7 Steps to a Killer Music Program

By Caleb Chapman

Starting a Music Program from Scratch
Back in the fall of 1998 my wife, Alison, and I went for a lazy Sunday drive that changed my life. I was an undergrad student at Brigham Young University in Utah completing a music degree with plans to pursue an MBA. On that drive, Alison suggested that instead of me pursuing a business degree, we should open a music school. To me it seemed like a crazy idea with little chance of success, but I learned a long time ago to listen to my wiser partner. So, just one month later, without much experience, without money, and without any significant business training, we opened a tiny music school in Utah.

Onward and Upward
Today that tiny music school has grown into a program with 13 ensembles and close to 200 top-notch young musicians, ranging in age from 10-18.

Our flagship group, a jazz ensemble called the Crescent Super Band, has received international attention, thanks to the program’s 22 DownBeat Awards, and appearances at venues from New York to the Netherlands. In fact, the band has been named Utah’s “Best Professional Ensemble” in any genre by Utah Best of State for 8 consecutive years – pretty amazing for a bunch of high school kids.

In a very short period, our graduates have landed significant scholarships in many of the nation’s top music schools – Berklee, North Texas, Miami, USC, the New School, and many others. In fact, each year our 20-30 graduates from the program rack up well over $1,000,000 in scholarship offers.

I just got word that an upcoming show for the Crescent Super Band at Jazz at Lincoln Center’s Dizzy’s Club Coca Cola has already sold out and our headlining debut at Carnegie Hall has almost sold out a month before the concert. I had to pinch myself when I got this news! How did we go from that Sunday drive in 1998 to having a full house at one of the world’s most famous concert venues?

A Recipe for Success
As I took a moment to reflect, I realized that there are several key philosophies that have served us well. They are not genre-specific and I am confident that the success our program has experienced can be duplicated anywhere when these principles are implemented. And, while none of them are “groundbreaking,” when combined, they provide a powerful recipe for a successful music program.

1. Keep music fun
As soon as studying music becomes something our musicians have to do—a chore—we have lost the battle. And this isn’t true just for our students; music needs to remain fun for the educator as well. Think back to what sparked your own passion for music. How can you instill that in your students?

2. Instill pride in the product
Music programs are cool! How can this be communicated properly, and the pride shared with the students and community? It comes from a mix of culture, programming, recruiting, professionalism, and other aspects. It starts with the way you, your students, and the public view the program. What can you do to position your group as a cultural resource to your community?

3. Remove students’ perceived limitations
Young musicians don’t know what the limitations on their ability are until you tell them. Don’t be afraid to set the bar high and keep notching it up. You will be amazed at the results!

4. Practice (and rehearse) for perfection
You already know that when a student practices while allowing mistakes, all he is doing is getting better at making mistakes! Create a culture that strives for as much accuracy as possible in rehearsals as well as performance and select the repertoire that will allow you to do that. What motivates your students to strive for perfection?

5. Empower your musicians with clear guidelines for learning the repertoire
It’s the old “teach a man to fish” analogy. A good educator can teach students how to play any piece of music. A great teacher will educate those students on how to accomplish this on their own. This approach allows them to learn new music during their individual practice time and not just when they are in rehearsal. For example, something that worked great for my jazz students was establishing a set of “rules” for articulation, which they apply to every piece they sight-read or play, whether in class or at home.

6. Surround yourself with a powerhouse team
Start with mentors for yourself; assemble an all-star cast of musicians and educators that have the skills that you want to develop who are willing to coach and guide you. Then, build a dream team for your students—clinicians, a network of private teachers, parent volunteers and boosters, and a staff of specialists. We’re all in it for the same reason: the students. Let’s help each other succeed.

7. Listen. Listen. Listen.
Encourage your musicians to learn the language of music through active listening. Provide information on area concerts in all styles, not just the one they are focused on in the classroom. Assemble listening recommendations and a forum for them to share their current interests and artists they have discovered.

As an educator, I love hearing about how other educators help their students succeed. What are your tips to helping your students achieve their best? Share in the comments below.

Caleb Chapman is an award-winning performer, author, music educator, and producer. His new book, The Articulate Jazz Musician co-written with Grammy-winning saxophonist Jeff Coffin, was released by Alfred Music in 2013. For more information on Caleb’s projects and educational innovations, visit CalebChapmanMusic.com.

