a lot of value to add to your choral or general music classroom. Listen: Show Notes: He’s from Iowa. Not from Colorado. And that’s important. Christopher teaches 6th-8th grade general music classes and directs 3 choirs. When he began his job at Aldo Leopold Middle School he found he had inherited ukulele lab, including 35 instruments that had been there for 20-30 years. Having access to the instruments inspired Christopher to teach himself to play. Ukulele makes a great classroom instrument because the 4 basic chords are easy to learn, the instruments are cheap, accessible, and provide an immediate win for students. Multitasking is hard for middle school students (and for Christopher, who falls up stairs). Singing and playing at same time lets them multitask successfully. A little less than half of his time with 8th grade students is spent on the ukulele unit. They start off by covering the ground rules; how to hold it; c maj chord; how to strum; strumming patterns. He follows the teaching/modeling pattern: I do, we do, you do. Music literacy concepts include: what’s a chord, a triad, learning individual (plucked) notes, note value/rhythms. Composition concepts include: writing lyrics, chords, creating strumming patterns. Choral applications include: use as accompanying instrument instead of piano, talent show, pops concert, encourages listening, self-accompany solo singing Ukulele playing allows students to make a song their own, molded according to their own creative vision. Students might not keep playing ukulele once the unit is finished, but the practice habits and work ethic they learn are widely applicable. Christopher has written classroom ukulele curriculum on edmodo; it’s a badge achievement system with leaderboard to encourage competition across classes. Contact Christopher in the Choir Nation Facebook group for more info about his curriculum (being used in a collegiate level class). 3 Key Takeaways

• Ukulele is an affordable classroom addition that can teach a wide variety of music literacy concepts. Several concepts cross-apply to choral education: listening, recognizing chord changes, steady rhythm.
• Ukulele offers a different path to success for some students who may not achieve elsewhere. Because it is fun and accessible, students can create their own music.
• Even if students do not continue to study ukulele after the unit is over, the concepts of good practice habits and work ethics will apply to many future pursuits.

Resources/Links mentioned: * Christopher’s Ukulele Unit on Teachers Pay Teachers * His artist page on Facebook: Topher - Singer/Songwriter * Support Choir Ninja on Patreon

Explore further: * Free resources for classroom ukulele * Want to learn how to play on your own? Check out the app Yousician * All your ukulele questions answered

Title inspiration: Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) Bio: Christopher Kurt is in his third year of teaching 6-8 General & Choral Music at Aldo Leopold Middle School in Burlington, IA. He graduated from Wartburg College in May 2014 with a Bachelor’s Degree in Music Education with a Vocal Emphasis. In his first two years of teaching, Christopher has been nominated twice for The Hawkeye’s “Teacher of The Year” Award. This past fall, he was a presenter at the Iowa Technology & Educators Connection Conference. Christopher is passionate about music, fantasy football, warm weather, human rights, froyo, and Netflix. He has watched the series “How I Met Your Mother” ten times through within the past three years and states his vast knowledge of the show is one of his greatest attributes. At school, he wears fun and unique socks each day that often match his brightly colored shirts and manbun hair-ties. Though he has never gotten past the first round, he has tried out for American Idol three times and The Voice once, but did see Ryan Seacrest at one of the auditions and screamed like a 12-year old at a Justin Bieber concert, so that counts for something, right? IG: @topherk44 Facebook: Christopher Kurt

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The first installment of a fun four-part episode series for any choral director, So Awkward addresses all the ways we can prevent awkward concerts for us, for our choirs, and most importantly for our audiences. In this installment I talk about some little ways to start each concert off so that you are the epitome of awesome and achieve the “Wow” factor before your choir even sings a note. Many of these lesson I learned from watching The Dog Whisperer on Animal Planet. Listen:

Click to download episode!

Show Notes:

• Diagram your entire flow for the evening
  • Who does what?
  • Who goes where, and when?
  • Duty assignments
  • Focus on presence
    • Cell phones in a locked room
• Call time for your choir
  • Have your choir come earlier than you think
  • “You do what I say. No questions asked.”
  • Give a focused pep talk
    • Hard: Your parents will love you even if you suck
    • Soft: Vulnerability
  • “Calm and Assertive” like Cesar Millan, The Dog Whisperer
• Choir member duties
  • Greeters
  • Programs
  • Ushers
  • Floaters
• What to do when the audience arrives
  • Everyone gets eye contact with at least two people involved in the concert
  • Make sure there are signs pointing them in the right direction
• Seating
  • Ushers guide everyone to their seats.
    • Front and center fills up first
    • Block off the “off-limits” areas in your venue
    • Suggested seating for “restless” babies
• Projections
  • Cell phone policy
  • Announcements/upcoming concerts
  • Link to e-program
  • FAQ’s for parents if you’re in a school situation.
    • When’s the final exam?
    • When’s the deposit due for next year’s trip?
• ALWAYS start with singing!
  • Don’t say a word, unless it’s “Please rise for the singing of the National Anthem.”
  • Be sure to plant clappers in the audience ;)

3 Key Takeaways:

1. The performance starts the moment anyone (choir members included) walks into the venue.
2. If you don’t direct the audience, they’ll direct themselves.
3. Always start with singing!

Resources/links Mentioned:

• The Wow Factor: How to Create It, Inspire It & Achieve It: A Comprehensive Guide for Performers
• Blog post: 10 Life Lessons From the Dog Whisperer

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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Some of us barely get to see our students individually for any real length of time, so today I’m going over my short process for classifying voices as soprano, alto, tenor, or baritone/bass using examples from my own high school choir. We will dig into what to listen for, ideal characteristics of each voice part, actual exercises to use during classification, and more. Listen: Click to download episode! Show Notes: Disclaimer: These are my opinions. Take what you want and leave what you don’t. :)

1. When to classify
   1. upon entering the program
      1. Trust no one! Do it yourself.
   2. beginning of the school year
   3. mid-year
   4. as needed on a student-by-student basis.
      1. Student comes to you and asks
      2. You feel the need
2. Pyramid of sound
   1. Bottom heavy
   2. ⅔ approach
   3. 6 Basses, 4 Tenors, 9 Altos, 6 Sopranos
3. What does a quick and dirty high school voice classification sound like?
   1. 2-3 exercises
      1. Descending: S, F, M, R, D - on [di]
      2. Legato: D, R, M, R, D - on [ja]
      3. Range extension/flexibility: S, D1, S, M, D - on [i a - - -]
   2. Main things to listen for (ranked from most - least important)
      1. Tone color
      2. Range
      3. Break
      4. Ability to modify to modify vowels at range extremes
4. What is a high school ___________?
   1. Gentlemen (range matters more)
      1. Baritone/Bass
         1. Strong F/G2 - D/E4
         2. Generally darker tone color
         3. Baritones (Bass 1’s) sing consistent high E4’s
         4. Basses (Bass 2’s) sing consistent low E2’s
      2. Tenor
         1. Strong D3 - G/A4
         2. Generally brighter tone color
         3. Tenor 1’s float
         4. Tenor 2’s bring core tenor sound
   2. Ladies (color matters more)
      1. Alto
         1. Strong G3 - E5
         2. Generally darker tone color
         3. Alto 1’s need better musicianship
         4. Alto 2’s need “bring the beef”
      2. Soprano
         1. Strong C4 - B5/C6 (some coaching may be necessary)
         2. Generally brighter tone color
         3. Soprano 1’s float
         4. Soprano 2’s need better musicianship
5. Other items to consider
   1. Musicianship: What do you do when you have a voice that can sing soprano or alto, but the struggle with aural skills?
      1. Put them where they’re needed most.
   2. Odd qualities in female voices (folds don’t come together, due to overuse of chest dominant speaking/yelling)
      1. Raspy - alto
         1. Refer for checkup
      2. Breathy - soprano
         1. Could be a confidence issue
         2. Could be used to chest-heavy singing
   3. Can girls sing tenor when needed?
      1. Sing healthy notes only. Don’t allow egos to mess with vocal health.

3 Key Takeaways: 1. Bottom-heavy choirs are great choirs 2. Classify on color with female voices 3. Classify on range with male voices

Resources/links Mentioned: * Support Choir Ninja on Patreon

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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Today, I deep dive into the practices of Daniel Gutierrez of Reed Academy Singers to find out what it takes to put together the type of performance that receives not one, but two standing ovations at the National ACDA conference. Click to download episode! Show Notes:

1. Stay the course (Don’t go crazy)
2. Be open to advice and criticism
3. Perform a lot
4. Raising the standard
5. Record everything
6. Hold students accountable
7. Demonstrate vulnerability
8. Trust each other

3 Key Takeaways: 1. Do more of what you do best. Don’t change what you do in your program just because you were accepted to a conference. 2. Your language matters. “That was good” after everything doesn’t raise the bar. 3. Vulnerability is key.

Resources/links Mentioned: * Danny’s first episode, Find Your Forte episode 057: Boop After Me: How to 25x your choral program, with Daniel Gutierrez * Link to purchase ACDA performance by Reed Academy Middle School

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) Bio: Daniel Gutierrez, a native of Long Island, New York, is the choral director at Reed Academy as well as the artistic director for Boys Choir of Springfield, Missouri. Daniel is an active clinician and presenter throughout the country. He was named "Springfield Hometown Hero" by Springfield’s CBS station, was finalist for Springfield Public Schools "Teacher of the Year" in 2014 and 2015, and a quarterfinalist for the GRAMMY National Music Education Award. The Reed Academy Choirs have won their division at the Worlds of Fun Festival of Choirs the past three years, been featured at music educator conferences and university performances, opened for world-renowned lecturers, and have been very active within their local community. In addition to being selected to perform at the National ACDA Conference, the program also had two choirs performing at the Missouri Music Educators Association Conference this school year (representing both elementary and middle school).

