tag:blogger.com,1999:blog-27536407882662065982024-03-05T21:56:15.153-05:00Earlene RentzEarlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-2753640788266206598.post-29974923267987367702023-09-29T10:36:00.002-04:002023-09-29T10:42:45.842-04:00The Twelve Days of Christmas<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYbrWKfe6AZtYNF61uc_MVUruVOp9DpLmss-9pPn7cW8kT_DogSdYjFHNREYh0kM43oYUJH01gZ8YznnY9QWd3Azx0E-gR6qTnpy5HgusQFcYrUo5QY-8IioInP51v5_BPRVOgFt8xVO77F6-Fvdn3MYr_DtQdtmqWCrmZUvkGC2jv5SeWWHhyphenhyphenn8w_1Sum/s320/Fall%20Leaf.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYbrWKfe6AZtYNF61uc_MVUruVOp9DpLmss-9pPn7cW8kT_DogSdYjFHNREYh0kM43oYUJH01gZ8YznnY9QWd3Azx0E-gR6qTnpy5HgusQFcYrUo5QY-8IioInP51v5_BPRVOgFt8xVO77F6-Fvdn3MYr_DtQdtmqWCrmZUvkGC2jv5SeWWHhyphenhyphenn8w_1Sum/w150-h200/Fall%20Leaf.jpg" width="150" /></a></div><br /><p></p><p>I saw a colored leaf last week, and it finally hit me in the best sort of way that the long, hot summer is coming to an end! Hallelujah! It couldn't arrive soon enough. In choral director lingo, it means something else: "It's time to order holiday music." </p><p>One of my favorite music octavos has an interesting story: <i>The Twelve Days of Christmas</i> was published by Colla Voce Music in 2007. Unfortunately, when promotions began, my name was spelled incorrectly for some reason, and only those to whom I had sent music ordered it for their choirs. The <a href="https://www.lexingtonchamberchorale.org/">Lexington (KY) Chamber Chorale</a> sings it annually, and they do a great job of making every day of the twelve come alive!</p><p>The arrangement is written in Baroque style, and some days have an interpretive uniqueness: the French hens sing in French (<i>mon</i> <i>amour</i>), the calling birds actually call, geese are squawking, eight maids sing the major scale, nine ladies are dancing, lords are leaping (intervals), pipers pipe when the choir whistles for a few measures, and basses and tenors provide some cool drumming as the 12 drummers. Then....the Baroque factor takes over, and the choir <i>"fa, la, la"</i>s to the end, with a powerful <i>My Love</i>!</p><p>This arrangement might be sung by a moderately skilled choir and the most advanced choir. The 12 Days come alive, and my goal was to write an arrangement that didn't seem to last an eternity....though there <i>are</i> 12 days! So...I tried to write something humorous, yet musically challenging.</p><p>I have included the notation in this blog, but I regret to say that so far, there is no recording. I am happy to hear your choir sing this octavo. Visit my <a href="https://www.earlenerentz.com/">website</a>, and send an mp3 of your choir entertaining an audience with <i>The Twelve Days of Christmas</i>. It is available for purchase with several distributors:</p><p><a href="https://www.jwpepper.com/Twelve-Days-of-Christmas/10034707.item">J. W. Pepper</a><br /></p><p><a href="https://www.penders.com/p-1045507-the-twelve-days-of-christmas-a-la-baroque.aspx">Penders</a></p><p>Take a look at the notation:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZuzfdVgDsOIQFWvUYiMg6euDr2IW9izOUoOpvk6Je0SovP1_yGfb1GHeIoI3nh6ssqoJD_6VBN29lfq5U5MtthzsNWK3Sf3oM5OxrfgiXM87KH4Xm4WelMQR5t48Q6fy8QMypq7-Mzg743TJdJOgJex_Eka3iwZY5unjIz9qPP86J7KmIpcpgIsK5Iqg/s1294/12%20days-Pg1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1294" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTZuzfdVgDsOIQFWvUYiMg6euDr2IW9izOUoOpvk6Je0SovP1_yGfb1GHeIoI3nh6ssqoJD_6VBN29lfq5U5MtthzsNWK3Sf3oM5OxrfgiXM87KH4Xm4WelMQR5t48Q6fy8QMypq7-Mzg743TJdJOgJex_Eka3iwZY5unjIz9qPP86J7KmIpcpgIsK5Iqg/w494-h640/12%20days-Pg1.jpg" width="494" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDpVx0533NeeK1THwHMfWMtscf24SSmrSblxmkYFLAldZOx4iCbSyMUg3oNe7GxJi4JrAYcZpBw09FoLn7hZvhyH3MiNCWQy38Hzl6Z80MXuScYOdYL2Tk9DOsWYuu52A_TJU_7V-NoA51hI9f2SyDwVdAzXvRacg8Kh-CwWmJHfJjs4QuVkwwrzVi1YSc/s1294/12%20days-Pg%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1294" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDpVx0533NeeK1THwHMfWMtscf24SSmrSblxmkYFLAldZOx4iCbSyMUg3oNe7GxJi4JrAYcZpBw09FoLn7hZvhyH3MiNCWQy38Hzl6Z80MXuScYOdYL2Tk9DOsWYuu52A_TJU_7V-NoA51hI9f2SyDwVdAzXvRacg8Kh-CwWmJHfJjs4QuVkwwrzVi1YSc/w494-h640/12%20days-Pg%202.jpg" width="494" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb3N5wfZy0Fo1famOSLxWcfjUvswEbT2S9QxMGq3sO73jZuKUoNK8BthWzGtTdNi5ypu69JSZbsx3KBMx_lbi9g1ghfEQ62LIi7v2QOLZP-M69k1f0p0BSJgZYdQujOzFFlE6ZZgliXcRRPJuVdlgSIM1fQHGOwqiJw7pIZEtbnsZ21W3G7zHTqtRmN7O4/s1294/Page%203.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1294" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb3N5wfZy0Fo1famOSLxWcfjUvswEbT2S9QxMGq3sO73jZuKUoNK8BthWzGtTdNi5ypu69JSZbsx3KBMx_lbi9g1ghfEQ62LIi7v2QOLZP-M69k1f0p0BSJgZYdQujOzFFlE6ZZgliXcRRPJuVdlgSIM1fQHGOwqiJw7pIZEtbnsZ21W3G7zHTqtRmN7O4/w494-h640/Page%203.jpg" width="494" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFoOgBLjB1zkUm-qjakwf0L_kgV3TdSZyk4hOoWRDeNAyFhcZzQsh4JOHLj6L5P3SRcLoIDtl0sqmSj8O3RlXgWf3-xOq0osw4rxLlhcJiTZ8SIi4bJ3i1AVWKKv-L_ZDyIVZv9_dswK4tCbDN76xbZRfXxIlEQAyhaB8tNkFxEqlsXMBequmQLhbJNQz/s1294/Page%204.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1294" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFoOgBLjB1zkUm-qjakwf0L_kgV3TdSZyk4hOoWRDeNAyFhcZzQsh4JOHLj6L5P3SRcLoIDtl0sqmSj8O3RlXgWf3-xOq0osw4rxLlhcJiTZ8SIi4bJ3i1AVWKKv-L_ZDyIVZv9_dswK4tCbDN76xbZRfXxIlEQAyhaB8tNkFxEqlsXMBequmQLhbJNQz/w494-h640/Page%204.jpg" width="494" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4WqHxZaiYQNbDt7RudkCl6TFhxx84w41ACDK10mbfBIo0mTvdBHiGVFpLmWGm6J_xVsNJG00_UPM6yJAhl4iryvHazHUXQQYza8nHW8ZutBsI1TQObpkJ_fjzIxBka3fdMnl3YXZ99xTiKAdUefT6mpo1HNdvrLwo3HK9v4wifRyWQmFFeS2-ftn65RWM/s1294/Page%205.jpg" style="margin-left: 1em; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Cqu3Yzff3ZcI_DP2nQ3QtYmlOI2FYFPgNkqbrYnl8PM3z5hqGQ0dnBGAjN32UIYV6FNSSogyJZBpa0JUwNYrraw-ttQlKxLWMI14W_ju-4Sjk3mrk5maaae30q2zoWtCV8IOb6mjsRZdfze3ZlBiRNjysQiYesZzzCZ_KaowL3GXqJGYm_5QjtDIoloZ/s1294/Page%2018.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1294" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Cqu3Yzff3ZcI_DP2nQ3QtYmlOI2FYFPgNkqbrYnl8PM3z5hqGQ0dnBGAjN32UIYV6FNSSogyJZBpa0JUwNYrraw-ttQlKxLWMI14W_ju-4Sjk3mrk5maaae30q2zoWtCV8IOb6mjsRZdfze3ZlBiRNjysQiYesZzzCZ_KaowL3GXqJGYm_5QjtDIoloZ/w494-h640/Page%2018.jpg" width="494" /></a></div><br /><p><br /></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-30340999158133542062023-08-15T13:58:00.004-04:002023-08-15T14:13:22.538-04:00Patriotic Octavos for Veterans Day and Other Holidays<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkbeW0sQ3GDvsreU_Mr6WbxbbI3Pjw4B5mT-K3hmtTJIAtJReq0nbO5vdyomBSr82jW67xhvqYDCXM4G7b3EjRToNy5vUBvdh5sYlSkTWLXAez2JHz_ir0sUrHDeQmnfD8KkgfT_RhajkaZunvYFOBZx3_kI10uy3CU3HWcWYpaSbb3N9MEYdDTzhpcVFI/s512/FlagsPhoto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="402" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkbeW0sQ3GDvsreU_Mr6WbxbbI3Pjw4B5mT-K3hmtTJIAtJReq0nbO5vdyomBSr82jW67xhvqYDCXM4G7b3EjRToNy5vUBvdh5sYlSkTWLXAez2JHz_ir0sUrHDeQmnfD8KkgfT_RhajkaZunvYFOBZx3_kI10uy3CU3HWcWYpaSbb3N9MEYdDTzhpcVFI/w157-h200/FlagsPhoto.jpg" width="157" /></a></div><p></p><p>The most popular choral octavos being ordered these days are in the categories of "Patriotic" and "Holiday." People are getting a head start on both, and when you look at how quickly time seems to fly, it really is not too early to consider <i>both</i> holidays. You will find octavos below that others have selected for their choirs recently, and I hope you will give them a try.</p><p>1)<span> <i>America the Beautiful</i> - Can be sung <i>a cappella</i> or with the provided optional accompaniment. There is a solo for a special singer, and the piece moves to a powerful ending. <a href="https://www.earlenerentz.com/downloads/america-beautiful-satb-cappella/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/america-the-beautiful-sab/">SAB</a>, and <a href="https://www.earlenerentz.com/downloads/america-the-beautiful-ssa/">SSA</a>. Also available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=America+the+Beautiful+-+Earlene+Rentz">J. W. Pepper</a>.</span></p><p>2)<span> <i>In Flanders Fields</i> - The famous words of Lt. Col John McCrae (WWI) are set to an original tune. A French Horn solo provides the haunting mood for this legendary emotional poem. <a href="https://www.earlenerentz.com/downloads/in-flanders-fields-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/in-flanders-fields-sab/">SAB</a>, <a href="https://www.earlenerentz.com/downloads/in-flanders-field-ttbb/">TTBB</a>, <a href="https://www.earlenerentz.com/downloads/in-flanders-fields-3-part-mixed/">3-Part Mixed</a>, <a href="https://www.earlenerentz.com/downloads/in-flanders-field-unison/">Unison</a>. Also available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=In+Flanders+Fields+-+Earlene+Rentz">J. W. Pepper</a>.</span></p><p><span>3) <span> <i>The Rising of the Moon</i>- Though actually an Irish folk song, the style is robust and the emphasis is on <i>unity</i>. <a href="https://www.earlenerentz.com/downloads/the-rising-of-the-moon-ttbb/">TTBB</a>, <a href="https://www.earlenerentz.com/downloads/the-rising-of-the-moon-ttb/">TTB</a>, <a href="https://www.earlenerentz.com/downloads/the-rising-of-the-moon-tb/">TB</a>. Also available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=The+Rising+of+the+MOon+-+Earlene+Rentz">J. W. Pepper</a>. </span></span></p><p><span><span>4)<span> <i>The Star-Spangled Banner</i> - Our <i>National Anthem,</i> telling the story of that perilous night in Baltimore Harbor. It begins with the second verse, then wends its way back to the first verse (Audience participation optional). <a href="https://www.earlenerentz.com/downloads/the-star-spangled-banner-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/the-star-spangled-banner-sab/">SAB</a>. Also available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=The+Star+Spangled+Banner+-+Earlene+Rentz">J. W. Pepper</a>.</span></span></span></p><p><span><span><u>Other EROP Patriotic Octavos:</u></span></span></p><p><span><span>1) <span> <i>When Johnny Comes Marching Home</i> - The popular American folk song teaches us to celebrate the commitment, sacrifice, and loyalty of our soldiers in the armed forces. <a href="https://www.earlenerentz.com/downloads/johnny-comes-marching-home-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/johnny-comes-marching-home-sab/">SAB</a>, <a href="https://www.earlenerentz.com/downloads/johnny-comes-marching-home-3-part/">3-Part Mixed</a>, <a href="https://www.earlenerentz.com/downloads/johnny-comes-marching-home-ssa/">SSA</a>, <a href="https://www.earlenerentz.com/downloads/johnny-comes-marching-home-ttb/">TTB</a></span></span></span></p><p><span><span><span>2) <span> <i>Son of Liberty</i> - Takes us through significant events and battles fought by the USA at home and abroad, beginning with the Continental Congress. A great history lesson. <a href="https://www.earlenerentz.com/downloads/son-of-liberty/">TTBB</a>, <a href="https://www.earlenerentz.com/downloads/son-liberty-ttb/">TTB</a>, <a href="https://www.earlenerentz.com/downloads/son-liberty-tb/">TB</a>. Also available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Son+of+Liberty+-+Earlene+Rentz">J. W. Pepper</a>.</span></span></span></span></p><p><span><span><span><span>3) <span> <i>Let Freedom Ring</i> - (<i>My Country 'Tis of Thee)</i>, arranged with Optional Audience Participation and Optional Orchestration. <a href="https://www.earlenerentz.com/downloads/let-freedom-ring-satb/">SATB</a> Also available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Let+Freedom+Ring+-+Earlene+Rentz">J. W. Pepper</a>.</span></span></span></span></span></p><p><span><span><span><span><span>4)<span> <i>Loud the Bells for Johnny Toll</i> - The pain of losing a child to war is depicted, complete with Optional tolling bells. <a href="https://www.earlenerentz.com/downloads/loud-the-bells-for-johnny-toll-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/loud-the-bells-for-johnny-toll-sab/">SAB</a>, <a href="https://www.earlenerentz.com/downloads/loud-the-bells-for-johnny-toll-3-part/">3-Part Mixed</a>, <a href="https://www.earlenerentz.com/downloads/loud-the-bells-for-johnny-toll-ssa/">SSA</a>, <a href="https://www.earlenerentz.com/downloads/loud-the-bells-for-johnny-toll-2-part/">2-Part</a>. Also available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Loud+the+Bells+for+Johnny+Toll+-+Earlene+Rentz">J. W. Pepper</a>.</span></span></span></span></span></span></p><p><span><span><span><span><span><span>5) <i>The Skies Remember</i> - The sacrifice of military families who wait for the return of deployed loved ones is the theme of this original setting. They wait, they agonize over the danger and domestic challenges. Then they remember that they share the same sun, moon, and stars with their deployed spouses. The skies remember them. <a href="https://www.earlenerentz.com/downloads/the-skies-remember-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/the-skies-remember-sab/">SAB</a>, <a href="https://www.earlenerentz.com/downloads/the-skies-remember-ssa/">SSA</a>. Also available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=The+Skies+REmember+-+Earlene+Rentz">J. W. Pepper</a>.</span></span></span></span></span></span></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-54384185495293306222023-08-02T22:14:00.000-04:002023-08-02T22:14:30.276-04:00Another Year! What now?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjouFOq0MPgIMnMjwjjVckaNqHY6_JnCuXESSpa2iUNGEtA7Cz7SNjwF-1gmo9939U6glpkCzkwRhDQvaXFH-eLfn3veyJhzBd2wyKdWk8fNNItM9q20JX3blj2QKoGz9QJFvhz767GD-8f06yC5jYAJw8D-Zc8m8uRsT0AjyYFpLC06SeZU7PbhPEW-wdI/s300/EarleneRentz-240x300.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="240" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjouFOq0MPgIMnMjwjjVckaNqHY6_JnCuXESSpa2iUNGEtA7Cz7SNjwF-1gmo9939U6glpkCzkwRhDQvaXFH-eLfn3veyJhzBd2wyKdWk8fNNItM9q20JX3blj2QKoGz9QJFvhz767GD-8f06yC5jYAJw8D-Zc8m8uRsT0AjyYFpLC06SeZU7PbhPEW-wdI/w160-h200/EarleneRentz-240x300.jpg" width="160" /></a></div><div style="text-align: center;">Earlene Rentz</div><p></p><p>It's that time of year! Music teachers of all sorts are gearing up for another "go" at it. As I listen more and more, it seems that this year is <i>different</i>. I might be wrong, but it seems like many music teachers are leaving the profession in droves. I'm not pulling that statement out of the air; I'm looking at the huge increase in the "non-existent" email designations in my professional contacts. No one need ask, <i>"Why?"</i> The truth? It's <i>difficult</i> out there during "these days." How many times a day do we hear the word "unprecedented?" I truly think I've heard it every day for at least six years, and it has also crept into the music world. </p><p>Life goes on, and thankfully...music goes on as well. Where does that leave us? The <i>art of music</i> is what we teach; <i>music</i> is what we love; <i>music</i> is the "it" that is becoming almost <i>impossible</i> for some. It might be a bit disappointing to know that some are disconnecting, but the delight of that idea is that we can change the negative into <i>possibility! </i>So....what do we do?</p><p>First, please know that I have all the respect, admiration, and praise in the world for <i>all of our music teachers (also church/synagogue/community choir musicians)</i> in any musical organization <i>anywhere!</i> <i>No one</i> knows the challenges you face these days, as our culture, climate, and demographics have changed and intensified. I think of my days in the classroom (70s through 2000), and I just stay quiet. <i>There is no comparison</i>...except that we are teaching other humans something we love, and the subject matter's value has remained (though there are now some restrictions).</p><p>So...if you have decided that a change was necessary in your life, let's think about how you can continue to be involved in music on some level. There are numerous ways we can keep that element of "soul-nurturing" going on in our lives as we ponder our futures. Why would we want music in our lives? For some weary souls, the need for music might not be "on the radar" at the moment. That's how difficult the profession has become for some. I understand the need for a period of rest.</p><p>For most of us who have continued to be in the profession in some way, we find <i>community</i> and <i>satisfaction</i> in the music culture of our lives. We have found "that <i>thing"</i> has defined us as a worthy, contributing member of society, and we have found some ways to use it productively to create beauty in our lives <i>with</i> and <i>for</i> others. We have found something we are "good at." We might be a different "lot" as compared to most folks, but one identifying element in our lives is that most of us enjoy creating beauty with <i>other people in a team effort</i>. This "choir thing" is a necessary component in order for us to do so. By participating, we create beauty that feeds our emotions, delights, love, and accomplishments. Those "pay-offs" from musical participation have propelled us forward for years and years. Unless we have determined that those pay-offs are no longer enjoyed or necessary, we will likely continue to seek them out in our lives.</p><p>So....what do we do with our life-changes? </p><p>1) Become acquainted with the music culture in your area</p><p>Who are the people in your area who are respected leaders of choral music? Where are their concerts taking place? What is the general focus of the music genres for each choral group? Will you enjoy being supportive with your presence at concerts and with positive conversation....or....is there something inside you that must be involved in the making of music?</p><p>2) Find a choral group to join</p><p>Most groups are kind, accepting members, and would be delighted to have others join. Is the group auditioned? You might want to sign up for choral newsletters and websites that might assist you in finding the right time for whatever involvement you choose. If choir members are not chosen via auditions, would you still like to be involved as a volunteer in some way (turning pages for the accompanist? setting up the room for rehearsal? record keeping? - <i>All are so necessary </i>in the workings of the "choral machine," and any choir director would love you for offering your services).</p><p>3) Sing in a church choir</p><p>There really aren't too many church choirs that require auditions. There is a closeness in church choirs that is usually the result of ministry to those with whom they sing. For so many choirs in churches, the involvement level is high, as "Sunday comes <i>so very weekly</i>," and there must be music! Therefore, the church choir is the place where we minister to others as we pray, send food, forge relationships, and show our care for others. It has been my experience (and comes as no surprise) that there is an additional focus for a church choir that is a bit different from a community choral organization. They are ministers to each other....together.</p><p>4) Create your own choral group</p><p>If you relish organizational and administrative challenges, this option might be the perfect way for you to spend the next several years. Of course, there are a few considerations: a) What is the objective for the group? b) What is the quality/quantity of the possible participants from which you may draw? c) Are there others who will assist you in organizing? d) Will the group be welcomed into the choral community as one that will not "take" from other previously organized groups? e) How can the group contribute to the community as "givers" and as a performing ensemble?</p><p>Whatever the case for you in the coming year, please keep music in your life. We all need music, and we need each other, especially in tough, uncertain times.</p><p><i>May we all experience joy, expectation, and delight in the coming choral year. All the very best to all of us as we create beautiful music!!</i></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-30793709213014017902023-07-03T20:36:00.002-04:002023-07-07T20:08:46.199-04:00Followers of the Lamb - A Shaker Revival Tune<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFkyE9PMDxCU0Db18FFPk9B1xjPzduS6joNtzk6rwsxNHAGnBJPUC6U0rjyVaCTtKCdlKcBJLHo2Xh4irNyzM3b7-nd1Eyes4WTSIDvd5dzhJ7Dj_NcsRTP_nK2CLynFiuvQAkgE1hKmMQtD_f3rtA5yNCS1zOJDbxXNe5_LuSqp5sjL5h-UedaJNFdgqC/s500/Shaker1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="375" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFkyE9PMDxCU0Db18FFPk9B1xjPzduS6joNtzk6rwsxNHAGnBJPUC6U0rjyVaCTtKCdlKcBJLHo2Xh4irNyzM3b7-nd1Eyes4WTSIDvd5dzhJ7Dj_NcsRTP_nK2CLynFiuvQAkgE1hKmMQtD_f3rtA5yNCS1zOJDbxXNe5_LuSqp5sjL5h-UedaJNFdgqC/s320/Shaker1.jpg" width="240" /></a></div><div style="text-align: center;">Gardens in a Shaker Community</div><p></p><p>I recently completed an arrangement of a Shaker Revival Hymn entitled "Followers of the Lamb." I have grown fond of the Shaker history in many ways, because when I lived in Kentucky, I was only 20 miles or so from <a href="https://shakervillageky.org/">Shaker Village of Pleasant Hill</a>, commonly referred to by the locals as "Shakertown." The village often hosted music festivals there in the community, and musicians loved to provide entertainment for visitors on weekends as well. I found myself on the campus of Shaker Village quite often, it seemed. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlLxmSiaYueN16sphj62VtbEk-TxNUOOqUY-6g2_0UWBVXGxJI1VzmukMinWXMYnha3zkvPY3EL5YM8JEu-EmUYns9ARmpS0VgfnE7Oea894EZiNH14Mh0PO4gZDdIXzTHc-_lBDKTOwzRJwVsm5-5Pu4BbFf-ITulCWTYjRw5k8hYi3mcdVLScHvOVaWc/s500/Shaker4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlLxmSiaYueN16sphj62VtbEk-TxNUOOqUY-6g2_0UWBVXGxJI1VzmukMinWXMYnha3zkvPY3EL5YM8JEu-EmUYns9ARmpS0VgfnE7Oea894EZiNH14Mh0PO4gZDdIXzTHc-_lBDKTOwzRJwVsm5-5Pu4BbFf-ITulCWTYjRw5k8hYi3mcdVLScHvOVaWc/s320/Shaker4.jpg" width="320" /></a></div><p>I enjoyed the fact that Shakers loved to cook and raise their own vegetables. There is a marvelous restaurant at Shaker Village that utilizes all of those fresh vegetables, and they are scrumptious. Those who waited tables were clothed in period dress, and the food was always excellent. It was impossible to have a meal at Shaker Village without ordering their famous Shaker Lemon Pie. It was sweet beyond belief, but somehow the crust allowed a person to eat an entire slice, regardless of the "lip pucker."</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqmEkPyvgJ3VUX4g3zxpTDs9wafLl4xd_Bf4ptzPclNo7wBquzWgub_0EE5G3i00RZDDFNC8vIOFLqLZ7u2MLNl1TPbFoCixoiBVnZuvBujE5Nr2_ZMHl3EcgfDmVtiBP_tQxpNNrDR-KJ28265siUXtHpVnElnYweBevgZ3hT3AkbipdJGbL9YuTBLVQ5/s500/Shaker11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqmEkPyvgJ3VUX4g3zxpTDs9wafLl4xd_Bf4ptzPclNo7wBquzWgub_0EE5G3i00RZDDFNC8vIOFLqLZ7u2MLNl1TPbFoCixoiBVnZuvBujE5Nr2_ZMHl3EcgfDmVtiBP_tQxpNNrDR-KJ28265siUXtHpVnElnYweBevgZ3hT3AkbipdJGbL9YuTBLVQ5/s320/Shaker11.jpg" width="320" /></a></div><p>There were often lectures and demonstrations on site, as the Shakers were excellent, creative craftsmen when designing their most famous products...chairs, Shaker boxes, pottery, candles, candle holders, all sorts of woodwork and furniture, cloth pieces, brooms, etc. Fortunately, there is a wonderful gift shop where all things "Shaker" may be purchased. In short, <a href="https://shakervillageky.org/">Shaker Village</a> tries to retain an authentic look at the Shaker lifestyle, while also moving forward in creating elegant representations of the period in history during which the Shakers were most prevalent. There seemed to be pride in many elements of the Shaker lifestyle and the products they produced, and it seems that the Board of Directors maintains that sense of uniqueness that draws thousands of visitors and tourists to the <a href="https://shakervillageky.org/">Village</a> annually.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyDGVlHNEhkUgusxI6viOVj43aUblukBF-zeWwrk7Eau1JzYB349Tn3Igy5IhOZjFTtBYgLsZ5P4cQHmhcNB-vAwHzf-n6ALk8TlARp8brLrPhdMK8Zqr0F3WPOjiVtEiQCeMGBFRONfBsPJqvKRCg7OyuPb8D08bovpMOJCnPapwMuuKKZ95v4i4X77Wu/s500/Shaker2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyDGVlHNEhkUgusxI6viOVj43aUblukBF-zeWwrk7Eau1JzYB349Tn3Igy5IhOZjFTtBYgLsZ5P4cQHmhcNB-vAwHzf-n6ALk8TlARp8brLrPhdMK8Zqr0F3WPOjiVtEiQCeMGBFRONfBsPJqvKRCg7OyuPb8D08bovpMOJCnPapwMuuKKZ95v4i4X77Wu/s320/Shaker2.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAUgdotgjc-3z8Srwo0W89ZXHtIz9_2LBtk1MOqst5LwqML1YqKs_zHBCsb59OIwSlclRp_agQkFTzMwyV-UP5jOBH9EEVcAbRLzB-dBQqK7-p5Leqm1Ts2kYQEnHCUoyy826SieT5TFUzpQbdwyl4vo7NSCbT7zqt4jrRhTMStTyMIaLavwlvrTTFyR69/s500/Shaker5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAUgdotgjc-3z8Srwo0W89ZXHtIz9_2LBtk1MOqst5LwqML1YqKs_zHBCsb59OIwSlclRp_agQkFTzMwyV-UP5jOBH9EEVcAbRLzB-dBQqK7-p5Leqm1Ts2kYQEnHCUoyy826SieT5TFUzpQbdwyl4vo7NSCbT7zqt4jrRhTMStTyMIaLavwlvrTTFyR69/s320/Shaker5.