Choir Ninja, with Ryan Guth

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

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.     [Subscribe on iTunes] [Subscribe on Android] 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!    

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. [Subscribe on iTunes] [Subscribe on Android] 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!      

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? [Subscribe on iTunes] [Subscribe on Android] 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!      

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. [Subscribe on iTunes] [Subscribe on Android] 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!    

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.   [Subscribe on iTunes] [Subscribe on Android]   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!    

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. [Subscribe on iTunes] [Subscribe on Android]   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!    

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)    

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. [Subscribe on iTunes] [Subscribe on Android]   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!    

 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. [Subscribe on iTunes] [Subscribe on Android]   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! 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!    

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! [Subscribe on iTunes] [Subscribe on Android]   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!    

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. [Subscribe on iTunes] [Subscribe on Android]   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!    

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. [Subscribe on iTunes] [Subscribe on Android] 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!

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!

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!)

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!)

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!)

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!)

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!)

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! 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!)

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! [Subscribe on iTunes] [Subscribe on Android]   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! 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!)    

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.   [Subscribe on iTunes] [Subscribe on Android]   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! 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!)    

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.   [Subscribe on iTunes] [Subscribe on Android]   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! 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!)    

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. [Subscribe on iTunes] [Subscribe on Android]   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! 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!)    

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.  [Subscribe on iTunes] [Subscribe on Android]   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!)     My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)    

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.   [Subscribe on iTunes] [Subscribe on Android]   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!)     My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)    

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. [Subscribe on iTunes] [Subscribe on Android]   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! 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!)    

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.   [Subscribe on iTunes] [Subscribe on Android]   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   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!)    

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

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!     Listen   [Subscribe on iTunes] [Subscribe on Android]   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!)    

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!)    

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!)

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!)

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.

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!)

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!)

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!)

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!)

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!)

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!)

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!)

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!)

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!)

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!) [convertkit]

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

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: Score study is imperative for sequential growth for choir. Elevate their strengths and not their weaknesses. 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!)

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! 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!)

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! 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!)

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! 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!)

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! 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!)

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! 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!)