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It’s time for a little boost of self-confidence and reassurance from the Choir Ninja! If you’re feeling a little down about how the year has gone for you, here are some things to do to give you the boost you need to finish the year on a high note! Listen: Click to download episode! Show Notes:

1. Reject the notion that you’re not good enough! Success always comes with a little imposter syndrome.
2. Recognize that your choir is a reflection of your spirit. If you don’t like what you’ve seen or heard at any point this year, it’s time to look in the mirror and take responsibility. Chances are it was your own insecurity at play.
3. Remember that you’ll never make everyone happy, so don’t sweat it!
   • Your choir, run by you, isn’t necessarily for everyone, and that’s okay!
   • REsistance is natural in the lifecycle of making a difference. Read the War of Art, by Stephen Pressfield.
4. Renounce students that don’t want to be there and focus on those who share your values.
   • You’ll attract choir members who love your style and over time you’ll end up with a choir of raving fans, not adversaries.
5. Recount the times this past year where your student(s) “got it”, and pat yourself on the back!
   • What did you do?
   • What made it so special?
6. Recall your highlights reel, and smile!
   • Best rehearsal
   • Most successful performance
   • Most thoughtful parent email
7. Refresh, Refresh: To finish strong, do more of what worked!
8. Recycle a song or activity your choir loved.
9. Reinvest in yourself and your education by staying tuned to Choir Ninja, going to a conference, buying a book, or taking a class (in anything)!
   • You can see me in Iowa at ICDA in July and Chorus America in June!
   • Resolve to support those who help you along the way.
10. Rewind and listen again and write down the things I’ve asked you to recall. this episode with someone who needs encouragement.

3 Key Takeaways: 1. You choose your battles based on your values, so choose what it is you value and focus like a laser. 2. Reading is the cheapest way to reinvest in your education. You don’t need a master’s degree to feel successful! 3. Do more of what worked!

Resources/links Mentioned: * The Subtle Art of Not Giving a F*ck, by Mark Manson * The War of Art, by Stephen Pressfield * Support the show! My Patreon

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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Music, men, and money...What more can a high school program need? Join Donny and Antonio of the Barbershop Harmony Society as we explore the potential success you can have with Barbershop as part of your school choral offerings. Listen: Click to download episode! Show Notes:

• Why start a chapter
  • Confidence
  • Emotional growth and vulnerability
  • Better singing and easier singing
  • Growth of your choral program
  • Enthusiasm for singing
• Things you need to start a chapter
  • Enthusiasm
    • Positivity
    • Communication skills
  • Accessible music
  • Young people who love to sing
  • Administrative support
• Want to learn more?
  • Harmony University
  • Barbershop.org
  • Your local chapter

3 Key Takeaways: 1. Barbershop can attract additional music, men, and money to your already great choral program. 2. Barbershop Harmony Society offers tons of free resources for anyone interested in trying a song or two, or even starting a chapter. 3. There are free scholarships to Harmony University available specifically for music educators, so it’s likely you won’t have to pay a dime to attend.

Resources/links Mentioned: * Free and Easy Song Book * Barbershop charts for sale * Harmony University (FREE scholarships available) * Barbershop Tag Apps (Babershoptags.com)

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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...and here's why. Matt Curtis of Choral Tracks drops in to talk with me about the importance of attending conferences. 

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Having a healthy choir starts with you, the director. Be sure that you’re proactive in creating a culture of love and openness in your choir each and every day. Here’s what you need to think about today! Click to download episode! Show Notes:

1. Do things together
   • Do things as a group! Anything from a basic outing (no singing), lunch/dinner, retreats, camps, festivals, competitions.
2. Change your Language
   • Change how you say things to your class. Instead of “I” say “we”. Also by nature we are quite negative, change it up. Don’t just focus on what needs improvement, let them know what they did well. Don’t flower it, just be HONEST!
3. Have discussions
   • Foster communication in your group through discussions. Discuss what was good, bad, needs improvements, etc. Many directors do this with little response from the class but be open to trying it. Also ask the class for suggestion on activities, and how a piece should be performed.
4. Take care of yourself
   • Let the choir know you’re human. As much as many of want to come off as perfect (students have the same feelings) let them know that you make mistakes. For example, when you get sick, stay home and don’t spread it to your group. Let your kids know that it’s ok if you’re having an off day, but you’re going to bring it the next day (and expect them to) Getting enough sleep, having a solid morning routine, finding me time, are all parts of this point.

3 Key Takeaways: 1. It’s not about you, it’s about us. Make sure your language reflects that sentiment. 2. Include your choir in the discussion. 3. You should always lead by example as a happy and healthy leader, so take care of yourself.

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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Learn some hacks that will result in increased mental clarity and better musical work with Spencer Jones, choral director and founder of of Jonesin’ to Get Fit. Click to download episode! Show Notes:

1. Schedule it
   1. Lay it out in front of you on tools like a day planner or Google Calendar.
   2. Year-at-a-glance calendars are perfect for zooming out and seeing what’s coming up.
   3. Make a daily to-do list as a way to get everything out of your head. Feels great to cross it off!
2. Prep - Did you adequately prepare yourself and your group for the event? Sometimes we just can’t be as prepared as we’d like, but you get as close as you can through…
   1. Looking over your calendar to see what’s coming up and making sure everything is in place. Just like a good sight-reader looks a measure or two ahead, so do you.
   2. Adequate score study
   3. Prepping non-musical things (Give away the menial tasks through delegation.)
3. Delegate-
   1. GIve away things that don’t need you, such as...
      1. programs
      2. taking attendance
      3. uniform organization
      4. social media
      5. team activities
4. Breathe (Find me time) - We get so wrapped up in the anticipation of the event that we can get a little (or a lot) crazy. Take a step back, know that you’re doing what you can, and breathe. It could be as simple as 3 minutes to clear your mind or as much as a weekend of not thinking and worrying about it.
5. Enjoy the Performance - You did as much as you could in the time you had. Now stop fretting over it and enjoy it. As Constantin Stanislavski said “The rehearsal is the work, the performance is the relaxation.”

3 Key Takeaways: 1. Sometimes our frustration with our choir comes from our own lack of preparation. 2. GIve away menial tasks, like taking attendance, to students. 3. You’ve worked hard! Take time to enjoy the performance.

Resources/links Mentioned: * The Honest Guys - Meditations on YouTube

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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In today’s episode I invite Denise Eaton back for a look at her layering method of sequential teaching. In other words, this is a breakdown of her step-by-step process for teaching a new choral piece to her choirs. Listen: Click to download episode! Highlight to Tweet: “Repetition is your friend and the key to successful learning.” -Denise Eaton #choirninja Show Notes: Eaton's Order of Events for Layering Skills in Sequential Teaching

1. Teach rhythms before looking at song (including all like patterns throughout)
   1. Extract and breakdown rhythms for better understanding and skill development
   2. Learning rhythm doesn't only include chanting· singing is also encouraged
   3. Include emphasis on strong beats -always keep the text in mind
2. Add solfege -always with appropriate, desired tone
   1. Introduce the key of the song through previous sight-reading (See resources and sponsor below)
   2. Extract only the melodic contour in solfege (before looking at song) for greater mastery later
   3. Chant solfege in rhythm -add emphasis on strong beats
   4. Chant text in rhythm to reinforce understanding
   5. Add syllabic and word stress emphasizing desired vowels
3. Sing on solfege -with desired vowels and tone
   1. Focus on accuracy
   2. Add in syllabic/ word stress
4. Sing on neutral syllable -with desired vowels and tone
   1. Focus on accuracy
   2. Add in syllabic/word stress
   3. Add in final consonants for rhythmic releases and onset of sound
5. Monotone chant and sing the text -with desired vowels and tone
   1. If singing in parts, separate to different notes of the tonic chord
   2. Add in syllabic/ word stress
   3. Repetition of the release of final consonants will, most likely, be needed
6. Sing on text -emphasizing desired vowels and tone
   1. Focus on pitch accuracy
   2. Add in syllabic / word stress
   3. Explore combinations of voice parts
      1. sop 1 / alto
      2. Sop 1/Sop 2
      3. Alto/Tenor
      4. Sop/Bass
      5. Sop/Tenor
      6. Women
      7. Men

3 Key Takeaways: 1. Score study is absolutely necessary for you to identify items, such as rhythms, to isolate in the earlier steps. 2. Repetition is your friend and the key to successful learning. 3. Always emphasize and insist on desired tone, and vowels.

Resources/links Mentioned: * Denise’s books: * Sight Singing Made Accessible Readable Teachable, * Sight Singing Made Accessible Readable Teachable (MINOR)

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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In today’s episode (Part 1) you will find out what Texas music educator and superstar, Denise Eaton, looks at when choosing repertoire for her choirs so they can be successful at learning through her innovative sequential layering method of teaching (coming up on part 2 - Friday). This episode is sponsored by Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) Listen: Click to download episode! Highlight to Tweet: “You need to make a noise before you can refine the noise” -Denise Eaton #choirninja Show Notes:

• Get ‘em in the room and get ‘em singing immediately
  • “You need to make a noise before you can refine the noise”
• No harm singing and sight-singing in unison
  • It elevates the weaker singing
  • Can be VERY artistic
• When choosing music, be conscious of…
  • Tonality
  • Rhythmic development
  • Harmonic rhythm
  • Vocal development
    • Range
    • Tessitura
    • Depth of sound
  • Language
• Use sequential layering (next episode) to teach the music.
  • Sequence matters because of muscle memory

3 Key Takeaways: 1. Score study is imperative for sequential growth for choir. 2. Elevate their strengths and not their weaknesses. 3. You are limited to your own creativity. Don’t let your limitations limit your students.

Resources/links Mentioned: * Book: Vocal Technique: A Guide for Conductors, Teachers, and Singers 1st Edition * Denise’s books: * Sight Singing Made Accessible Readable Teachable, * Sight Singing Made Accessible Readable Teachable (MINOR)

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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In this episode you will learn the RESOURCES, RATIONALE, and ROUTINE of two amazing members of Choir Nation who have choirs that love to sight-sing and do it well! Join Chris Munce and Jon Duncan as they explain the whole process. This episode is sponsored by Sight Reading Factory (use promo code "NINJA" at checkout for 10 free student accounts). Listen: Click to download episode! Highlight to Tweet: “You don’t have time to NOT sight-read every day.” -@ChrisMunce Show Notes:

• Resources
  • Sight Reading Factory
    • Projected on screen, smart board, or smart wall
  • Patti DeWitt
    • Printable PDF sight singing examples
      • Very easy at the start and progresses to quite difficult
      • Unison, 2pt, 3pt, 4pt, SATB, SSA, TTBB
  • Octavos
  • Warm-ups
    • Section leaders instruct
    • Circles
    • “Let them tell you what they did wrong.”
• Rationale
  • “You don’t have time to NOT sight-read every day.”
• Routine
  • Every day
    • Beginning of class
    • After warm-ups
    • On solfege
    • With hand signs
    • Give DO
    • Sing tonic triad and tuning exercises (d,m,s,f,r,t,d,s,d)
    • Sing first pitch
    • Audiate the example together using hand signs
    • Sing first pitch again
    • Sing through with snapping metronome on solfege with hand signs
    • Have student correct errors
    • Run again
  • Test every child individually
    • 3 score choices
      • 50/50 = 2 (Best Score: totally independent sight-singing)
      • 30-49 = 1 (Needs teacher assistance)
      • 0-29 = 0 (Cannot replicate exercise at all)
  • One concert per year, sing in front of the audience

3 Key Takeaways: 1. Sight-sing 5-10 minutes every rehearsal and build skills over time. 2. Use tools like Sight Reading Factory to save time. 3. Test every student individually using a simple scoring system.