Choosing the Right Music for Your Orchestra

As a string teacher for many years, I always enjoy looking at new music.  It’s a bit like opening a present!  As an editor at Alfred, I see the music about a year before it is released. Right now we have just released the new 2013 music and have much of the music for 2014 selected.

Things have changed from the days when we all spent a lovely summer day in an air-conditioned music store looking for just the right pieces to play that year. Now we depend on the Internet and all the great websites to browse the new music or look for great classics.  A classic can be a piece that just works so well that teachers play it year after year.  It can also mean enduring music.  This month we are featuring several types of classic music – great rock and roll and timeless serious music. 

No matter what you are looking for, be sure it fits the skill level of your group. I would generally choose to play a slightly easier piece and play it with excellence than play a more difficult piece poorly.  Of course, there are times that a challenge is called for!  Keep your curriculum in mind as well and find tunes that provide the opportunity to teach the appropriate skills. Enjoy!

Planning for the Unexpected

By Sally K. Albrecht, Editor

Are you a teacher who plans every class period down to the minute? Or do you go in with a general plan for the day and see how the chips fall? Or perhaps you have definite long-range goals for each class, that may take 3, 4, 5, or more classes to accomplish, leaving yourself some flexibility?

Do you remember the popular phrase “Different strokes for different folks?” What are YOU comfortable with as a teacher, as an educator? I’m sure you’ve watched others at their craft, chosen a mentor, or perhaps became one yourself.

Happily, each of us has our own directive, own pace, own goals, and own way of getting there. But then, of course, there’s that unexpected snow day, or a late bus, or field trip, or pep rally, or guest speaker that just puts a major crimp in our our plans for the day.

Each educator needs to be ready to implement an alternate plan. Can we come up with a quicker solution or different route to the finish line? Think “The Tortoise and the Hare!” Slow and steady might just win the race, if we choose the right path.

No matter how much we plan ahead, or think we know the correct route, we must always be ready for the inevitable to happen . . . but the trick is NOT to let the students know you’ve missed a beat. Don’t blame it on them. Don’t make them think that they’ve missed anything in your teaching strategy. Keep up your enthusiastic pace, and make sure that every child in your room gets a smile, a positive word or look, or an encouraging pat on the back each and every day.

I recently conducted a choral festival where just about everything that could go wrong DID go wrong, mostly within the first hour of rehearsal. I’ve never seen a better, more positive, “quick-on-the-draw” group of elementary teachers (and custodians) jump in to help and solve the problems. I had limited rehearsal time and lost nearly an hour of it, but took a deep breath and jumped in as energetically as possible, encouraging the singers to concentrate to their fullest extent, taking turns taking breaks, and calling on the teachers to help with all of the extras.

Kids, like teachers, are resilient. They love to sing, to perform, and to succeed. They enjoy supporting and encouraging each other, applauding each other’s performances. Stay positive with them. Don’t let them know when you’re sweating out a scary moment or an unexpected turn of events. Be the teacher that draws the best out of them . . . “where never is heard a discouraging word!”

Getting to Know: Alice Parker

Photo from ACDA convention from left:
Michael Spresser, Alice Parker,
Sally Albrecht, Andy Beck

By Sally K. Albrecht

During the recent national ACDA (American Choral Directors’ Association) convention in Dallas, I had the extreme pleasure of getting to know Alice Parker. This choral treasure is a non-stop, energizer-battery lady, full of wit and wisdom. For over 60 years, her love of teaching has touched thousands of lives and voices. She has truly created a community of musicians through her work.

Composer, arranger, conductor, and teacher Alice Parker was born in Boston, MA, in 1925. She is a graduate of Smith College and the Juilliard School of Music, where she began her long association with Robert Shaw. Their arrangements form an enduring repertoire for choruses around the world. She has influenced many composers, conductors, and singers through seminars held at conventions, colleges, churches, and in her home. Ms. Parker continues to be active as a composer, with many cantatas, choral suites, and octavos published in recent years. She was named the first Director Laureate by Chorus America in 2012, is a Fellow of the Hymn Society of the United States and Canada, and is the recipient of many honors and awards—including ACDA’s 2013 Robert Shaw Choral Award.

