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Repertoire & Resources - Tenor-Bass Choirs

that choirs also warmed up and used the same tech- His commitment to thematic programming is influ-
nique as I had used in the voice studio,” Seelig recalls. enced by his experience with GALA Choruses, a net-
This foundational belief in vocal technique shaped the work of over 200 LGBTQ+-centered choral ensem-
sound of the Turtle Creek Chorale and became a hall- bles from around the world. Seelig believes that GALA
mark of his choral leadership. Choruses have influenced broader choral practices.
He admits that the early years of his conducting ca- “When I came out and we were planning concerts
reer were marked by trial and error. “I learned choral that were themed, other people had no idea what in
technique by the seat of my pants. I knew vocal tech- the world that was,” he recalls. “We taught by example.
nique very well. I knew conducting pretty well. But I People started looking over the fence at the success of
didn’t know how to communicate that as a conductor.” gay and lesbian choruses and wondering how we were
Over time, he developed a practical and accessible filling our audiences. Now, non-GALA choruses are us-
approach that was tailored to his volunteer, commu- ing thematic programming and ‘choral theatre’ more
nity-based ensemble. “It was a matter of just commu- than they ever did.”
nicating as quickly and as easily as I could—a lot with Seelig is also an advocate for expanding tenor-bass
gestures and a lot with modeling.” repertoire. “The repertoire was sad at best,” he says of
This pragmatic and practically applicable approach his early career. “We had not begun writing for our-
ultimately led to his widely used book, The Perfect Blend, selves.” Since then, he has commissioned numerous
which originated from a suggestion by composer and works and continues to push publishers to release more
friend Greg Gilpin. “He said, ‘Just write down what tenor-bass repertoire. “Publishers still say the market
you’re doing,’” Seelig recalls. The result was a resource is not big enough. But in today’s age, you can publish
that leveraged years of trial and error into a clear, relat- digitally with no money.”
able and often humorous guide for conductor-teachers. Among his favorite pieces are those that reflect his
At the heart of Seelig’s philosophy is a deep respect for TLC philosophy. For laughter, he recommends Jonathan
the music, the singers, and their time: “There’s only Wilcox’s Musical Risotto and Eric Lane Barnes’s Land-
one answer to a great rehearsal, and that’s preparation. scapes. For tears, he cites Stephen Schwartz’s Testimony,
To not plan a rehearsal within an inch of its life is dis- a powerful work that has become a staple in LGBTQ+
respecting your singers and their time.” choral literature. And for chill bumps, he points to piec-
es like Morten Lauridsen’s O Magnum Mysterium and Ja-
cob Collier’s arrangement of Bridge Over Troubled Water.
Repertoire that Resonates Ultimately, for Seelig, programming is about the con-

For Dr. Seelig, programming is a deeply creative and nection between the music and mission and performers
meaningful task. “Choosing repertoire is both the most and audience. “Music is not the end. It’s a means to the
challenging and most fun thing any of us does,” he end. And that end is to touch every possible emotion in
explains. His approach is guided by intentionality and a concert—maybe a couple of times.”
emotional resonance, using what he calls the “TLC”
model: tears, laughs, and chill bumps.
Seelig draws a distinction between programmers Working with Tenor-Bass Choirs
who build concerts piece by piece, and “top-down” Seelig’s work with tenor-bass choirs includes a blend
thinkers who begin with a thematic vision. “I’m more of vocal pedagogy, ensemble psychology, and an un-
of the top-down. I want to do a concert on butterflies. derstanding of the opportunities and challenges these
I can feel it. I can hear the applause. I don’t know any choirs present. He emphasizes the importance of build-
songs about butterflies, but I know it’s going to hap- ing the sound from the bottom up. “It’s always built on
pen,” he says to illustrate his point. For him, this imag- a pyramid. I love a good choir with 21 first tenors, 30
inative approach has led to concerts that are musically second tenors, and 50 basses,” he jokes.
compelling but also emotionally and socially impactful. This approach is especially important in tenor-bass

50 CHORAL JOURNAL August 2025 Volume 66 Number 1