Resources/links Mentioned: * Sight Reading Factory * Patti DeWitt

Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)

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After almost 2 years and 130 episodes, the Find Your Forte podcast will become the Choir Ninja podcast. The new podcast will focus on giving Choir Nation actionable takeaways from EVERY episode that can be used to improve your middle or high school choral program. Listen: Highlight to Tweet: CHOIR NEWS! Find Your Forte podcast w/ @ryanmguth will now be Choir Ninja podcast Show Notes: Why?

• If downloads are a measure of value, the most valuable episodes have been Technique Tuesday or Find Your Forte interviews with conductors who “spill the beans”. We need more of that.
• Choir Ninja aims to be a solutions-oriented podcast, just like it’s host.
• Predictability encourages habit which makes for more successful choral directors.
• FOMO (Fear of missing out)
• A stronger Choir Nation

What’s changing? * The title and the branding * Narrowing the focus + No more profile interviews + More interviews with in-the-trenches choral directors who can relate to Choir Nation + Always actionable takeaways * The days + Moving to Monday and Friday * The website soon moving from ryanguth.com to choir.ninja - Sign up there to recieve updates and other goodies.

What will stay the same? * The podcast feed + Make sure to visit old episodes in the archive * The host (Ryan Guth) * The length (30-45 minutes) * The frequency (2x/week)

How can you make the most of the new show? * I’m using Rescuetime

• Make sure you’re subscribed
  • On iPhone
  • On Android
• Make sure you’re active in the Choir Nation Facebook group
• Gain access to all content upgrades at http://choir.ninja/support
• Use the resources mentioned and support the sponsors

3 Key Takeaways: Resources Mentioned: * The Find Your Forte archive of episodes on your podcast player of choice * Patreon * RescueTime (https://www.rescuetime.com/rp/choirninja)

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For the first time, I interview the choral director of an ALL boys school. Chris DeVries is an energetic guest, and for that reason an interesting conversation ensues about falsetto, the smell of the weight room, and morning routine. Listen Bio Coming soon! Chris recommends Links Saint Francis High Choir Nation on Facebook

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In this episode, I discuss ways to create meaningful relationships with your special needs students and their families of your choir program. You will also learn ways to accommodate these students moving forward both in class and in performance without depriving the rest of your choir of the attention they deserve. Listen I recommend... Calend.ly My notes...

• Reach out to the family
  • Phone is best
  • If necessary, email requesting a phone call
  • PRO TIP: Use a scheduler like Calend.ly to find a common call time
• Find out their goals
  • "How can I serve [Student} better?"
  • LISTEN and take notes.
  • Restate parent's goals for [Student] in your own words so they know you're listening.
  • Filter all commentary through an "I want [Student] to be successful and show him/her in the best light possible."
  • After conversation, log the contact.
• Speak to the student, if possible
  • What are your goals for being in choir?
    • Suggest options if he/she needs help, i.e. to make friends, sing better, be on stage and perform, learn to read music, have fun, etc?
    • "What else?" to encourage deeper thought.
    • After conversation, log the contact.
• Speak to special ed department/music therapist about your notes.
  • Could easily be added to the IEP for future teachers/you to reference later.
• Put together a plan that includes participation in a meaningful way
  • Class participation
    • Assign a choir buddy to help guide student success, because you can't be everywhere and you have many students who need you.
    • Give them a job that make them feel integral to the success of your class and show appreciation.
    • Make sure that student leaders in your class are cheerleaders for this (and all) students. It may be obvious that a special needs student is in the class, but sometime it may not. Be careful with this one, as you may not disclose confidential information about a special needs student.
  • Concert participation
    • Potentially the parent only wants to see their son/daughter in one number in the concert.
    • Choose repertoire where student can be successful and plan it in the program strategically.
    • Be aware of the rest of your choir too.
  • Non-singing participation (if singing is not a goal of the child)
    • Non-pitched percussion, ushering at concerts, is an example
• Delight in the fact that you did something AMAZING for a child.

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Fellow podcaster, John Hughes, of Choir Chat comes on the Find Your Forte podcast to follow my format and share his choral philosophy, ups and downs, and his unique contribution to the choral world. Listen Bio Dr. John C. Hughes is assistant professor of music and director of choral activities at Ripon College in Wisconsin. In addition to conducting the college’s choirs, Hughes teaches conducting, choral methods, and private voice lessons. Beyond Ripon College, he is in demand as a clinician and honor choir conductor and serves as assistant conductor of the Choral Institute at the Green Lake Festival of Music (WI). He also founded and hosts Choir Chat, a weekly podcast of interviews with conductors and composers. Hughes earned his undergraduate degree in Vocal Music Education from Augustana College (IL), where he studied with Jon Hurty and Michael Zemek. After teaching in public schools for several years, he earned the M.M. in Choral Conducting from Northern Illinois University, where he studied choral conducting with Eric Johnson and orchestral conducting with Lucia Matos. Hughes earned the D.M.A. in Choral Conducting and Pedagogy at The University of Iowa, where he completed his dissertation on Leonhard Lechner’s 1593 Passion. His primary teachers at Iowa were Timothy Stalter and David Puderbaugh. A versatile choral musician and pedagogue, Hughes draws from his experience as a collegiate conductor, public school teacher, and church musician. His calm but firm demeanor and persistent dedication to excellence translate well across all ensembles. In addition to his busy performance schedule, Hughes is passionate about choral literature and scholarship, specializing in Lutheran music before 1600 and trends in contemporary choral composition. From January 2012 until August 2015, he wrote the Repertoire Forum column for the bi-monthly publication Choral Director. He has authored articles in Choral Journal and The Choral Scholar, as well as numerous reviews of choral music, books, and recordings. He serves as associate editor of Melisma, the newsletter of the north-central division of the American Choral Directors Association, and as associate editor of score reviews for The Choral Scholar. Additionally, he is a national board member of and the Wisconsin state representative for the National Collegiate Choral Organization. Links Book: Conscience of a Profession: Howard Swan, Choral Director and Teacher John’s Website John’s Twitter Choir Chat Podcast on Soundcloud Choir Chat Podcast on iTunes Support the show on

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In this episode, I sit down with MO choral educator, Vikki Siddell to discuss why she almost stopped supporting my podcast and what the real issue was with my last Technique Tuesday.

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In today’s episode you’ll learn ways to deflate your head so it doesn’t block your audience’s view (and enjoyment) of the concert. My new podcast CHOIR NINJA is coming soon! Click below for more info!

Listen I recommend... My notes... Remember, in a school situation, your audience is obligated to attend

• Their child/family member is in the choir

• Based on previous experience, they would never choose to attend on their own

• Your ego chooses your repertoire

  1. You program recitals, not concerts
  2. You think the purpose of choir is solely to educate, not entertain and you don’t believe in a middle ground.
  3. The repertoire you choose is too hard for your choir to perform well.
  4. Not vocally appropriate.
  5. Everything is a ballad.
• You’re unlikeable from the stage
  1. You don’t acknowledge your audience’s presence
  2. You have the kids introduce the pieces so you don’t have to
  3. You never smile
  4. Your gesture is all about you
  5. You think you’re a SJW so you make political statements that divide
• Your audience doesn’t feel welcome
  1. No attention to detail
• You give yourself a solo
• That concert program you made in Microsoft Word and you don’t provide translations
  1. It’s ugly
  2. You headshot is the biggest!
• You don’t take pride in your choir’s appearance
  1. No uniform
  2. Hair in face
  3. Distracting accessories
  4. Unnatural colored hair
• You don’t take pride in your appearance
  1. Your leggings are a barrier between you and the choir
• Your concert is way too long
  1. Keep it under 75 mins

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Tony Maglione of William Jewell College stops in to share his thoughts on building a culture of trust with your choir. Listen

Bio Conductor/Composer Anthony J. Maglione is a graduate of Westminster Choir College of Rider University, East Carolina University, and the University of California, Los Angeles. He is the Director of Choral Studies at William Jewell College where, under his direction, the Concert Choir was Runner Up (2nd Place) for the 2015 American Prize in Choral Performance, College/University Division. In addition to his responsibilities at William Jewell College, he serves as Director of the Greater Kansas City AGO Schola Cantorum, Conductor Emeritus of the Freelance Ensemble Artists of NJ, a symphony orchestra based in Central NJ and recently was appointed the Michael and Ginger Frost “Artist-in-Residence” at St. Mary’s Episcopal Church in Kansas City. An active composer, Anthony’s choral works are growing in popularity and are published on GIA’s “Evoking Sound” choral series. In the last several years his music has appeared at state and national-level conventions, on TV, in video games, and has been recorded on Gothic Records and Centaur Records. In 2014 and 2015, Anthony was honored as a Semi- Finalist and Finalist (respectively) for the American Prize in Composition, Professional Choral Division and was recently awarded the 2016-2017 William Jewell College Spencer Family Sabbatical, a year-long fully funded sabbatical in order to compose two new large-scale works for choir, soloists and chamber orchestra. Anthony has also been commissioned by the American Guild of Organists for a new work to premiere at the AGO National Conference to be held in Kansas City in 2018. Anthony has made numerous guest conducting/clinician appearances and has prepared ensembles for such esteemed conductors as James Conlon, James Jordan, David Newman, Donald Neuen, and Alex Treger. Ensembles under his leadership have performed nationally and internationally at renowned concert venues including Disney Hall in Los Angeles and Carnegie Hall in New York City. Links William Jewell Music Tony’s Facebook Tony’s Twitter Support the show on

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In December especially, choral directors spend their days focused on serving others so much that they often neglect their own needs. Here are some ways to stay charged in the coming weeks until Christmas! Listen Notes This is a long, but incredibly rewarding season. Remember to keep these items in mind to maximize the rewards of your work and stay present with those who need you! Keep in mind: You’re a servant and a leader year-round and especially in December! Stay mission-oriented and I PROMISE you’ll be glad you did! You have to take care of yourself before you can take care of others. You have so many in your choirs who depend on your gifts to get them through this often very difficult season. You have the potential to help heal the pain of loss or loneliness that some people feel at this time. It make take extra energy, compassion, and patience in order to serve the members of your choir in a time when energy, compassion, and patience are in short supply.