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPCiyftSoLo2qcd_EcrVbsYiJCv6gRCrA7TrhgTaSW8oWns1nNhBOqvtGXzgYhv52iiOpVWUeRzC_Qkb4r5Z5T62_M4khI1fNq5jQNeGwSHeB2kNCuD9rIEpR3WhvbUqc15EIFWz_9NR_J1cM6TrnLHrNzzgN3CdA8yxbffm0Ozhwvi0vBMKH7mhQZjmnO/s500/Shaker10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="375" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPCiyftSoLo2qcd_EcrVbsYiJCv6gRCrA7TrhgTaSW8oWns1nNhBOqvtGXzgYhv52iiOpVWUeRzC_Qkb4r5Z5T62_M4khI1fNq5jQNeGwSHeB2kNCuD9rIEpR3WhvbUqc15EIFWz_9NR_J1cM6TrnLHrNzzgN3CdA8yxbffm0Ozhwvi0vBMKH7mhQZjmnO/s320/Shaker10.jpg" width="240" /></a></div><p>Having attended an overnight conference in the Village, I can tell you that "Simplicity" is a major focus of the Shaker community. In my hotel room, I think there was only one electrical outlet to be used for personal electrical gadgets (hairdryer, etc.). The hotel rooms were simple, simple, simple, and that was a bit too simple for my taste. However, it was indeed authentic. I managed my "Shaker life" for one night, and that, too, was a reminder to me that a person can live without perceived conveniences. It was an interesting trip.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJLzI8FWkMSFC_YzytXzOHMTTJhtM6U0EOmsj3SwVwMlKwM_au64v4M7ZNE0mLDOI7OlIiQWBp3qZDU1FZVd1GF02tsz6fVApDR3xRV4tyASL8pNI6u7ONyN-3H7Ngk-9M7PV4rsjq94tIaVLV9gGDGVhhBaNwfWw0BEYA8mUM88ORmpCbJZHaMQr5q9UF/s500/Shaker3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="375" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJLzI8FWkMSFC_YzytXzOHMTTJhtM6U0EOmsj3SwVwMlKwM_au64v4M7ZNE0mLDOI7OlIiQWBp3qZDU1FZVd1GF02tsz6fVApDR3xRV4tyASL8pNI6u7ONyN-3H7Ngk-9M7PV4rsjq94tIaVLV9gGDGVhhBaNwfWw0BEYA8mUM88ORmpCbJZHaMQr5q9UF/s320/Shaker3.jpg" width="240" /></a></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cqlPJJgU8OhfNp0k6ERg0VOKu4lStzeQpmi_ynuOUL3wb7nVWPBao0O-VrWe6sE65xQaISC6IUP-XeeOo4DtOqDBIXFNdpYltID-JOPG1X_yHnzyxm3-Tj6e1DAsitBsUJdayRE32NR9vKKQxZDmFqXZdqWyIaV11Zbh2ju-tn4BSB6dbf27TrMHoMgG/s500/Shaker6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cqlPJJgU8OhfNp0k6ERg0VOKu4lStzeQpmi_ynuOUL3wb7nVWPBao0O-VrWe6sE65xQaISC6IUP-XeeOo4DtOqDBIXFNdpYltID-JOPG1X_yHnzyxm3-Tj6e1DAsitBsUJdayRE32NR9vKKQxZDmFqXZdqWyIaV11Zbh2ju-tn4BSB6dbf27TrMHoMgG/s320/Shaker6.jpg" width="320" /></a></div><br /><div>So....how do you write an arrangement of a Shaker song? Simply? Well....yes....and no. I am amazed at the amount of movement that is indicated by many Shaker songs..."to turn, turn will be our delight," etc. In <i>Followers of the Lamb</i>, the Shaker refrain is "Sing on, dance on, followers of Emmanuel." As I learned in a demonstration at Shakertown, the Shakers made movement and dance a part of their expression of worship as they sang, and they were known for actually <i>shaking</i> in worship when they were moved by the Spirit. The idea of singing, moving, and dancing was a celebration of worship, and they particularly enjoyed worshiping through singing.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjsDIzjnD7bI_zYVIOupIN2a9ynUELCTdjfEuktI6RY_JkAr7j73PIY9zvOla8lQ2tM277ztmZdfdPV8IfBZcks9Gp0XmM2f0i41aKSWcqUAoRfaQIgZqPOOlI8vbnbaXIHdVy3JK9IkR4hwI8UCCAVNYC4oKJMJhqKuaET40T677CfI5Ofd2QLRq9vfyQ/s1650/Followers%20-SATB-Thumbnail%20copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1650" data-original-width="1275" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjsDIzjnD7bI_zYVIOupIN2a9ynUELCTdjfEuktI6RY_JkAr7j73PIY9zvOla8lQ2tM277ztmZdfdPV8IfBZcks9Gp0XmM2f0i41aKSWcqUAoRfaQIgZqPOOlI8vbnbaXIHdVy3JK9IkR4hwI8UCCAVNYC4oKJMJhqKuaET40T677CfI5Ofd2QLRq9vfyQ/s320/Followers%20-SATB-Thumbnail%20copy.jpg" width="247" /></a></div><br /><div>As I approached the arrangement, I studied the score of the original Shaker hymn by Sister Clarissa Jacobs (1833-1905), recalling Shaker history, given my information and proximity to Shakertown. The original key is a <i>minor key</i> (as are many other Shaker tunes), and the lyrics begin by asking all singers if they are happy. Basically, they encourage followers of the Lamb to rejoice in the fact that they <i>are </i>followers seeking to "do the right thing."</div><div><br /></div><div>The original key of my source was <i>e minor</i>. I probably would have begun the arrangement with unison singing, but the range is quite wide, and the lower descent in the melody would have been a challenge for the <i>Tenors</i>. I decided to use the Sopranos and Altos as the melody, using countermelodies with the Tenors and Basses on the first verse. A forthcoming key change would make it possible to write for unison singing later in the key of <i>f minor</i><i>.</i> It's only a half-step difference, but it still makes it a bit easier for Tenors.</div><div><br /></div><div>In order to honor the Shaker musical tradition, I tried to keep open sonorities most of the time. The presence of open 4ths and 5ths are characteristic of many Shaker songs.</div><div><br /></div><div><i>Countermelodies abound</i> in my arrangement of <i>Followers of the Lamb</i>, and at times, some of the voices change to another function to provide another role (from countermelody to homophony, etc.). </div><div><br /></div><div>A <i>descant</i>, preferably to be sung by a small group, appears before the key change, and the unison verse after the key change is where vocal strength is most obvious. All sopranos have an obligato role in the final refrain, in a higher pitch level than it appears earlier in the arrangement. I am trying to keep musical strength in the voices following the strong unison sound enjoyed previously. After playing with imitation for the ending, all voices come together for a strong, fortissimo ending on the word <i>"Emmanuel."</i> As always, the dynamic level should not push the boundary of "beauty." If it becomes <i>"not beautiful,"</i> sing a tad softer. Just a reminder.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtjQAVtosuSYwzZKwS79iGs3K4lUDCmEJfhQM5oPrnqx_cCIhlvLQrLr88bfgww1YND88cXsVtottKhHoC4ECmyQm4q0-yDR9upRlqHFHQOYBjBVypTFKL8zALnB6LyID1ZuL1BtAT0Lfv1hms6EyaRzPjLq7G2pe8NGOdDMd-qL_LgAwsJPPplJEkJrb6/s500/Shaker8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="500" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtjQAVtosuSYwzZKwS79iGs3K4lUDCmEJfhQM5oPrnqx_cCIhlvLQrLr88bfgww1YND88cXsVtottKhHoC4ECmyQm4q0-yDR9upRlqHFHQOYBjBVypTFKL8zALnB6LyID1ZuL1BtAT0Lfv1hms6EyaRzPjLq7G2pe8NGOdDMd-qL_LgAwsJPPplJEkJrb6/s320/Shaker8.jpg" width="320" /></a></div><br /><div>Enjoy this journey to simplicity to honor a different group of people who are basically extinct today. Theologically, they chose <i>abstinence</i> above <i>"procreation,"</i> and as reason might suggest, <i>extinction</i> is eventually inevitable. However, this unique religious group gave us many beautiful Shaker tunes that can be enjoyed by all singing groups today. </div><div><br /></div><div>Visit my <a href="https://www.earlenerentz.com">website</a> or <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Followers+of+the+Lamb+-+Earlene+Rentz">J. W. Pepper </a> to purchase this worthy Shaker tune, arranged for <a href="https://www.earlenerentz.com/downloads/followers-of-the-lamb-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/followers-of-the-lamb-sab/">SAB</a>, <a href="https://www.earlenerentz.com/downloads/followers-of-the-lamb-ssa/">SSA</a>, <a href="https://www.earlenerentz.com/downloads/followers-of-the-lamb-ssaa/">SSAA</a>, <a href="https://www.earlenerentz.com/downloads/followers-of-the-lamb-3-part-mixed/">3-Part Mixed</a>, <a href="https://www.earlenerentz.com/downloads/followers-of-the-lamb-2-part/">2-Part</a>, and <a href="https://www.earlenerentz.com/downloads/followers-of-the-lamb-unison/">Unison</a>.</div><div><br /></div><div>If you are in a school district that is totally banning reference to religious terms such as "Lamb," etc., feel free to substitute with other acceptable words. </div><div><br /></div><div><i>Enjoy!</i></div><div><br /></div><div><br /></div><div><br /></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-3895236138023004502023-06-30T15:28:00.001-04:002023-06-30T15:28:49.651-04:00Was it a Night Like This?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZW-8lK04jXBRGbh-PBq_JdlEn72dddLf7P7ee4Vn94Wta2UAcB8Os03eEAl7HmCr5qsDr9Lu32M-maKzdaWKLVc4bDLblCxyMoa5RwFMjsQhw32UTdhYIaReh4a4_-6a6n1A062h0vhbtJKMugPaIKv72Wagy6JxxqBiiInWZR1masFeVsx82PGphUXI7/s240/Matt%20Walton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZW-8lK04jXBRGbh-PBq_JdlEn72dddLf7P7ee4Vn94Wta2UAcB8Os03eEAl7HmCr5qsDr9Lu32M-maKzdaWKLVc4bDLblCxyMoa5RwFMjsQhw32UTdhYIaReh4a4_-6a6n1A062h0vhbtJKMugPaIKv72Wagy6JxxqBiiInWZR1masFeVsx82PGphUXI7/s1600/Matt%20Walton.jpg" width="240" /></a></div><br /><div style="text-align: center;"> Dr. Matthew J. Walton</div><div style="text-align: center;"><br /></div><div style="text-align: left;">Matt Walton is a Minister for Discipleship, teacher, and writer. He loves to help others think about how the Biblical narrative connects to the stories of their lives. He believes that words and stories matter because they help us perceive life in light of God's promises. Matt has written numerous studies for adolescents and adults pertaining to faith and Biblical texts. He is a graduate of East Texas Baptist University, where he received a B. A. in Speech Communications, and George W. Truett Theological Seminary, where he earned Master of Divinity and Doctor of Ministry degrees.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">In the midst of the 2020 Pandemic, medical personnel in our church, South Main Baptist church in Houston, Texas, determined that it was safe to meet outside on Christmas Eve/2020. For Houston, the weather was a bit unusual...it was actually <i>cold</i> on the evening of December 31, 2020. As we were shivering in the cold, Matt prayed a prayer with several references to <a href="https://www.earlenerentz.com/downloads/was-it-a-night-like-this-satb/">Was it a Night Like This?</a> He posed several questions that had never <i>connected </i>with me in such a meaningful way before. I had never attended an outdoor Christmas Eve service that I could remember.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Specifically, some of Matt's questions within the prayer were as follows:</div><div style="text-align: left;"><br /></div><div style="text-align: left;">--Did Mary shiver in the cold as she brought forth her first-born son?</div><div style="text-align: left;">--Was Joseph filled with fear as he gazed into the night sky?</div><div style="text-align: left;">--Was it a night like this...when hope was born through God's own Son, the promised One?</div><div style="text-align: left;">--Was it a night like this...when joy unfurled in flight, and through the darkness we found light?</div><div style="text-align: left;">--Was it a night like this...when peace became our balm?</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_mJ8SEOF6u7EvrhP3LYD3LVggER2XR1Wo7y75nDPPaMQ1WP-oWbFF4hKMbPYcpfxNE9Wbo_wXWVLry3EQOMF7JBkyYQHxQ2vCoZBz1i7KciDkTKlkcWoM7clzdlDqLwevBoz_tZAIm2MSuEGKR9Q_rVUzwhTMvQGYM47SJrtpXqY8urMfdSSE45pRqPQ-/s3261/Was%20it%20a%20Night%20.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3261" data-original-width="2174" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_mJ8SEOF6u7EvrhP3LYD3LVggER2XR1Wo7y75nDPPaMQ1WP-oWbFF4hKMbPYcpfxNE9Wbo_wXWVLry3EQOMF7JBkyYQHxQ2vCoZBz1i7KciDkTKlkcWoM7clzdlDqLwevBoz_tZAIm2MSuEGKR9Q_rVUzwhTMvQGYM47SJrtpXqY8urMfdSSE45pRqPQ-/s320/Was%20it%20a%20Night%20.jpeg" width="213" /></a></div><br /><div style="text-align: left;"><br /></div><div style="text-align: left;">When Matt posed the questions, I was drawn into a more realistic view of the holy event in Bethlehem, and his prayer equipped me with new ideas to enjoy, contemplate, and experience Christmas Eve in a more personal way. In addition, Matt did not leave us without purpose in seeking God through worship on Christmas Eve. The prayer's ending implored the Almighty to <i>"Open our eyes to Your light. Open our eyes to Your glory. In the darkness, we see the glory of Your Son."</i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;">Those words and the setting of the holy night with new understanding "sang" for me in a unique way. The mood of <i>Was it a Night Like This?</i> remains the traditional "manger mood" of soft, legato music in which a baby might be able to find rest in the midst of a cold winter night. I realize that the climate of Bethlehem might be unknown to me, but the seeking of a miracle remains a journey I choose to take every year with friends and family, making my personal journey a holy one.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">In the setting of <a href="https://www.earlenerentz.com/downloads/was-it-a-night-like-this-satb/">Was it a Night Like This?</a>, an ethereal introduction sets the mood of mystery, with a few interesting harmonies on important words like "born," "untold," and "foretold." </div><div style="text-align: left;"><br /></div><div style="text-align: left;">In the plea to the Almighty, sonorous chords with a descant and full-chorus are set to Matt's text:</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>Open our eyes to Your light on this holy night.</i></div><div style="text-align: left;"><i>Open our eyes to Your glory.</i></div><div style="text-align: left;"><i>In the darkness, we see glory,</i></div><div style="text-align: left;"><i>the glory of Your Son on this holy night.</i></div><div style="text-align: left;"><br /></div><div style="text-align: left;">In the final refrain, sopranos are in duet as a descant. If you do not have enough sopranos to divide, either part will be just fine, as the tenors and altos have the melody. Basses are the foundation, sounding like double bass strings.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">This octavo is available from my <a href="https://www.earlenerentz.com/downloads/was-it-a-night-like-this-satb/">website</a> in <a href="https://www.earlenerentz.com/downloads/was-it-a-night-like-this-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/was-it-a-night-like-this-sab/">SAB</a>, and <a href="https://www.earlenerentz.com/downloads/was-it-a-night-like-this-ssa/">SSA</a>. If more convenient, you are welcome to go to <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Was+it+a+Night+Like+This+-+Earlene+Rentz">J. W. Pepper</a> to purchase. The only difference in purchasing from my site is that the Rehearsal Preparation Sheet is complimentary. Either way is fine.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">I hope you will give this octavo a listen, and purchase for your church choir, community choir, or any other group where it might be appropriate.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><i>Enjoy!!</i></div><div style="text-align: left;"><i><br /></i></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB8HWq732Y1nSassjtdq9_Sro_rFnwiHe42AE4qO9far6-Gl0HYmmWvA1NHBs--xG9G0zY_SNulRoWX0_hxfZPt7IOkxixC5IGlvE1C7dExRKkVbWUepvMVfH23HSuAAKt25nfeP0HMeu5NSF5OW4_Ecn7aSZeuhVmF9BKeUUdlPO5LeRXrahiUJUXPPTb/s499/Photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="499" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB8HWq732Y1nSassjtdq9_Sro_rFnwiHe42AE4qO9far6-Gl0HYmmWvA1NHBs--xG9G0zY_SNulRoWX0_hxfZPt7IOkxixC5IGlvE1C7dExRKkVbWUepvMVfH23HSuAAKt25nfeP0HMeu5NSF5OW4_Ecn7aSZeuhVmF9BKeUUdlPO5LeRXrahiUJUXPPTb/s320/Photo.jpg" width="320" /></a></div><br /><i><br /></i></div><p></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-90965739603509647912023-06-05T11:57:00.000-04:002023-06-05T11:57:30.866-04:00Gershwin, an American Treasure<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQNchTVCo9huaPOUEkvA0PrqS6hv4XVrtjXLvtSboRvPXt39fIbBe77CnBoqgchbuYlNkDKC9V8Scw_NMVxmhKvZys25BpGJHV-4FNWWy5g8WkLl2Pw0zQKP84n4Ud_GtlWtY2GETKLs23JQR6Myxn7nseQsi4ufffeZsrkSWo_4JH836ZwkjmwMMOWA/s500/G%20Gershwin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="328" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQNchTVCo9huaPOUEkvA0PrqS6hv4XVrtjXLvtSboRvPXt39fIbBe77CnBoqgchbuYlNkDKC9V8Scw_NMVxmhKvZys25BpGJHV-4FNWWy5g8WkLl2Pw0zQKP84n4Ud_GtlWtY2GETKLs23JQR6Myxn7nseQsi4ufffeZsrkSWo_4JH836ZwkjmwMMOWA/s320/G%20Gershwin.jpg" width="210" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">George Gershwin (1898-1937)</div><div style="text-align: center;"><br /></div><div style="text-align: left;">The music of George Gershwin is truly brilliant with its harmonic progressions and internal harmonic movement, as the chords move along in seamless beauty. I never realized the depth of music genius, until I began to work with two compositions (<i>Clap Your Hands/Someone to Watch Over Me</i>). It really is a shame that he passed away at 38 years-of-age from a brain tumor. As I read about Gershwin, I thought about all the music we have in our possession and all the "unwritten music" that was yet to come from his brilliant, creative mind.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">As a Jewish person growing up in New York City, he frequently experienced discrimination in all sorts of relationships. Families of friends sometimes restricted friendships and other close relationships. Yet, he somehow managed to create amazing music for us to enjoy for years to come.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">George Gershwin found a collaborator in his brother, Ira Gershwin, whom he used as his lyricist for most compositions. George would write the music, then hand it off to Ira, so that he could set the lyrics to the music. </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz9ZDdT376pK3eYanD7x6tarnJ3ao1Ie2PWV0znHBjvNmj9IeeG4JWUZ6ToErZ8h_WomYSAsOBgGypbsmwgLUwE_I7_pGf1DGdxzpcFmX7Rn2QUNmMNUkjdK6SkqDgDZ7QBdCZB5J1ranDxlmIiLz8jRelsm5qQ-dfeqvJivpakX22nYdJmyOYP1b6sQ/s1280/George%20and%20Ira.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="848" data-original-width="1280" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz9ZDdT376pK3eYanD7x6tarnJ3ao1Ie2PWV0znHBjvNmj9IeeG4JWUZ6ToErZ8h_WomYSAsOBgGypbsmwgLUwE_I7_pGf1DGdxzpcFmX7Rn2QUNmMNUkjdK6SkqDgDZ7QBdCZB5J1ranDxlmIiLz8jRelsm5qQ-dfeqvJivpakX22nYdJmyOYP1b6sQ/s320/George%20and%20Ira.jpeg" width="320" /></a></div><br /><div style="text-align: center;">George (left) and Ira Gershwin (1896-1983)</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Another collaborator with George was Kay Swift, a wonderful composer in her own right, who was responsible for arranging many of Gershwin's tunes after his death. You can google "Kay Swift" to read about her relationship with George. She evidently had perfect tonal recall, and because of her we have many Gershwin tunes to enjoy today.</div><div style="text-align: left;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FlY9BwKqYEH_k8Cu_iFIpwcFRwnRu-SYVBO9AeWB531vNuUurbfC4GnT_Cvlar2rQdM6ScrafUWt4wIWZPJ1RjUuM9gXOjNBO9102iS2dIEspjlfc-vMPEgsxsItbklixPM1wqhWoQC5sEnEYm_TzRI6F0cLGJW9g9fewG0S2sjbc5C_5gKUJvMnHQ/s1336/32-kayswiftwgeorgegershwin-copy-copy2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1336" data-original-width="936" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6FlY9BwKqYEH_k8Cu_iFIpwcFRwnRu-SYVBO9AeWB531vNuUurbfC4GnT_Cvlar2rQdM6ScrafUWt4wIWZPJ1RjUuM9gXOjNBO9102iS2dIEspjlfc-vMPEgsxsItbklixPM1wqhWoQC5sEnEYm_TzRI6F0cLGJW9g9fewG0S2sjbc5C_5gKUJvMnHQ/s320/32-kayswiftwgeorgegershwin-copy-copy2.jpg" width="224" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Kay Swift (1897-1993) and George Gershwin</div></div><div style="text-align: left;"><br /></div><div style="text-align: left;">I have arranged two Gershwin tunes from the musical <i>Oh, Kay! (</i>1926). They have just come into the public domain, and are available for purchase from my <a href="https://www.earlenerentz.com">website</a> or from J. W. Pepper. The two tunes are <a href="https://www.earlenerentz.com/?s=Clap+Your+Hands"><i>Clap Your Hands</i> </a>and <i><a href="https://www.earlenerentz.com/?s=Someone+to+Watch+Over+Me">Someone to Watch Over Me</a></i>. In addition, there are video links on each EROP webpage with general information for both. I'll go a little further into the depth of my arranging in the summaries that follow. These two are among my favorite George Gershwin tunes, and it was total joy to arrange them.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Gershwin created both of these tunes as piano compositions. He had a wonderful ragtime style, and his performance had a drive and energy that had audiences tapping their toes, singing along, dancing in the venues, and creating a general atmosphere of celebration. The ragtime style worked for <i>Clap Your Hands,</i> but Gershwin himself made adjustments for <i>Someone to Watch Over Me</i>. We'll discuss that later.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-size: large;">1) <i>Clap Your Hands</i></span> - This tune is intended to be a concert opener or closer. It is energetic, jazzy, and it dances and drives to the very end. The effect can be to bring the audience quickly into your performance, or send them home with joy after a great night of music. This is an easy tune to memorize, should you choose to create choreography.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Use a tempo that works best for your group. Younger choirs might find an advantage with a tempo that is a bit slower, as compared with more highly skilled singers. The arrangement is filled with countermelodies and syncopation that serve to create harmony and energy. There is a modulation that leads to increased intensity in a new key. Lastly, a group descant adds even more energy to the arrangement as it completes the final verse. You can use only sopranos, or a combination of tenors and sopranos.....whatever sounds the most impressive. For the ending, voices move gradually from a soft dynamic to "ff" in the final "Hallelujah!" The arrangement is fun, it never stops, and it energizes the audience. <i>Have fun it!</i></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-size: medium;"><u>To purchase:</u></span></div><div style="text-align: left;">There are six voicings of <i><a href="https://www.earlenerentz.com/?s=Clap+Your+Hands">Clap Your Hands</a></i> available from <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications, LLC</a>: </div><div style="text-align: left;"><a href="https://www.earlenerentz.com/downloads/clap-your-hands-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/clap-your-hands-sab/">SAB</a>, <a href="https://www.earlenerentz.com/downloads/clap-your-hands-ssa/">SSA</a>, <a href="https://www.earlenerentz.com/downloads/clap-your-hands-3-part-mixed/">3-Part Mixed</a>, <a href="https://www.earlenerentz.com/downloads/clap-your-hands-2-part/">2-Part</a>, and <a href="https://www.earlenerentz.com/downloads/clap-your-hands-unison/">Unison</a>.<br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">The same voicings are also available from <a href="https://www.jwpepper.com/Clap-Your-Hands/11518996.item">J. W. Pepper</a>:</div><div style="text-align: left;"><a href="https://www.jwpepper.com/Clap-Your-Hands/11518996.item">SATB</a>, <a href="https://www.jwpepper.com/Clap-Your-Hands/11518997.item">SAB</a>, <a href="https://www.jwpepper.com/Clap-Your-Hands/11518999.item">SSA</a>, <a href="https://www.jwpepper.com/Clap-Your-Hands/11518998.item">3-Part Mixed</a>, <a href="https://www.jwpepper.com/Clap-Your-Hands/11519000.item">2-Part</a>, and <a href="https://www.jwpepper.com/Clap-Your-Hands/11519001.item">Unison</a>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">I can't wait to hear some of your choirs perform <i>Clap Your Hands</i>! If you record, please send a recording to me via my website <a href="https://www.earlenerentz.com/contact-me/">Contact</a> information. It would be wonderful to hear your choir singing this arrangement.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">To assist you in the teaching process, I have created a short <a href="https://youtu.be/8U5L3NsvdD4">video</a> that might add a bit of insight.<div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-size: large;">2) <i>Someone to Watch Over Me</i></span> - In order to assist me in writing this arrangement, I actually found a recording of <a href="https://www.youtube.com/watch?v=B4QDsbucFxQ">Gershwin playing Gershwin</a>. I was stunned to hear Gershwin perform <i>Someone to Watch Over Me</i> faster than I <i>ever </i>imagined it performed. As was the norm, Gershwin composed the music before the lyrics were added. The woman who sang the solo in <i>Oh, Kay!</i> tried to sing it at the Gershwin tempo, but it was so fast, she could not connect emotionally with the music and words (Ira Gershwin). As a stage prop to assist her in finding an emotional connection with the music, someone backstage found a doll, and brought it onstage, and she sang to the doll. Though the tempo was slower, and the revealed the overall vulnerability created through the words, Ira Gershwin's lyrics and her interpretation finally combined to create a wonderful performance. George Gershwin agreed with her modifications, and as a result, the first performance of <i>Someone to Watch Over Me</i> was sung to a ® Raggedy Ann Doll at a tempo much like the ones heard today. It seemed that the music and lyrics were a "mis-match," one reason some composers require lyrics before they set the music. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">In my arrangement, there is a wide range for tempo, so choral directors can select a tempo that "locks in" for their students. In addition, there were several Gershwin piano "licks" in the faster version that I wanted to incorporate into the accompaniment, paying homage to Gershwin's original style, while tastefully including a modified version of them in the latter style. In essence, I tried to combine elements of both styles, providing freedom in tempo and using some identifiable trademarks of Gershwin's own. Check out this <a href="https://youtu.be/bFgyG7JAk0Y">video</a> to gain some additional insight.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><u><span style="font-size: medium;">To purchase:</span></u></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Earlene Rentz Online Publications, LLC: <a href="https://www.earlenerentz.com/downloads/someone-to-watch-over-me-satb/">SATB</a>, <a href="https://www.earlenerentz.com/downloads/someone-to-watch-over-me-sab/">SAB</a>, <a href="https://www.earlenerentz.com/downloads/someone-to-watch-over-me-ssa/">SSA</a>, <a href="https://www.earlenerentz.com/downloads/someone-to-watch-over-me-2-part/">2-Part</a>, <a href="https://www.earlenerentz.com/downloads/someone-to-watch-over-me-unison/">Unison </a></div><div style="text-align: left;"><br /></div><div style="text-align: left;">J. W. Pepper: <a href="https://www.jwpepper.com/Someone-to-Watch-Over-Me/11523485.item">SATB</a>, <a href="https://www.jwpepper.com/Someone-to-Watch-Over-Me/11523486.item">SAB</a>, <a href="https://www.jwpepper.com/Someone-to-Watch-Over-Me/11523487.item">SSA</a>, <a href="https://www.jwpepper.com/Someone-to-Watch-Over-Me/11523488.item">2-Part</a>, <a href="https://www.jwpepper.com/Someone-to-Watch-Over-Me/11523489.item">Unison</a></div><div style="text-align: left;"><br /></div><div style="text-align: left;">*********************************************************************************</div><div style="text-align: left;"><br /></div><div style="text-align: left;">It was great fun to write these two arrangements. I listened to both of them repeatedly, and it was then that I began to appreciate the subtleties and the masterful work of George Gershwin. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">Take a look on You Tube to hear more examples of Gershwin himself performing and discussing these two popular tunes.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Enjoy creating memorable performances of <i>Clap Your Hands</i> and <i>Someone to Watch Over Me</i>, by one of America's greatest musical treasures, George Gershwin.</div><p></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-60434762527130084602023-01-05T13:01:00.000-05:002023-01-05T13:01:06.249-05:00Rehearsal Preparation Sheets: TTBB<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6LFNULJRX1BQGYKEiemm9z_cwhSrsJ5dv_nCbWUvVCxjifg9SYzekFyIkZYhmFbouJocWq9oB9Yu_Hvj7Belg7LhS5wkOce-61CxRNDGxSt773J6vHJAGEzyoS5UJkGte9sDwW8LtarcehXKoIyEx_mtMV6vbnomcbB1Hk3iwCf4rtWCui6vMxmk2XQ/s366/erlogo.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="292" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6LFNULJRX1BQGYKEiemm9z_cwhSrsJ5dv_nCbWUvVCxjifg9SYzekFyIkZYhmFbouJocWq9oB9Yu_Hvj7Belg7LhS5wkOce-61CxRNDGxSt773J6vHJAGEzyoS5UJkGte9sDwW8LtarcehXKoIyEx_mtMV6vbnomcbB1Hk3iwCf4rtWCui6vMxmk2XQ/w159-h200/erlogo.gif" width="159" /></a></div><br /><p></p><p><i>Rehearsal Preparation Sheets</i> for four-voice choral voicings (<i>SATB, SSAA, TTBB</i>) assume a greater level of music knowledge and skill in the singers. The process of <i>Successive Approximations (Simple to Complex)</i> is utilized for the <i>RPS</i>, as possible difficulties in an octavo are identified and addressed.</p><p><span><span style="color: red;">A brief story as to how I began creating these </span><i style="color: red;">RPS</i><span style="color: red;"> materials. I was the Middle School Clinician in North Carolina for a Choral Symposium, held the same year of a </span><i style="color: red;">terrible ice storm</i><span style="color: red;"> that left thousands without electricity. Students were absent from school for weeks. The Coordinator of the event called me to tell me that she had </span><i style="color: red;">no idea</i><span style="color: red;"> as to how many students might attend (many students were still in school), and also had no idea as to the ability levels of those attending. There would be no "selection" process. Everyone was "in." </span><i>The</i> <i>only thing they could tell me for sure was that I needed to have all of my middle school singers ready for a concert on Friday morning! </i></span></p><p>These RPS materials were an answer to the above situation and effective in getting everyone to the <i>same</i> <i>level at the same time. You might need the same assistance for those inexperienced newcomers to your TTBB ensemble.</i></p><p><span style="color: red;"><i>During that week in North Carolina, teachers were in attendance at rehearsals, and they requested to have "anything you have ever done like these sheets." At that point, I knew I might be "on to something." I had created a product, and they wanted it. Hearing the choral results of the week (all objectives were accomplished), I began using RPSs in all of my rehearsals, and I "don't leave home without them." They work.</i></span></p><p>When we think of post-pandemic vocal/choral issues, <i>vocal projection</i> seems come into the discussion. If they were able to sing at all, choral students were somewhat <i>voiceless</i> for two years, shrouded by masks. When the masks came <i>off</i>, we heard "interesting" sounds. Voices had to be shaped into a choral sound after being "muffled by masks." Pandora "opened the box" (so to speak), and all sorts of sounds came flying out. </p><p>When we are conducting Tenor/Bass ensembles, and "that voice" is new to the ears of younger singers, the tendency is to sing <i>hesitantly and quietly</i>. As one choral director said to me, "I can't fix it, if I can't hear it!" Many <i>Irish folk songs</i> encourage robust singing, so I arranged several for <i>TTBB</i>. I usually begin them simply, as I want a strong sound to "wake up" the audience. </p><p>Rehearsal Preparation Sheets are available from <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a>, and are listed as "Reproducible PDF" at the bottom of each voicing's webpage. <i>Each RPS teaches the entire octavo</i>, and is 2-3 pages in length. Reference numbers are also provided, so you know exactly the measures being taught. In addition the purchaser is granted permission to make multiple copies for their choir. They appear as follows: </p><p><br /></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></p><p><br /></p><p>See the RPS sample below for a TTBB arrangement of "<a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=The+Rising+of+the+Moon+-+Earlene+Rentz">The Rising of the Moon</a>" (song from the 1798 Irish Rebellion). </p><p>Take a look at the structure of this <i>RPS</i>:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieuW4_t-LkQBiPwbcGvgabXUyzIPegsV9nU_m3yuoI8-MAiNAn9zLYXpnzXgaE89PBm1THhJukLZnPAfGEdwLzQgaS5vRIjvmXfpK9jJ95v2ys2rm0jprKoNmKgQvi0qMHC-tN6m6zlMB-MLOXCGldRxJtoHvt117BqGnSjALcfQmLBk1ZC4idtX23Sg/s3106/Rising%20of%20Moon-TTBB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3106" data-original-width="2201" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieuW4_t-LkQBiPwbcGvgabXUyzIPegsV9nU_m3yuoI8-MAiNAn9zLYXpnzXgaE89PBm1THhJukLZnPAfGEdwLzQgaS5vRIjvmXfpK9jJ95v2ys2rm0jprKoNmKgQvi0qMHC-tN6m6zlMB-MLOXCGldRxJtoHvt117BqGnSjALcfQmLBk1ZC4idtX23Sg/w454-h640/Rising%20of%20Moon-TTBB.jpeg" width="454" /></a></div><p><b><span style="color: red;">Example 1</span></b> - The example begins simply with step-wise motion, and all pitches in the melody are located by using <i>steps</i>. Since unison singing would have been too low for Tenors, Basses were assigned the melody, with <i>Tenors in a V/I </i>relationship above the Bass. At one point, the <i>melody in the Bass is passed to the Tenors</i>. The melody then returns to the Basses in a more comfortable range. There are all sorts of <i>rhythmic drills in Measures 7-12.</i></p><p><b><span style="color: red;">Example 2</span></b> - <i>Example 1</i> concentrates in <i>teaching rhythms</i>, and this example introduces 4-Part harmony, where intonation is the focus. </p><p>This sample <i>Rehearsal Preparation Sheet</i> is abbreviated. </p><p>**********************</p><p>Here is another example of an <i>RPS </i>for <i>TTBB</i>....."<a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Red+is+the+Rose+-+Earlene+Rentz">Red is the Rose</a>:"</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2WkdLAgo7fYMdmxozdUkVHBYr8FMbqBCUKUMX8CJWSp4hQSOL_8GPcg0_NPd2_1BC5P5zZwROIlrZgXH__6yEuxUjdZx56wEfmKc6lfIqiTXq2Z9PcU6S-Tu_GKciT5uG7mrTTVRcPt1fxd7DpZPUZ9AQGaUjUBgjf8eC0z6YzmrEjc3WX2g60phecw/s3027/Red%20Rose%20-%20TTBB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3027" data-original-width="2128" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2WkdLAgo7fYMdmxozdUkVHBYr8FMbqBCUKUMX8CJWSp4hQSOL_8GPcg0_NPd2_1BC5P5zZwROIlrZgXH__6yEuxUjdZx56wEfmKc6lfIqiTXq2Z9PcU6S-Tu_GKciT5uG7mrTTVRcPt1fxd7DpZPUZ9AQGaUjUBgjf8eC0z6YzmrEjc3WX2g60phecw/w450-h640/Red%20Rose%20-%20TTBB.jpeg" width="450" /></a></div><b><span style="color: red;">Example 1</span></b> - The melodic movement is first introduced straight (without dotted rhythms). Dotted rhythms are added in <i>Measure 4</i>. <i>Four-part harmony </i>is introduced in<i> Measure 7</i>. In <i>Measure 8</i>, the four-part harmony is there, but not yet "in rhythm." <i>Vertical harmonies </i>are the focus.<div><br /></div><div><b><span style="color: red;">Example 2</span></b> - There are some "tight" harmonies within chords. Until they are performed in tune, simple rhythms are best. The <i>fermata </i>gives singers time to get the chord in tune.</div><div><br /></div><div>**********************<br /><p>Four-part <i>RPS </i>materials assume that students are quite skilled in their knowledge of choral notation. If that is not the case, those students will have practice materials for homework. The great thing about using <i>RPS</i> materials is that everyone can get to the <i>same level</i> at the <i>same time</i>. By the end of the <i>RPS</i>, concepts have been taught, and everyone should be ready to make music together in the repertoire!</p><p><i>Enjoy!</i></p><p><i>Happy 2023!</i></p><p><br /></p></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-24657545893198296752023-01-04T16:33:00.000-05:002023-01-04T16:33:40.118-05:00Rehearsal Preparation Sheets: SSAA<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIFtniutw5JbfdKQ4233BQRxsNZADXyKkGzVX54li7jU0VseqA8hw4E9rpc3t9jM7XY6OagDhUlNmcU1ZY2NRazVCUnRk6jL7TUjfDFBQTD56Lmbh78bL5OXcHrOLDfsxwpi7cfhVMlQ7jlOWy0ttzbitBfCNTzso5Cka_54plJt4FeIDmPPNPl3RkxA/s320/OfficePhoto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="320" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIFtniutw5JbfdKQ4233BQRxsNZADXyKkGzVX54li7jU0VseqA8hw4E9rpc3t9jM7XY6OagDhUlNmcU1ZY2NRazVCUnRk6jL7TUjfDFBQTD56Lmbh78bL5OXcHrOLDfsxwpi7cfhVMlQ7jlOWy0ttzbitBfCNTzso5Cka_54plJt4FeIDmPPNPl3RkxA/w200-h150/OfficePhoto.jpg" width="200" /></a></div><div style="text-align: center;">Earlene Rentz</div><p></p><p><i>SSAA choirs</i> are the most advanced of our Soprano/Alto ensembles, and we assume singers are more skilled in choral concepts than younger choirs. Therefore, in a <i>Rehearsal Preparation Sheet </i>for SSAA, the movement from "simple to complex" happens quickly within the <i>Successive Approximation</i> format. The sequence of learning moves along!</p><p>Here's how Rehearsal Preparation Sheets came about:</p><p><span><span style="color: red;">I was the Middle School Clinician in North Carolina for a Choral Symposium, held the same year of a </span><i style="color: red;">terrible ice storm</i><span style="color: red;"> that left thousands without electricity. Students were absent from school for weeks. The Coordinator of the event called me to tell me that she had </span><i style="color: red;">no idea</i><span style="color: red;"> as to how many students might attend, and also had no idea as to their ability levels. There would be no "selection" process. Everyone was "in." </span><i>The</i> <i>only thing they could tell me for sure was that I needed to have all of my middle school singers ready for a concert on Friday morning! </i></span></p><p><span style="color: red;">I had to find a solution quickly. <i>Everyone</i> had to be at the same level by Friday morning. I remembered seeing my friend <i>Gayle Box</i> work with her middle school students with rehearsal sheets, s<i>o I built my process on Gayle's idea</i>. I added several facets to the design, and I taught the entire octavo, with referenced measure numbers. I employed a process I learned in doctoral school at Florida State University: "Successive Approximations" (<i>Simple to Complex</i>). I labeled these materials Rehearsal Preparation Sheets. The sequence would pinpoint their skill levels, and they would learn the repertoire at the same time.</span></p><p><span style="color: red;"><i>During that week in North Carolina, teachers visited my rehearsals, and they requested that I speak to the group about creating Rehearsal Preparation Sheets. Teachers approached me, and wanted "anything you have ever done like these sheets." That is how I knew that I might be "on to something." I had created a product, and they wanted it. Hearing the choral results of the week (all objectives were accomplished), I began using RPSs in all of my rehearsals; and to this day, if I am conducting a rehearsal, I "don't leave home without them." </i></span></p><p><a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a> currently has an <i>RPS</i> for every piece of music from <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a> that appears on the Pepper website (<i>250+</i>). They are 2-3 pages in length, and provide solutions for musical challenges in repertoire <i>before students open the music. </i>They also may be used as sightreading materials. Choral directors are given permission to make <i>multiple copies</i> for their choirs. </p><p>Examples of<i> Rehearsal Preparation Sheets </i>appear on my BLOG for several different voicings: <i>Unison, 2-Part, 3-Part Mixed, SSA, SAB, SSAA, TB, TTB, TBB, and TTBB. </i>You will find them listed on the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a> website as "Reproducible PDF" files. The image below shows how they will appear on the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a> site:</p><p><br /></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></p><p><br /></p><p>*************************</p><p><span style="color: red;"><i>Take a look at this well-known Anton Bruckner composition, arranged for SSAA:</i></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2U1QjZM5yG5pb899tl4B7rPRVvqmo0-hHMZBpZ3BktpzrWyzsJ15niYxJeocNQaI4Ie4ab1PzSrAsm5THChq0vIwJaU4wkTDJpI8J7vpZ-tp8ZJ9EkF-8hrEfzoP6_EZiaBOf5-ubiQ8kga6rKVBJkeXKa35Gt4E3_fDhHB48URZbcbLNuqb91XVwmw/s3064/Locus%20Ist-SSAA.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3064" data-original-width="2128" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2U1QjZM5yG5pb899tl4B7rPRVvqmo0-hHMZBpZ3BktpzrWyzsJ15niYxJeocNQaI4Ie4ab1PzSrAsm5THChq0vIwJaU4wkTDJpI8J7vpZ-tp8ZJ9EkF-8hrEfzoP6_EZiaBOf5-ubiQ8kga6rKVBJkeXKa35Gt4E3_fDhHB48URZbcbLNuqb91XVwmw/w444-h640/Locus%20Ist-SSAA.jpeg" width="444" /></a></div><br /><p><span style="color: red;"><b>Example 1</b></span> - This <i>RPS</i> in <i>C Major</i> begins in <i>unison</i>, then quickly branches out into <i>three-part harmony.</i> The <i>Alto</i> serves as the foundation for the chord progressions (repeated "C"). The example is <i>homophonic</i>, and <i>altered pitches</i> are located, using <i>step-wise movement</i>. Several changes are taking place melodically in the SI/SII. Longer durations in the <i>Alto</i> gives our ear a foundation. </p><p>**********************</p><p>An SSAA arrangement of Robert Schumann's art song "Die Lotosblume:"</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFLGM3JjHQpWKmhIyQ6WJCr8ZZ3Cw9tfi7M6U59-T_h58slSUPtrTKEb4iOHRiWiDK_20vWNwxRQhA954MpnXIRKwLfvlA7WSeNqBMvVqpXY1qE_qo67rdEgWvRxLUK9zC4R6-lSip7eZ7CvId4ZGewdMjwMadmOOUK69ZtLGJexiKMCfx0DtKNYCOnA/s2972/Die%20Lotos-SSAA.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2972" data-original-width="2085" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFLGM3JjHQpWKmhIyQ6WJCr8ZZ3Cw9tfi7M6U59-T_h58slSUPtrTKEb4iOHRiWiDK_20vWNwxRQhA954MpnXIRKwLfvlA7WSeNqBMvVqpXY1qE_qo67rdEgWvRxLUK9zC4R6-lSip7eZ7CvId4ZGewdMjwMadmOOUK69ZtLGJexiKMCfx0DtKNYCOnA/w448-h640/Die%20Lotos-SSAA.jpeg" width="448" /></a></div><br /><p><b><span style="color: red;">Example 1</span> </b>- Starts simply in unison, concentrating on <i>step-wise movement</i>. Altered pitches and harmonies are located by using steps. </p><p><b><span style="color: red;">Example 2</span></b> - Soprano and Alto 4-Part harmony is found by moving in steps. <i>Altered pitches</i> are sung with longer note durations to give students time to <i>hear</i> the sonorities.</p><p>**********************</p><p>These are abbreviated examples of these two arrangements. Visit <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a> to purchase <i>RPS</i> sheets for repertoire preparation and/or sightreading practice. </p><p><i>All the best for a very happy, prosperous, healthy, joyous 2023! Enjoy singing!</i></p><p><i>Happy New Year!!</i></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-67446880624766655962023-01-04T12:36:00.001-05:002023-01-04T12:36:18.531-05:00Rehearsal Preparation Sheets - SATB Voicing<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX91DUOvILLFyvP5u_eCwB9-VALaE_x81eRgnZTVfGQRITeakDDfjroYn53FktC6LqO2oD-I-h0aqvsSVcklqM4cLr3DcjsbTUDWodsU1QYbiZWr3XT8CIiesqkXv2DvUDXLowMA3rAGniI5QYNmwXm9WM0w2b3Vmb1Ayuc-NskzSKkxVJwWw882HfPw/s1111/Earlene%20Photo-Professional.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1111" data-original-width="975" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX91DUOvILLFyvP5u_eCwB9-VALaE_x81eRgnZTVfGQRITeakDDfjroYn53FktC6LqO2oD-I-h0aqvsSVcklqM4cLr3DcjsbTUDWodsU1QYbiZWr3XT8CIiesqkXv2DvUDXLowMA3rAGniI5QYNmwXm9WM0w2b3Vmb1Ayuc-NskzSKkxVJwWw882HfPw/w176-h200/Earlene%20Photo-Professional.jpg" width="176" /></a></div><div style="text-align: center;">Earlene Rentz</div><p></p><p><i>Rehearsal Preparation Sheets</i> for SATB Voicings are constructed with understood assumptions that SATB choral members likely have more developed choral music skills than those who sing repertoire with fewer voice parts. </p><p><span><span style="color: red;">A brief story as to how I began creating these </span><i style="color: red;">RPS</i><span style="color: red;"> materials. I was the Middle School Clinician in North Carolina for a Choral Symposium, held the same year of a </span><i style="color: red;">terrible ice storm</i><span style="color: red;"> that left thousands without electricity. Students were absent from school for weeks. The Coordinator of the event called me to tell me that she had </span><i style="color: red;">no idea</i><span style="color: red;"> as to how many students might attend (many students were still in school), and also had no idea as to the ability levels of those attending. There would be no "selection" process. Everyone was "in." </span><i>The</i> <i>only thing they could tell me for sure was that I needed to have all of my middle school singers ready for a concert on Friday morning! </i></span></p><p>I had to find a solution quickly that would bring about success. <i>Everyone</i> had to be at the same level by Friday morning. I remembered seeing my friend <i>Gayle Box</i> work with her middle school students in Texas with rehearsal sheets, s<i>o I built my process on Gayle's idea</i>. I added several facets to the design, and I taught the entire octavo, with referenced measure numbers. I employed a process I learned in doctoral school at Florida State University: "Successive Approximations" (<i>Simple to Complex</i>). I labeled these materials Rehearsal Preparation Sheets. They would let me know the skill abilities of the group and the plan for the week. They would also teach the repertoire and save time in rehearsal.</p><p><span style="color: red;"><i>During that week in North Carolina, teachers were in attendance in rehearsals, and they requested that I speak to the group about my process in creating the RPS materials. Teachers approached me, and wanted "anything you have ever done like these sheets." That is how I knew that I might be "on to something." I had created a product, and they wanted it. Hearing the choral results of the week (all objectives were accomplished), I began using RPSs in all of my rehearsals, and to this day, if I am conducting a rehearsal, I "don't leave home without them." </i></span></p><p>************************</p><p><i>Rehearsal Preparation Sheets</i> are available on <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a> for all <i>250+</i> octavos from <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a>. They are 2-3 pages in length, and they teach the entire octavo, addressing any perceived melodic, rhythmic, and harmonic "pitfalls." Permission is granted to make multiple copies for the purchaser's choir. The <i>RPS</i> materials are also great for practicing sightreading, improving music literacy. They are identified on <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a> by the "Reproducible PDF" label at the <i>bottom</i> of the webpage. They appear as in the image below:</p><p><br /></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></p><p><br /></p><p>The following are examples of "title pages" of <i>SATB</i> <i>Rehearsal Preparation Sheets.</i> Assumptions are made as to attained choral skills. Feel free to repeat examples, should there be those in your ensemble who aren't quite "there" yet.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAI3SXHX858zScvK07gRalG86jH3lRpeCFOi72N3d27DFjp5dy5ePeH0JWtXXl_XVgUsztK0USDYvFN5u9DAsJOF4D_B-S7lqH836OoY5YxA0aANZsbHiAXjwEmQhc2gel6S8DtAgTnygZZbJ0hRwhMslyic5i_KXhAF8n4B78_nIGTnMG7iAxjMB6hw/s3021/Locus%20Iste%20-%20SATB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3021" data-original-width="1926" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAI3SXHX858zScvK07gRalG86jH3lRpeCFOi72N3d27DFjp5dy5ePeH0JWtXXl_XVgUsztK0USDYvFN5u9DAsJOF4D_B-S7lqH836OoY5YxA0aANZsbHiAXjwEmQhc2gel6S8DtAgTnygZZbJ0hRwhMslyic5i_KXhAF8n4B78_nIGTnMG7iAxjMB6hw/w408-h640/Locus%20Iste%20-%20SATB.jpeg" width="408" /></a></div><br /><p><b><span style="color: red;">Example 1</span></b> - The harmonies of this Anton Bruckner composition are the subject of this example. <i>C Major</i> is the key, and Bruckner departs at times to create other sonorities. However, by using step-wise motion, those unique harmonies can be found. The longer durations (half notes) allow students to hear the vertical sonorities.</p><p>************************</p><p><i><span style="color: red;"><b>One of EROP's Best Sellers!</b></span></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh77JyI61c4LpSYERFC0oLYFslLnN3PkuhJzlRVuhe9992sCpiuU7jr9t_n9Z11KPAQ1FYq495w9hRIJYa6wx1_HcSNQUWZDtgv_iCpsLxq5eV1q0NNsg6csMmzxXq4ThpMWl2uj5mCAywdjdg5zJYYmlfc8uUN_VTpsGWvZ9mmeBItU07cMwUaChUlIQ/s3088/America%20Beautiful%20-%20SATB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3088" data-original-width="2275" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh77JyI61c4LpSYERFC0oLYFslLnN3PkuhJzlRVuhe9992sCpiuU7jr9t_n9Z11KPAQ1FYq495w9hRIJYa6wx1_HcSNQUWZDtgv_iCpsLxq5eV1q0NNsg6csMmzxXq4ThpMWl2uj5mCAywdjdg5zJYYmlfc8uUN_VTpsGWvZ9mmeBItU07cMwUaChUlIQ/w472-h640/America%20Beautiful%20-%20SATB.jpeg" width="472" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="color: red;"><b>Example 1</b></span> - There are many "cascading" phrases that move in step-wise motion. Singers move in and out of the cascading passages, creating choral <i>suspensions</i> that create and release tension in harmonic movement, creating the "interest" of the arrangement. <p><span style="color: red;"><b>Example 2</b> </span><span>- The refrain for "America the Beautiful" is presented in its basic form, with only a few step-wise passages. The homophonic texture creates simplicity for singers. The "hymn-like" appearance is familiar to singers, eliminating discomfort with shorter note durations.