During our “The Legacy of Lawson-Gould” interest session at the convention, Ms. Parker explained her arranging process and the working relationship that she and Mr. Shaw enjoyed. She researched the music, sketched out the arrangements, then presented them to Mr. Shaw, who marked changes and suggestions as he heard them. It was a wonderful collaboration, which resulted in many subsequent performances, publications, and recordings by the Robert Shaw Chorale. She instructed us to first read the text for its true meaning, reminding us to make those “flat dots” and words on the page come to life. Then she concentrated on the melody, pointing out the line and the rhythms. Finally, she encouraged us to communicate the combination of the words and the melody in a new way, using our own voices.

Ms. Parker’s energy, expertise, and musical spirit captured us all as she led us in song through several of her favorite Parker-Shaw arrangements, giving us time-tested pointers along the way!

>Please visit melodiousaccord.org for more information on studying with Alice Parker.

>Click here for a complete listing of current Alice Parker arrangements from the Lawson-Gould catalog.

Structuring Opportunities for Creative Development

Nate Brown
Drum Author, Performer, and Educator

Some of the most successful toys throughout history have been those that leave the creating to the kids: Tinker Toys, Legos, Lincoln Logs, Play-Doh, Sims, Minecraft, and the list goes on. Kids have a natural drive to create and explore – even as adults we are motivated by the opportunity.

Honing that drive is not as simple as telling a student to go home and create something this week. It’s our responsibility as teachers to structure creative opportunities in a way that develops, motivates, and is within the reach of the students’ abilities. Think how motivated a beginning student might be with a structured assignment like this: Create a 16 measure snare solo using quarter notes and eighth notes, and give your solo a title. In this way, the student is taking strides towards developing his/her own style and connecting with his/her instrument.

This is the concept behind my book, Alfred’s Beginning Workbook for Snare Drum – to motivate students to create, explore, and ultimately develop a superior skill on their instrument by providing structured opportunities to be creative.

I had the amazing experience of working with Dave Black while writing this book. His best-selling method books have been in my teaching arsenal for years. When I presented him with the ideas I have used to motivate creativity, he was excited about the idea of a workbook that could accompany any beginning snare drum method.

In this workbook, students work through concepts sequentially as they are encouraged to be creative through structured activities such as composing, matching, beaming, completing duets, improvising, solos, check-ups, final test, and more. The late Louie Bellson had this to say: “Alfred’s Beginning Workbook for Snare Drum is a comprehensive, well-written, and a useful manual which achieves its overall goal of encouraging creativity in the learner. It has my highest recommendation.”

With the right tools, teachers can make strides towards encouraging students to become more connected with their music through creativity—and the best part—students will appreciate the exciting challenge. There’s a reason Legos and Play-Doh have stood the test of time: the desire to create is in us all.

The Nature of Jazz Singing

by Michele Weir, author The Jazz Singer’s Handbook

Jazz is a creative, interactive art form that requires finely-tuned listening skills and a spirit of spontaneity. The ultimate goal: to communicate (specifically, to communicate emotion through the text). Great jazz performances are those where the artist has imprinted their own personal “stamp” on a song, making their rendition unique. The only singer that made their career from sounding like Ella Fitzgerald was Ella Fitzgerald. Ultimately, after listening to and studying the great jazz vocal masters, you should sound like you.

The focus of a jazz singer’s performance is more on the singer than on the song itself. While the integrity of the song is certainly an important factor, it’s the artist’s interpretation of the song that is the true essence of jazz.

Great jazz singers communicate with a sense of soulful honesty when they sing. Rather than acting like they feel the story of the song, they seem to really feel the story of the song; you believe them. Even if the setting or storyline of a given song is not true for them personally, they are still able to give an honest portrayal of the emotion behind the scenario.

Thus, the primary mode of communication for a jazz singer is the meaningful delivery of the text. This is number one on the list of artistic priorities! The lyrics to a song are like a story. We want the audience to listen to our story and really hear its message.

(Excerpted from The Jazz Singer’s Handbook by Michele Weir, 00-22020 Book & CD, $19.95)

Encouraging the Next Generation of Church Musicians

By Larry Shackley, Alfred Composer

Whether we like it or not, church musicians live in the spotlight. If you play, sing, or conduct every week, everyone in the congregation knows who you are, and you help set the standard for their opinion of church music and musicians. Young people who have any interest in using their talents for the Lord will look up to us as role models for their life and career.