• Wake up with a sense of duty and be grateful!
  • You get to do what you love, and get paid for it.
  • You will make audience members’ days/months/years with your musical offerings.
  • You’ll touch people that you’ll never meet and in ways that you’ll never know.
  • You’re giving families a reason to get together and celebrate with each other for potentially the only time in a year.
• Your duty IS your escape from December.
  • If you do it well, you won’t need an escape, because your soul will be fed by what you do.
• Thank your family for supporting you/putting up with you by…
  • smiling (sometimes you fake it till you make it so your brain believes your happy - See distress tolerance techniques).
  • showing more affection to your loved ones/significant other.
  • hugging your kids and reading them bedtime stories every night you can.
  • reschedule dinner at a new common time with your loved ones so that you don’t miss that very essential part of your life.

• Follow these nutrition guidelines to stay on top of your game

  • Avoid fast food.
    • If necessary, choose healthy options. May be pricey, but worth it when you’re not napping at 3pm.
  • Eat a big breakfast
    • PROTEIN/COMPLEX CARBS
      • Eggs scramble (loaded with avocado and veggies like spinach, peppers, tomatoes)
      • Cook in healthy oils such as coconut oil or avocado oil
      • Oatmeal
      • Berries
      • Smoothie (banana, peanut butter, almond milk, with optional protein powder)
      • BUY A NUTRIBULLET
  • Stay prepared
    • Pack your meals (lunch or dinner) if you won’t be home to make them
    • Carry snacks with you, so you don’t end at in the vending machine
      • Protein bar (like Quest or Luna bars) with less than 10g of sugar
      • Mixed nuts (packs like Trader Joe’s)
      • Apples for appetite suppression
    • “Batch prepare” your meals
  • Stay hydrated (pee clear and often)
    • It’ll keep you full
    • Heightens energy
    • Keeps the voice working
    • Minimizes the chance of stress headaches
    • Aids in proper digestion
    • Releases toxins
    • You get it...

• Remember, it’s okay to say no...

  • to requests that may derail your momentum
  • to substances that may slow you down
  • feeling guilty when you’re not working
• Don’t give up on exercise
  • If you don’t have a regular routine, you can look up 15 minute exercises on YouTube to do naked in your bedroom before school.
• Get sleep
  • 7-8 hours/per night - especially before performances
  • Your DVR is your best friend
    • You can catch up on your shows during the Christmas break
  • Sleep in a dark room
  • Lavender on the pillow
  • Use meditations like these to fall asleep
• In the case of a meltdown
  • Go back to gratitude.
  • Close your eyes and do this meditation. (Warning: Bad Language)
  • Breathe in for 4 counts, hold for 2, breathe out for 6.
  • Do a grounding exercise
    • 5 things you see
    • 4 things your hear
    • 3 things you feel
    • 2 things you smell
    • 1 thing you taste

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In this interview, I sit down with Jonathan Palant of the Dallas Street Choir to speak about the true purpose and mission of choral music and how it touches the lives of the disadvantaged just as much as those fortunate enough to be listening here today. Support our sponsor for this episode: KI Concerts Listen Bio Jonathan Palant teaches vocal music at both the University of Texas at Dallas and Richland College. He is also Minister of Music at Kessler Park United Methodist Church, adult choir director at Temple Shalom, and founder and conductor of Credo, a 115-member community choir, and the Dallas Street Choir, a musical outlet for those experiencing homelessness and disadvantage. From 2007-2011, he served as Artistic Director of Dallas’ Turtle Creek Chorale. Prior to that, Palant held collegiate teaching positions at Western Kentucky University and Madonna University, Livonia, Michigan. He taught secondary choral music at University School, an all-boys independent school in Cleveland, Ohio, and San Pasqual High School in Escondido, California. Dr. Palant sits on the board of directors of the Intercollegiate Men’s Choruses and has served on the state board of the Michigan chapter of the American Choral Directors Association and Youth First Texas where he was founder and conductor of Dallas PUMP!, a choir serving at-risk youth. Both Palant’s book, Brothers, Sing On! Conducting the Tenor-Bass Choir, and his Brothers, Sing On! Choral Series are published by the Hal Leonard Corporation. Dr. Palant holds degrees from Michigan State University, Temple University and the University of Michigan. Links www.JonathanPalant.com www.dallasstreetchoir.org

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Responding to an inquiry in a choir Facebook group (that shall not be named) about why it may not be best idea to sing Vittoria’s “O Magnum Mysterium” at a tree-lighting. This is a quick lesson on playing the long game. Listen Notes The original post on Facebook: Every year our choir is invited to sing at the city Tree Lighting ceremony. Last year the set we sang included the Victoria O Magnum Mysterium, Betelehemu, and Carol of the Bells - a mix of songs people may know, but also a few they probably didn't (I don't remember the entire set). My principal got an email from them today (the concert is on Wednesday) asking him to ensure the choir performed more "festive" music this year, because we sang "some Bach or something" last year. I work really hard to select repertoire that is both educational and challenging. The choir loved the Victoria last year, and sang it really well. I admit that if it was the only song we sang that might have been problematic, but we did a lot of upbeat and more traditional things too. I'm stumped as to how to respond. My response, and what I will use to elaborate upon in this episode: I LOVE all the pieces you programmed, but for an event like this you must think of your audience of regular old people who know nothing about choral music. Meeting them where they are is the first step to raising them to where you want them to be musically. A tree lighting is the perfect place to "give them what they want". If you do, they'll start showing up at your regular concerts, THEN you can educate them. Do not give away an opportunity to brighten people's Christmas season through your great work with great kids. :) If you want to expand your reach in the community, do the gig, sing some familiar songs that don't make you feel like you're selling your soul, and watch as everyone comes up to show their appreciation for your choir. This is a HUGE opportunity to make people smile. Forgive the "some Bach or something" comment, realize they're clueless, and do it brother! Merry Christmas!

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Speaking with conductor and composer, Mike Engelhardt about his unique project, Beer Choir! This is something that is expanding the choral world one microbrew at a time! Listen for information on how to start your own chapter for free. Support our sponsor for this episode: KI Concerts Listen Bio Michael Engelhardt is a freelance choral music composer, conductor, and innovator. He frequently combines historical choral material with pop, contemporary, and electronic elements, creating a new sound that is compelling to academic and general audiences alike. His works have been featured at All-State Conferences in Texas, Minnesota, Kansas, Colorado, Virginia, and at multiple ACDA National and Regional Conferences. His compositions have been featured twice on the Carnegie Hall stage. Many of his pieces are published by Walton Music and Hinshaw Music, and he has several self-published works available at www.mikeemusic.com. As a clinician and guest conductor, Michael has conducted the West Virginia ACDA All-State Honors Chamber Choir and the Oklahoma All-State Vocal Jazz Chorus. He has had the great fortune to collaborate with major artists such as Ben Folds (from NBC’s The Sing Off), Abraham Laboriel (bass player for Michael Jackson, Stevie Wonder, and others), Patti Austin (Grammy award-winning vocalist), Kerry Livgren (Kansas), the Kansas City Chorale (Grammy award-winning choral ensemble), Cantus (men’s ensemble), and Chapter 6 (jazz a cappella group). Michael is also the founder of Beer Choir LLC, an organization devoted to drinking great craft beer while singing loudly in public. The organization has chapters in major cities across the USA. In 2017, Beer Choir will host 3 events during the ACDA National Conference in Minneapolis. A native of Woodstock, Illinois, he holds degrees from Millikin University (Decatur, Illinois) and Southern Illinois University Edwardsville. Michael lives in St. Louis, Missouri with his wife and two children. Links www.mikeemusic.com www.beerchoir.com Beer Choir Facebook Page Mike’s Twitter Beer Choir Twitter Support the show on

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After receiving an irate parent email, here’s how to begin to turn around the situation and make that parent a new friend. Listen Notes

1. Write a draft response.
   • Don’t hit reply. Open a NEW DRAFT.
   • Don't send.
   • Go to bed.
   • Review in the morning when you’re less emotional.
2. Send an NEW email to the parent requesting a phone number and a good time to call.
3. When you’re calm, make the phone call and get the parent on the line.
4. While on the call...
   • Open the call by asking them to clarify their email
   • Try to understand their perspective.
     • Rephrase their perspective in your words
     • You may be wrong. If so, apologize.
     • You also have the right to disagree, but NEVER have a pissing contest. Be firm on policy being for the benefit of the kids.
     • Remember: They just want to be heard.
     • Apologize only for the things that you mean to apologize for. Don't just apologize to shut them up. This doesn't help you.
     • If you disagree, explain to them how your side benefits THEM/THEIR CHILD. Never talk about the benefits to you or your program. They’re more likely to understand your perspective if they see the benefits for them!
   • PRO TIP: "While I have you on the phone...I'd like your opinion on something..." (Ben Franklin Effect)
   • GOAL: Leave as friends.

