Singing in a Foreign Language

contributed by: Ruth Butterfield-Winter

When I say "foreign language" I mean a language that you know nothing about. I'm not talking about singing in French when you studied French in high school and know how to say "Would you like to walk with me tonight?" I'm talking about singing in a language like Euskara.

How do you do it? Do you assign IPA (International Phonetic Alphabet) symbols or phonetic notations (only understood by you), to each note, with it's associated dynamic, phrasing and rhythm? Is it just repetition? Or, do you transliterate the text from the original language to your own native tongue? Do you trust the loosely translated English written for singing purposes underneath the original text in the music?

It's probably just like memorizing. Different people have different methods. Some people even believe that learning a song with a foreign language is easier than learning a song with text in their native tongue.

Starting small and building up to whole phrase

Everyone knows that sentences can be phrased: "I have two cats." That is a sentence. You can emphasize different parts of the sentence to do what we call "phrase" the sentence. Emphasize "I," in the sentence and you turn all attention to "I." Emphasize "cats," and all of the sudden, no one will doubt that you are not talking about dogs. You can also emphasize "two" by taking time to say it and say it hesitantly and very soft. These are some ways to phrase a sentence. In music you can do the same thing.

Les trois souris aveugles

Think of the tune that goes to "Three Blind Mice." Now, think of the first three words and notes: "Three blind mice," start on the E right above middle C. The notes are: E, D, C, right?

Of course, "Three blind mice" is hardly a sentence, and the motif of E,D,C is not terribly interesting, but if you apply the same exercise to these three words and notes as we did in the previous "I have two cats." exercise, you will see that you can create some pretty amazing dynamics by changing the emphasis or building intensity to "mice" or emphasizing "Three" and making "blind mice" softer. The possibilities are endless.

Note by note, phrase by phrase, know what you are singing

So now to the foreign phrases. Every phrase of music is structured carefully by the composer. If the composer has set some text to the music, he (or she) either knows the language or has studied it enough to know what makes sense in terms of phrasing and rhythm. As singers, we need to trust the composer and follow the guidelines written in the music. This is where, learning phrase by phrase comes in.

Just as if you were learning a dance step, you need to be able to move from one note to the next with ease. After you can sing two notes with the syllables attached, try adding the next note and syllable. Try singing the second and the third, then the second then the third. Put the three together. Add the fourth note and syllable now. Sing the third and the fourth in a repeated pattern. Sing the second, third and fourth. Practice slowly and accurately, while slowly speeding the tempo until you get it to a comfortable speed.

Don't forget that you are telling a story.

Do you know what you are singing? Literally? You should know what you are saying literally and what the phrase means in your language. You will be able to tell the story as if it is your own to tell. You should also study the other parts, especially when you are singing choral music since sometimes the text dove-tails between the voice parts. But, this also applies when you are singing art songs and arias. Many times the orchestral part or piano part will have different colors and textures that enhance the story you are telling with your song. You, as a singer, will be captivating if you play on all the magic available to you.

Extaordinary does not come easily.

Some people think singing is easy. I think singing well is one of the most difficult disciplines. Not only are you the instrument that makes the beautiful sound; that requires many, many hours of practice and dedication to craft, but you have to be able to sing in tune. You also need to sing so that no matter what you sing, if a person in the audience understands the language you are singing, they should be able to understand every word and overall meaning or picture you are portraying. Even if the person in the audience does not understand the language you are singing, they still should hear the story that you are telling.

With a musical instrument, all you need to do is tell a story with the phrasing and accurate notes, dynamics and rhythm. There are no words. Words put a whole new dimension into the mix. Especially when you are singing in a language that is not familiar to you, you need to be all the more diligent in practicing the art.

Summer is Over!

(contributed by: Ruth Butterfield-Winter)

So... I don't want it to end. Even though I still had a pretty structured schedule during the Summer, there was a sense of freedom; no school, lots of people vacationing so the commute was a bit lighter. There was more sunlight to go hiking and swimming and walking the dog (even though I don't have a dog - I can dream). It almost feels like there was more time in the day, well, in fact there was, if you define the day as the time when there is day light! (I went to Kaua'i.)

Ah well, The Choral Project resumed it's rehearsal schedule last Monday night and it was so nice to see everyone and meet a few new singing members. The sound of the choir is as amazing as I remember. The director, Daniel Hughes, greeted us with his usual brilliance and encouragement. Even during this first rehearsal of sound matching; to discover where the singers should stand or which part within the section they should sing, the choir took off like a bird soaring to only imagined realms.

We are preparing for a very prestigious competition in Spain late in 2011. (I will write more about that later.) Also we have a Season full of challenging repertoire to highlight the 15th Anniversary of The Choral Project's existence. This is a big year and we are all very excited.