Some of this modeling happens passively. For instance, if you set a high musical standard, they will learn to respect church musicians, because they will notice that you are just as serious about the Lord’s music as other types of musicians are about their music. On the negative side, you never know whose ears might hear you making comments like, “Close enough for church work,” or criticizing a soloist or member of the choir.

Are you aware of young people in your church who have musical gifts? Do you look for talented young singers or instrumentalists to take part in special musical events? If we get young people plugged in to musical ministry, they will come to think of church music as a viable option in the many musical choices they have before them. The important thing is for you, as a musical “authority figure” in the church, to show young musicians that you value them, and then model Christ-like service in your leadership and performance.

Teaching Appreciation and Encouraging Curiosity of Classical Music in Your Orchestra

By Jonathan Glawe

The experiences we bring to our students define their understanding of our class, and in turn their understanding of the breadth and potential of our art form. With the repertoire we choose as music educators, we expose our students to different styles, cultures, and techniques. A memorable performance may introduce our students to new ways of interacting with music, allowing them to find a more personal connection to the art form. The future of the Symphonic Orchestra is entirely dependent on engaged audiences. The end result of a diversified focus on music appreciation in orchestral music education is the development of future music enthusiasts who are capable of enjoying and sharing the positive messages and powerful emotions that are created through an orchestral performance.

As a high school orchestra director, I teach students who come from a wide variety of musical experiences and technical backgrounds. In my teaching situation at Pioneer High School in Ann Arbor, Michigan, I am fortunate to have a core representation of students who have been heavily exposed to classical music since early childhood. For these students, selling the idea of playing a classical musical selection is not a challenge, but the problem of course lies in the larger picture of the orchestra program. For every one student in the program that shows a strong appreciation for classical music there are two or three others who need a positive experience to get them excited about classical music for what it truly is: a beautiful and proven art-form that is to be celebrated for withstanding the test of time.

As a teacher, to promote appreciation you must first demonstrate how to do so with consistency. One of the first strategies I employed when I arrived at Pioneer was to implement an environment of appreciation for all students in the ensemble. The appropriate use of the sentiment “thank you” became a daily routine for anyone in the ensemble who ever did you a positive service. Also, students who tended to blend in with the crowd were acknowledged for noticeable improvements in elements of musicianship and organizational skills, both by their peers and myself. These simple changes led to the beginning of a trusting relationship, something that helped the students to become more positive contributing citizens to the culture of the ensemble.

As trust began to build, my next order of business was to take the curriculum currently in place and begin promoting it to the students differently. Pioneer was no longer going to perform independent concerts, but we were going to build an “orchestra season,” similar to what the Detroit Symphony Orchestra does. This meant we would put on a variety of concerts for our audience to attend. Our season would begin with a strings only chamber music performance in the fall. In December, full orchestra works by traditional classical composers would be featured. In February, the city-wide showcase concert would occur with a guest conductor. In March, the concerto concert would feature soloists from the senior class. Finally, in May, the program would put on a POPS concert, which would showcase the eclectic string skills developed over the course of the year.

The first few years of this implementation were not met without hesitation from students or musicians within the community. I found some of my top skill level players who enjoyed classical music were not keen on the idea of the POPS concert, and many of the rest of the orchestra students were not invested in the classical concerts. It is when these discussions come up that the director must continue to send a consistent message that through any style of music, you can learn appreciation and deeper understanding. You won’t win the understanding of all of your students, but if you are consistent, eventually your message of educating all of your students about the diversity of music will begin to pay off.

After 3 years of implementing the “orchestra season” approach, a few important things really began to happen. The number of students continuing to play from middle school started to increase. In addition, the diversity of the students within the ensemble started to grow. Students in the high school who had stopped playing years ago started knocking on my door wondering if they could return. Students started to make enjoyable transitions from one style of music to another, and before I knew it, we were talking about the difference of rhythm and groove found in a Beethoven Symphony and pop music. I remember having a nearly 20-minute conversation with one of my classes about how the bow strokes in a Brandenburg Concerto were different than that of what great jazz violinists do. You may be thinking that I led the conversation, but rather, some of the most reserved students were the ones leading the discussion!