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Jeb Mueller, of the University of Houston, stops in to talk about the value of dreaming big, telling others your goals, overcoming imposter syndrome, and strategies to clear your mind and be your best self for rehearsal. This episode is sponsored by KI Concerts. Listen Bio Jeb Mueller serves as Associate Director of Choral Studies at the University of Houston Moores School of Music where he conducts three choirs, prepares opera choruses, teaches choral music education courses, and maintains a graduate conducting studio. In addition to his academic duties, Mueller is an active clinician, adjudicator, and conference presenter with engagements throughout the United States. Mueller’s choirs have been described as “stellar,” “inspired,” and singing with “mature line and a beautiful, vibrant tone.” Under his direction, UH’s Concert Women’s Chorus performed at the 2016 American Choral Directors Association Southwest Division Conference in Kansas City, Missouri. Mueller taught high school choral music in the Houston area for six years. His choirs consistently earned superior ratings at contests and were twice chosen the Overall Best Choir at state and national choral festivals. He was recognized with Taylor High School’s “You Make a Difference” award on two occasions, received recognition as an HEB Excellence in Education state semifinalist, and was selected as a Katy Independent School District Outstanding Teacher. Dr. Mueller holds degrees from The University of Miami, The University of Texas, and Texas Tech University. He has studied with Joshua Habermann, James Morrow, Kenneth Davis, Karen Kennedy, Donald Oglesby, and Suzanne Pence. His training also includes master classes and/or lessons with such choral luminaries as Joseph Flummerfelt, Craig Hella Johnson, Ragnar Bohlin, Robert Porco, Vance George, Patrick Dupré Quigley, and Weston Noble. Dr. Mueller also concertizes as a baritone, having sung with Santa Fe Desert Chorale II and Miami’s Musica Judaica. Mueller is an active member of the American Choral Directors Association, Texas Music Educators Association, Texas Choral Directors Association, and The National Association for Music Education. Links Uhchoirs.org Jeb’s Facebook Jeb’s Twitter

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Should you really get that Master’s degree? In this episode, I speak about the reasons people choose to leave their teaching job to go back to school, give you a simple cost/benefit analysis one can use to determine whether school makes sense, and what they could do besides returning to school! Listen Show Notes Reasons people choose to go back to school for their master’s degrees

• Bored in current school job
• Job is too stressful
• Current position is the wrong fit
• Required by state/district
• Looking for a significant other
• Satiate a need to feed one’s brain
• Feed their ego
• Delay reality

Cost/benefit analysis (ROI - Return on Investment) * Do you have a choral ed job now? + If so… - What’s your current salary? - What would be your new salary? - Can you get a sabbatical in your current position? - Would you get rehired by the same school/district? - What’s the cost to the program of you leaving and coming back? + If not.. - Are you delaying reality? * Just out of undergrad * Haven’t been hired yet after applying/interviewing around * Haven’t applied to anything yet - Would you be a more attractive candidate after the degree? * Really? Why? * What is this going to cost? + Online ($30,000) - While you teach full-time + Private ($80,000+ without an assistantship) + State ($12,000-$20,000) + Fully-funded (Yale, UCLA, etc) + Summer (Westminster, Hartt, etc) * How long will it take to make up for the cost of the degree? + Let’s say you make $50,000/year now, and after your degree you’d make $55,000/year. After taxes the difference would be just under $4,000/year, remembering that tuition is paid AFTER tax. - If you go to a state school, it may take 2-4 years to break even. - If you go top private school that doesn’t offer scholarships and you take out loans, you’d be paying about $400-$600/month over 30 years to pay for school. That’s $4,800-$7,200 per year for 30 years; possibly over $200,000 for your premium private education!!! - If you do an online or summer program while you teach, you’ll break even in about 6-8 years. - Fully-funded programs still require you to pay living expenses, so you’d better get a job. BEST OPTION - And...If you’re currently unemployed and thinking about going into massive debt, you’re an idiot.

Alternatives to going back to school Problem Solution Bored in current school job Start a new initiative at school, build a part-time business after-school, start investing more in the kids and find out what they want, get to know the community (you may be surprised - it may be YOU) Job is too stressful Recognize/identify an unhealthy workplace Current position is the wrong fit Start applying to other schools. Keep an open mind geographically (take Albuquerque for example - lower pay, but lower living expenses) Required by state Choose the most responsible option for you from an ROI standpoint Looking for a significant other One word: Tinder. Start becoming a person of value. Start volunteering where your target spouse may be, sing in a local choir, go to church, start a blog/podcast, attend conferences (better yet- apply to speak at them), meetup.com, join a kickball league, get fit, join a social club like Ivy.com Feeding your ego You’re in it for the wrong reason. What will KILL your ego is if you have MASSIVE DEBT and NO JOB! Delaying reality Again, you’ll be in more pain because your brain will punish you for being a little btch in the long run. You can’t avoid pain, just delay it. You best dive in and start being a person of value.* Recommended Reading Support the show on

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Informative interview on teachers as professional choral singers with Chris Munce, high school director, leader of Kantorei KC and Central UMC of Kansas City, MO. This episode is sponsored by KI Concerts. Listen Bio Chris Munce is an accomplished choral performer, conductor, educator, clinician and arts administrator. As a performer, he is a member of Kantorei of Kansas City, as well as its Founder and Artistic Director. He has also performed with the Simon Carrington Chamber Singers, and the Grammy Winning Kansas City Chorale. Chris was fortunate to be a part of the Chorale's Grammy Nominated album, "Rheinberger: Sacred Choral Works," as well as Simon Carrington's "Juxtapositions." With Kantorei, Chris has lead the group in making three complete commercial album recordings. "Sweet Was the Song" was self produced and released in 2011. Kantorei then completed its second album "Music and Sweet Poetry" which was released in 2014 can be found on the Resonus Classics Label. (Both albums available on iTunes.) Most recently, Kantorei finished recording "To Bethlehem" with was released by Resonus Classics in October of 2016. Chris received a Bachelor of Music Education and a Master's Degree in Choral Conducting from the UMKC Conservatory of Music and Dance. His graduate research focus was the performance practice of early Baroque choral singing in the French and Italian styles. Chris has studied with Eph Eely, Charles Robinson, Ryan Board, William Dehning, Peter Bagley and Jerry McCoy. He also served as adjunct faculty at the Conservatory teaching choral arranging, and at Blue River Community College as a professor of voice. Chris recently finished a term as the President of Conservatory's Alumni Board of Directors. Chris is now teaching at Lee's Summit High School as the Director of Choral Studies, where his premier ensemble "Sounds of Summit" has recently performed at the Piccolo Spoleto Festival in Charleston, SC and on a Masterclass with the multiple Grammy Award winning vocal group Chanticleer. Mr. Munce is also Director of Music at Central United Methodist Church. He has been an active private voice instructor since 1999. Links http://www.kantoreikc.org

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In today’s episode, Kathryn Cole of Springfield MO and I dive into stories of selling two major undertakings to her administrators, and how she did it all in her THIRD YEAR at her middle school! Listen

Kathryn Cole Kathryn Cole earned her bachelor’s degree in vocal music education from Evangel University in May of 2008. She continued on to receive a master’s of music in choral conducting from Missouri State University. Upon graduating in 2010, Cole began serving on the faculty of Evangel University, Ozarks Technical Community College, and Grace Classical Academy where she spent the first four years of her teaching career. She also served as an accompanist and conductor for Children's Choirs of Southwest Missouri for two seasons. Cole is in her third year as the Director of Vocal Music and Piano Lab Specialist at Bolivar Middle School in Bolivar, Missouri. She is also the color guard coach at Bolivar High School. She soon plans to pursue a doctoral degree with a focus in choral conducting. Cole is the owner of ColeCreative, LLC. - a client-centered brand development agency. She also works as Director of Talent for SPARK Events in Springfield, Missouri. She grew up in Munford, Tennessee and is the daughter of The Honorable Mr. and Mrs. Dwayne Cole. Support the show on

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This is a fascinating interview with renowned Russian conductor, Elena Sharkova. In it, Elena describes her musical journey growing up in the USSR and how she was pigeon-holed to be a musician since the age of 6. We compare and contrast US educational principles with those she was raised with, and find out how she rose from an immigrant living in Detroit to the chorus director of Symphony Silicon Valley and international clinician. This episode is sponsored by KI Concerts.

Support our sponsor for this episode: KI Concerts

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Bio Native of St. Petersburg, Russia, Elena Sharkova received her training at the famed Rimsky-Korsakov Conservatoire and holds a graduate degree in conducting. In 1993 Ms. Sharkova moved to the United State where she continues her varied career as a conductor, teacher, singer, editor, and an advocate for Russian choral music. Recognized for her deep and passionate interpretation of her country’s vast choral repertoire, Ms. Sharkova has been frequently called to design and direct programs featuring sacred, secular, folk, and urban vocal legacy of the nation, spanning over a thousand years of its repertoire. Most recent engagements have been with the Grammy-winning “Orchestra of Voices” Chanticleer, Miami-based Grammy-nominated choir Seraphic Fire, and Houston Chamber Choir. Dedicated to promoting new and unknown Russian choral compositions of the twentieth and twenty-first century, she has served as editor of “Elena Sharkova Choral Series” for Carl Fischer Publishing since 2011. Ms. Sharkova is in her eighteenth year as the chorus master for Symphony Silicon Valley (previously San Jose Symphony) and has prepared over fifty major works. Each season she leads the symphony and chorus in a concert of choral masterpieces as well as the annual Christmas celebration. Elena Sharkova has been Artistic Director of Cantabile Youth Singers of Silicon Valley since 2004. Today the organization serves over 300 youth ages 4-18 and provides comprehensive vocal and choral training and offers performing opportunities of the highest caliber. As a frequent festival conductor, Elena Sharkova has had a privilege to inspire youth and amateur singers in seventeen countries across three continents. She enjoys working with people of all ages and abilities and advocates passionately for the importance of informal singing and building communities through joyful and meaningful music-making. As soprano, Ms. Sharkova appears on five SonyClassical studio CDs by the Lege Artis chamber choir (St. Petersburg, Russia), Boris Abalyan, conductor.

Links www.symphonysiliconvalley.org

www.cantabile.org

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In this special guest Technique Tuesday, Adam Paltrowitz of the Choral Clarity blog, explains his 5 guidelines to follow when programming religious music with your public school ensemble. This is a very insightful episode that I hope will be food-for-thought for Choir Nation. Sponsored by the Choir Nation: Redirect summer conference in OKC, June 27-30.

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Show Notes 5 Guidelines discussed in the episode 1. Always explain WHY we choose any piece of music. 2. We need to facilitate group discussions regarding each composition with our choirs. 3. We must always be sensitive to the backgrounds of the members of our choirs. 4. We should be educating our audiences. 5. We need to approach programming in a balanced manner.

Bio Adam Paltrowitz is a master educator, composer, conductor, and clinician. He resides in Manhattan with his wife, Blair, who is a professional Broadway actress, and his beautiful daughter, Lyla. He is currently the Director of Choral Activities at Plainview-Old Bethpage John F. Kennedy High School, on Long Island, New York. During his eighteen year tenure, his groups have toured Europe, Canada, and throughout the United States. What makes his choirs unique is his belief that anyone can sing; as a result, his ensembles are always self-selected, while maintaining the highest standard of musical excellence. He also has pioneered a philosophy that every student is a soloist. All students in his choirs continually learn and perform solo repertoire in various languages.

Mr. Paltrowitz' choral program has gained great acclaim for the cultivation of eight student-run a-cappella ensembles that have performed on national and local programs. Under his advisement, these talented students write their own a-cappella arrangements, teach and rehearse fully on their own, and perform in dozens of concerts throughout the year. This approach stems from the concept of student empowerment.

Adam is well-known for leading workshops with current and future music educators

on topics:

• Motivating Students to Exceed Expectations
• Creating a Positive Learning Environment
• Building a High School Choral Program
• Training the Soloist in the Choral Setting.