</span></p><p><span>***********************</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-9_xS-XeJGwca_Bhhs7ZPSLul0t5pgCSn8CZ5Uq--lrfurz7ZV2WL8dEppi0lJkvd6QxrZ_F0YfTOgtMgK9vQ3I2--AQg85tWjECggtEM75bF52XRj6gDj2jzp5wNNRdAUb3CNWFtQfmaBN3rmcdP67D9TuZHUkssfqRncpSdGn2qlSQpT3EhK79vIw/s2953/Shep%20Noel%20-%20SATB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2953" data-original-width="2042" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-9_xS-XeJGwca_Bhhs7ZPSLul0t5pgCSn8CZ5Uq--lrfurz7ZV2WL8dEppi0lJkvd6QxrZ_F0YfTOgtMgK9vQ3I2--AQg85tWjECggtEM75bF52XRj6gDj2jzp5wNNRdAUb3CNWFtQfmaBN3rmcdP67D9TuZHUkssfqRncpSdGn2qlSQpT3EhK79vIw/w442-h640/Shep%20Noel%20-%20SATB.jpeg" width="442" /></a></div><br /><span><b><span style="color: red;">Example 1 </span></b>- "Simple to Complex" - Initially, the melody is taught with quarter/half notes (augmentation). The <i>next</i> presentation consists of 8th notes (shorter values). Then, the pick-up 8th note (most difficult) is added last in <i>Measure 8</i>.</span><p></p><p><span><b><span style="color: red;">Example 2</span></b> - Students learn the <i>second half of the first phrase</i> and <i>the following phrase</i>. <i>C Major </i>is the emphasis, and altered pitches are found by returning to augmentation. The dotted rhythm is then added. <i>Again....simple to complex.</i></span></p><p>***********************</p><p>I hope you will give these resources a try. They are designed as resources I would have found helpful in my 23 years in classroom and church choral situations. </p><p><br /></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-43866480249194482232023-01-03T17:31:00.002-05:002023-01-03T17:31:47.875-05:00Rehearsal Preparation Sheets: SAB<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDrpAmsx8lgXXkFOV7r6BBX2It4pUCPSGSPm_2Cg_9NwmwS4qzt04zyIj1J7rbNY06WsMfemL2UFNf__ROW-vvmyBs48YfvY7DmypbYCeL5ucgFc2llt3NKkQQF_t6VXe-YalDcwFau02_zqJ4DTueDuom9u5iWwutmvP1jMQQq6wP-c4D8WkpZBviPg/s1920/Earlene%20Photo.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="1536" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDrpAmsx8lgXXkFOV7r6BBX2It4pUCPSGSPm_2Cg_9NwmwS4qzt04zyIj1J7rbNY06WsMfemL2UFNf__ROW-vvmyBs48YfvY7DmypbYCeL5ucgFc2llt3NKkQQF_t6VXe-YalDcwFau02_zqJ4DTueDuom9u5iWwutmvP1jMQQq6wP-c4D8WkpZBviPg/w160-h200/Earlene%20Photo.jpeg" width="160" /></a></div><p> <i>Happy New Year!</i> May 2023 be filled with all the "goodness" the world has to offer. May you have abundant health and happiness in the coming year. </p><p><i>I love the "grace" of "new beginnings" when January comes around!</i> There is something fresh about feeling the old things fade into the past. We begin to create a <i>new story! </i>As we begin another year, we sometimes resolve to do things <i>a little differently</i>, making our lives work <i>a little better</i> for the journey ahead. The "sun coming up," and we get a "do-over".... another chance to "get it right."</p><p><i>Post-pandemic choirs</i> have been re-defined this past year, and the publishing world shifts with whatever is happening in the classroom/choral community. As a result, we have seen the growth in sales for <i>SAB voicings</i>. </p><p>In this voicing, <i>bass ranges</i> must be moderate, because tenors are limited the lower range. For this voicing, we use the same basic process in creating an <i>RPS </i>for SAB, but it "looks" different. </p><p>One of my great joys includes sharing things that might increase effectiveness in the classroom (teachers and students). <i>Rehearsal Preparation Sheets</i> are created by using <i>Successive Approximations (Simple to Complex strategies)</i>, and the purpose is to teach difficult concepts easily, using <i>meaningful</i> s<i>equence</i>. The greatest choral director I have ever observed using <i>Successive Approximations</i> in the rehearsal was <i>Robert Shaw. </i>We performed difficult rhythms in the Atlanta Symphony Orchestra Chorus, but the <i>way </i>he taught them allowed us to sing amazingly difficult rhythms with mathematical precision. I was amazed.</p><p><i>Rehearsal Preparation Sheets </i>have been developed<i> </i>for <i>all</i> of my octavos with <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a>, and they are available on the Pepper website. <i>The purchaser is granted permission to make multiple copies</i> for <i>their choir.</i> </p><div>The image below shows how they appear for purchase; <i>"Reproducible PDF."</i></div><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i>Rehearsal Preparation Sheets</i> are designed to <i>improve musicianship and bring everyone to the same musical level</i>. The goal for the RPS is that singers learn the material <i>faster, which creates more classroom time for other endeavors (a good thing)</i>. Why "bog down" when you can <i>zip through?</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;">To provide clarity concerning regarding <i>Rehearsal Preparation Sheets, </i>there are examples below for <i>SAB</i> voicings. At last count, there were 250+ RPSs on the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper website</a>. They teach octavos, but they are also great sightreading materials.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i>Ranges for SAB:</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">--Basically, the <i>Soprano</i> and <i>Alto</i> are the same as in SATB. Alto can go down to an "A," if necessary, singing a bit lower than normal. It makes sense, given that there is no tenor to "fill the gap" for some harmonies. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">--The <i>Bass </i>range is from B-Flat (8va + Step below Middle "C" to Middle "C"), in order to include baritones.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtUhq9luvLeHRC3jxKGvKCCUGyODFbTicc27sWQiLa4nyX6H1rNNv796s5h7pwbU12gYIB7THJ-MEL0DUz3vS0rpfyuuqfywmh_HyA5WPGYy4oqLLn-XyhC81Co1kZ8GKBBsEpmgpWOWVkTQW_wArcmDe1thqWuGFkKdICCxDlZWakjIAjxtzc7Ylnlg/s3143/Hosanna%202%20K%20-%20SAB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3143" data-original-width="2513" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtUhq9luvLeHRC3jxKGvKCCUGyODFbTicc27sWQiLa4nyX6H1rNNv796s5h7pwbU12gYIB7THJ-MEL0DUz3vS0rpfyuuqfywmh_HyA5WPGYy4oqLLn-XyhC81Co1kZ8GKBBsEpmgpWOWVkTQW_wArcmDe1thqWuGFkKdICCxDlZWakjIAjxtzc7Ylnlg/w512-h640/Hosanna%202%20K%20-%20SAB.jpeg" width="512" /></a></div>Let's take a look at the strategy:</div><br /><div class="separator" style="clear: both; text-align: left;"><b><span style="color: red;">Example 1</span></b> - Practice is provided in the <i>Key of F Major</i>. There is primarily step-wise motion. The exceptions are the I/V movement and the <i>skip</i> in <i>Measure 6</i> to the "C." This skip is important in the melody.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: red;">Example 2</span></b> - There are two repeated phrases. In the first presentation <i>(Meas. 1-4)</i>, the <i>Bass</i> line is <i>augmented</i> so we can hear the <i>foundation of the chord progression</i>. In the repeat, the <i>Bass</i> line takes on the same <i>rhythm as the other voice parts.</i> </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: red;">Example 3</span></b> - This syncopated passage is first taught with quarter, half, and 8th notes. Ties are added, and syncopation comes to life <i>(Meas. 6)</i>.</div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;">************************</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3OiSkch7xek4u19NBY9yq84PvqWWCcq4CBThv8weiEZp9zaojZtVIusmqqK5eBts-6ctZKQXl5jRo3G2v40ZRQNqKrktgn1Cq0dBa-IqEIAnTmfZwAURq2TJ6ej2-VumHd8I0TNiFI1Pdkd99clyRNx2KzsprOPp59_kLUrSXh7xqnIeWSaN17PbfpA/s3223/God%20of%20Mercy-SAB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3223" data-original-width="2238" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3OiSkch7xek4u19NBY9yq84PvqWWCcq4CBThv8weiEZp9zaojZtVIusmqqK5eBts-6ctZKQXl5jRo3G2v40ZRQNqKrktgn1Cq0dBa-IqEIAnTmfZwAURq2TJ6ej2-VumHd8I0TNiFI1Pdkd99clyRNx2KzsprOPp59_kLUrSXh7xqnIeWSaN17PbfpA/w444-h640/God%20of%20Mercy-SAB.jpeg" width="444" /></a></div><div><br /></div><b><span style="color: red;">Example 1</span></b> - The initial phrase is sung <i>in unison</i>. This folk tune is comprised of step-wise motion, with practice in the scale of <i>E-Flat Major. </i><div><br /></div><div><b><span style="color: red;">Example 2</span></b> - This example introduces the harmony, as the melody is passed around between the Sopranos and Altos. </div><div><br /></div><div><b><span style="color: red;">Example 3</span></b> - Going into the refrain, the <i>Bass is in unison with the Soprano and Alto, </i>then forms a foundation for harmonic movement.</div><div><br /></div><div>*********************</div><div><br /></div><div>Okay, so you get the idea of the <i>structure </i>for <i>Rehearsal Preparation Sheets</i>. <i>I hope you will pass this information on to friends in choral music</i>. These "lesson plans within a lesson plan" can make a difference in your students' <i>musical achievement</i>. I hope you will give them a try.</div><div><br /></div><div><i>Happy 2023! Happy singing! Enjoy this new, exciting year!</i><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-17166099236895967902023-01-02T14:18:00.002-05:002023-01-03T13:39:31.423-05:00Rehearsal Preparation Sheets: TBB Voicing<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq9ytYGqTGqSyU7OKhysLqg2RwU6MaO5hXevqkaeBWC7I4cbN_QajDNvZWXYvZjCkYA83rlsCVFuqSxhDYksSWM5YGi5_jswPa3XFzA-gN6FVZ6ybHsXSHN8h1Q7thww-RVaz3nf22qslCRFt6x3cWlPmStNSgnYNGz_oVi5RE6iyuAh5Qxf8vIXodzQ/s366/erlogo.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="292" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq9ytYGqTGqSyU7OKhysLqg2RwU6MaO5hXevqkaeBWC7I4cbN_QajDNvZWXYvZjCkYA83rlsCVFuqSxhDYksSWM5YGi5_jswPa3XFzA-gN6FVZ6ybHsXSHN8h1Q7thww-RVaz3nf22qslCRFt6x3cWlPmStNSgnYNGz_oVi5RE6iyuAh5Qxf8vIXodzQ/w159-h200/erlogo.gif" width="159" /></a></div><p><br /></p><i>TBB voicings are becoming popular these days!</i> They are designed for <i>advanced choirs</i> in <i>high school</i> <i>and beyond</i>. This voicing accommodates choirs with a large supply of basses, but "not so many" tenors. Because their voices are getting settled, some basses are "in between" for a while, and the moderate <i>Bass I</i> part works well.<p></p><p>How do we write for such a group? We must remember that Tenor I <i>and </i>Tenor II<i> voices </i>are going to be singing this repertoire, so my response is to keep the Tenor a bit more <i>moderate in range</i> than in TTB voicings. The resulting tone can be a rich, beautiful tone, with the Tenor providing an obligato role at times. Sometimes the <i>range of a melody is wide</i>, and the melody is "passed around" to accommodate ranges. The challenge of choral directors is to meld all of this "passing around" into <i>one tone</i>.</p><p>Listed below are the basic ranges in TBB choral writing:</p><p><i>Tenor</i> - F below Middle "C" to F above Middle "C"</p><p><i>Bass I</i> - "C" below Middle "C" to Middle "C" - an 8va!</p><p><i>Bass II</i> - G (8va + 4th) below Middle "C" to B (or so) below Middle "C"</p><p>The goal of a<i> Rehearsal Preparation Sheet</i> is to ultimately duplicate the repertoire. The process includes pinpointing problems and challenges that might be incurred, addressing them <i>before</i> the students get to the repertoire. The goal is to strategically get <i>all</i> students to the <i>same level</i>. The <i>RPS</i> materials will assist in this process, and hopefully success will be experienced. The <i>RPS</i> can assist students in learning repertoire <i>faster and more effectively,</i> creating more <i>time</i> in the classroom for other activities...a good thing.</p><p><i>Rehearsal Preparation Sheets</i> are available on the J. W. <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper</a> website for <i>250+</i> publications from <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a>, and most of them have 2-3 pages. The <i>RPS sheets</i> are written using <i>Successive Approximations (Simple to Complex) </i>strategies, and students will be guided into <i>new intervals, rhythms, and harmonies</i> via previous information. </p><p>J. W. <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper</a> offers the <i>RPS</i> for a very reasonable cost, and the purchaser is granted permission to make multiple copies for <i>their choir</i>. On the J. W. <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper</a> site, most <i>RPS</i> materials are located at the <i>bottom </i>of the page <i>(Reproducible PDF)</i> on each title's webpage: </p><p><br /></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></p><p><br /></p><p>**********************</p><p>Let's take a look at some <i>RPS</i> examples with TBB Voicings:</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLQthfcPMiwG4CiphFJ5UbhSZk7z3RrBUS8TMZBAJxFLuCipUBTtByAFPpl3KfcR4hSAo-GJU3EHn_5vN824CxApGKdVdiwtrG2pKi0lyJFMoX2Hk6BnzZEXwUnWloSZ-FilxdANyCojzcfUeckBbQa2uuoKHdCVvXQTaSLpI-KI9ju9QyJUTg5OE-xA/s2984/Personent%20-%20TBB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2984" data-original-width="2036" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLQthfcPMiwG4CiphFJ5UbhSZk7z3RrBUS8TMZBAJxFLuCipUBTtByAFPpl3KfcR4hSAo-GJU3EHn_5vN824CxApGKdVdiwtrG2pKi0lyJFMoX2Hk6BnzZEXwUnWloSZ-FilxdANyCojzcfUeckBbQa2uuoKHdCVvXQTaSLpI-KI9ju9QyJUTg5OE-xA/w436-h640/Personent%20-%20TBB.jpeg" width="436" /></a></div><br /> <b><span style="color: red;">Example 1</span></b> - The melody and harmonies are taught using step-wise motion. All pitches are located by going up or down the scale to find them. The key is <i>d minor</i>, and <i>Tenors</i> might have difficulty singing the entire scale (range). The objective of <i>Measures 1-4</i> is to teach the <i>d minor</i> scale. <i>Tenors</i> hang out on the dominant (A) until they can jump in and sing the melody with the <i>Bass</i>. <div><br /></div><div>In <i>Example 1</i>, the melody is passed between the Basses and the Tenors. The Tenor's <i>low range</i> might not have enough color and strength, and the Bass might be a challenge in the <i>"D" range above Middle "C."</i> <i>Bass I doubles the Tenor </i>at times, producing a simple two-part harmony. Three-part harmony does not arrive until <i>Measure 17</i>.<p></p><p><b><span style="color: red;">Example 2</span></b> - Both Bass parts are in thirds, and the Tenor provides an <i>obligato</i> part on the root of the chord, then <i>doubles BII</i> with the <i>melody</i> in the last three measures.</p><p>***********************</p><p>This next title is <i>"The Gift to Sing,"</i> (text by James Weldon Johnson...See March 16, 2021 post). The style is joyful, and the text encourages us to <i>sing</i> through challenging times.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbaN5NwOTyrqu9vcEpM3_RklHkep03beY0Jmk5DF6UbD3sOc9o7Ypz6-2vwSSps70WoBUzUFLeFufMTU5f2UZViOTQxYWP3NkV-9LzAEEbHsnmVaRpLdIdqBC5fteiItj781haDEEkJcg0XFSWQL88J_QUH9gsX-0UScgJGm0WTRIx96DTnaDgMyA5A/s3015/Gift%20to%20Sing-TBB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3015" data-original-width="2085" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbaN5NwOTyrqu9vcEpM3_RklHkep03beY0Jmk5DF6UbD3sOc9o7Ypz6-2vwSSps70WoBUzUFLeFufMTU5f2UZViOTQxYWP3NkV-9LzAEEbHsnmVaRpLdIdqBC5fteiItj781haDEEkJcg0XFSWQL88J_QUH9gsX-0UScgJGm0WTRIx96DTnaDgMyA5A/w442-h640/Gift%20to%20Sing-TBB.jpeg" width="442" /></a></div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: red;">Example 4</span></b> - The top example teaches <i>syncopation</i>. Briefly address the quarter note triplet. Then...go to the quarter/half notes to vertically experience the harmonies. This is the <i>B Section</i> of the octavo. It is important that singers find that "F" in Measure 11. This entire example establishes <i>Bass I/II harmonies</i>.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: red;">Example 5</span></b> - <i>Measures 2 and 3</i> contain <i>4-Part harmonies.</i> If Tenors cannot divide on these two notes (for the "tight harmony" sound), select either note. Since this is likely an <i>older group</i> (high school and beyond), we <i>quickly</i> go to syncopation, presented <i>straight....then with a tie....then with rests and a tie</i>. <i>Measures 3-4</i> are likely the most difficult in the entire octavo. The altered pitch <i>(D-flat)</i> is<i> a half-step up from the "C."</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i>*********************</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>There you have it. I have described and analyzed the process used in creating these supplementary materials. </i><i>I hope you have an idea as to the structure of RPS materials and how they might assist you in teaching repertoire in rehearsal. Feel free to share with a friend!</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>It's a new year! All the best to you and yours!</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Happy 2023!!</i></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><br /></p></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-74183122701258300172022-12-31T12:41:00.003-05:002023-01-03T13:40:17.367-05:00Rehearsal Preparation Sheets: TTB Voicing<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitAtapV_q_UL2ShSU8eqc8BtbW50KXz5EC1zKecWjk1MrK0nGIfpkucob3bK9fToN99L35iC92tkgHHdxEfA8o4tPATttaBeYSylQlt0I25uJmX0LN8URfj4sLNwRz6q2bS0Jlw9kOjJoyS7AcooFub5wc3g9XWWmPJP7N_Xo_P7-kRIoGpAo1k3tMjA/s366/erlogo.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="292" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitAtapV_q_UL2ShSU8eqc8BtbW50KXz5EC1zKecWjk1MrK0nGIfpkucob3bK9fToN99L35iC92tkgHHdxEfA8o4tPATttaBeYSylQlt0I25uJmX0LN8URfj4sLNwRz6q2bS0Jlw9kOjJoyS7AcooFub5wc3g9XWWmPJP7N_Xo_P7-kRIoGpAo1k3tMjA/w159-h200/erlogo.gif" width="159" /></a></div><br /><p></p><p>TTB is considered a middle school voicing, given that there are generally more tenor-range singers in middle school whose voices are changing at various times. Some of their voicers actually "settle" in high school. </p><p>General Ranges for TTB:</p><p><i>Tenor I</i>: F below Middle "C" to an "A" above (possibly a B-Flat)</p><p><i>Tenor II</i>: D below Middle "C" to D above.</p><p><i>Bass:</i> B-Flat (8va + Step below Middle "C") to Middle "C"</p><p><i>Rehearsal Preparation Sheets</i> are available on J. W. <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper</a> for <i>250+</i> publications from <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a>, and most of them have 2-3 pages that can be used to prepare students to sing <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Earlene Rentz compositions</a> in your classroom. The <i>RPS sheets</i> are written using <i>Successive Approximations (simple to complex)</i>, and students will be guided into easily performing new intervals, rhythms, and harmonies via concepts they already know. </p><p>The <i>Rehearsal Preparation Sheets</i> will appear as such at the bottom of each octavo's webpage.</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></p><p><br /></p><p>Here are some examples of TTB Voicings in an RPS, with brief explanations:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxTWyRWNv1oljKL2giJpgwjg4B6ULq7X9MMtj9Zg2ahMhr_bH2lOd8_JutPjAcDmPr6nu75AMukKW6_Kn2tEAHD-ImTNz94b5CkdeH6tHboa2BIacUGz_-dmzeFonZ9cnfaTRw9gPoT-nVX9OWAmVyNcXeoiP2H8pMBgkPIVsdb9OqmbPw9aaM8G4JQ/s3027/Red%20Rose%20-%20TTB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3027" data-original-width="2165" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxTWyRWNv1oljKL2giJpgwjg4B6ULq7X9MMtj9Zg2ahMhr_bH2lOd8_JutPjAcDmPr6nu75AMukKW6_Kn2tEAHD-ImTNz94b5CkdeH6tHboa2BIacUGz_-dmzeFonZ9cnfaTRw9gPoT-nVX9OWAmVyNcXeoiP2H8pMBgkPIVsdb9OqmbPw9aaM8G4JQ/w458-h640/Red%20Rose%20-%20TTB.jpeg" width="458" /></a></div><br /><p><b><span style="color: red;">Example 1</span></b> - Students sing the <i>F Major Scale</i> before repertoire specifics are addressed. The first motive is taught <i>"</i>straight<i>"</i> (Meas. 3) before adding the <i>dotted 8th/16th </i>(Meas. 4). The assumption is made that this rhythm had been learned previously (maybe...maybe not...be prepared to teach it). Additional motives are taught without rests/dotted notes (Meas. 8-9).</p><p><b><span style="color: red;">Example 2</span></b> - Basses sing the melody as it appears in the octavo, but the harmony parts (Tenor I/II) are in <i>longer durations</i>); vertical harmonies can then be heard more clearly.</p><p>********************</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLKAUmVrMvbg6QP7bICS7Jux8RIXGczIWc6Z23AocVKjkqc673ylFfFMLD1kWA9yjM0YZztJhOQ5I04gIb0ioqRl_T9oj20NO3RRAQZHiNgjNZdCpk3C1xMtCqcnHtcjn4TU_ckHLYF868etfDV8xDGM4aXvxJjR5Jg5xx-6jcOOfu-G9O4Bzw7spuIA/s3113/Go%20Tell%20It-TTB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3113" data-original-width="2281" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLKAUmVrMvbg6QP7bICS7Jux8RIXGczIWc6Z23AocVKjkqc673ylFfFMLD1kWA9yjM0YZztJhOQ5I04gIb0ioqRl_T9oj20NO3RRAQZHiNgjNZdCpk3C1xMtCqcnHtcjn4TU_ckHLYF868etfDV8xDGM4aXvxJjR5Jg5xx-6jcOOfu-G9O4Bzw7spuIA/w468-h640/Go%20Tell%20It-TTB.jpeg" width="468" /></a></div><p><b><span style="color: red;">Example 1</span></b> - Because younger voices (TI/II) are singing in harmony, and the <i>ability</i> to perform harmony (<i>any</i> type) is one of the most difficult, harmonies are <i>augmented</i> to allow the <i>ears </i>of changing voices time to adjust. </p><p><b><span style="color: red;">Example 2</span></b> - Melodies and harmonies are presented to look <i>much more like the octavo</i>. Rhythms and syncopation are basically being taught <i>at the same time</i>. First, the rhythms are presented "straight" (quarters/8ths), then ties are added to create <i>syncopation</i>.</p><p>********************</p><p>As you can see, this <i>RPS</i> is only one page. There are more examples in the complete RPS to make students more secure with the octavo. <i>Anything</i> detected in the octavo that might be trouble for the singer is addressed in the <i>RPS</i>.</p><p><i>All the best to you as you utilize these resources with your singers!</i> Share with a friend "in the business," if you think they might be helpful to others in your life. They have been effective for my singers, and I'll <i>always</i> use them in my rehearsals.</p><p><i>Happy 2023!!</i></p><div><br /></div><div><br /></div><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-73041068678425089322022-12-30T12:32:00.008-05:002022-12-30T12:48:54.192-05:00Rehearsal Preparation Sheets: SSA Voicing<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLWEuZRj3uWOZJUgdFzdj2aGRt8ty2e9vkKs0ySEBT94Hn38DehRNc6T5y9KFmNCGEL1Xxmu5BKr8nc-N8xbqWb8H4iG31goWC8YNZueC2IqDnjeqCjmK78-DBT3LLSg3E67ivT9bmtygKTq6oGa5pzM-LhfsfpH6-oiC_7Lu7kyLnHQlJJonAIraIgw/s320/OfficePhoto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="320" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLWEuZRj3uWOZJUgdFzdj2aGRt8ty2e9vkKs0ySEBT94Hn38DehRNc6T5y9KFmNCGEL1Xxmu5BKr8nc-N8xbqWb8H4iG31goWC8YNZueC2IqDnjeqCjmK78-DBT3LLSg3E67ivT9bmtygKTq6oGa5pzM-LhfsfpH6-oiC_7Lu7kyLnHQlJJonAIraIgw/s1600/OfficePhoto.jpg" width="320" /></a></div><br /><p></p><p><i>SSA voicings</i> are really fun to create! Treble voices have possibilities of singing all three voice parts in <i>unison, which</i> brings real <i>strength</i> to a composition. I <i>love</i> working with <i>SSA</i> compositions. I also love writing<i> Rehearsal Preparation Sheets</i> for <i>SSA</i>. For example, if <i>all </i>voices are going to be singing the melody at some point, or might benefit in some way, I would likely have <i>all</i> the voices singing in unison. I truly <i>enjoy </i>that aspect of <i>SSA</i> choral writing. <i>Unison</i> is a powerful tool, and can be used creatively in conveying the text.</p><p>Below, there are <i>four</i> <i>SSA</i> <i>Rehearsal Preparation Sheet</i> examples with <i>different styles</i> and <i>difficulty levels</i>. As you know, SSA voicings are written for younger voices (middle school) <i>and</i> <i>professional</i> ensembles. So...there are unique possibilities for <i>SSA</i> voicings, when creating <i>Rehearsal Preparation Sheets.</i></p><p>We will look at a few RPS examples, so you can get an idea of the product you are purchasing (found at the <i>bottom</i> of the voicing list on a <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper page.</a>).</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></div><div><br /></div><p>You will find below a jazzy, fun holiday setting of <a href="https://www.earlenerentz.com/wanetta-hill/">Wanetta Hill's</a> lyrics, entitled <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Swingin%27+and+Jinglin%27+-+Earlene+Rentz">Swingin' and Jinglin'</a><i> </i>Given the title, you won't be surprised to know that <i>syncopation</i> is contained, and you might wonder as to how it might be taught. </p><p>Quite simply, I begin the process with whatever most students <i>know</i>, and move toward the thing(s) they do not know. The <i>maturity and competence</i> of the students determine <i>how long </i>we stay with the simple and <i>how quickly</i> we proceed to the <i>more complex</i>. </p><p><i>Let's take a look at this example for high school and beyond. <span style="color: red;">Note: the measure references.</span></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFZLC-I4JOLej9b6xbR7HQysm51JWwGE_jeXexo8mGfyi_0vusLRNEL5eL3pi9mUyqaptFOd4qz0eitcMVe8E3RVILPXKpDGiyjXjhtJovSPZqhrejWmK0-u1kK33ahjBvqKyL8omLA4WjOuY5Gf-sRZZ-IZ55RjZH_h-5BxfKEO6GOMzp9St9VH3xdw/s3064/Swinging%20and%20Jinglin-SSA.