On Choosing Music

Suppose you were a math teacher (heaven forbid!!), and you had to design your curriculum differently every year.   "...Let's see - I think I'll start out with quadratic equations this year, then move to parabolas and ellipses...no, better to start with imaginary numbers, then continue with counting in base two..."   It's not much different from what a choral director does each year.   The music we program for our choirs is, in effect, our curriculum for the year, and it varies from year to year, without the benefit of a preplanned course that is outlined in a textbook.   A daunting task, to be sure!

But this is exactly what we do when we choose music.   Our country produces approximately 5,000 new choral titles each year. Somewhere in that great block of literature lurks the fuel for your musical endeavors. Certainly, no one has the time to sort through that much stuff, so how can we be sure that we are picking the cream of the crop?

We can't, but there are several steps that we can take to ease the burden and assure quality literature for our choirs.

Sources

Although they seem to be going out of style, the reading session is the best way to find new music.   You must be aware that the clinician will be doing a salesmanship job and trying to get you to be positive toward the music, but you also have the advantage of the clinician's advanced preparation of the score, and some hints about how to interpret the music are often given.   But more importantly, you get the opportunity to see firsthand and immediately whether or not your part is grateful to sing, how the text fits (or doesn't fit) the melodic line, the effect of dynamics, the effectiveness of the articulations, etc.   Studying the score by yourself or listening to a demo recording is simply not the same experience.   An added bonus is the chance to chat with colleagues to get their input on the music being sung, as well as to ask them about what literature they've found exciting recently.

The next best source is the music festival.   In my early years, I thought that festival music was ipso facto too daunting for the day-to- day groups that I faced, and needlessly discounted much very good and accessible music.   Maybe your choir won't sound as good as the festival choir did.   So what?   It's not a race.   Maybe your tenors will have to sing some of the parts falsetto, and not be as powerful as that festival choir's tenor section.   Singing falsetto is an important skill, and a valid teaching point.   Another advantage of the festival is the opportunity to observe a master conductor and get a head start on the interpretation.   It's helpful to see where the piece is going, or at least where it might go, before you pass the music out to your students.

This is not to say that you should be an imitator of the festival conductor; rather, the festival conductor gives you a great starting place to make your own decisions.   Decide whether or not you'd do it the same way as you heard it, or if your choir could possibly add a little something that you find lacking.   the late Don Hinshaw was fond of saying that the only thing two choral directors can agree upon is the incompetence of one of their colleagues.

These days of electronic communication have opened up another source for music, and it's free.   Classic masterworks in the public domain are downloadable and may be photocopied, and can be found by rummaging through the Choralist web site.  With a little searching, you might be able to find other sites as well.   Some of these editions may need editing, but you can't beat the price!

Finally, the music distributor is another happy hunting ground.   The only drawback to this avenue is that the distributor is not a specialist, and often provides music that is somewhat generic in its quality, and not destined for long-term use.   However, some distributors have on staff a knowledgeable person to help you with special needs.

Selection

Now that you know where to look, the next issue is what to look for.

Since choral music is different from instrumental music in that it has a text, perhaps the text would be a good starting place.   Is there a message in the text that is inspiring?   Is it worth singing?   Is it well crafted?   Has the lyricist taken pains to place open vowels on high notes?   Do the phrases end with vowels or soft consonants?   The late composer Natalie Sleeth's motto was "Something to sing, something to sing about."   A text might also be chosen because of the sound quality of the words.   Much can be taught about vowel formation and blend through foreign language texts, especially Latin.  

There are too many musical considerations to be addressed in an article of this length, but some of the outstanding ones are tessitura, accompaniment, technical challenges, rhythmic considerations, style, and program.   Check carefully to make sure that no singer has to sing in the extremes of the range for too long, either too high or too low.   No need to elaborate on the problems of inappropriate tessitura. Just make sure the ranges are appropriate to your singers' age and abilities.

If you are blessed with an adult professional accompanist, your job is much easier than it would be if you have a student accompanist of limited abilities.   In my own career, I always used students, and if the crop of accompanists was not bountiful, then I resorted to using a cappella music more often.   But if I had a number of good players, I tried to make sure that everyone had something to play.   After all, the school is an educational institution, and accompanying an ensemble is an educational experience.   Don't forget that the piano is not the only accompanying instrument.   Percussion and melody instruments add a lot of variety to the program.

And the program itself should be like a well planned meal.   Be aware of keys, major and minor, as well as keynotes.   Too many pieces in the key of F or Ab can be boring to the singers and audience alike.   Try in the program to contrast key and style.   A lively folk tune, melodic show tune, rhythmic original, longer masterwork, short novelty, madrigal set, and a piece of "world music" gives plenty to teach, as well as much variety to the audience.

Sound like a heavy challenge?   You bet.   But when you meet this challenge well, the rest of the year can be exciting, educational, emotional, and memorable.   And rehearsal can be the best part of the day.

Composer Carl J. Nygard Jr. has been associated with the music industry since 1982, and is represented in the catalogs of fifteen American music publishers. His published works, scored for all manner of voices and accompaniments, number more than 180, and have been performed on six continents. His conducting career has taken him to thirteen states, where he has led reading sessions and festivals at every level from local to all-state. West Chester State University honored him in 1988 as an outstanding graduate. He has adjudicated choirs for PMEA and the Baltimore County School System, and is the retired director of vocal music for the Fleetwood Area School District in Fleetwood, PA. He and his wife Dorian are the proud parents of two grown sons.

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