As a guest conductor, Mr. Paltrowitz has conducted at numerous festivals and events for elementary, middle school, high school, college, adult, and senior citizen choirs.

As a composer, Adam is focused on writing inspiring, yet accessible music that singers of all ages can relate to. Music is intended to evoke pure emotions from the singers and in turn, touch the audience. We sing because we want to communicate. We sing in a choir because we want to communicate together. Adam's music is intended to reach people through its clarity of thought, purity of emotion, and poetic beauty and word painting. His music has been performed throughout the country.

Links Adam’s Facebook Profile

Adam’s Choral Clarity Blog

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In this interview, I get a chance to sit down with another choral blogger and content creator, Adam Paltrowitz, who is breaking new ground in the world of “self-selected” ensembles. This episode with make you think about the emphasis you choose to place on the choral “elite” at your school. Support our sponsor for this episode: KI Concerts Listen Bio Adam Paltrowitz is a master educator, composer, conductor, and clinician. He resides in Manhattan with his wife, Blair, who is a professional Broadway actress, and his beautiful daughter, Lyla. He is currently the Director of Choral Activities at Plainview-Old Bethpage John F. Kennedy High School, on Long Island, New York. During his eighteen year tenure, his groups have toured Europe, Canada, and throughout the United States. What makes his choirs unique is his belief that anyone can sing; as a result, his ensembles are always self-selected, while maintaining the highest standard of musical excellence. He also has pioneered a philosophy that every student is a soloist. All students in his choirs continually learn and perform solo repertoire in various languages. Mr. Paltrowitz' choral program has gained great acclaim for the cultivation of eight student-run a-cappella ensembles that have performed on national and local programs. Under his advisement, these talented students write their own a-cappella arrangements, teach and rehearse fully on their own, and perform in dozens of concerts throughout the year. This approach stems from the concept of student empowerment. Adam is well-known for leading workshops with current and future music educators on topics:

• Motivating Students to Exceed Expectations
• Creating a Positive Learning Environment
• Building a High School Choral Program
• Training the Soloist in the Choral Setting.

As a guest conductor, Mr. Paltrowitz has conducted at numerous festivals and events for elementary, middle school, high school, college, adult, and senior citizen choirs. As a composer, Adam is focused on writing inspiring, yet accessible music that singers of all ages can relate to. Music is intended to evoke pure emotions from the singers and in turn, touch the audience. We sing because we want to communicate. We sing in a choir because we want to communicate together. Adam's music is intended to reach people through its clarity of thought, purity of emotion, and poetic beauty and word painting. His music has been performed throughout the country. Links Adam’s Facebook Profile Adam’s Choral Clarity Blog Support the show on

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Set rehearsal time does not define the rehearsal. Clear objectives do. So what do you do with your extra time? Stevie and I will get into the nitty-gritty in today’s episode! Listen   Support the show on

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In this interview, I speak with Josh Habermann of the Dallas Symphony Chorus and Santa Fe Desert Chorale about the chances that he was given as a young professional and the twists of fate that brought him to where he is today. 

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Choir Nation member, Brady Weldon comes on the show to ask me questions about how to ensure good behavior on concert night. We explore systematizing procedure and the dialogue I have with my own students and choir parents before the concert.

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Betsy Cook Weber pops in to talk about being present as a choral director and planning for her upcoming ACDA National Conference performance. Support our sponsor for this episode: KI Concerts Listen Bio Dr. Betsy Cook Weber is Professor of Music and Director of Choral Studies at the University of Houston’s Moores School of Music and is also active internationally as a conductor, clinician, adjudicator, and lecturer. In the summer of 2013, Weber became the 13th person and 1st woman to receive the Texas Choral Director Association’s coveted Texas Choirmaster Award. She is editor of the Betsy Cook Weber choral series with Alliance Music Publishing. Weber was appointed Director of the Houston Symphony Chorus in Fall of 2014, a group that she served as Assistant/Associate Director in 1990 – 1997. In that role, she prepares or has helped prepare choral-orchestral masterworks for some of the world’s greatest conductors, including Robert Shaw, Andrés Orozco-Estrada, Christoph Eschenbach, and David Zinman. Choirs under Weber’s direction, including the Moores School Concert Chorale, have been featured at multiple state and national conventions including the American Choral Directors Association national convention in Miami in 2007 and 2017. Internationally, Chorale has won prizes and received acclaim at prestigious competitions in Wales, France and Germany, including a first-place finish as one of only ten choirs world-wide selected to compete in the famous International Chamber Choir Competition in Marktoberdorf, Germany. Chorale won first place in their primary division in the Grand Prix of Nations in Magdeburg, Germany in 2015. In the Musica Mundi ranking of the Top 1,000 choirs worldwide, Concert Chorale was ranked third among all choirs and first in the under-24 category. Weber has prepared singers for Da Camera, for early music orchestras Ars Lyrica and Mercury Houston, and is also routinely called upon to prepare singers for touring shows, including Josh Groban, NBC’s Clash of the Choirs, Telemundo’s Latin Grammy’s, Star Wars in Concert, Andreas Bocelli. and Legends of Zelda, Dreamworks, and Final Fantasy. Before coming to the University of Houston, Weber taught vocal music, K-12, in the public schools. She holds degrees from the University of North Texas, Westminster Choir College (Princeton, NJ), and the University of Houston. Links

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Spend time doing what you do best–directing your choir, and less time on repetitive or menial tasks that your kids would absolutely love to do. Here are some jobs you can outsource to members of your choir! .form{width:580px; height:280px; background-color:#F3F3F3; border:1px dashed #cacaca; border-radius:5px; font-family:open sans;} .main{margin-left:20px; margin-top:10px;} .head{color:#5d5d5d; font-family:open sans;width: 100%;} .name{ width: 35%; float: left;} .email{width: 35%; float: left;} form{width: 100%;} input[type="email"], input[type="password"], input[type="text"], select, textarea{ margin :0px !important; } Register for Choir Nation ReDirect Launch Webinar! Grab your spot! Seats are limited to 100! Full name Email** Register Powered by Listen Have kids do these items...

1. Documenting processes
2. Attendance
   1. One child per class
   2. Section leaders
3. Librarian
   1. Check-in/Check-out
   2. Numbering new music
   3. Databasing the library
   4. labeling
4. Room decor
   1. Bulletin boards
   2. Gathering photos
   3. Making posters of certain concepts you talk about in class
5. Cleaning
6. Concert set up
   1. Risers
   2. Piano
   3. Blocking off seats
   4. Hanging signs
   5. Greeters
   6. Ushers
   7. Audio
   8. Lighting
7. Moving heavy stuff
   1. Risers
   2. Rearranging chairs between ensembles
8. Musical help
   1. Accompanying
   2. Practice Tracks
   3. Extra instruments/chamber ensemble
   4. Warm-ups
   5. Going over markings
9. Measuring for uniforms
10. Organizing informal field trips/bonding days
11. Social Media
12. Graphic Design
    1. Posters
    2. Concert Programs
13. Promotion
    1. Social Media
    2. Write annoucements
    3. To their clubs
    4. Social circles
14. Selling
    1. Tickets
    2. Ads
    3. Fundraisers

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Jake Runestad stops by to tell some stories of his youth, including "Old Kmart", the origins of "Nyon Nyon" (and "Ner Ner"), and his viewpoint as a composer when it comes to sharing his art with the world. An entertaining listen, sponsored by KI Concerts. Oliver Scofield of KI drops in to announce a World Premiere commission by Jake as well! Support our sponsor for this episode: KI Concerts Listen Jake's Bio Jake Runestad is an award-winning and frequently-performed composer of “highly imaginative” (Baltimore Sun) and “stirring and uplifting” (Miami Herald) musical works. He has received commissions and performances from leading ensembles and organizations such as Washington National Opera, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, the Virginia Arts Festival, the Dayton Philharmonic Orchestra, the Santa Fe Desert Chorale, Seraphic Fire, Craig Hella Johnson and Conspirare, and many more. Jake’s visceral music and charismatic personality have fostered a busy schedule of commissions, residencies, workshops, and speaking engagements, enabling him to be one of the youngest full-time composers in the world. Jake Runestad holds a Master’s degree in composition from the Peabody Conservatory of the Johns Hopkins University where he studied with Pulitzer Prize-winning composer Kevin Puts. Has has also studied extensively with acclaimed composer Libby Larsen. A native of Rockford, IL, Mr. Runestad is currently based in Minneapolis, MN and his music is published by JR Music. Find out more at: JakeRunestad.com Links Jake's Soundcloud #ikeptliving on Twitter

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Former interviewee, Malcolm Gilbert joins Choir Nation to define the roles of the choir members within our ensembles and the effect they have on performance. Performance = Skill x Effort/Anxiety Conductor:   a material or device that conducts or transmits heat, electricity, or sound, especially when regarded in terms of its capacity to do this. Within our ensembles: 1. Leaders 2. Followers 3. Drifters 4. Intentional Disruptors 5. Unintentional Disruptors 6. Team Players 7. Frustrated Elite

Leaders and Team Players drive anxiety level down and effort up. Disruptors and Frustrated Elite drive anxiety up and effort down. We need to take advantage of the high skill level of our Frustrated Elite and the bravery of our Intentional Disruptors, and make them Leaders. As conductors, we need to act as Team Players and Leaders, not as Frustrated Elite. What do we seek to teach? 1. Empathy 2. Cooperation 3. Discipline

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GRAMMY-award-winning conductor and professional listener Craig Hella Johnson joins me for an interview on presence, honesty, and realizing the music with your choir.

Click here for a special offer from KI Concerts and to learn about singing in Sydney Australia with Craig Hella Johnson in July 2018!

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Kyle Karum shares tips on taking over a choral program from its last director.

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Laura Pancoast of the Santa Fe Desert Chorale helps Choir Nation manage their choral program like the pros!

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In my humble opinion, choir is the least parts technical and the most parts vulnerable. Sure, how we form our vowels is important to me, but it takes a buy-in from your choir before they care about vowels as much as you do. Here’s how you can love your choir so buy-in comes naturally, without canned compliments and insincerity.

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New Mexico middle school choral director Nicholas Prior stops by for a conversation about honesty, and above all else, doing what's right for your students.

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What is "schtick", and when is it appropriate for use with your choir? Stevie and I discuss the essential components of good schtick and how it can enhance a choral performance without making it awkward for your audience.