To top it off, the Marketing Manager for The San Jose Choral Productions, Kathleen Kuebelbeck, has redone The Choral Project web site to include information about all three of the choral groups under the SJCP organization. It has not be revealed yet, but from all the buzz, I'll bet it looks gorgeous. And if you are confused, everything will be clear very, very soon.

Stay tuned ...

Summer Music Festivals!

(posted by: Ruth Butterfield-Winter)

So, it's now time for Summer Music Festivals. If you haven't signed up to participate in one of the many events and festivals around the country and the world, it might be too late. But it's not too late to plan to attend one. All you have to do is type "summer music festival" in your browser's search engine and you'll seen a whole list of possibilities.

What's so great about Summer Music Festivals?

Well, a lot of them offer performances of great internationally known artists who perform with local artists and the concerts are often free. Many of the concerts are staged in nature, complete with wind and rain if the weather decides to join in. Often, the performances are casual, so you get to see the personality of the performers more transparently than if you were to attend a formal performance in a concert hall. Also, you may get to sit very close to the stage, which allows you to see the music, feel the breath, and taste the sweat (not literally, most times) of the performers.

Sound fun so far?

How about attending master classes with the great artists? Have you ever wondered how a great artist thinks? You know what; they think like anyone else. They can translate what they think into action and project their thoughts and feels through their skill and talent to the audience. Going to a master class of a great operatic baritone may give you insights into how you can hone your own skill. Whether it's landscaping, graphic design, computer programming or housekeeping, you may learn how to approach your own profession by using the principles you hear during a master class. It could happen.

What would you say if you could actually read music with an internationally know artist? It would be like playing tennis with Pete Sampras! OK, it probably wouldn't be too much fun for him, but it would be a thrill for me. (stuff to tell my grandkids, or anyone who will listen....)

Usually Summer Music Festivals happen in places that have a lot of other cultural attractions. Going to Aspen, CO for the Music Festival may open your world up to a pottery studio that enhances your outlook on shape & form. You may see a play or eat a kind of cuisine only authentically found in that town. ... exciting stuff ...

Think about it, if you've never been to a Summer Music Festival. If you have, which one is your favorite? Have you ever been lucky (fortunate) enough to share or play with a great musician or artist? If so, tell me about it.

Always Perform For Your Favorite Audience!

posted by Ruth Butterfield-Winter

Have you ever performed to a crowd of thousands, even 10's of thousands? I am not surprised if you have. What a thrill that is. The accomplishment of working an entire program or set of music out in the practice studio and presenting it to a crowd where you absolutely know people in the audience get what you are trying to say with your art. It's beyond words, it's exhilarating, it's worth every bit of sweat, tears, blood, sacrifices and curses for your gift.

Now, think about this: Have you ever worked so hard on a program that you know it will no doubt change the world as you know it? The concert date approaches and you realize that half your friends have other gigs, your family is out of town on vacation and you were so busy practicing that you forgot to send out the notices to churches, distribution lists and local media. OH NO, your manager (if you have one) dropped the ball too! The audience is going to be minuscule. Maybe, if it's cold, someone will come in just for the shelter from the elements.

Let me ask you... Would you present your art, your songs, your playing, your performance any differently with one person in the audience, then you would with thousands?

It's only natural to throw up your hands and say, "What's the point? Nobody is going to hear this. That one person couldn't possible understand the intellectual and technical skill I am presenting. At least with 50 people in the audience, at least one will get it."

I say, every time we sing, rehearse, play, paint, write, whatever the skill is, we should perform, or at least strive to execute, at the level we would if the most influential person in your life, living or dead, were in the audience.

For me, that special influential person is Dr. Vladimir Sokoloff (pictured with me sitting at the piano), my piano teacher at The Curtis Institute of Music in Phila- delphia. We had weekly student recitals and I seemed to be on most of them, since I was a Chamber Music/Accompanying major. Dr. Sokoloff was in the audience every for concert. He would take a seat in the back row near the left hand exit. He was very proud of his students, but praise from him was extremely rare. If he liked what you had done; and man, you knew when you did well even before he came up after the concert, he would say, "Not bad." You could breath easy after that because you knew you were golden for at least an hour, or until the next lesson.

Dr. Sokoloff died in 1997. But still, when I prepare for a concert I think of him and what he would say. I perform for my favorite audience because I imagine that he is sitting in back row, near the exit, listening to every phrase, every note, every nuance. After all, he was one of the many people who inspired me and taught me how to use my gift.