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3064" data-original-width="2440" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFZLC-I4JOLej9b6xbR7HQysm51JWwGE_jeXexo8mGfyi_0vusLRNEL5eL3pi9mUyqaptFOd4qz0eitcMVe8E3RVILPXKpDGiyjXjhtJovSPZqhrejWmK0-u1kK33ahjBvqKyL8omLA4WjOuY5Gf-sRZZ-IZ55RjZH_h-5BxfKEO6GOMzp9St9VH3xdw/w510-h640/Swinging%20and%20Jinglin-SSA.jpeg" width="510" /></a></div><div><br /></div><b><span style="color: red;">Example 1</span></b> - This <i>seven-measure example</i> is in <i>unison</i>. We begin with the <i>E-flat Major Scale</i>, then sing a <i>triad</i> in the scale; we also establish the <i>V/I relationship before students sing one altered pitch!</i> <i>ONE</i> altered pitch usually does not frighten singers. <br /><p><b><span style="color: red;">Example 2</span></b> - The introduction! <i>Harmony</i> is introduced by singing <i>thirds</i>. This interval is easily sung, and it is introduced with <i>quarter notes</i>. Because there are several altered pitches, quarter notes give us a bit longer to think. Then, <i>new concepts</i> are introduced: <i>8th rest, ties, skips, altered pitches, text</i>, and <i>staccato style....usually one-at-a-time</i>. </p><p><b><span style="color: red;">Example 3</span></b> - The verse begins in this example with a <i>repeated drill,</i> using a <i>lowered third (G-flat)</i> and the <i>B-flat</i> below Middle "C". Both are important notes in the melody. Then, the <i>8th rest</i> is added (only one). <i>Syncopation is</i> achieved by using a tie.</p><p><b><span style="color: red;">Example 4</span></b> - The <i>second phrase</i> is taught similarly: <i>Quarter notes, add the 8ths, add ties to create syncopation.</i> Notice that the <i>altered pitch (A natural)</i> is always approached from <i>one-half step above</i>. I repeat the passage until the altered pitch is likely "in the ear."</p><p>********************</p><p><i>Bring a Torch, Jeannette, Isabella</i> is a holiday octavo for upper middle school, high school, and beyond.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrW6PH1JaZhbPbnwg5BrilE-tULxiMv_FiwGv80NsYsJYwzW0-sTvmroIVPpGMUNUC2og1yrYB0joAUwXtVnSHiqhpT3FLnGfVR_zOFUOY0AMDojH5BLqsB4EcBqp0JdrM0o0IQox7edr3d9HlU6YTRVlr6pXMydKajCUrN02TiVbs2pN-oYUKC_rrBQ/s3009/BringTorch-SSA.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3009" data-original-width="2519" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrW6PH1JaZhbPbnwg5BrilE-tULxiMv_FiwGv80NsYsJYwzW0-sTvmroIVPpGMUNUC2og1yrYB0joAUwXtVnSHiqhpT3FLnGfVR_zOFUOY0AMDojH5BLqsB4EcBqp0JdrM0o0IQox7edr3d9HlU6YTRVlr6pXMydKajCUrN02TiVbs2pN-oYUKC_rrBQ/w536-h640/BringTorch-SSA.jpeg" width="536" /></a></div><b><span style="color: red;">Example 1</span></b> - <i>Tempo</i>: The <i>8th note</i> gets the beat, and the tempo range is <i>wide</i>. Begin rather slowly, then increase the tempo <i>gradually</i>. Eventually, sing with the <i>dotted quarter receiving the pulse</i>. The <i>altos</i> have I/V and step-wise movement. <i>Soprano I/II</i> move in 8th notes, and use <i>step-wise motion</i> to find the harmonies. <div><br /></div><div><span style="color: red;"><b>Example 2</b></span> - This arrangement simulates <i>"hurrying and running to the manger."</i> Many arrangements of this carol are moderate, legato, and lovely, but I wanted to create <i>urgency, and </i>I used <i>16th notes</i> to achieve that mood. There is the movement of <i>I/V</i> in this connecting material. It appears in the octavo a few times<i>.</i></div><div><br /></div><div><b><span style="color: red;">Example 3</span></b> - This example is a more solid presentation of the melodies and harmonies contained in the octavo, and concentrates on <i>tuning</i>. Sing two beats per measure (two dotted quarters), and see how it goes.</div><div><br /></div><div>There are more <i>RPS </i>pages for <i>"Bring a Torch."</i> See <a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Bring+a+Torch%2C+Jeannette%2C+Isabella+-+Earlene+Rentz">this title</a> on <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper's website.</a></div><div><br /></div><div>**********************</div><div><br /></div><div><a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=For+Unto+Us+a+Child+is+Born+-+Earlene+Rentz">For Unto Us a Child is Born</a> might be a similar <i>difficulty level</i> as the above example, but it is universally familiar because of <i>Messiah</i>. Some already have it "in the ear." As you know, <i>there is much to be taught in the music of Handel</i>. In this arrangement, <i>the voice parts and accompaniment have been simplified. </i></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmR_-FhKcX_knOMdWb9XsOYIMMrT-kAD0A_eZty1wgCYgb10v3W4h7jx7K1WZIYhplG7tmtBitd4crjqxysx0FE8WFG6r7Woob3x7DRj3gWNzDz74ghc8AGBCJqPL9NriWY-hToHdt04B6ULWm7LP56uB31MlrOBpL6alfTDcIWWlGMS6257VeofW_9Q/s3069/For%20Unto%20Us%20-%20SSA.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3069" data-original-width="2232" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmR_-FhKcX_knOMdWb9XsOYIMMrT-kAD0A_eZty1wgCYgb10v3W4h7jx7K1WZIYhplG7tmtBitd4crjqxysx0FE8WFG6r7Woob3x7DRj3gWNzDz74ghc8AGBCJqPL9NriWY-hToHdt04B6ULWm7LP56uB31MlrOBpL6alfTDcIWWlGMS6257VeofW_9Q/w466-h640/For%20Unto%20Us%20-%20SSA.jpeg" width="466" /></a></div><b><span style="color: red;">Example 1</span></b> - Teaches the <i>first phrase</i> by concentrating on scale degrees 1, 4, and 5.<div><br /></div><div><b><span style="color: red;">Example 2</span></b> - Singers use steps to find the "D;" then use step-wise motion and scalar patterns to learn the motive <i>"Unto us a Son is given."</i></div><div><br /></div><div><span style="color: red;"><b>Example 3</b></span> - The <i>harmony</i> of "Unto us a Son is given" is the focus. Once the melody is secure, the singers should concentrate on the vertical presentation. The examples move into "and the government shall be upon his shoulder." I am assuming that singers know how to sing dotted 8ths and 16ths. If not, be prepared to address it. </div><div><br /></div><div>**********************</div><div><br /><div>The following art song by Robert Schumann ("<a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Die+Lotosblume+-+Earlene+Rentz">Die Lotosblume</a><i>"</i>) has been arranged for SSA <i>advanced</i> choirs. The text is <i>German</i>, and a <i>pronunciation guide</i> is provided. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAhdZqGdHqMtRUxVXLqdIEUv2r5LU9MWZ663VjlLSo6Kx7BcSNFBrgmYqfn7CQ3gaKiIdIKysq6Xy_RW_Dj1dfc4ZcuanPk3Uj4ic0EB4lY1yBMnrGjeuyvaJe-5q7C7e-6N6KkyAs07zz9nlNK-hfwYfj_Ep92DYINRu6Gea5_aoCCfv-l72dYWCNrQ/s2892/Die%20Lotos-SSA.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2892" data-original-width="2055" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAhdZqGdHqMtRUxVXLqdIEUv2r5LU9MWZ663VjlLSo6Kx7BcSNFBrgmYqfn7CQ3gaKiIdIKysq6Xy_RW_Dj1dfc4ZcuanPk3Uj4ic0EB4lY1yBMnrGjeuyvaJe-5q7C7e-6N6KkyAs07zz9nlNK-hfwYfj_Ep92DYINRu6Gea5_aoCCfv-l72dYWCNrQ/w454-h640/Die%20Lotos-SSA.jpeg" width="454" /></a></div><b><span style="color: red;">Example 1</span></b> - Because this arrangement will likely be sung by an <i>advanced</i> choir, harmony is introduced rather quickly <i>(measures 4-5)</i>. Step-wise motion is used to find the correct pitches in harmonies (<i>measure 3</i>).</div><div><br /></div><div><b><span style="color: red;">Example 2</span></b> - Singers are in harmony through <i>most</i> of this example. <i>Half note durations</i> give singers time to hear the altered pitches and vertical alignment. </div><div><br /></div><div>*********************</div><div><br /></div><div> When you purchase an <i>RPS</i> from <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a> ($5.00), the purchaser is granted permission to make <i>multiple copies</i> for <i>their choir.</i> </div><div><br /></div><div>At this point, you have an idea as to the type of <i>Rehearsal Preparation Sheet</i> that has been created for every <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a> octavo appearing on the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper website.</a> Share with a friend "in the business," if you think these resources might be helpful.</div><div><br /></div><div>Rehearsal Preparation Sheets are effective. I have used them for years in regular choir rehearsals. I encourage you to give them a try to see if they might be effective for your ensembles. </div><div><i><br /></i></div><div><i>All the best to you and your students! </i></div><div><i><br /></i></div><div><i>Happy 2023!!<br /></i><div><br /><p><br /></p></div></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-44404204268334162692022-12-28T11:32:00.002-05:002023-01-03T13:41:42.098-05:00Rehearsal Preparation Sheets: TB Voicing<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVVvQQUiRDOPev4Z9m4fN-I9_EsolrJ7Xz76MMuNTO1SKkFLlh20tUWssCbcrc3r7aTy3Cx2_wRXRB2myqDwr0hImThuqR17dZBEIeg6GawZssz_c4QExY9wj7r46U255aelymUhwvc1_HeRgrnv8ITvQJlur4-IEysqhLqqvWVzIHsZPIXqIk_mULOQ/s1111/Earlene%20Photo-Professional.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1111" data-original-width="975" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVVvQQUiRDOPev4Z9m4fN-I9_EsolrJ7Xz76MMuNTO1SKkFLlh20tUWssCbcrc3r7aTy3Cx2_wRXRB2myqDwr0hImThuqR17dZBEIeg6GawZssz_c4QExY9wj7r46U255aelymUhwvc1_HeRgrnv8ITvQJlur4-IEysqhLqqvWVzIHsZPIXqIk_mULOQ/w176-h200/Earlene%20Photo-Professional.jpg" width="176" /></a></div><div style="text-align: center;">Earlene Rentz</div><p>In this post-pandemic choral world, there seems to be a greater need for <i>TB</i> music in tenor/bass voicings. This<i> </i>makes sense to me. Students lost huge amounts of time in the classroom during the pandemic when "the changing voice" was changing at <i>home!</i> Those days will never be back for singers whose voices changed while they <i>Zoomed!</i> The <i>TB voicing</i> provides a limited texture that allows choral/musical concepts to be taught with more on a voice part, and those changed voices can hear where their voice <i>fits</i> in the new texture.</p><p>I do not believe there are <i>"short cuts"</i> in choral/vocal training. Addressing the <i>changing voice</i> in Tenor/Bass choirs is work that must be done, and it benefits <i>everyone</i> in the long-run. So, composers for younger TB choirs write with the <i>changing voice</i> in mind. Yes...<i>older TB choirs</i> sing this voicing as well, but...say....<i>the basses might not get to sing down as low as they would like. When writing for TB choirs, we must be sensitive to "the extremes" in ranges for both voice parts.</i></p><p>There are some <i>general rules</i> for TB that apply regarding <i>range </i>and <i>difficulty</i>:</p><p><i>Range:</i> <i>Tenor I </i>does not sing below the "F" below Middle "C".....<i>Bass </i>does not sing higher than the "D" above Middle "C," and does not sing lower than the "C" below. </p><p>These are <i>general</i> ranges. There might be a situation where these ranges are violated briefly, but the important issue would be <i>"For how long?"</i> Hopefully, it is a <i>brief </i>violation.</p><p><i>Difficulty:</i> I often use <i>step-wise motion</i> and I/V harmonies in creating RPS materials for TB. Young tenor/bass voices can hear those intervals and perform them consistently. Wide skips give TB choirs have a greater challenge. At times I must "leave" the rigidity described, but I try to keep those two factors foremost in the mind. I do not want the RPS to get bogged down, such that students are "punished," but a little drill doesn't helps in the long-run. Get it<i> "in the ear and in the voice!"</i></p><p><i>Rehearsal Preparation Sheets</i> are available on J. W. <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper</a> for <i>250+</i> publications from <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a>, and most of them have 2-3 pages...all written to prepare students to sing <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Earlene Rentz compositions</a>. They can also be used for general sightreading practice. The <i>RPS sheets</i> are written using <i>Successive Approximations (simple to complex)</i>, and students will be guided into new intervals, rhythms, and harmonies via information they already know. </p><p><i>RPS</i> sheets will appear on the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper pages</a> as shown below (usually at the <i>bottom</i> of the voicing list): </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></div><div><br /></div><p><i>Personent Hodie</i> is in the key of <i>e-minor</i>, so before you begin this <i>RPS</i>, sing the <i>e-minor scale </i>a few times and drill with various intervals, always aware of the tonic. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBI0R5W7Pfw8MOeJ1rK2-p_HJtyAKB_z--cQmuVz9C9F7NPADVUv8zyXT08YiKUWcd7nZrH4Xk6uYXeyiJsTt3fsBuPwi0eMkOu5O9c2BmQ1Q4FSRDnHKdrgMEcqlfac8-Hxhfvfz9JeypSvWowahpB6NE1kEJGddqStuhEkUrCkBJ6sapaOXrw3R5Ew/s3058/Personent%20-%20TB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3058" data-original-width="2091" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBI0R5W7Pfw8MOeJ1rK2-p_HJtyAKB_z--cQmuVz9C9F7NPADVUv8zyXT08YiKUWcd7nZrH4Xk6uYXeyiJsTt3fsBuPwi0eMkOu5O9c2BmQ1Q4FSRDnHKdrgMEcqlfac8-Hxhfvfz9JeypSvWowahpB6NE1kEJGddqStuhEkUrCkBJ6sapaOXrw3R5Ew/w438-h640/Personent%20-%20TB.jpeg" width="438" /></a></div><b><span style="color: red;">Example 1</span></b> - Comprised of step-wise motion and drills with <i>i/v</i> in the key of <i>e-minor</i>. Because the <i>6th</i> is raised (<i>C#</i>), <i>measures 8-11</i> provide some drill in <i>finding the C#</i> from steps <i>and </i>skips.<div><br /></div><div><b><span style="color: red;">Example 2</span></b> - Voices move in <i>thirds</i> in several passages in the octavo, so this example provides practice in doing so. While the <i>Bass</i> part has the melody in <i>Measures 6-10</i>, the <i>Tenor</i> finds a compatible interval above to create <i>harmony with the melody</i>. Most of these harmonies have <i>repeated notes</i> that give a secure foundation to the melody.</div><div><br /></div><div>*********************</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwvqlQodjSTq5o9hmkZreClEGoIJs0oOFVqhjUi2ph-5B3NJ6cJxpRKhK0Beed1MdrO8FyeFKJCfHpV9-mK3orVQYk2n4iYit31UeIBmwCuCopgs_WZJ_KsYcSuA-yAoqBs7HoekyqcxFYzeBwMnG9RR80PgmkG5scf9LpLVnhzMRlJIEYVy6hAVdqaw/s2972/Go%20Tell%20It-TB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2972" data-original-width="2134" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwvqlQodjSTq5o9hmkZreClEGoIJs0oOFVqhjUi2ph-5B3NJ6cJxpRKhK0Beed1MdrO8FyeFKJCfHpV9-mK3orVQYk2n4iYit31UeIBmwCuCopgs_WZJ_KsYcSuA-yAoqBs7HoekyqcxFYzeBwMnG9RR80PgmkG5scf9LpLVnhzMRlJIEYVy6hAVdqaw/w460-h640/Go%20Tell%20It-TB.jpeg" width="460" /></a></div><br /><div><b><span style="color: red;">Example 1 </span></b>- <i>Step-wise motion</i> leads to finding the <i>altered pitches</i> via longer durations (half notes). Later they are presented in the final rhythm found in the repertoire.</div><div><br /></div><div><b><span style="color: red;">Example 2</span></b> - We are creating <i>syncopation</i> in this example. The first time the pattern is introduced, it<i> </i>consists of <i>quarters and 8ths</i>. The <i>tie </i>is added next. O<i>ne of the 8th notes is then replaced with a rest</i>, and the <i>tie</i> remains <i>(Measure 3)</i>. The <i>pitches in rhythm</i> are the same as those sung as <i>half notes in</i> <i>Example 1</i>. The goal: Students will transfer their learning into <i>Measure 6</i>. If not, sing <i>Example 1</i> again, emphasizing <i>transfer</i>. </div><div><br /></div><div>**********************</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuoBRrsOcOIWYZKM8ho1zw1A43b2qMFvfgBo3Y2K9JNjxtnRfn-KvDMEebyu5LfTCIGiG1uUhQg3PzM2VAriQJFSyl4B22Blc68y7KgsLPoQgPfE7OKYnpwCdcBOvB5gsZVD5zhERfrGX-zXnbZ6SPssotFcmh2pa_CRonFVE184US6nBvCyU20pCJ3A/s3021/Gift%20to%20Sing-TB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3021" data-original-width="2024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuoBRrsOcOIWYZKM8ho1zw1A43b2qMFvfgBo3Y2K9JNjxtnRfn-KvDMEebyu5LfTCIGiG1uUhQg3PzM2VAriQJFSyl4B22Blc68y7KgsLPoQgPfE7OKYnpwCdcBOvB5gsZVD5zhERfrGX-zXnbZ6SPssotFcmh2pa_CRonFVE184US6nBvCyU20pCJ3A/w428-h640/Gift%20to%20Sing-TB.jpeg" width="428" /></a></div><div><p><b><span style="color: red;">Example 1</span></b> - Quarters, 8ths, halves, and a couple of quarter rests are no problem. I do not teach the syncopated <i>Measures (8-10)</i> without the ties, because the note would be repeated and sound awkward. The tie is presented in <i>Measures 8-10</i>. "Fingers crossed" that they sing it correctly.</p><p><b><span style="color: red;">Example 2</span></b> - In <i>Measures 1 and 2</i>, the only possible problem is D<i>o</i> to S<i>ol</i>. You might need to drill a triad (<i>Do, Mi, Sol</i>). <i>Re</i> to <i>Fa</i> are important as well (<i>Measures 5, 6, and 9</i>), and students will <i>need</i> all of this information for the melody. <i>Measures 3 and 5</i> teach <i>syncopation</i>, using ties. Take a look at the difference between <i>Measures 8 and 10 (the 8th rest continues to be used). Measure 13</i> (<i>we must hear silence in those 8th rests</i>) is really important; the altered pitch in Measure 13 creates a "gospel" sound within the melody. </p><p>***********************</p><p>Hopefully, your <i>Tenor/Bass</i> ensemble will sing with greater understanding because of their achievement with <i>Rehearsal Preparation Sheets</i>. I hope these resources will save time for you and your students as they become skilled, mature musicians. </p><p><i>Many thanks!</i></p><p><i>Enjoy!</i></p></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-60853628786073495252022-12-26T16:43:00.021-05:002023-01-03T13:42:33.292-05:00Rehearsal Preparation Sheets: 3-Part Mixed Voicings<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu_tJp_CdY_qN0hpJP7TxtypsKQpJjrcz50epnyfMUG4YYzoSMJ4gbJgmvE_7EtlPFzgE0hgN8r2hqL32soev4NUVJXgojmgWHDkvDrDDj9O3234-f9A4WKORZLUmc9vkxbMHytJ6oC2dXzRmMVk7GNO9D0xYhdNic-GvPSXv7HrTSI6TXWG7YWRiVwA/s1920/Earlene%20Photo.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="1536" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu_tJp_CdY_qN0hpJP7TxtypsKQpJjrcz50epnyfMUG4YYzoSMJ4gbJgmvE_7EtlPFzgE0hgN8r2hqL32soev4NUVJXgojmgWHDkvDrDDj9O3234-f9A4WKORZLUmc9vkxbMHytJ6oC2dXzRmMVk7GNO9D0xYhdNic-GvPSXv7HrTSI6TXWG7YWRiVwA/w160-h200/Earlene%20Photo.jpeg" width="160" /></a></div><p><i>I loved teaching in middle school!</i> There was an <i>energy</i> about the students who were in a new setting after their years in elementary school. Middle school students are in "search mode," searching for success...searching for "their group,"...searching to "be somebody." Middle school students are <i>fragile</i>, and for that reason, I see my work with middle school voices as some of the most <i>important</i> work I've ever done. </p><p>It is ironic that during such fragile times in their personal lives, "the voice" they possess is also fragile, transitioning into <i>something else.</i>..and that <i>something else</i> causes insecurity, embarrassment, lack of courage, and total inconvenience. <i>Middle school students don't know where that "something else" is headed! </i>We hear stories of students who just <i>stopped singing</i> during this fragile time of physical development. As you know, the male voice in middle school is the voice of greater change, but the female voice is also changing. </p><p>One popular voicing to accommodate such vocal change is the <i>3-Part Mixed </i>voicing. Some individuals want to know how it differs from the <i>SAB</i> and other mixed voicings. The "rules" for 3-Part Mixed: <i>Part I is Middle "C" to "F" (top line...treble clef); Part II is B-flat (below Middle "C") to "C" (third space...treble clef); and Part III is from the "F" below Middle "C" to the "D" above Middle "C" (six notes...bass clef). </i>Therein lies the <i>challenge</i> of writing 3-Part Mixed choral music. <i>Part III</i> is limited to six notes.</p><p>I am explaining <i>Rehearsal Preparation Sheets </i>found on <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper's</a> website, because after the last promotion, someone wrote to ask if I had any <i>RPS </i>sheets for middle school. If the octavo is on the website, published by <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a>, and is appropriate for the middle school level, <i>"Yes!"...</i>an <i>RPS</i> accompanies it!</p><p><i>RPS</i> materials are available for <i>250+</i> publications, and most of them have 2-3 pages, so my estimation is that there are <i>800 pages</i> of materials that may be used to prepare students to sing <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Earlene Rentz compositions</a> in your classroom. Many of them can be sung in middle school choirs. The <i>RPS sheets</i> are written using <i>Successive Approximations (Simple to Complex)</i>, and students are guided into performing new intervals, rhythms, and harmonies via concepts they already know. </p><p>Let's look at a few, so you can get an idea as to the appearance and usefulness of the RPS. These<i> </i>sheets appear on the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper pages</a> as shown below (usually at the <i>bottom</i> of the list): </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></div><br /><p>Take a look at the examples below to see the techniques employed for learning pitches, rhythms, and harmonies. You might want to create your own <i>Rehearsal Preparation Sheets</i>, but be prepared to carve out a few hours, until you get a little practice. <i>I love the process</i>, and it saves time in the long-run. I <i>rarely </i>had enough time to teach <i>everything </i>I wanted to teach.</p><p>Let's look at <i>Kibo</i> (Japanese words/pronunciation guide provided):</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy2PQAqvfypKDfVYn2C2xt7RPCXiS1Tn7dau_rzLXOIaFMPQR9w_YoL-HxJKRS7spV67ABxD2yzqaroQYwy9SJx7Bozoud0kDKIV615V86tAtPVV0alJJQ7bnGVa_9dspPQ8jKzhO7cpcp1ZmCjLE3VZFxj57gPwMUOh82Z2QpmFhmBTtgqEjPNLvdig/s3229/Kibo-3PM.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3229" data-original-width="2367" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy2PQAqvfypKDfVYn2C2xt7RPCXiS1Tn7dau_rzLXOIaFMPQR9w_YoL-HxJKRS7spV67ABxD2yzqaroQYwy9SJx7Bozoud0kDKIV615V86tAtPVV0alJJQ7bnGVa_9dspPQ8jKzhO7cpcp1ZmCjLE3VZFxj57gPwMUOh82Z2QpmFhmBTtgqEjPNLvdig/w470-h640/Kibo-3PM.jpeg" width="470" /></a></div><span style="color: red;"><b>Example 1</b></span> - This example was created to establish a <i>melody</i> for Parts I and II, and a <i>I/V relationship</i> for <i>Part III</i>. <i>Simple </i>durations are chosen for this initial example. The lower part will be rather simple, given the challenges of the <i>changing voice</i>. <i>Measure number references are provided</i>.<div><p><b><span style="color: red;">Example 2</span></b> - <i>Eighth notes</i> are added to the quarter notes. <i>Part III</i> only goes down to the "A," so students will sing those <i>three notes</i>. <i>Part III</i> also has 8th notes and quarters. In <i>measure 12</i>, I write the dotted quarter and 8th <i>with a tie</i>, then use the <i>dotted quarter </i>in the next measure. Students will <i>hear the duration</i> before adding new notation. Measures 14-15 have new melodic material. <i>Quarter notes are used to help find new pitches and harmonies (longer durations)</i>, then I add <i>8th notes</i> (<i>measures 17-18</i>). </p><p><b><span style="color: red;">Example 3</span></b> - This is only a portion of the entire example, but it is a good example of the <i>"simple to complex"</i> process. Students find their pitches via the <i>C Major Scale</i>. Both the melody and the harmony are determined using concepts they <i>know already</i> (quarters, 8ths, steps). With every repetition, the rhythms and melody become <i>more complex</i>, as harmonies remain the same.</p><p>*********************</p><p>I <i>loved</i> setting the <i>Robert Frost</i> poem <i>Stopping By Woods on a Snowy Evening</i>. It was interesting to research this popular poem to see all the angles and interpretations of the text.</p><p>As you can see, we begin with Page 2 of the <i>RPS</i>, which means that some of the material has already been taught. The <i>range was violated</i> for <i>Part III</i>. I took <i>Part III</i> down to the <i>E </i>below <i>Middle "C."</i> Why? I was confident of the melody I created, and if I took everything up a half-step to D-flat (5 flats), <i>the key would have been difficult for many accompanists</i> (I was an accompanist in middle school, so I am sensitive to that issue). If I selected "<i>D Major,</i>" <i>Part III</i> would have been hanging out on "D" above the staff for too long, and there is yet a <i>modulation</i> to come. I had to make a choice. Sometimes I call this voicing <i>"Extended 3-Part Mixed."</i> <i>I just really need that "E!"</i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4UfGeDce0PPYkGyrxmcJhSldzDEjjOQeUSQr-xhIYpmGEcoOpyNL7rU4u5peI15gtJeWa5RYoCCtcvMrMpxYGU2Zi9QZjbrvkHBU0h_qTP0cfhS5bMUBi2_Nve2TiPupBUjwipD62Sg_MXbfRM4BPDMZfb6_jJ_ZzL95l5bBQiBa1CU2md6_887B5tQ/s3027/Stopping%20by%20Woods%20-%203PM.