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The classical pianist Artur Schnabel said, "I don't think I handle the notes much differently from other pianists. But the pauses between the notes - ah, there is where the artistry lies!!"

In this episode, Jon Duncan shares his passion for rapport-building with his choirs, by taking time "between the music" to make his rehearsal room a safe place for personal expression. 

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5 things to keep in mind when student teaching with a choral director or any music educator. I want you to make the most of your student teaching opportunity, and I want your cooperating teacher to want to take on more student teachers in the future, so don’t screw this up. -Love, Ryan

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Stephen Rew, of KCMO, gives one of the most positive interviews to date! This episode helps to put into perspective the great responsibility we have to our students and each other. Links to great resources mentioned in the show at www.ryanguth.com/063

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In this episode, I explain how you get kids that may not want to be in choir to "buy in" and make the most of a less-than-ideal situation.

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Dr. Joseph Flummerfelt, Musical America's 2004 Conductor of the Year, and director emeritus of the world-famous Westminster Choir, joins Ryan in an in-depth interview on what it takes to be present on the podium.

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Kelly Truax, of Cedar Rapids, Iowa, joins me today to discuss programming repertoire for 7th, 8th, and 9th grade men's choirs.

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In today’s Technique Tuesday, I give a general overview of what a useful choral department website should be and give an exact outline for Choir Nation to use for their own website.

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James Bass of UCLA and Seraphic Fire joins Ryan today to speak about balancing out your education and conducting career with opportunities as a seasonal professional choral singer. We will dive into schedule, pay, sight-reading requirements, and so much more.

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Ryan gives a quick and dirty lesson on the 11 essential parts of any middle/high school choral department handbook.

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Seraphic Fire's Patrick Dupree Quigley speaks about the need to grow Choir Nation by making sure students of choral music are familiar with the major players in our industry, just as children know sports teams.

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Patrick Dupree Quigley, founder of the one of America's leading professional choirs and GRAMMY nominated Seraphic Fire, joins Ryan for an interview on what it takes to be a choral entrepreneur. (Part 1 of 2)

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Here are the filters I pass my music through to make sure I "cut the cheese" and program high quality literature.

Download our high-quality repertoire resource guide by supporting the podcast on Patreon

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Dr. Bruce Chamberlain of U of Arizona and Vance George of the SF Symphony Chorus, sit down with Ryan to speak about preparing a score in such a way that the composer's name becomes a verb (ex. Schubert-ing or Mozart-ing) with it come time to make music.

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Ryan sits down with Charles Bruffy at Westminster Choir College to reflect on his conducting master class.

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Daniel Gutierrez shares what it was like to start and grow his middle school program in urban Springfield, MO from 14 to 350 students in 7 years.

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Use the WOOP strategy, or mental contrasting, to change habits and fulfill wishes. Big woop, right?

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Dana Campbell of The Burnout Cure (Episode 036) returns to give us strategy for recovering from burnout this summer so we can start the new year fresh!

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Ryan's mom, Patricia Guth returns from Europe and discusses her considerations for choosing the right tour company for your choir.

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I'm just gonna leave this here.

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A follow-up from last week! Here are some specific ways to upgrade your morning routine, especially over the summer.

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Malcolm Gilbert, ninth grade choral director from NY and member of Choir Nation explains his process for context-based sight singing that you can apply to your teaching any time. Pattern Sheet (mentioned in episode) available for download to Patreon supporters at www.patreon.com/findyourforte

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Here are 4 ways to make sure you don't get hit with the lack-of-routine summer funk!

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Kyle Karum is an expert music ed interviewee and shares his tips on creating a compelling cover letter, resume, and portfolio that your potential employers will love!

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Here are some things to keep in mind when choosing the configuration of your room, and seating your choir.

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Choir Nation member, Christian Giddings shares his use of numeric scoring to help identify the number of minutes he'll need to teach any choral work and program balanced concerts.

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There comes a time at the end of the year when there's a month left and your choir has very little left to accomplish. In today's Technique Tuesday, I'll go over some ideas of how to spend your time to enhance your program and add some fun to the end of the school year!

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No one really cares about your bio as much as you do, but if you follow these guidelines, you'll make friends with your audience before even going on stage!

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Choir Nation, you have an assignment. Write, or rewrite your bio. Share it in a post in the Choir Nation facebook group (www.facebook.com/groups/choirnation/). Even if you can’t think of any need to have a bio, this is a great exercise for self-reflection and personal development. The goal of this particular bio should not be to impress us. It should be to reveal yourself to us.

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Here's exactly what I did to start a half million dollar for-profit choir business without giving up my full-time teaching job.

Work with me

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Here's my common sense approach to choral auditions that allow you to create a choir of humans, not voices.

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The Talent Monster

Since age 17, choral director Ryan Guth has stepped up to the stage with purpose. With a true passion and fire for choral music, his purpose is use that energy and love to motivate and inspire others to find their forte and step up to the podium of life on their terms. Over the years, Ryan has taught countless kids achieve results in their singing beyond what they ever imagined by constantly raising the bar and teaching them how to work smarter. Some of Ryan’s projects have been featured in media outlets such as The Huffington Post, MSNBC & PBS. Through his digital platform and the “Find Your Forte” podcast, Ryan has used those teachings and mindset to help not only choral directors but individuals who are in need of some advice on they too can “Find Their Forte”. Ryan is a personal friend and I’m honored to have him on the show.

CLICK HERE to check out Ryan’s website

CLICK HERE for more information about Ryan’s upcoming book: The Talent Monster

On today’s episode we discuss:

• The word rehearsal
• How to serve correctly
• How intimately personal music is
• Why classical music gets a bad “rap”
• How classical music is arranged
• His upcoming book: The Talent Monster
• How we all have hidden talents waiting to be unlocked
• Gaining awareness of your childhood conditioning
• If your parent, raising your awareness of your kids teachers
• Why do we use the label “talented” or “not talented”
• Why as a parent, you should be careful how you use the word “talented” with your kids
• Parents who push their insecurities onto their children

Wisdom Nuggets:

“Good music is good music whether it’s Jay-Z, Justin Bieber or Bach” – Ryan Guth

“You’re not even unlocking your true potential, until you make some inner changes to your self talk and you realize how to make these gifts for good, not evil” – Ryan Guth

“Your kids spend more time at school than at home” – Ryan Guth

“No one ever became poor by giving” – Anne Frank

Book Recommendations:

The Talent Code by Daniel Coyle

Mindset by Carol Dweck

Talent Is Never Enough by John C Maxwell

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Dr. Thomas Recher of the Positivity Effect podcast interviews me, Find Your Forte Host, Ryan Guth. Part 1 of 2

Show Notes

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In today's Technique Tuesday, learn the secrets to crushing it at choral competitions used each season by yours truly (the only guy in history to perform an encore at the Music in the Parks festival). 

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A live interview with choral legend, Helmuth Rilling. The Maestro shares some heartwarming moments in his career and his opinion on American coffee...amongst other things.

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Learn 10 ways Ryan Main gets his middle and high school choirs to be more expressive when they sing, preventing "Choir Zombie Syndrome".  Show notes and blog post at www.ryanguth.com/tt018 Join Choir Nation on Facebook!

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Stevie Berryman, of Stevie Be Music, explains how she goes beyond programming to create concert experiences that entertain, sell out, and create raving fans. She gives examples of her own concert experiences and breaks down the essential elements. 

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It's time to give solutions to your choir's attendance issues that don't suck. Stevie and I offer creative answers to common attendance questions in this co-hosted episode.

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Tom Shelton, president-elect of ACDA, joins Ryan to explore his musical journey and offer tips on choosing repertoire for youth choral ensembles. 

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An important episode for me (and hopefully you too)!  Ask yourself these questions to find your why. 

1. Who do you have the most energy around?

2. What makes you excited to get up in the morning?

3. Where are you the happiest?

4. When was your most self-affirming moment?

5. How do you achieve those moments when you feel fulfilled?

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Angela (Angie) Broeker, Director of Choral Activities at The University of Saint Thomas (MN) stops by to speak about embracing the idea of inclusion as a choral director.

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Here's why it's important to get your students to invest their own time outside of rehearsal. In today's episode, I explain the 3 essential steps to getting them to practice at home.

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Choir Nation member, Topher Keene pops by my studio in NJ to dialogue with me about building programs with a strong music-centered set of values.

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Always start with the text when you begin a choral piece. Here is a 5 step process to do a deep read of the text with your choir before you sing a note.

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Time to take responsibility for your own choral experience and help grow Choir Nation by not sucking anymore. In this episode, Ryan explores the common problems he sees in the choral world and he proposes solutions. 

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Middle School Sight-Singing Guru, Dale Duncan shares some stories from his early years and share this top 5 lessons for any middle school choral director.

FREE SIGHT-SINGING WEBINAR MARCH 8th 2016, 8pm EST

Sign-up at www.ryanguth.com/duncanwebinar

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NYU Choral Director and Music Education professor, Nancy Shankman has established herself as a woman who knows how to get people of all ages singing together. She's brought together choirs from public schools to parents in the waiting room of their child's choir. Nancy discusses the importance of singing together at any age!

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Country star, sweetheart, and mother of Lady Antebellum singer, Hillary Scott shares her expertise in creating engaging performances that transcend genre. Linda has been traveling with Kenny Rogers for over 20 years, has won a GRAMMY next to Reba McIntyre, and enjoys a lively singing career of her own.

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Career coach, Dana Campbell, who specializes in helping professionals prevent and recover from burnout shares her secrets with Choir Nation.

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The dreaded parent meeting, a choral director's rite of passage... Here's a tricky scenario that came up with a friend of mine, and how I advised her deal with it.

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One more year has come and gone, so it’s time to reflect a bit. I’m going to do it for you in this episode and give you some handy takeaways to make 2016 your best year yet.

MUSIC TEACHER MONEY SCHOOL FACEBOOK GROUP

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Join Joe Buches, director of the Philadelphia Gay Men's Chorus as he talks about growing his organization from 30 singers in 2004 to over 150 in 2015 by making his audience and the choir's mission the top priority. 

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You have to provide value WAY before you ask an influencer for anything. Here are 3 ways you can begin to provide value today so that influencers take notice and offer you opportunity. 

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Temple University's Paul Rardin explains his answer to the question "So, what do you do?". Dr. Rardin speaks on the idea of the "Gumby Creed" and it's connection to passion, inspiration, and gaining clarity.

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Haters need the most love. Find out the 5 types of hates in your life, and if you have to engage them, how to do in the most positive way.

