Page 23 - CT15-3

• Teach music literacy. Students should sight read daily, us- Text
ing a sequential method. Texts may vary widely from serious to whimsical, but it
is important that they be authentic and not perceived as too
• Plan well-balanced programs. Students should sing music babyish. Try these guidelines:
of all styles, periods, and genres.
• A certain level of sophistication or intellectual challenge
• Determine the most appropriate ensemble groupings for
your singers. Group students appropriately in ensem- • Poetic texts
bles best suited to encourage success based on school
and district policies. These may include treble voices, • Languages other than English
the emerging low voice choir, and mixed voices
. • Diverse cultures
• Get the singers in the door and get them singing. My very
first published piece of music was “The Drunken Sail- • Folksongs
or,” published by Jenson Publications (HL #42304012)
in 1980. Some current opinions have said that this • Romantic love if in third person or general in content
song is not appropriate for children to sing. In 1979,
my sixth graders loved it when I went to the piano and • Broadway-type music such as “Seasons of Love” or “The
played a loud D minor boom-chuck while they sang Greatest Showman” are often more successful than
rowdily “Hooray and up she rises!” the latest pop hit.
These kids signed up and sang and stayed in the
choir. From that point, they trusted me and sang what- Editor’s Note: The article continues with sections on Texture, Adapting
ever I put in front of them. Not every first work you Music, Writing Music, and Publishing Music. Read the full article in
choose needs to be “The Drunken Sailor,” but over the Winter 2020 issue of ChorTeach at acda.org/chorteach.
time and with the help of trusted composers and col-
leagues, I began to notice certain qualities in the en-
try-level works (and beyond) that were most successful
with students. They often led to continued participa-
tion in singing.

Music for your singers should be:

• Well crafted

• Use appropriate ranges

• Employ smooth voice-leading

• Contain interesting vocal lines

• Have a melodic vocal part for emerging low-voice singers.
Treble parts can contain a bit more complexity and oc-
casional divisi or descants.

ChorTeach Volume 15 • Issue 3 23 Spring 2023