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3027" data-original-width="2226" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4UfGeDce0PPYkGyrxmcJhSldzDEjjOQeUSQr-xhIYpmGEcoOpyNL7rU4u5peI15gtJeWa5RYoCCtcvMrMpxYGU2Zi9QZjbrvkHBU0h_qTP0cfhS5bMUBi2_Nve2TiPupBUjwipD62Sg_MXbfRM4BPDMZfb6_jJ_ZzL95l5bBQiBa1CU2md6_887B5tQ/w470-h640/Stopping%20by%20Woods%20-%203PM.jpeg" width="470" /></a></div><b><span style="color: red;">Example 3</span></b> - We begin with <i>Measure 18</i> in the octavo. There is a <i>descending line </i>in <i>Part III</i>, and if the "C" can be found, there is no issue. So....<i>I drill Part III a bit to secure the "C."</i> First, I use steps, then I'm hoping that the mind's ear can remember that "C." There are a few small skips in <i>Part III.</i> Work to <i>hear the "C!" </i></div><div><br /></div><div>For <i>Part II</i>, if they can remember the sound of Middle "C" to G to "C" (3rd space), they will be fine. I suggest using a <i>warm-up</i> that includes those three notes, to get the <i>I-V-high tonic</i> sound in their ears.</div><div><br /></div><div><i>Part I</i> is probably the easiest of the parts. Again, a warm-up that uses <i>Do to Sol</i>...to high <i>Do</i> would benefit Part I<i>.</i> There is an altered pitch in <i>Part I</i>, approached from a half-step above...easy. </div><div><br /></div><div><b><span style="color: red;">Example 4</span></b> - <i>Measure 1</i> begins with longer durations, and uses an <i>altered pitch</i>. Hopefully, singers will <i>transfer the altered pitch concept</i> from <i>Example 3</i>. In <i>Measure 4</i>, they have step-wise 8th notes, so no problem. Shorter durations for skips might be <i>"too much, too soon."</i></div><div><br /></div><div>*********************</div><div><br /></div><div>The last example is <i>The Gift to Sing</i>. The text is by <i>James Weldon Johnson (Blog Post - March 16)</i>, and I love the <i>joy</i> it conveys. </div><div><i><br /></i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_4smMZn5SQU_CJOOZa3dNaWgMYAb2FbcQSNIIJvFHdmXZfAGc2t3EcBteLA_T7uBgUy3MXWhKK0uGS6r4NAEPSqP96IkYcuhvnpDfN3rXmBgyT5Te4lpN0BqYx6QtE2-8nhk7PB-oV7hdkNv_E70RRMniVAu4CfwS6tKmgoytnUrNzM92def-eYKc7Q/s3094/Gift%20to%20Sing-3PM.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3094" data-original-width="2214" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_4smMZn5SQU_CJOOZa3dNaWgMYAb2FbcQSNIIJvFHdmXZfAGc2t3EcBteLA_T7uBgUy3MXWhKK0uGS6r4NAEPSqP96IkYcuhvnpDfN3rXmBgyT5Te4lpN0BqYx6QtE2-8nhk7PB-oV7hdkNv_E70RRMniVAu4CfwS6tKmgoytnUrNzM92def-eYKc7Q/w458-h640/Gift%20to%20Sing-3PM.jpeg" width="458" /></a></div><br /><p>This octavo is filled with <a href="https://en.wikipedia.org/wiki/Syncopation">syncopation</a>, taught as simply as possible. Of course, it contains <i>misplaced accents</i>, but <i>syncopation</i> is energetic and appealing. S<i>tudents will love the jazzy sound</i>. They need an easy way to execute it, so that it makes <i>sense</i>. </p><p><b><span style="color: red;">Example 1</span></b> - <i>Parts I and II</i> are in <i>unison</i>; <i>Part III is the same melody an octave below</i>, and <i>rhythms are identical</i>. Everyone moves together in <i>steps</i> toward the highest and lowest pitches. There is <i>one triad</i> (<i>Do, Mi, Sol - F, A, C</i>). <i>The concepts included are as follows: Quarter note, quarter rest, 8th note, half note, whole note, and tie.</i> The singers should be able to perform <i>all</i> of these successfully. </p><p><b><span style="color: red;">Example 2 </span></b>- The <i>second phrase is taught with quarters, 8ths, then ties. The ties create the syncopation</i>. The <i>triad</i> from Example 1 appears again. In the third phrase, we go right to the <i>syncopation (Measure 9)</i>. Let's see if the students can <i>transfer</i>. If not, repetition is good...maybe even go back to <i>Measure 6 in Example 1</i>. They need to get the <i>syncopation</i> "in the ear" and secure.</p><p>The 8th rests are added <i>last</i> (<i>Measures 10-12</i>). <i>Singers don't know how long to rest with silence, until they hear the same duration with sound</i>. In <i>Measures 9-10</i>, <i>Part III</i> sings quarter notes for a measure, then the rhythms become as one. </p><p>Harmony appears in 6ths. This interval is used in the octavo, and I want the students to be able to "hear" those harmonies.</p><p>*******************</p><p>I hope the <i>3-Part Mixed Voicing</i> RPS strategy makes more sense because of these explanations. <i>All </i>of my <i>Rehearsal Preparation Sheets </i>are designed similarly. Students should be able to learn the pitches and rhythms easily. An <i>RPS</i> is essentially a <i>"lesson plan within a lesson plan."</i></p><p>If you are interested in purchasing <i>Rehearsal Preparation Sheets</i> from <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a>, <i>visit their website. </i>If you are a veteran teacher, and this information is not necessarily helpful (you are doing your own <i>RPS</i> sheets), please pass this information on to someone who might benefit from these materials.</p><p>I needed all the help I could get as a teacher, and I would have <i>loved</i> these resources for use in my classroom. <i>Enjoy! Share with a friend!</i></p><p><i>Happy singing! </i></p></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-76289949589762384352022-12-21T11:30:00.035-05:002023-01-02T01:00:38.713-05:00Rehearsal Preparation Sheets - 2-Part Voicings<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVWmIFtNrw5Fce_G6eNLd8yspnmu1JKLABIIKbOzozcStQfHBHi5nMbeKJ7JmjIRGSAwpvpyAGBem7rmECedR5nV2ojzfibZ9fUE_xyZ_acyAHjNRXSOi28v5oLKVNkEw5XGuqKAKN5pq_dc90PZGWdI4prQLNLcCCZmD64SYT-LrNs9ctH-PIwGemvg/s366/erlogo.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="292" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVWmIFtNrw5Fce_G6eNLd8yspnmu1JKLABIIKbOzozcStQfHBHi5nMbeKJ7JmjIRGSAwpvpyAGBem7rmECedR5nV2ojzfibZ9fUE_xyZ_acyAHjNRXSOi28v5oLKVNkEw5XGuqKAKN5pq_dc90PZGWdI4prQLNLcCCZmD64SYT-LrNs9ctH-PIwGemvg/w159-h200/erlogo.gif" width="159" /></a></div><br /><p>I am writing posts for a more in-depth look at the approach I use to create a <i>Rehearsal Preparation Sheet.</i> You will find an RPS for every piece of music from <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a> that is available on the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper website</a>. On the Pepper site, the RPS sheets will appear at the bottom of the webpage for each title, and will look as follows:</p><p><br /></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></p><p><br /></p><p>The technique used in creating these materials is <i>Successive Approximations</i> (<i>Simple to Complex</i> strategy). For all of these RPS sheets, there are some basic rules that are determined by the voicings. My process is based on the assumption that a student's choral skill and competency level will increase over time, according to the years spent in a choral organization. No matter their length of time in choral music, all students can leave with a sense of accomplishment in learning to read music.</p><p>As you know, many choirs (post-pandemic) sing <i>2-Part</i> music who might be older than in the past. Students missed two years of active, on-task, daily music reading when technology was lacking for long distance classroom situations. So now, we are trying to make up for lost time, and it will be a while for some to get back to pre-pandemic skill abilities.</p><p>In writing Rehearsal Preparation Sheets, we begin with where most students might be, and go from there. A <i>2-Part RPS</i> usually begins with simple notation, and branches out quickly to include harmonies created by step-wise movement to find the vertical alignment. Then, we build on that foundation horizontally.</p><p>*************************</p><p><span style="color: red;">Take a look at this <i>RPS</i> for <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC"><i>The Gift to Sing</i> - 2-Part</a>, Available at <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper </a>and <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications:</a></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh55jwubUeNr_hZoMAlxeMPO50QfHPqTzzxEwqWGbgPKF8yGVWCoYZ2aTHczYOWqnn8_dY6bLvQ6OgTfV8ZrWy7ncBcB9b6gtMQLJsS9SxoESxAS9iPtTD27cOcoY4kt7q2Njvo0wm_TWF692pBB1kqNMFWVNRrCenZF8M4w8mU6b96oMhlc5DNYZQYhQ/s3045/Gift%20to%20Sing-2Pt.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3045" data-original-width="2097" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh55jwubUeNr_hZoMAlxeMPO50QfHPqTzzxEwqWGbgPKF8yGVWCoYZ2aTHczYOWqnn8_dY6bLvQ6OgTfV8ZrWy7ncBcB9b6gtMQLJsS9SxoESxAS9iPtTD27cOcoY4kt7q2Njvo0wm_TWF692pBB1kqNMFWVNRrCenZF8M4w8mU6b96oMhlc5DNYZQYhQ/w440-h640/Gift%20to%20Sing-2Pt.jpeg" width="440" /></a></div><b><span style="color: red;">Example 1</span></b> - The example begins in <i>unison</i>, with straight quarter notes...then <i>adds</i> 8th notes. Since the first phrase uses the first five notes of the <i>Major Scale (F)</i>, we only need the pitches contained in this example. This octavo has <i>syncopation</i> (misplaced accents), so singers must be led into syncopation, using concepts they know (ties, quarters, 8ths). Since the first phrase of the octavo begins with a <i>quarter rest</i>, they are provided a bit of practice in being silent <i>on the downbeat of 1.</i><p></p><p><b><span style="color: red;">Example 2</span></b> - Students have already sung a major triad built on the tonic (<i>Example 1).</i> There is a skip of a <i>Perfect 5th</i> in the second phrase that must be remembered. We find the 5th, using several durations: quarter notes, 8ths <i>and </i>quarters, then with syncopation (ties). Students need a bit of time to think and "find" the pitch, using longer note durations (half notes).</p><p><i>Measures 9-14</i> introduce the most difficult phrase of the example, and it is <i>filled with syncopation</i>. We go back to the <i>basics</i>: Quarter and 8th notes; step-wise motion; add the ties; 8th rests appear, and before you know it, <i>your students are singing a jazzy, syncopated tune! </i></p><p>Once you have taught rhythms and pitches in <i>Examples 1 and 2</i>, the most challenging aspects of the repertoire have been taught. Continue making transfers throughout the piece, so the entire octavo will make <i>sense</i> to the students. </p><p><b><span style="color: red;">Example 3</span></b> - At this point, students are ready for the harmonies. Because the students might be young singers, each voice part is provided its <i>own stave</i>. Begin teaching harmonies by beginning in unison, and use step-wise motion via quarter note durations to find the harmonies. </p><p>There are two other pages for this octavo. To purchase this and all Rehearsal Preparation Sheets, go to <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper,</a> and look for <i>Reproducible PDF 2-Part Rehearsal Preparation Sheet </i>on each title's webpage. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3RhO9AQCehJQUAUZ8laglaDGNhZ26UjrR94zFY_rtdMamaIFgyeztcOCH10XaZfnjYvo44w-IT59uRxZobyhxUPIh1Y4Wys_N5Xy6CUORKQwIQhUziI19_JUQj9JtFslGrNzJvbnFDyyjAW6G1oOzZQdQtiwDLpdNsG_glUTYNWuOpJB0XoHEcdS5zg/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3RhO9AQCehJQUAUZ8laglaDGNhZ26UjrR94zFY_rtdMamaIFgyeztcOCH10XaZfnjYvo44w-IT59uRxZobyhxUPIh1Y4Wys_N5Xy6CUORKQwIQhUziI19_JUQj9JtFslGrNzJvbnFDyyjAW6G1oOzZQdQtiwDLpdNsG_glUTYNWuOpJB0XoHEcdS5zg/w640-h126/RPS-Pepper.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>The purchaser is granted permission to make multiple copies of the RPS for their choir.</p><p>*********************</p><p>Take a look at this <i>2-Part</i> setting of <i>Emily Dickinson's</i> poem <i><a href="https://www.jwpepper.com/sheet-music/search.jsp?setStickyDepartment=true&suggested=&keywords=Earlene+Rentz+-+It%27s+All+I+Have+to+Bring+Today">It's All I Have to Bring Toda</a>y</i>. In my opinion, this text is for a mature singer in <i>upper middle school or high school.</i></p><p>You will see greater harmonic and rhythmic complexity with this voicing:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOd89QkXnbkeWZcoO_F2-zLN-CILYA8I14ok7XYTyrVLF3Lc4UHbAzh64N5pIyaDbgX7NgDvqoIe1cexkbehAtmsZlEnr89_LdqjonN2_7gdvMpFNwIJYLs15kTvZQnNZ1gFQfr1Mh1QIko_3vcEUisjDEqwngSBjym-nQZt7JriqbaSzTPh3LQgLprA/s3131/It's%20All%20I%20Have%20-%202Pt.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3131" data-original-width="2110" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOd89QkXnbkeWZcoO_F2-zLN-CILYA8I14ok7XYTyrVLF3Lc4UHbAzh64N5pIyaDbgX7NgDvqoIe1cexkbehAtmsZlEnr89_LdqjonN2_7gdvMpFNwIJYLs15kTvZQnNZ1gFQfr1Mh1QIko_3vcEUisjDEqwngSBjym-nQZt7JriqbaSzTPh3LQgLprA/w432-h640/It's%20All%20I%20Have%20-%202Pt.jpeg" width="432" /></a></div><p><b><span style="color: red;">Example 1</span></b> - In <i>Measures 1-4</i>, the <i>intervals</i> of the first phrase are being taught, using quarter notes. In measures 5-7, we go quickly to 8th notes, <i>and</i> use the tie to create the <i>dotted 8th followed by 16th</i>. </p><p><b><span style="color: red;">Example 2</span></b> - We get to the harmony! <i>Measures 1-5</i> are simple, with quarter notes and step-wise motion. No problem. Look at measure 6: The "A" might be a problem for Part II. They have sung that harmony before (meas. 2), and we will see if they retain the sound of "thirds." <i>Measure 2 </i>and <i>Measure 6</i> are different. I wanted students to "hear" the thirds first, then be able to find the <i>mi (E)</i>. Be aware of the meter change and the use of the dotted 8th/16th. Students may go right through with no problem, but be ready for a quick "fix." We want students to transfer. Hopefully, they will do so.</p><p><b><span style="color: red;">Example 3</span></b> - Includes 5/4 meter, switching to 3/4 rather quickly. I'm assuming students can sing a dotted quarter/8th in <i>measure 4</i>, and there is an <i>altered pitch</i> in Part II as well. They approach this altered pitch from a half-step above (<i>easy</i>!). </p><p>Notice that you do <i>not</i> have the entire example. There is more on the second page of the <i>RPS</i> that takes the students further, using <i>Successive Approximations </i>(Simple to Complex). </p><p>If the RPS is placed <i>strategically</i> in the rehearsal, they are effective. Sing <i>only</i> those examples that will be covered in repertoire in the day's rehearsal. I would also suggest going <i>straight from the</i> <i>RPS</i> into <i>singing</i> the octavo.....no talking, giving announcements, etc. <i>Keep the musical memory of the RPS in the mind of the students. And...teach for transfer! </i></p><p><i>Make everything in the RPS relate to something in the repertoire. </i>There was a purpose in addressing each issue in the<i> RPS, </i>but students may totally <i>freeze </i>when they encounter it in the repertoire<i>, </i>as it<i> "looks" </i>different<i>. </i>You can tell them where they have already sung the passage correctly, and they can make the transfer<i>.</i></p><p>Best of luck in teaching your <i>2-Part </i>choirs, using <i>Rehearsal Preparation Sheets.</i></p><p>Please share this information with a friend in choral music! Teachers supporting teachers!</p><p><i>Happy Holidays to you and yours!</i> </p><p><br /></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-42826405696941609722022-12-17T23:33:00.042-05:002023-01-02T00:25:57.381-05:00Rehearsal Preparation Sheets: Unison Voicings<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CScRP97d8eZPnyLiufhhOM19ubVk43QrncJXMcAmMrP1XG8_7ughJ4c4c7pbIQY2I48DeTArt73y8_8nj2tzdYu3pv-Cd3j6YJ-NU8xYQsoqzJZ0UlvmoBXK4Zx8OzMchsewb3cILuQ0vzrqngrBDRySa8q1v-5QWR7oxy5Jcc1VL8jwv_vNZ3veCg/s1111/Earlene%20Photo-Professional.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1111" data-original-width="975" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CScRP97d8eZPnyLiufhhOM19ubVk43QrncJXMcAmMrP1XG8_7ughJ4c4c7pbIQY2I48DeTArt73y8_8nj2tzdYu3pv-Cd3j6YJ-NU8xYQsoqzJZ0UlvmoBXK4Zx8OzMchsewb3cILuQ0vzrqngrBDRySa8q1v-5QWR7oxy5Jcc1VL8jwv_vNZ3veCg/w176-h200/Earlene%20Photo-Professional.jpg" width="176" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p>In the interest of understanding the strategy used in creating the <i>Reproducible PDF Rehearsal Preparation Sheets</i> on J. W. Pepper's <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">website</a>, I wanted you to see it first-hand, with limited explanation. I am going to go through the process so that you can see the <i>logic</i> involved in creating an <i>RPS</i>.</p><p>These special resources are available for every piece of music I have on the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper website</a>, and they appear at the bottom of the webpages for the titles (under the list of voicings):</p><p><br /></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/s1522/RPS-Pepper.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="302" data-original-width="1522" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTaZC2ZA6cSrhXcRAlhYgnSdw-9CZ6AiOes_3dLyXhwiJaG0sCpg-HXeSmzlboQpzUz7WvBILJiL8owrBR7wGBm89YiWUzFK6lU26eK-vyK5ygiGI-yHfY0U4Rq2JQrTSV9dEFdOKoaG8T8haLug9b9wi10kqn0rJqyOp-twZYlstT4tzu26HFdpcvAQ/w640-h126/RPS-Pepper.png" width="640" /></a></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO31Sy2LQ-m9Wy0DQbMr-OjtZOmZOz28Bz6zZhknEsiYRzLm3rl-S1vV8ckHxEVqXUr6_xRwnnngoT5uVKtr2leLftkJzqVOMYVKZqNrwGtwkuxme2FY3eTcsn_cBcHDpmszoQmaMbOm4H5UvQeLnBy1VbXELmlxpHDyp-8hxwobk9qTucWftZ5aLjhA/s2990/Pippa-Unis.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2990" data-original-width="2055" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO31Sy2LQ-m9Wy0DQbMr-OjtZOmZOz28Bz6zZhknEsiYRzLm3rl-S1vV8ckHxEVqXUr6_xRwnnngoT5uVKtr2leLftkJzqVOMYVKZqNrwGtwkuxme2FY3eTcsn_cBcHDpmszoQmaMbOm4H5UvQeLnBy1VbXELmlxpHDyp-8hxwobk9qTucWftZ5aLjhA/w440-h640/Pippa-Unis.jpeg" width="440" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Some might wonder how the <i>RPS</i> structure differs among the voicings, and I wanted to provide some examples of how I work through the octavo. I must begin with what the singer in a Unison choir might <i>know</i>, and then we go from there. Many Unison choirs are composed of young singers who might not be skilled in sightreading, so the process is of utmost importance.</p><p>You can have students sing the examples on whatever you use in sightreading (solfege, etc). We are teaching the <i>pitches and rhythms</i>. There is no need to worry about <i>text </i>at this point. If they can become solid with the pitches and rhythms, when they go to the repertoire they will likely be successful. Most of these <i>RPS</i> sheets are not crowded on the page, to allow space for students to <i>write helpful notes in the music</i>. <i>Whatever works for you is great!</i></p><p>As always, if students master the examples on the first try, no need to repeat the example, but if you hear errors, give them another "go" at it. I go for about 85% when I'm using these in choir. <i>Of course, you might have them take them home to practice!</i></p><p><b><span style="color: red;">Example 1</span></b> - <i>The Key is F Major</i>, so we begin with the <i>F Major Scale</i>. I know that the first phrase ends on a <i>Middle "C"</i> (<i>Sol...</i>or<i> So</i>). Students need to sing the lowest note of the phrase, because that's <i>where the first phrase is headed</i>. We begin with step-wise motion, then we encounter skips. Select a tempo that allows your students to be successful....possibly a <i>slower tempo</i>. We start simply, with quarter notes.</p><p><b><span style="color: red;">Example 2</span></b> - Quarter notes are initially used in the first phrase, then we have a tiny introduction to 8th notes. The more difficult parts of this example would be the notes that skip around in the scale, so we address that issue. I eventually get to the 6th that ends the theme.</p><p><b><span style="color: red;">Example 3</span></b> - I finally introduce 16th notes. Notice that if it is step-wise, 16th notes are used, but for skips, 8th notes are the best choice. Students do not need to become frustrated with the faster notes. The lowest pitch is kept as the "landing" for the phrase.</p><p><b><span style="color: red;">Example 4</span></b> - We begin to "mix it up" on this example. You will see 16ths, 8ths, and quarter notes. There is also a new rhythm of an <i>8th followed by two 16ths</i>. You also see a tie that lets students know that two 8ths = one quarter. They also have an 8th rest. I first have the students sing the 8th note, then replace note with silence (rest). </p><p><b><span style="color: red;">Example 5</span></b> - The second phrase is composed mostly of 16th notes. They sing down to the leading tone of the tonic; then move to the tonic. Acquaint them with "ti." The 8th followed by two 16ths appears in <i>context of the second phrase</i>. <i>We hope for transfer. </i></p><p><b><span style="color: red;">Example 6</span></b> - Students must sing <i>fa</i> several times, and they must approach it from a skip. <i>Ugh....not easy</i>....unless we find the <i>fa</i> by using step-wise motion, then use music memory to retain <i>fa</i>. I work with <i>fa </i>a while, hoping that they can keep it in their mind's ear, and return to it. <i>We hope!</i></p><p>Okay...we start simply, then become more complex (Successive Approximations). I generally make few assumptions when creating a Unison <i>RPS</i>. We are training musicians, and <span style="color: red;"><i>I want to make music fun</i></span><span style="color: red;">.</span> If they can get through <i>one page</i>, they can say, "I can read music!" </p><p>**********************</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4fU3Nwrjd-PjEmGHz7fEGyMdTmRk8SGS2lHHThPPnGaXXNv2A8iBi-VFPC41Vy7BV87f4ULXwLlnYZLvQBouPfe_TBmie8d_8YhvgKjneGWWi5JMsEykpUCnfRkbyaJJERB8UFN76cJfz14NKlFKjWPnciOXe1p4HuRiT1fddKFUvta9LGc3FApzs3g/s3021/Best%20of%20Fr%20-%20Unis.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3021" data-original-width="2159" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4fU3Nwrjd-PjEmGHz7fEGyMdTmRk8SGS2lHHThPPnGaXXNv2A8iBi-VFPC41Vy7BV87f4ULXwLlnYZLvQBouPfe_TBmie8d_8YhvgKjneGWWi5JMsEykpUCnfRkbyaJJERB8UFN76cJfz14NKlFKjWPnciOXe1p4HuRiT1fddKFUvta9LGc3FApzs3g/w458-h640/Best%20of%20Fr%20-%20Unis.jpeg" width="458" /></a></div>This <i>folksy</i> tune contains <i>syncopation</i> and "jazzy" rhythms that students will like. The thing they don't realize is that jazzy rhythms (<i>syncopation</i>) are difficult in appearance and performance, we go from what the student likely knows...to the concept being taught (<i>syncopation</i>). In addition to the tough rhythms, there is a <i>melody</i> to be learned. <i>A lot is happening at once!</i><div><br /></div><div>With the <i>Rehearsal Preparation Sheet</i>, we teach <i>one thing at a time</i>. First, the melodic intervals, using quarter and 8th notes, then we gradually get them singing the tough rhythms with the appropriate melody.</div><div><br /></div><div><b><span style="color: red;">Example 1</span></b></div><div>We begin simply (quarter, 8th, half notes) to teach the first phrase. Then, we sing durations in the melody first, and replace with silence for the rests. We begin with the first five notes of the scale for melody only.</div><div><br /></div><div><b><span style="color: red;">Example 2</span></b></div><div>Next, we find the 6th scale degree. They have sung the first five scale degrees previously, so we just increase it by one step. <i>Example 1 had the 8th rest</i>. <i>Let's see if they "get it" in Example 2</i>. If there are those who sing it correctly, applaud the <i>transfer!! </i></div><div><br /></div><div>Measures 9-10 use the "tie" to create syncopation, using concepts the students already know. At this point, say the word <i><span style="color: red;">syncopation</span></i> to give a reference for later performance. They have performed syncopation. Labeling it for the future might make your life a bit easier.</div><div><br /></div><div>***************</div><div>You get the idea. New information is introduced gradually and sequentially. Rehearsal Preparation Sheets are <i>lesson plans within lesson plans</i>. These processes are generally those I follow when writing an <i>RPS for Unison Voices</i>. </div><div><br /></div><div>The <i>RPS</i> will become more complex in subsequent examples, and there might be a small amount of actual text later on. After completing the <i>RPS</i> examples, your students are now ready to go to the repertoire!</div><div><br /></div><div>In a clinic situation years ago, as an experiment, I gave the choral directors an octavo we did not prepare with an <i>RPS.</i> <i>It did not go well</i>. They began saying, <i>"Give us the sheet! Give us the sheet!"</i> These were choral directors, so I think you get my point. They are helpful.</div><div><br /></div><div>On the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper website</a>, there are <i>Reproducible PDF Rehearsal Preparation Sheets</i> for all of my compositions that are published by <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications.</a>. <span style="color: red;">The cost is $5.00</span>, and I hope these materials will be helpful to you in teaching repertoire to your students and also in improving sightreading skills.</div><div><br /></div><div><br /></div><div><i>Thank you!! Enjoy using these resources!</i></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-51082220583083816422022-12-15T13:02:00.000-05:002022-12-15T13:02:05.022-05:00RPS Project Complete!<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkXm9zan1R-s2gn9AXKOOqcR21OW7YkGCiVqo9g37wD1p89pG0lAaLphHpMWgW6l6JW1pa8g-c3ASORDAVHHKp2nxjFN-Yo-4gN7-HVYZzqt87ZOHSaiHW6XF4aTw2P85NvyK_tCyxNcSD8sv5DHaSlrM9UMz-g0oVGI-w96wO3AJLd77EjCGKuaHghg/s366/erlogo.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="292" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkXm9zan1R-s2gn9AXKOOqcR21OW7YkGCiVqo9g37wD1p89pG0lAaLphHpMWgW6l6JW1pa8g-c3ASORDAVHHKp2nxjFN-Yo-4gN7-HVYZzqt87ZOHSaiHW6XF4aTw2P85NvyK_tCyxNcSD8sv5DHaSlrM9UMz-g0oVGI-w96wO3AJLd77EjCGKuaHghg/s320/erlogo.gif" width="255" /></a></div><br /><p></p><p>Such a great day! All of the octavos on <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a> from <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a> now have a corresponding <span style="color: red;">Rehearsal Preparation Sheet</span> on their webpages. This was a three month project that was tedious, yet fulfilling. It was interesting to re-visit and think through every octavo I uploaded to the <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Pepper</a> site; some recent/some "tried and true." You will recognize them with the title: <span style="color: red;">Reproducible PDF (Voicing) Rehearsal Preparation Sheet. </span><i>There is a statement on the page that will allow the purchaser to make multiple copies for their choir. </i>They are designed to teach repertoire, but are great sightreading materials as well.</p><p>The reason I provide these materials to choral directors and students: I "built" all of these octavos from the "ground up." I know how they were constructed, and because I taught for several years, I know a little about possible "bumps" along the way. Sometimes there are difficulties with intervals, harmonies, rhythms, and vertical/linear sequence related to "all of the above." I have done my best to address these issues.</p><p>I usually begin where students are likely competent, and introduce new material sequentially to take them to another level. For example, an elementary choir singing a beginning-level octavo, might begin with an introduction to the scale being used. I might begin an advanced-level RPS with a nod to the tonality, but jump quickly to the vertical/linear challenges.</p><p>All to say, when I was in the classroom, I would have welcomed <span style="color: red;">Rehearsal Preparation Sheets </span>specific to octavos I taught. They would have saved me lots of time as I planned daily rehearsals, with specific repertoire goals in mind. </p><p>If you are looking for sightreading materials, these are excellent resources. Just give them a try, and see how they work in your classroom. I always use them with choral groups I conduct, and have been delighted with the response from singers. As you work with students who use these materials, you will know when "enough is enough." In other words, listen to what you are hearing, and there may be no reason to belabor attention to a component, but <i>other choirs </i>might experience difficulties that your choir is not experiencing. Go figure. Every class and every choir is different, but one thing is for certain: There is no need to concentrate on an RPS example where your students are having no trouble. Every example is referenced to specific measures in the repertoire.</p><p>The purchaser is welcome to make multiple copies of <span style="color: red;">Rehearsal Preparation Sheets</span> for their choir. Of course, it is my firm belief that these materials are valuable for teachers and students, but try them yourself before you discount them as unnecessary. The cost is only <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">$5.00 from J. W. Pepper</a>, and they are complimentary when you purchase from my <a href="https://www.earlenerentz.com">website</a>. Give them a try, then decide. What will save you time in the long-run? You might find them helpful.</p><p>For the next several posts, I am going to go through different voicings to give you an idea of the materials for purchase. Each <span style="color: red;">RPS is 2-3 pages</span> in length, and may easily be worked into the warm-up. I'll just show you a single page of the voicings, so you can get an idea. The most effective use of these materials comes when students sing through the examples related to the repertoire measures to be studied <i>on that day</i>, then go directly to the music so <i>they can make immediate transfers to the repertoire</i>.</p><p>Feel free to share these posts with friends who might be looking for ways to save time and teach more effectively in the choral classroom. <i>That's a lot of folks!! Enjoy!</i></p><p><br /></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-63011188631274961202022-11-04T21:14:00.000-04:002022-11-04T21:14:05.732-04:00Rehearsal Preparation Sheets on J. W. Pepper<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAxsH3fvDxkCTQW-43nXRGj2iufQkUFhef0sy72NHODc5YPtnuscoAL5_muvLvqb6cQFyn-vBpSRIIphHg_zD3t6SGL4IST_Hydwx14iy1HICwTm7zdPXQaTEyPy25Qkl0OlztE57VtO-4bfpzc4aOJG5omm0b1yXSUq6lS5nLaZXiMDXN3rGbjxqu6w/s1575/RPS-Cons%20Cont%20Stop%20By%20W%20-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1575" data-original-width="1013" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAxsH3fvDxkCTQW-43nXRGj2iufQkUFhef0sy72NHODc5YPtnuscoAL5_muvLvqb6cQFyn-vBpSRIIphHg_zD3t6SGL4IST_Hydwx14iy1HICwTm7zdPXQaTEyPy25Qkl0OlztE57VtO-4bfpzc4aOJG5omm0b1yXSUq6lS5nLaZXiMDXN3rGbjxqu6w/w413-h640/RPS-Cons%20Cont%20Stop%20By%20W%20-.jpg" width="413" /></a></div><div class="separator" style="clear: both; text-align: left;">Most choral directors would agree that in rehearsal, they would like to get the most out of their students in the shortest amount of time. Why? Because that provides more time to rehearse additional octavos, and do other things that are required of educators. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">As a choral director, music educator, and choral music writer, I think I probably know my music as well as anyone. I also write my music with the idea that at some point I might be teaching the music to a choir I am conducing. I want every choir to learn the music easily while they enjoy the process. I think <i>Rehearsal Preparation Sheets</i> might help choral directors and students have experience a more positive day in choral rehearsals.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I have experienced the value of having students sing a Rehearsal Preparation Sheets specifically designed for a particular piece of repertoire. The RPS content and structure is an example of the process of <i>successive approximations ("simple to complex")</i>. In the RPS, melodic, rhythmic, and harmonic issues within the piece that might cause difficulty in the sightreading process are addressed <i>before</i> they occur. Singers feel an overwhelming sense of success when they can continue singing to the end of a piece without stopping. </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">For the past two months, I have been creating and uploading RPS sheets to <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">J. W. Pepper</a>, as resources to use with publications from <a href="https://www.jwpepper.com/sheet-music/search.jsp?keywords=Earlene+Rentz+-+Choral+Music&pageview=list-view&brandNames=Earlene%20Rentz%20Online%20Publications,%20LLC">Earlene Rentz Online Publications.</a> There are currently <i>152 RPSs</i> on the Pepper site, with <i>100 more </i>to be uploaded in the next few weeks. These materials work beautifully for preparing students for success, and may also be used as general sightsinging materials.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Rehearsal Preparation Sheets are $5.00, with multi-copy privileges for the purchaser to use with his/her choir. I hope you will give these materials a try. Many of you have purchased our choral music, and we are eternally grateful. Try these resources to see if they make a difference in creating more time, more success, more joy in rehearsal, and a greater understanding of musicianship.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3aowbtvz4_Sio2ncNBeFeXu80siLs_YyTvrv4_JXK9TLGbUUTQKme3poulFxJuj7Qtc_3aK8OoAOFV_IANUuii9LCRwYJWSqZn5C8DgrWK-r-jaaY6tvtiXdI4xPAFXLVlwB5oCiMpbkJf5nt5Fe52tTicy7oZFDkPOOlS605ruoW5XU56wj6SlwhyA/s1575/RPS%20for%20Constant%20Contact.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1575" data-original-width="1013" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3aowbtvz4_Sio2ncNBeFeXu80siLs_YyTvrv4_JXK9TLGbUUTQKme3poulFxJuj7Qtc_3aK8OoAOFV_IANUuii9LCRwYJWSqZn5C8DgrWK-r-jaaY6tvtiXdI4xPAFXLVlwB5oCiMpbkJf5nt5Fe52tTicy7oZFDkPOOlS605ruoW5XU56wj6SlwhyA/w412-h640/RPS%20for%20Constant%20Contact.jpg" width="412" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-86971349397132436062021-12-15T15:46:00.001-05:002021-12-15T15:46:14.393-05:00Greg Funderburk: Best-Selling Author, Lyricist, and Minister for Pastoral Care<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgW7_ayhGvHU8Hc9KfQrhAtD8ulg79DbLZqkEhJ5jCKMC-2rnG2nudF01xKziAle6XKwGKrDcoNN_AAHhmSyMe0fi6mDxt8HQ6SOWKlwZrU58_8e8fXg-_-NYV9EY9QQgPKcU-OFuSF8N_DlVuTL1sKxMF99wGxkhCXKwJy4267j2uWREZjcEnbFurMJA=s640" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="427" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgW7_ayhGvHU8Hc9KfQrhAtD8ulg79DbLZqkEhJ5jCKMC-2rnG2nudF01xKziAle6XKwGKrDcoNN_AAHhmSyMe0fi6mDxt8HQ6SOWKlwZrU58_8e8fXg-_-NYV9EY9QQgPKcU-OFuSF8N_DlVuTL1sKxMF99wGxkhCXKwJy4267j2uWREZjcEnbFurMJA=s320" width="214" /></a></div><span><div style="text-align: center;">Greg Funderburk </div><div style="text-align: center;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">The members of South Main Baptist Church in Houston, Texas, are
fortunate to have a skilled author and lyricist as the Minister of
Pastoral Care. <a href="https://www.earlenerentz.com/greg-funderburk/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">Greg Funderburk</a>
has the knack of saying the appropriate things, in the appropriate
ways, at the appropriate times. Hundreds of us have been comforted by his words during our most painful moments in life. As a
result, some of us seek out Greg when we cannot find the "right word,"
and...he eventually finds it and expresses it with a clarity that we
could only dream of conveying.</div><div style="text-align: left;"><br /></div></span><p></p><div>In addition to his lyrics, Greg Funderburk is now a best-selling author. His book <a href="https://www.amazon.com/Mourning-Wave-Novel-Great-Storm/dp/1646631781" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">The Mourning Wave</a>
recounts traumatic days in 1900 when the deadliest storm in America
made landfall in Galveston, Texas. Another book by Greg, with an
interesting perspective for our current lives is <a href="https://www.helwys.com/sh-books/let-it-be-said-weve-borne-it-well/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">Let It Be Said We've Bourne It Well</a>, a book about following God in the time of COVID-19 (we might be needing this for a while). It is available from <a href="https://www.amazon.com/dp/1641732954/ref=redir_mobile_desktop?_encoding=UTF8&fbclid=IwAR3rHOpvyD6n1V69SKsXtogkxkFXR_RZ-Mh8qA-sn41K2prR_KWCEZHqoCA&qid=1614949513&ref_=tmm_pap_title_0&sr=8-1" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">Amazon.</a> A new book entitled <span style="font-style: italic;">The Hurdles</span>
will be available in 2022. As you can see, Greg writes about navigating
challenging times and assists us in finding ways to experience the
presence of God in our difficulties.</div><p></p><div>
<div><br /></div>
<div>
<a href="https://www.earlenerentz.com" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">Earlene Rentz Online Publications</a> is fortunate to have <a href="https://www.earlenerentz.com/greg-funderburk/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">Greg</a> as a lyricist, and his creative, profound words continue to be worthy of our utmost consideration.</div>
<div><br /></div>
<div>1) <a href="https://www.earlenerentz.com/downloads/god-of-mercy-lead-us-home-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">God of Mercy, Lead Us Home</a>
</div>
<div>We often seek "home" in our journey of faith; a return to a moral
center, a literal home, a return to normalcy, a return to comfort,
peace, and that which we know to be who we really <span style="font-style: italic;">want </span>to
be. Greg's words send us into an acknowledgement of the darkness, then lead us into hope for the future. Click on the "Preview" to follow
the score as you listen to the recording. <a href="https://www.earlenerentz.com/downloads/god-of-mercy-lead-us-home-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">SATB, Keyboard, and Cello</a>
</div>
<div><br /></div>
<div>2) <a href="https://www.earlenerentz.com/downloads/gods-blessing-and-peace-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">God's Blessing and Peace</a>
</div><div><div>This text documents the literal journey of a "seeker" in search of a
family of faith. As music draws the journeyman closer to a place of
worship, they enter into fellowship with a congregation who welcomes
them with open arms. The theme: "You are welcome here. You are not
alone." <a href="https://www.earlenerentz.com/downloads/gods-blessing-and-peace-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">SATB, with Baritone Solo and Cello</a>
</div>
<div><br /></div>
<div>3) <a href="https://www.earlenerentz.com/downloads/meditation-in-stillness-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">Meditation in Stillness</a>
</div>
<div>This meditative octavo in a reflective mood emphasizes the
communication between an individual and the Almighty, as the listener is
still and quiet. Written for <a href="https://www.earlenerentz.com/downloads/meditation-in-stillness-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">SATB, Keyboard, and Cello</a>.</div>
<div><br /></div>
<div>4) <a href="https://www.earlenerentz.com/downloads/prayer-for-the-graduate-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">Prayer for the Graduate</a>
</div>
<div>Greg reflects on the challenge of being a graduate going out into the world during these days of uncertainty. Written for <a href="https://www.earlenerentz.com/downloads/prayer-for-the-graduate-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">SATB Voices and Cello</a>.</div>
<div><br /></div>
<div>5) <a href="https://www.earlenerentz.com/downloads/o-god-i-will-listen-to-you-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">O God, I Will Listen</a>
</div>
<div>Sometimes we just need to be reminded to listen as we encounter the Almighty in our daily journey of faith. <a href="https://www.earlenerentz.com/downloads/o-god-i-will-listen-to-you-satb/" rel="nofollow noopener noreferrer" style="color: #3661bd;" target="_blank">SATB</a></div></div><div><br /></div></div><div>Greg Funderburk's lyrics, as set to music by Earlene Rentz, come from a creative place of kindness, insight, comfort, and hope. As we sing and read his words in these uncertain days, we can be confident that with a few "tweaks" along the journey, our faith is enough to withstand the uncertainty as it leads us with hope toward the future.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-34675066745922845662021-10-17T00:02:00.001-04:002021-10-17T00:02:29.632-04:00Best of Friends<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPXsX1MdY4KURSAa95nODRPN7AtifYH3NwYDf_KWljUc-3qV2rHo52kQWF4-wqUui5_UTxLM2PZDC1XjtUzwaOUQXAM-aZbj7Xj_WfJaVmED2a3y31Sh9DWjBMoZajICeP4VyC6PE-4KLW/s1429/Andy+Meginniss-Artist+Page.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1429" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPXsX1MdY4KURSAa95nODRPN7AtifYH3NwYDf_KWljUc-3qV2rHo52kQWF4-wqUui5_UTxLM2PZDC1XjtUzwaOUQXAM-aZbj7Xj_WfJaVmED2a3y31Sh9DWjBMoZajICeP4VyC6PE-4KLW/s320/Andy+Meginniss-Artist+Page.jpg" width="242" /></a></div><div style="text-align: center;"><b>Andy Meginniss</b></div><p></p><p>In my previous blog, I introduced you to <a href="https://www.earlenerentz.com/andy-meginniss/">Andy Meginniss</a>, an inductee into the Alabama Bluegrass Hall of Fame in 2011, and a member of the bluegrass group Three on a String (based in Birmingham, Alabama).</p><p>As I indicated, Andy's group (and several other groups Andy has joined during his long career in music) sings <a href="https://www.earlenerentz.com/?s=Best+of+Friends">Best of Friends</a> as their closing number. With the assistance of my high school choral director, Dr. Bill Caldwell, I was introduced to Andy and the song. My first thought was..."What a wonderful way to leave a concert, with the audience knowing "presence" was appreciated." Such a great thing! It seems to be a perfect song for these days of singing with our friends.</p><p>As I listened to the words, I thought about all of us in choral music...students, choral directors, choir members in churches, choral professionals, retired choral professionals, those who play instruments in ensembles, those who sing in small ensembles, those who perform professionally on the stage, and those who write for "all of the above." </p><p><a href="https://www.earlenerentz.com/?s=Best+of+Friends">Best of Friends</a> speaks for all of us who love <i>making music with our friends</i> (as Willie would say). Willie Nelson has been the voice of wisdom for decades, and I think we finally "got" that song in 2020, as everyone was "chomping at the bit" to get <i>on the road again</i>. We had to <i>wait,</i> and it was the most incredible exercise in patience I've experienced in a while...<i>wait</i> on the vaccine...<i>wait</i> to sing again...<i>wait</i> for normalcy.</p><p><i>If nothing else came out of 2020, it was an immense appreciation for our friends...our unaccessible friends (for many months). </i>It was an emotional time for some. Singing is the aural representation of pure joy, and without it, life becomes quite empty and we lose our way (just like the St. Francis reference). </p><p>Since we have this amazing gift at this moment (we won't take singing for granted again!), let's use it to celebrate our friends!!</p><p><a href="https://www.earlenerentz.com/?s=Best+of+Friends">Best of Friends</a> is available in <a href="https://www.earlenerentz.com/downloads/best-of-friends-unison/">Unison</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-2-part/">2-Part</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-3-part-mixed/">3-Part Mixed</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-ssa/">SSA</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-tb/">TB</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-ttb/">TTB</a>, and <a href="https://www.earlenerentz.com/downloads/best-of-friends-tbb/">TBB</a>.<br /></p><p>When you visit <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications</a>, you will find an audio example of <a href="https://www.earlenerentz.com/andy-meginniss/">Andy</a> singing <a href="https://www.earlenerentz.com/?s=Best+of+Friends">Best of Friends</a> at the bottom of each page. There is also an electronic choral example provided as well. In addition, Andy has created an MP3 accompaniment with guitar, bass, drums, and piano (free).</p><p>The focus of the song refers to the love of friendship, knowing that we remain in the hearts of those with whom we enjoy music, whether in their presence or not.</p><p><i>"We know even best of friends must sometimes be apart, and we'll always keep your memory in our heart."</i></p><p><i>Enjoy making music with your friends!</i></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-21269483940472848262021-10-12T13:41:00.000-04:002021-10-12T13:41:19.735-04:00Welcome, Andy Meginniss!<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE3JFlCLFXf0kYev7x3d8BfPClw1QXUpl9x1f7XFPHBHI8giH-Dx2bK7Fv2eIjni_gp8_GfYqJsd6iS-Xbl900SFiXwrhUZ9KXioddIfL7uV39-uwfqbPKuYAZ1ZSu-yijYHKBaPDYm800/s1440/Andy+Meginniss1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE3JFlCLFXf0kYev7x3d8BfPClw1QXUpl9x1f7XFPHBHI8giH-Dx2bK7Fv2eIjni_gp8_GfYqJsd6iS-Xbl900SFiXwrhUZ9KXioddIfL7uV39-uwfqbPKuYAZ1ZSu-yijYHKBaPDYm800/s320/Andy+Meginniss1.jpg" width="240" /></a></div><div style="text-align: center;">Andy Meginniss</div><div style="text-align: center;"><br /></div><div style="text-align: left;"><a href="https://www.earlenerentz.com/andy-meginniss/">Andy Meginniss</a> was inducted into the Alabama Bluegrass Music Hall of Fame in 2011. His expertise in bluegrass music is highly regarded throughout the nation, and he continues to perform today. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">From 1972 to 1985, <a href="https://www.earlenerentz.com/andy-meginniss/">Andy Meginniss</a> played string bass, guitar, and sang lead and harmony vocals as part of the bluegrass group <i>Three on a String</i>. During his tenure, the band traveled extensively and recorded four albums; playing festivals, clubs, and concerts. </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn8v-jvs2TnhyF40S9DqmSFJlD3wzpcfbv9GdiUDzZ-VWc-NmQGzZ0dY1m5e8zVnmg9XQ5i0_90Wo_l6cTtJcfGbp55QPiQyDJlw9_OnqN9YzCTEdwFMg-Sa587DzKMh1jRsVHaI7anP5P/s1624/Three+on+a+String+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="804" data-original-width="1624" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn8v-jvs2TnhyF40S9DqmSFJlD3wzpcfbv9GdiUDzZ-VWc-NmQGzZ0dY1m5e8zVnmg9XQ5i0_90Wo_l6cTtJcfGbp55QPiQyDJlw9_OnqN9YzCTEdwFMg-Sa587DzKMh1jRsVHaI7anP5P/w400-h198/Three+on+a+String+1.jpg" width="400" /></a></div><br /><div style="text-align: left;">In 1985, <a href="https://www.earlenerentz.com/andy-meginniss/">Andy</a> joined with Claire Lynch, Larry Lynch, and Herb Trotman in the <i>Front Porch String Band</i>. This collaboration lasted eight years, and culminated in the critically acclaimed album <i>Lines and Traces</i> in 1991.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDwsFff-xgBGLNygJzuTQQBrlIALGNDSqZgfwpO6T_HnbqRDA8212Khlsx-NeTVKSAQTiTzM8p5dY41Os0uf6O7tf5fflWR_BwY7ZJ7KEdSJT4F8WxgHcOIy2TQAaFQnPKr3Pyq1c4_ceB/s2048/Front+Porch+-+Lines+%2526+Traces.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2036" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDwsFff-xgBGLNygJzuTQQBrlIALGNDSqZgfwpO6T_HnbqRDA8212Khlsx-NeTVKSAQTiTzM8p5dY41Os0uf6O7tf5fflWR_BwY7ZJ7KEdSJT4F8WxgHcOIy2TQAaFQnPKr3Pyq1c4_ceB/s320/Front+Porch+-+Lines+%2526+Traces.jpg" width="318" /></a></div><br /><div style="text-align: left;">At the same time, he partnered with a couple of old friends, Stan Putnam and Dan Lakeman, in the acoustic trio <a href="https://www.facebook.com/band.rosewood/">Rosewood</a>. This group recorded one self titled album, and they continue to play together today. </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnYqhTn7PeLdt3XcExc8sGwLH1YNunwu7_QMNwmBWxB8ePkraIZ1pEYbSypqX8CgNjG_iN5AMnLCJjQezLr0tVcj4Y13QGv99WBeuVns-UxSOqgGZ__L1lUtQMW9Cli9xDSeXec1EMZqk2/s1626/Andy+Meginniss2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1626" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnYqhTn7PeLdt3XcExc8sGwLH1YNunwu7_QMNwmBWxB8ePkraIZ1pEYbSypqX8CgNjG_iN5AMnLCJjQezLr0tVcj4Y13QGv99WBeuVns-UxSOqgGZ__L1lUtQMW9Cli9xDSeXec1EMZqk2/s320/Andy+Meginniss2.jpg" width="213" /></a></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Also, during this period, he teamed with his brother and two others in the musical <a href="https://en.wikipedia.org/wiki/Cotton_Patch_Gospel">Cotton Patch Gospel</a>, performing for 25 years in various venues.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaTKdqO3YO0vSP4WPzogmUFXGqUenfb6Bw52vNLvMFZorkjzLHcp7duxi5QhqEdVnkwBDRoGgFivR94OfiWdzNOkE4j7sVaEqBcuwvXVcF67AYGRvIoMpmeFYlves6roi_8wQfRe0_cYjQ/s960/Cotton+Patch+Gospel.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaTKdqO3YO0vSP4WPzogmUFXGqUenfb6Bw52vNLvMFZorkjzLHcp7duxi5QhqEdVnkwBDRoGgFivR94OfiWdzNOkE4j7sVaEqBcuwvXVcF67AYGRvIoMpmeFYlves6roi_8wQfRe0_cYjQ/w400-h266/Cotton+Patch+Gospel.jpg" width="400" /></a></div><div style="text-align: center;">Cotton Patch Gospel</div><div style="text-align: left;"><br /></div><div style="text-align: left;">In 1993, he became the guitar player and lead vocalist for <i><a href="https://www.facebook.com/HerbTrotmanBand/">The Herb Trotman Band</a></i>, a bluegrass ensemble that performed steadily until 2012. </div><div style="text-align: left;"><br /></div><div style="text-align: left;">He rejoined <i>Three on a String</i> in 2012, and this group celebrated its 50th anniversary in August, 2021.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Andy is married with two grown children, and lives with his wife in <a href="https://www.cityofhomewood.com/">Homewood, Alabama</a>.