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Ola Gjeilo in a different interview than most. We get a behind-the-scenes peek at one of the choir worlds most recent successful composers. 

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In this Technique Tuesday, learn simple tips to condition yourself and others to work within certain boundaries so that you can avoid overwhelm. Learn to use Google Calendar to theme your days, strategies for email, and a lot more. 

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Value bombs galore! Patrick Freer of Georgia State University offers so much amazing insight on working with middle aged choir members, and thinking about your program in a way that respects the importance of a complete vocal education. 

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Patrick Freer, tomorrow's guest, drops his first of many value bombs as he teaches choir nation to think outside the box when it comes to keeping your choir members engaged and even picking up new ones along the way!

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Exclusive interview with Nigel Short, artistic director of the world renowned choir, Tenebrae and former member of the King's Singers. Hear him speak about the idea of passion and precision as well as his fun upbringing as a seven-year-old "professional" singer! Recorded in-person in Philadelphia pre-concert.   

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The late Jim Rohn, motivational leader and business expert, used to say "You are the average of the five people you spend the most time with." In this episode I explain the benefits of having the right 5, and how to identify, and replace members of your five by providing value to a potential new members.

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In this episode, Tim Brown, formerly of Clare College Cambridge discusses the joy of working with amateur singers and offers some great stories as well!

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Alan Davis from Portland, OR writes:

So, my question was: How would you approach working with a 9th-grade girl, in beginning choir, that has a very small and low range (often only 3-4 notes)?

Here are a few factors to consider:

1) This is the second year (having sung in eighth grade) that this girl has been singing.

2) She does not have any medical vocal "issues."

3) She speaks in a lower register than is found in MOST 9th grade girls.

4) Her tone is breathy, in speaking and in singing.

5) She is really passionate about music and loves singing, but she gets frustrated with her voice and range.

So, how would you approach working with such a voice?

**This was a student of mine last year and I tried many techniques, which all helped develop her tone. I am, however, curious as to how another conductor would approach the voice.

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An incredibly fun conversation with Dr. Dominick DiOrio (@DomDiOrio) of Indiana University's Jacobs School of Music. We get off on some fun tangents including video games, cooking, and insecurities. He's certainly a rising star in the choral world, so take some advice from a young successful conductor.

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Each year, public and private school music teachers throughout the U.S. are faced with the dilemma of funding a quality musical production for their students, often without substantial backing from their district. That needn’t be a concern! On today’s episode, I show you how to produce a great musical on a small budget, attracting students to the program while also gaining the support of parents and administration for this year’s production and for years to come.

Free bonus sheet at www.ryanguth.com/tt007

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Start each rehearsal with the choir focused and accept nothing less. You're doing their little anxious brains a favor. You can always do this if you need to "hit the reset button" on discipline in the classroom.

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In this episode, Dr. Kenney Potter of Wingate University explains his three-tiered process to achieve authenticity in choral sound through developing a well-researched tone.

Show Notes: www.ryanguth.com/028

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In this interview, I sit down with Eden Badgett, choral conductor and arts administrator extraordinaire, who also happens to be the Director of Festival Development at ACDA. She gives choir nation a glimpse into the creative world of event planning with many thoughtful takeaways!

Show Notes: www.ryanguth.com/027

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Ryan (@RyanMGuth) sits down with Amy Andersson (@AmyMaestra), the conductor of the Zelda Symphony Orchestra and their most recent concert "Symphony of the Goddesses". She talks about her work with this large-scale concert experience and what it's like to perform for video gamers not symphony goers.

Mentioned in this episode is AMA with Tim Sharp - Participate at www.ryanguth.com/asktim

Show Notes: www.ryanguth.com/026

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In this episode, Ryan (@RyanMGuth) interviews his mother and fellow choral director, Patricia Guth (@WriterPat221). She shares with choir nation her steps for creating a choral business in a profitable niche.

Show Notes at www.ryanguth.com/025

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Dr. Jo-Michael Scheibe (@JMScheibe) of USC's Thornton School of Music opens up to Ryan (@RyanMGuth) about what he believes constitutes a musician of value in the choral world and offers advice on how to be adequately prepared to earn your place on the right podium for you.

Get the show notes here

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Ryan and Dr. Patrick Gardner, of Rutgers University in New Jersey, discuss the importance of listening to a wide variety of ensembles in order to develop your ear for choral sounds.

Show Notes at www.ryanguth.com/023

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Special Episode: Join Victor Ahipene from Australia's Youngpreneurs podcast as he interviews Ryan on choosing his niche and making a living in music education outside of the public school world.

Show Notes: www.ryanguth.com/022

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Join Ryan (@ryanmguth) and up-and-coming choral star, Jordan Saul (@jordanjsaul) of Baldwin Wallace Conservatory in a fun and lighthearted interview about abandoning the rules and leading through a collective trust that allows your choir to take musical risks so you can become invisible! 

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Join Ryan and Dr. Joe Miller for a sit down interview on being a grounded choral director. We explore his strange route through pre-med into choral directing, his routines, funny teachable moments, and a lot more!

Show notes: www.ryanguth.com/020

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In this episode, Choir Nation will hear from the very talented John Wilson of Bridgewater-Raritan High School. Topics discussed include motivating your student choir members, engaging your students in rehearsal, building community, and much more!

Show notes: www.ryanguth.com/029

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This will be in your bookmarks to revisit at the beginning of the new school year! A truly wonderful sit-down interview with Texas native and Austin-area high school choral director, Adrian O. Rodriguez.  Listen in on how you can start your year off right by building an empowered music program through creating trust and staying relevant!

Show notes: www.ryanguth.com/018

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In my final episode of this session on working with changing male voices, I share a 10 minute raw and unedited segment of a voice lesson with a 14-year-old baritone. Listen as we experiment with the voice and eventually find a way to reach my objective.

Subscribe to my 5-part series on working with changing male voices at www.ryanguth.com

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Part 2 f 2 - Join Ryan Guth, as he interviews former member of The King's Singers and choral director, Gabriel Crouch. This interview offers insight into how Gabriel gained from his many setbacks to become a true leader in the choral world.

Show notes : www.ryanguth.com/017

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Join Ryan Guth, as he interviews former member of The King's Singers and choral director, Gabriel Crouch. This interview offers insight into how Gabriel gained from his many setbacks to become a true leader in the choral world.

Show notes: www.ryanguth.com/016

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Join Ryan as he interviews Suzi Digby OBE, renowned choir guru and founder of the UK's most influential primary music education foundation, The Voices Foundation.

Show notes: www.ryanguth.com/015

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With a steadfast rehearsal plan and a positive approach to teaching the middle school boy, you can keep each choir rehearsal moving in the right direction.

Show notes: www.ryanguth.com/tt004

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Join Ryan for an interview with Dr. JD Burnett of UGA, a true "situational leader" due to his ability to jump in and use his skills and experiences to do what it takes.

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Learn the 5 steps to choral excellence for changing voice boys, how to evaluate, and what to do next!

Show Notes: www.ryanguth.com/tt003

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Learn how a college professor in Minnesota used his community choir and the popularity of a successful PBS show to draw a new choral audience!

Show notes: www.ryanguth.com/013

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Join Ryan as he takes you through 3 quick and dirty high school baritone vocal range evaluations.

Student A - 8th grade

Student B - 10th grade

Student C - 11th Grade

Don't forget to sign-up for the FREE 5-part email series on working with the changing/changed male voice. Go to www.ryanguth.com/tt002 to gain access!

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“The reason we struggle with insecurity is because we compare our behind-the-scenes with everyone else’s highlight reel.”

― Steven Furtick

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Christine Bass, choral conductor, clinician, and educator, shares with Ryan how to approach your choral rehearsal based on her 30+ years of public school experience.

Show notes: www.ryanguth.com/012

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Composer Mark Hayes speaks with Ryan about his belief that all people have a divine presence inside, and how to affirm that when working with musicians. He also discusses the importance of asking the right questions of the music

Show notes: www.ryanguth.com/011

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A fun-filled and inspiring conversation with the young and dynamic Dr. W Bryce Hayes of James Madison University, who's making an impact with his use of Kodály musicianship building in the collegiate choral rehearsal.

Show notes: www.ryanguth.com/010

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Dr. Tim Sharp, Executive Director, of ACDA gives a delightful interview and also warns Choir Nation about the impending "choral tsunami", and how we can hop on board and ride the wave into a world where singing in a choir is as commonplace as yoga.

Show Notes

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In this short bonus episode, I share 6 principles for working with the changing male voice that I hope you find useful and actionable! 

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It's Motivation Monday! Imposter Syndrome (or the fear of being "found out") stops us from taking action and stepping up to the podium with purpose each day. Here are seven ways I overcome imposter syndrome that you can implement today!

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In episode 008, Dr. Andrew Megill, of The University of Illinois and Montreal Symphony Chorus, sits down with Ryan for a talk on empowering musicians to ask the right questions to deeply discover music and learn about who they are or who they can be.

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Join Ryan for a fun, sit-down, in-person, conversation with Dr. Amanda Quist, conductor of Westminster Choir College's Chapel Choir (first year students) and Kantorei. Dr. Quist reminds choir nation how important your investment of time and energy is to the members of your musical community, especially individual students, pointing out the profound impact you can have as a teacher who invests.  

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Join Ryan and Dr. Heather Buchanan as we explore the importance of "going with your gut" and using body mapping techniques to instantly improve the sound of your choir. Dr. Buchanan also shares a TON of resources for engaging your choir through bodymapping. 

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Rising star, Brandon Waddles, director of Westminster Choir College's Jubilee Singers and published composer with GIA publications, shares his passion for teaching African-American choral traditions with all. 

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Legendary children's choral director Dr. Helen Kemp sits down with Ryan, face to face, a few days before her 97th birthday. She discusses her secrets to living a long, selfless, and happy life through sharing music with all.

Show notes: www.ryanguth.com/004

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Dr. Ryan James Brandau sits down with Ryan and gives choir nation insight on running an effective rehearsal be remembering who he's standing in front of and why they're there. He beautifully explains his connection with Bach's Dona Nobis Pacem from Mass in B Minor and why it's important to take an hour to read the Sunday New York Times.

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Dr. Joseph Flummerfelt, Musical America's 2004 Conductor of the Year, and director emeritus of the world-famous Westminster Choir, joins Ryan an in-depth interview on what it takes to be present on the podium.

Show notes: www.ryanguth.com/002

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In this episode, I introduce myself, explain a bit about why I chose to create this podcast, the format, and a bit of background about myself

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