One last element to discuss in regards to this topic is that of quality of instruction. It is impossible to educate yourself to be a master of each musical style that you present. However, students do appreciate watching their teachers grow, modeling how to learn. If you hit a roadblock in teaching classical music, or any style for that matter, it is okay to tell your orchestra that you need to research the issue further. Students like to see you humble about what you do and do not know. By investing time in maintaining the quality of classical music yourself, you are constantly confirming the students that you are teaching to the authentic nature of the musical selection and not from your opinion. This takes the responsibility off of you and reminds students that together, you have an obligation to a composer to perform any piece of music in front of you to the best of your ability.

Students learn best through modeling, and the best way to sell them on classical music is to treat classical music with the respect it deserves. It is important to remind your students that it is all around them, and that in the music they listen to today, famous classical melodies are often quoted. Play those quotes. Bring in artists who specialize in classical music. Show YouTube videos of young people performing outstanding works by classical composers. Contact your local colleges or universities and promote their concerts. Take advantage of communicative technology, and set up a Skype lecture or coaching with a classical composer.  Have your students compose a 4-bar melody and help them harmonize it in a variety of ways. Perform those written melodies at a concert or a recital. Show old cartoons and talk about how classical music relates to the story or the character movement. Have classical music playing when they are unpacking or packing up in your classroom. Talk about the life of composers and their motivation for composing. Most importantly, listen to and perform classical music, and deepen YOUR appreciation for it. What you are curious about, show excitement for, and grow to appreciate, your students will tend to do as well. Be patient and consistent. It will eventually pay off!

© 2012 Jonathan Glawe

Jonathan Glawe (from Waterloo, Iowa) is currently the Director of Orchestras at Pioneer High School in Ann Arbor, Michigan. He holds a Bachelor of Music Education from the University of Kansas and a Masters Degree in Music Education from the University of Oregon.

Currently in his 5th year at Pioneer High School in Ann Arbor, Mr. Glawe has played an important role in the their return to the GRAMMY Signature School list as presented by the GRAMMY Foundation, in which the Pioneer Music Department was honored as one of the top 3 music programs in the nation in 2010, and has earned the honor of being the National GRAMMY Signature School in 2011.

Tips from a Festival Conductor

By Sally K. Albrecht
Alfred Editor, Composer & Clinician

As I head out today to my third county choral festival in as many weeks, I thought about all of the different wonderful and magical experiences I have enjoyed as a conductor over the years. I usually guest direct from 6 to 10 such events each season. Here are some tips that have helped me along the way.

1. Select music early.

• I enjoy working with my host on music selection. It’s helpful if the host sends me programs from the previous 2-3 years, so I see what type of material has been selected in the past. I always enjoy chatting on the phone at this point, to see what was successful. I like to know the approximate number of singers (if a mixed group, how many on each voice part) and how many schools are represented. (If there’s a descant part, I’ll often say, “One singer per school may sing the descant.”)

• Will other groups be sharing our program? If so, then I always recommend a joint finale and/or opening selection.

• Are any instrumentalists available? That may alter my music choices.

• I generally send one or two possible programs for my host to select from, or say, “Here are two folk song arrangements. Pick one.” I make sure my music choices are current, in print, educational, inspirational, entertaining, challenging, yet accomplishable. I make sure we have an opener, a closer, then a variety in between, including: folk songs, spirituals, multicultural, classical, novelty, music song . . . . well, just something for everyone.

• My general rule is to select one song per hour of rehearsal. If I have a 6-hour rehearsal day, then 6 chorals should do it.

• Make sure each singer has a copy of music in his/her hands (no photocopies allowed), with a pencil handy for special markings. Even if the music is to be memorized, it’s often necessary to take another look!

2. Communicate.

• Keep communication lines open at all times. Be quick to respond to emails and/or phone calls. Let me know if there are definite times I need to anticipate breaks or lunch, or if that’s open to the flow of the day.

• Send hotel and rehearsal locations and information in plenty of time for me to mapquest the area.

• Make sure to put in writing all of the financial agreements—who pays for what, what receipts are needed, who is providing meals, etc.

• I make it a habit to send “Notes from the Director” with any special instructions for the music: things to look out for, are we singing cue-size notes, who sings the descant, will there be any solos to audition, etc.

• Let the conductor know what the mode of dress is for the concert. I’ll dress differently if singers are wearing robes than I will if singers are in jeans with a festival T-shirt!

3. Plan for the day.

• I always arrive with a plan for the day—what I want to get done in every 15-minute chunk of time. I often will let one voice section take a morning break while I rehearse with another section. Make sure there are adequate clean rest rooms nearby.