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><a href="https://www.earlenerentz.com/">Earlene Rentz Online Publications</a> welcomes <a href="https://www.earlenerentz.com/andy-meginniss/">Andy Meginniss</a>, and is proud to offer many choral voicings of Three on a String's concert closer <i>Best of Friends</i> in <a href="https://www.earlenerentz.com/downloads/best-of-friends-unison/">Unison</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-2-part/">2-Part</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-ssa/">SSA</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-3-part-mixed/">3-Part Mixed</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-tb/">TB</a>, <a href="https://www.earlenerentz.com/downloads/best-of-friends-ttb/">TTB</a>, and TBB. The past 20 months have shown us all that friends and family are the most priceless treasures in our lives. Choral directors can use this soulful rendition as a standard song in saying, "Farewell" to students, audiences, and loved ones. In fact, it is a unifying song for bus rides, at the end of tough competitions, concert closers, and any time we need to be reminded of the value of friends.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAw42tpQEz-QoubxHluVxRNqt7jkdoD5I4pkF6TnzHj9ZS6qtjN2x0bS3ax1RwCJ3oYP6XNsWSCKKwP720f7LF65N8YvN23MfF3KyGJJJDi6zHRpDOh9qgI0C1Jp3s8K56kRmM4JasutjI/s1334/Three+on+a+String3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1032" data-original-width="1334" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAw42tpQEz-QoubxHluVxRNqt7jkdoD5I4pkF6TnzHj9ZS6qtjN2x0bS3ax1RwCJ3oYP6XNsWSCKKwP720f7LF65N8YvN23MfF3KyGJJJDi6zHRpDOh9qgI0C1Jp3s8K56kRmM4JasutjI/w400-h310/Three+on+a+String3.jpg" width="400" /></a></div><br /><div style="text-align: left;">You never know where <a href="https://www.earlenerentz.com/andy-meginniss/">Andy</a> and <i>Three on a String</i> will show up to play a concert. It might be in a small or large venue...and it might even be in a concert hall with the <a href="https://alabamasymphony.org/">Alabama Symphony Orchestra</a>! </div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTLg9I9We57L8n428Dr3dkleC03enfIaC0XdRROuzHIF7ecH4hIPJvinU_lXQNtGf-H8WTWhnZrk5DhupOmHr9mQQoaP49d_Y8lGpGX_bEUchPUOsBZeCd36v1ud4REwm3sfRxN1kbTZ6m/s960/ToaS+%2526+AL+Symphony.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="903" data-original-width="960" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTLg9I9We57L8n428Dr3dkleC03enfIaC0XdRROuzHIF7ecH4hIPJvinU_lXQNtGf-H8WTWhnZrk5DhupOmHr9mQQoaP49d_Y8lGpGX_bEUchPUOsBZeCd36v1ud4REwm3sfRxN1kbTZ6m/w400-h376/ToaS+%2526+AL+Symphony.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: left;"><a href="https://www.earlenerentz.com/">Earlene Rentz Online Publications</a> is proud to be associated with Andy, knowing that you will love their concert closing title <a href="https://www.earlenerentz.com/?s=Best+of+Friends">Best of Friends</a>, written by <a href="https://www.earlenerentz.com/andy-meginniss/">Andy Meginniss</a>.</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicr5f4o_Daek8A3FrBa8zlP0pYGzhripHVc6t2v_CLDnkpYQShk0BC_4El9pMJCpvALXw-qcvS3bsL3EUyAM7Eo907d2UfgOU49MFkDSz0v87Oe29cDjO8Cux200M_8wR2-SWDgwiOkaCJ/s1080/Andy+Meginniss3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="1080" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicr5f4o_Daek8A3FrBa8zlP0pYGzhripHVc6t2v_CLDnkpYQShk0BC_4El9pMJCpvALXw-qcvS3bsL3EUyAM7Eo907d2UfgOU49MFkDSz0v87Oe29cDjO8Cux200M_8wR2-SWDgwiOkaCJ/w400-h295/Andy+Meginniss3.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">Andy Meginniss, Bluegrass Hall of Fame, 2011</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><p></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-47551530108786476112021-09-11T16:44:00.000-04:002021-09-11T16:44:23.887-04:00<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyaIt_bBb7MlngA_LQX8krloZ2VsQvnfJeqDDJ1A1N0L5dYPx5od5FDLGPGWBJ3wqW_OuCT2jhyUKHOuVw8Ho1kfgMzh-PrE7bzftvedngVRraUa4PdqSvqbLfV_pvIGME5Ac3LlrRoTbN/s512/Flags.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="402" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyaIt_bBb7MlngA_LQX8krloZ2VsQvnfJeqDDJ1A1N0L5dYPx5od5FDLGPGWBJ3wqW_OuCT2jhyUKHOuVw8Ho1kfgMzh-PrE7bzftvedngVRraUa4PdqSvqbLfV_pvIGME5Ac3LlrRoTbN/s320/Flags.jpg" width="251" /></a></div><br /><p></p><p>This. This was the day it all changed. Life changed in ways not one of us could imagine at the time. We actually <i>felt</i> less secure. We <i>felt</i> more suspicious. We <i>felt</i> anger, but didn't know where to channel any of it. We....<i>grieved</i>, and didn't really know anyone (in some cases) associated with the events. Some of us would realize only later that close friends were affected. The worst part was that we <i>didn't know what to do about</i> <i>it.</i> So much was beyond our control, and we couldn't make sense out of the things we were seeing. Later, we couldn't make much sense out of the things we <i>could</i> see, hear, and touch. <i>It was awful.</i></p><p>One thing was certain: We quickly let it be known to the world that we were proud to call this country our home. Others are welcome, <i>and</i> this country would never be empty of souls resolute in standing for <i>goodness</i>. <i>We were unified</i>. Most of us were inspired to work our way through the misunderstanding as we journeyed toward understanding, slowly piecing it all together.</p><p>I am not saying the USA is beyond fault. You know as well as I that flaws are present, but for once, we were unified. It didn't take much to hear "Yes! I'll help!" or "Yes! I'll be there!" We wanted to assist our brothers and sisters in any way possible. We became different people overnight.</p><p>I had only been married a few months. We received a call from my husband's daughter who told us that America was under attack. I know my face must have been totally blank. It had never occurred to me in a million years that we would be under attack. I don't know exactly why that would be the case. I had studied Pearl Harbor, and knew of vulnerabilities. </p><p>One thing I remember about that day is that eventually people started saying "stuff." Stuff that helped no one, and caused more division. Many had an opinion on what <i>God</i> was doing. Well....I did not agree, as God had told me nothing (we speak regularly), and furthermore...when it comes to speaking for the Almighty, I just think we need to be careful. It's like my late friend the Rev. Dr. John Claypool said, "God's other name is 'Surprise!'" Just because we think we know God's heart and mind does not provide assurance that "the Mystery" has totally revealed Himself/Herself. Be watchful. Be vigilant. You might be surprised.</p><p>One thing I <i>do</i> know: In the midst of horrible situations, there are good decisions to be made. First, in the consideration of "what to do," I learned to "look around" my world. My husband was a pastor of a large Houston church, and after we had watched in stunned silence for a while, he said, "I need to get to church to take care of things" (he was writing a sermon at home). What? You're leaving me? Yes....he left me. That's what leaders do. They lead. He was a leader in all things related to his church. So....he made sure to be among his staff, where he addressed church programming that was in-session for international residents, and he made calls to his local colleagues from different faith traditions (rabbis....priests....he didn't know anyone at local mosques), to offer support in case of "who knows what might happen?" types of things. I learned to take a look around and see if there might be anything I could do <i>in my world </i>that would let people know of my care. In addition, we realized that not everyone loved us. To realize the extent to which some would go to exercise injury and death to unknown souls was jarring, to say the least. Day-to-day became governed by a whole new set of rules and regulations that are "the norm" to this day.</p><p>Another bit of wisdom: Sometimes it is good just to be quiet and listen, before establishing a strategy of consequential action. It is important to "get it right." Rather than move too quickly and force the "clean up" policy into action, we really need to "get it right," from the beginning. Pain is pain. Maya is right. People will never forget how we make them feel. Consequences are far-reaching at times.</p><p>As I watched the memorials today, I was once again reminded that the grief of loss is never something you "get over." No....not even a little bit. Time will help us begin to move on, but that loss is forever, indelibly etched in our memory, hearts, lives, thoughts, and conversations. Somehow, we learn to <i>manage</i> our broken lives. We never forget. All of the events of our lives are simply...<i>our lives</i>. As long as we're living, these events are part of the <i>fabric of our lives</i>, woven together to create us as the individuals we have become...now and forever. I have found that when we remember, we heal. It helps to know that others have not forgotten. Today is the day of comforting words and music for all those who experienced loss on that horrible day.</p><p>Today, I am honored to know that my arrangement of <i>Amazing Grace</i> is being sung by the <a href="https://www.nationalchorale.com/">National Chorale</a> and the <a href="https://www.armyfieldband.com/about/ensembles/soldiers-chorus">Soldiers' Chorus</a>, accompanied by the <a href="https://www.armyfieldband.com/about/ensembles/concert-band">United States Army Field Band</a> during the <a href="https://nj911memorial.org/empty-sky/">Empty Sky 9/11 Memorial</a> in New Jersey (Statue of Liberty). I know we need an abundant measure of "grace" during grief. It gets us through the day. It makes the day more manageable. Though an indirect way to offer comfort, I hope these families will accept my gift to them on this day of memory and reflection.</p><p>And so...we move forward. Our world has changed, though at times we might relish a dose of the unification we felt back in 2001. May we always treasure the lives and heroism of those souls who perished 20 years ago. May we be resolved to make a positive difference in the world they tragically departed, as we journey through this life.</p><p>May their souls rest in peace, as we become the world's peacemakers.</p><div><br /></div>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-42970958615766186422021-07-26T16:23:00.000-04:002021-07-26T16:23:03.436-04:00TCDA - A Family Reunion<p>I'm back from a very emotional "high" for me and many other music educators in Texas and around the nation. The Texas Choral Directors Association convention was the first professional convention I've attended since February of 2020. We were in "lock-down" three weeks after my return from TMEA in 2020, and we have been longing to gather again for months.</p><p>Wanetta Hill graciously agreed to help me with our booth during TCDA, and I believe she knows everybody in Texas!! It was wonderful to see everyone enjoying themselves during this very special time of reunion. Everyone was thrilled with the prospect of going back to their school and church choirs, yet no one <i>really</i> knows what to expect when they return. The "virus" seems to determine everyone's ability to plan, and the "one day at a time" mentality seems to be the only choice. One thing is for certain, no matter what situation unfolds, we have the "best of the best" out there in the choral classrooms, doing their best for their students. </p><p>Here are some highlights from my time spent with fellow choral music educators, writers, and directors:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_TeJ5-eq4qomrilUud0t60siLkkSofJZdh9g32JAJrV8zEL96Sv6kF1auIRB2dcOrG4HTPW4TEzBCn-cfKqcoNM1WhPx34NEju9M5YVMp4xREtT1NASRw_lH2MzhaQ6ipDzzqwgGw2jBV/s960/Victor+Johnson.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_TeJ5-eq4qomrilUud0t60siLkkSofJZdh9g32JAJrV8zEL96Sv6kF1auIRB2dcOrG4HTPW4TEzBCn-cfKqcoNM1WhPx34NEju9M5YVMp4xREtT1NASRw_lH2MzhaQ6ipDzzqwgGw2jBV/s320/Victor+Johnson.JPG" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Wanetta Hill, Earlene Rentz, Victor Johnson, René Brain</div><p>It was wonderful to have friends stop by the booth to chat for a few minutes. In the photo above, from left, are Wanetta Hill (one of my wonderful, delightful lyricists), me, Victor Johnson (composer extraordinaire and choral editor with Choristers Guild....and one of the nicest guys in the entire world), and René Brain (fabulous pianist/accompanist and all-'round delight). I love these special folks, because we are <i>all</i> for the other person's success. For some reason, competitiveness seems to be present among many, and you can trust this, too: There are just as many of us who are totally supportive of each other, delighting in each other's success. We all have our strengths, and no one composer/teacher/conductor creates music exactly like another person. We all have our purposes and our uniqueness in this business.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxa9BnI_WN3_zXhf9JlexRKReBl7JSj7n0K5bW7WJDaCdAqH9igGyi2Pj0UTRAp_uc2s79y1MsUbd-8SG78aTVaf7IqWugi4wLc_R8lUIiEiV2Jb0MNmEZVQDVoYh3MbwLVxg1uB3XCS5A/s320/Cherry+Tadlock.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxa9BnI_WN3_zXhf9JlexRKReBl7JSj7n0K5bW7WJDaCdAqH9igGyi2Pj0UTRAp_uc2s79y1MsUbd-8SG78aTVaf7IqWugi4wLc_R8lUIiEiV2Jb0MNmEZVQDVoYh3MbwLVxg1uB3XCS5A/s0/Cherry+Tadlock.jpg" /></a></div><p style="text-align: center;">Earlene Rentz and Cherry Tadlock-Garasi</p><p style="text-align: left;">Cherry Tadlock-Garasi holds a very special place in my heart as the person who saw possibilities in a piece I wrote in 2000. She was my choral editor with Warner Brothers Publications for many years, and she is now in Belton, Texas, where her husband Michael Garasi is in charge of the instrumental program at the University of Mary Hardin Baylor. I am so excited for Cherry and Michael (and <i>all </i>of Texas), and I know their future at UMHB is bright with promise. Cherry was responsible for the publication of my most successful piece to date (over 200,000 copies sold) entitled <i>Sleigh Bells. </i>Cherry conducted that piece in clinic after clinic, and she <i>believed</i> in it! All these many years later, it continues to sell-away! I will never wane in my gratitude for Cherry. She is amazing!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-26Jk_oPR0a66-BcodQgUyFUq626uy94t12FtsPyFfHWoA239ZLf14PhkornOi5NYSfBGGMOfuZ80RA7cp5gcP5XaQRtQUQxMxWUeNRQTrVcL9dgYVr16Yi6uGrJQMPMTqnwaIQE-5897/s320/Bryce+Gage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-26Jk_oPR0a66-BcodQgUyFUq626uy94t12FtsPyFfHWoA239ZLf14PhkornOi5NYSfBGGMOfuZ80RA7cp5gcP5XaQRtQUQxMxWUeNRQTrVcL9dgYVr16Yi6uGrJQMPMTqnwaIQE-5897/s0/Bryce+Gage.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Wanetta Hill, me, Bryce Gage</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Family reunion! Bryce Gage stopped by the booth to visit and look at our music! He shared "the latest" of his fabulous choral program at Marble Falls High School, and he purchased some music. He took advantage of one of <a href="https://www.earlenerentz.com">Earlene Rentz Online Publications' </a>unique features. He found a piece of music he liked, but it was not in TBB. No problem! It is almost completed as of today. He also needed it a step lower than I wrote it for TTB...again...No problem! Done! Our online publishing process makes it easy for choral directors to find a piece that will work for their choir. It is truly something I love doing, so Bryce will have his arrangement within a day or so....AND....he will have Rehearsal Preparation Sheets for everything he purchased. His SSA choir will sing "Die Lotosblume," by Robert Shumann, and his TBB choir will sing a custom-made arrangement of "Personent Hodie." It all works!</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje4VceFucK50RjV2DLxc8bKjdSvZ3E-sTGMuwfymPVt3WUn9NUdiQjOeX6Jh3FnrSwT1IWmWNynJ-9Lt26_oFOO0yh_CCARz6fBd3bFCBaNygq7fIiHyR2YeUdqFX8aF3R86tVt1E1iUMI/s960/Happy+Hour-TCDA.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje4VceFucK50RjV2DLxc8bKjdSvZ3E-sTGMuwfymPVt3WUn9NUdiQjOeX6Jh3FnrSwT1IWmWNynJ-9Lt26_oFOO0yh_CCARz6fBd3bFCBaNygq7fIiHyR2YeUdqFX8aF3R86tVt1E1iUMI/s320/Happy+Hour-TCDA.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Wanetta, me, René Brain, and Debbie Talley</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Just to be perfectly clear with ourselves about our happiness at TCDA, we observed "Happy Hour" with two other wonderful women. René Brain and Debbie Talley invited us to spend some time with them before dinner one afternoon, and I am reminded that some people are fun, fun, fun, and they are a <i>magnet</i> for other fun people. It was so great to catch up, and have a glimpse into their lives over the past 16 months. We found out we are strong women, and we do whatever we need to do to live our lives with integrity in the classroom and beyond. We laughed until we hurt physically, and others joined us occasionally to laugh along. May we always remember to <i>laugh!</i></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRzVLV0c5lQKG1jBpe61JpadG-caep5-6JCHVabUuYzqYFmt1MrtnkT6Q-Ha6KqTbSoqDqJxVIKuY2G_-o-b0yjcRxHIBMrzMa4H8R1jgWb4N6dl5ucW71VdbxNaUCtue0NbiqrT48lvM3/s960/Tammy+Benton.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRzVLV0c5lQKG1jBpe61JpadG-caep5-6JCHVabUuYzqYFmt1MrtnkT6Q-Ha6KqTbSoqDqJxVIKuY2G_-o-b0yjcRxHIBMrzMa4H8R1jgWb4N6dl5ucW71VdbxNaUCtue0NbiqrT48lvM3/s320/Tammy+Benton.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Me, Wanetta Hill, Mary Jane Self Phillips, and Tammy Benton</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Life is a celebration, and no celebration at TCDA is complete without food! We enjoyed our dinner at the historic Pearl Brewery in San Antonio. It is the neatest area that has been artistically created by someone who thought friendships, food, and <i>being together</i> were winning combinations...<i>RIGHT! </i>We had the best time, and the food was outrageously delicious. <i>Such a great choice, Wanetta! </i>Along with Wanetta and me, a former student/amazing choral director (Tammy Benton) and Mary Jane Self Phillips (choral director) joined us for the incredible evening.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ZaIKh6JENZz_GpZinDYODgp7DwNJng-3o2oSr1t3uax-eM29xzdzOzM95gRZIwvI25A6CcYatYwGjIMfWHsgjnytm6s2qXqTAbK_czmItTGukh1noXcLqfpyFAvKLfvYxu6tOmwSsklo/s960/Wanetta+B%2527day.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ZaIKh6JENZz_GpZinDYODgp7DwNJng-3o2oSr1t3uax-eM29xzdzOzM95gRZIwvI25A6CcYatYwGjIMfWHsgjnytm6s2qXqTAbK_czmItTGukh1noXcLqfpyFAvKLfvYxu6tOmwSsklo/s320/Wanetta+B%2527day.JPG" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Happy Birthday, Wanetta!!</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">No special evening is complete without celebrating someone's birthday! Wanetta was the special person of the moment. It is so great to have Wanetta with us at TCDA, because it is always close to the time of her birthday. We celebrate...and celebrate...and celebrate! Birthday moments with friends are special, and to share good times with those around us who mean so much to us gives us opportunities to continue the celebration of life for all of us.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">At the close of TCDA this year, my thought was "This has been <i>really</i> good." Everyone was delighted to be "out and about," and we were all thrilled to be smiling at each other in total delight of being <i>somewhere.</i> There are so many unknowns, but we know that we are among friends when we are together encouraging, supporting, and loving each other through it all.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><i>So...sing...celebrate...smile...and we will deal with whatever lies ahead. </i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><br /><p style="text-align: left;"><br /></p>Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0tag:blogger.com,1999:blog-2753640788266206598.post-20959092678119216302021-07-13T21:53:00.000-04:002021-07-13T21:53:31.121-04:00Getting Ready for TCDA!<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbd9C5K8ACSBCAFHGoUTpBBqVcNTZKAwPbi0kwZTHOsek4T0JRJ8aRoV_FUPfrADnQv1mx-kx_u9EgHp6DvPzAJKW7GBxEbNHg-iRtCGFs9ZsCs635bJgaw1yQKz8YkA5FeigQnHbDKlLm/s960/IMG_0305.JPG" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="960" data-original-width="720" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbd9C5K8ACSBCAFHGoUTpBBqVcNTZKAwPbi0kwZTHOsek4T0JRJ8aRoV_FUPfrADnQv1mx-kx_u9EgHp6DvPzAJKW7GBxEbNHg-iRtCGFs9ZsCs635bJgaw1yQKz8YkA5FeigQnHbDKlLm/s320/IMG_0305.JPG"/></a></div>
It is so great to be getting ready for another convention! Finally! Wanetta Hill (a wonderful lyricist) and I will be in San Antonio for TCDA in Booth 1327. We'll be selling music in every way imaginable...credit card, check, cash, and purchase order. We have it covered, we have waited 16 months, and we are finally getting a bit of normalcy back into our lives. More and more people are getting vaccinated, and we are respecting the knowledge gained in the past, while we express hope for a bright new day in the future. I am glad we are getting back together with our choral music "family" for a reunion we alone understand (my late husband called choral musicians an "interesting sub-culture"....HA!). We get together for all things choral-musical, and we share ideas for success. As you know, there are those whom we only see at music conventions. They are our family "in the profession" when we go to San Antonio, or whatever place houses our "convening get-together." <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj215migvHcf1XyDfyf3_c2ht5UbUS6ujw4GCRKco72fvdXrNUTCTF-FGaUSsR44rG4Hv5UMmfBmWi3gZLlHCJuedXdMe6JZQPfeo34t_i9DRiChXHSaJNaNWKxh-CQ9Xgj1Hr0OblMS9s0/s2048/TammyMeWan+copy.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="1536" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj215migvHcf1XyDfyf3_c2ht5UbUS6ujw4GCRKco72fvdXrNUTCTF-FGaUSsR44rG4Hv5UMmfBmWi3gZLlHCJuedXdMe6JZQPfeo34t_i9DRiChXHSaJNaNWKxh-CQ9Xgj1Hr0OblMS9s0/s320/TammyMeWan+copy.jpg"/></a></div>
So...whether it is lunch with Wanetta Hill, dinner with Tammy Benton and Wanetta, or whatever we decide in between, the truth is that in the past we have laughed, and laughed, and laughed. I'm wondering what the "dynamic" of the convention might be...joy, concern, worry over the beginning of school, worry over the dreadful Delta variant, budgets, logistics of singing together safely, vaccines for the "under 12" group, etc. How will the experiences of the past 16 months affect our interaction?
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Choral musicians represent a group of people who love music, love each other, love students, and we love the fact that we share something in common with each other. We cheer each other on to do the very best we can to further the choral art among ourselves and in our students. My role as a composer of choral music is to be a provider of information to be studied in the classroom. I take that charge most seriously. It hits me sometimes that <i>my music actually determines musical content for an extended period of time in rehearsals. That is <i>huge</i>. </i><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihy4xyk10QePlG50CWlQ_IL8-h10gzHiEutX5o-HU3Acbo1EZTpDpE98RnMsyurrcyTUBlqPceEqTi0LVkp_VtFdFMw0vsEne1rpNTZgBTNHosqPd-B7o-YA_aSxrCjKBRyrgkpGtVw05N/s960/Victor+et+al.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="540" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihy4xyk10QePlG50CWlQ_IL8-h10gzHiEutX5o-HU3Acbo1EZTpDpE98RnMsyurrcyTUBlqPceEqTi0LVkp_VtFdFMw0vsEne1rpNTZgBTNHosqPd-B7o-YA_aSxrCjKBRyrgkpGtVw05N/s320/Victor+et+al.jpg"/></a></div>
I love going to conventions and meeting with other composers of music. We all have something unique to say in choral music, and we are the only ones who can say "it" the way we need to hear "it" said. We all have our specific function in the world of choral music, and we truly enjoy talking to each other and encouraging each another in the art of choral music writing.We generally know <i>how</i> to write as we listen to teachers who are "in the trenches." <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvEirsWHgZXJ-0cHB_uJ3ePHic0JdxZLXJ08zTzervS6J3ep05RFbV2otCLtJHAG3xnh4lI43TS7hNSn_gPUrm6BCnfyFnDoQt7GLeNgtqCgAK2GytFrfCqhMbXCPf89AHBveP04BN3Xfy/s366/erlogo.gif" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="366" data-original-width="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvEirsWHgZXJ-0cHB_uJ3ePHic0JdxZLXJ08zTzervS6J3ep05RFbV2otCLtJHAG3xnh4lI43TS7hNSn_gPUrm6BCnfyFnDoQt7GLeNgtqCgAK2GytFrfCqhMbXCPf89AHBveP04BN3Xfy/s320/erlogo.gif"/></a></div>
Please come visit us at TCDA. Join us in this wonderful experience in San Antonio (Booth 1327). We will celebrate our return to a life that was under the veil of uncertainty for a long time. It will be a pleasure to join others for a sweet reunion of true goodness, living with hope into the future.Earlene Rentzhttp://www.blogger.com/profile/06548135132885678712noreply@blogger.com0