Page 25 - Mar_Apr23
P. 25

Discovering the Magic of Children’s Voices         Composing and Programming for Elementary Choirs






           with more than one emotion in a piece.” Like the Pixar   rest for a while, then come back with clear eyes to self-
           movie “Inside Out,” Mark noted that “sometimes the   edit or ask an editor to review your work. Your initial
           richest memories are tinged with multiple colors and   idea may be quite different than the finished product;
           feelings.”                                         but through the hard work of editing and evaluating
             As composers and directors, we play an important   and rewriting, you’ll uncover hidden potential in your
           role in helping children discover the music within them-  piece. Remain open to feedback from trusted friends
           selves. Have you ever programmed a piece that didn’t   and mentors; road test your piece with a small group
           connect with your singers? In these situations, the mes-  of singers to see if it really sings well. Children deserve
           sage falls flat because it fails to resonate with the child’s   our very best, and the time we spend crafting our music
           experience. When you are selecting or writing music   will be worth it.
           for children, seek out a text that is truly brought to life   What a gift to walk  alongside young choristers  as
           through song. Study the pairing of melody and lyric;   they discover their voices! As we continue this impor-
           does the musical setting complement the lyric structure   tant work, may we all seek to bring our best to the ones
           and enhance the text? Young children are both literal   we teach and shepherd. When we give our children op-
           and imaginative. In much of what I program for early   portunities to  experience and create beautiful music,
           elementary students, the lyrics are understandable, en-  we help instill a lifelong love of music that remains long
           courage children to wonder, and rarely provide static   after we’ve left the rehearsal room.
           answers.

                                                                                    NOTES
                            A Final Word
             To my fellow composers: we have to be willing to let   1  Helen Kemp,  Of  Primary Importance, Volume  II, Choristers
           go of ideas that don’t work. I often end up with stray   Guild (1991).
           phrases, melodies, and accompaniment figures that hit
           the chopping room floor during editing. Let your piece





































          CHORAL JOURNAL  March/April 2023                                                                                  Volume 63  Number 7            23
   20   21   22   23   24   25   26   27   28   29   30