• Have enough risers set up, ready to go on stage, for the number of singers selected to participate. Anticipate 12 students per riser-secton (3-step risers plus floor). Younger students, perhaps, can fit up to 16 singers per riser section.

• Make sure that each student has a name tag. I like to see their first name, really big (so I can read it easily from afar). Teachers need name tags, too—full names. If it’s a 2-day festival, then collect the tags or have a second set available.

• I start with warm-ups, then perhaps a quick rehearsal of the opening or closing number. Then I enlist the teachers to help me get the students lined up by height and part, tallest 1st. No singer should be next to someone they already know. The goal is to form a new choir and make new friends!

• During rehearsals, make sure a few teachers are around, on hand, at all times.

• If instrumentalists are involved, decide on a specific time for them to rehearse so they don’t have to sit there all day with you. I generally request that they come mid-afternoon, then stay to play our final run-through with us.

4. The simple things that don’t go un-noticed.

• Have a great accompanist ready to go, who has prepared the music and understands how to accompany (that means, reads the mind of the guest conductor)! Make sure the piano has been tuned (and dusted off) recently.

• Have lots of water on hand, a podium (if needed), and a music stand that doesn’t wobble. Does the conductor need a microphone? And, if we’re all onstage, does that microphone have monitors on stage so the singers can hear my comments?

• Check the air temperature in the rehearsal area. Is it a place where we can work all day? Or is a second room needed for relief/change of venue?

• Have a tech person check that the lights in the auditorium are all in working order. Know how to turn the stage lights on and off, dim as needed. Same with the sound system.

• Let me know the plan for the actual concert. Who speaks when? Who introduces who? If there’s a list of “thank yous” that needs to be spoken, please do that before the concert begins or before the final number. I like to leave the audience with the sound of our music ringing in their ears!

Enjoy the special musical day you, your teachers, and your students will have. There’s just nothing like it!

Teach Me to Sing!

By Sally K. Albrecht and Andy Beck, Alfred Choral & Classroom Editors

At several recent conventions, Andy Beck and I have enjoyed presenting a session titled “Teach Me To Sing! A Guide to Training Young Singers.” We have had so many positive comments about the presentation and the approach that we’ve taken to developing children’s singing skills. Here are the six simple steps we recommend.

STEP 1 – Develop basic singing and listening skills with ECHO SONGS.
Echo songs are the very best way to start primary singers. When you demonstrate proper vocal tone and technique, then your singers will echo it back correctly. This is a wonderful way to develop ear training, pitch awareness, rhythmic accuracy, and good vocal habits in young singers.

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STEP 2 – Now that we’ve got the basics, let’s sing in UNISON.
Start young voices on simple age-appropriate melodies set in comfortable vocal ranges. Then gradually introduce challenges as musical objectives are met. Remember, students will learn so much through lyrics, so choose songs that inspire and educate as well as entertain!

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STEP 3 – Develop vocal independence by singing ROUNDS AND CANONS.
There’s no better way to introduce part-singing than by performing rounds and canons. Be sure to thoroughly learn the melody in unison first, then divide students into sections. Take turns leading or following. Or YOU be the leader, and let students follow!

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STEP 4 – Pair two complimentary melodies singing PARTNER SONGS.
These highly effective teaching songs ensure vocal independence as two tunes are overlapped. Repeat each song three times; sing the familiar melody first, the new melodic partner second, and then combine them for each-to-achieve counterpoint harmony!

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STEP 5 – Integrate RHYTHM AND MUSIC READING ACTIVITIES into your curriculum.
We know that learning styles vary, so it’s important to teach and reinforce musical concepts in a variety of ways each time you are with your students. For rhythmic reading, try clapping, tapping, chanting, walking, and playing classroom instruments. For music reading, incorporate regular practice and drill to develop musicianship.

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STEP 6 – After all of your hard work, now you are ready to sing BEGINNING 2-PART SONGS.
Now you’re ready to experience the beauty and fun of choral singing, introducing beginning 2-part songs with independent counterlines, echoing phrases, or musical lines that move in opposite directions. Select repertoire that is designed for success.

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After all your excellent preparation and fun work, now you should be ready to introduce your developing 2-part singers to choral octavos!

>Click here to view a PDF booklet of sample pages introducing these 6 simple steps.