I think we should strive to perform for our favorite audience, whatever that audience may be. You really never know who you are touching, or inspiring. It may even turn out to be yourself.

Do you have a favorite audience? Let me know.

Memorizing Music is EASY!

posted by Ruth Butterfield-Winter

"...easy for me." says the veteran chorister of 30 years. "For gosh sake, I've done it for 30 years. I don't know how I did it, but the Choir Master say we had to, so I did."

OK, some people cheat and have the music and words sort of memorized by the dress rehearsal, and then they rely on those with super powers and fake it as they watch the mouthed words go by...

I'm talking about: "How do you really memorize music and words and make them your own?"

So, I got a lot of responses from a recent survey I did. A lot of people say that it's relatively easy for them to memorize music and words. Some people say that they memorize the music first with all of the dynamics and rests and pitches. Then they put the words to the music and that seems to work for them. Others say that the words are usually the most difficult thing to memorize, especially if they are in a language that is foreign to them. Others say that pitches and words are no problem, it's the dynamics, rhythm and the cut-offs/rests that are the most difficult to memorize.

As with everything:

1. practice makes perfect and
2. everyone has different ways of accomplishing this.

Practice makes perfect:

If you learn a song correctly the first time and then take it apart phrase by phrase and learn those phrases, after a while it will be memorized. If you learn how to memorize, the next time will become easier. It takes longer for some people to retain information. That's OK, you will learn about yourself in the process and what works best for you. So learning how to memorize and then practicing the method that works for you, will make you a better "memorizer."

Different ways to memorize:

• 3X5 cards with the words, road map, dynamics, cues, funny faces (i.e. pucker for a richer sound here), etc... anything to help you remember.
• Speak the text, phrase by phrase.
• Sing the phrase several times.
• Memorize the text without music.
• Speak the rhythm of your part.
• Record your part on piano and sing along with it in the car.
• Run a difficult passage 10 times while walking to the mailbox
• Listen to the song and sing along.
• Try writing the words out on paper without looking at the music.

This will take some people 20 minutes and others 3 weeks. Persistence is key!

What do you think? Do you have any tips for us out here who are struggling with memorizing?

Afterthought: I tend to put off memorizing until the last minute and then I'm frantically trying to "cram" for the concert. "...not good at all," says my sensible side.

It takes time to memorize, and like anything that is worth it; it's not easy for most people.

Memorizing Music!

posted by Ruth Butterfield-Winter

So, our choir director asked us to memorize 5 pieces for the next concert. If I were to take a guess, I would say, 15-20% of choir members would say, "...and, your problem is... ?" Probably another 45-50% would say, "I don't like memorizing, but I'll do it, if the director says to...," But, I'll bet the rest of the choir members out there, would say, "WHY?" "I don't memorize well." We like the comfort of having the music and words; don't forget the dynamics and phrasing marks penciled-in during rehearsals, right in front of us. So, when the director, a.k.a. "God" says, "You Must Memorize These Pieces," you just have to find it in yourself to do it, or face the possibility of being the only one with a folder up during the concert.

Memorizing pieces has been a tradition and practice of performance forever. When a concert artist performs a solo for an audience, the audience sees that the performer really knows (or doesn't know) the material. The piece becomes part of the performer. The performer relays the story, emotions, pictures, triumphs and defeats as if they are his or her own blood and soul. To know a piece of work so well that you can play it from memory, means that it is originating, in some form, from you. It is authentic, real. If you are reading the notes of a song from the page of music, you are just mouthing words and singing the corresponding pitches, while following the composer's instructions, with the guidance of a conductor or music director, if you're lucky enough to have one. Is that worth it to an audience?

On the other hand, some music is complicated and written for an ensemble of instruments or vocal parts (or both). It is traditional to have music in front of you. Very rarely, will you see a string quartet play without music on their stands. Yes, granted, it happens, but not often. Likewise, if you go to an orchestra concert, everyone, including the conductor, has music on their stands, even the triangle player! Sometimes, you'll see a conductor conduct a major work from memory, but usually, there is music for everyone.

So why on earth would a choir director want an ensemble of voices to memorize pieces?


Well, in my opinion (and you have the opportunity to comment below and tell me what you think), a choir is like a solo instrument with many parts, like a magnificent living pipe organ that can mouth words. A choir is a living being made up of individual glorious sounds which work together to sound as one solo instrument. When a choir, as a whole, is singing without music, it shows that the music and story, the emotions and beauty is originating from the body of sound as a vibrant entity. The audience connects directly to the music, instead of being blocked by noisey page turns and eyes that constantly move down to the page and back to the director and down again.

But what of the more complicated pieces? ...for instance, Mozart's Requiem or Handel's Messiah? In my opinion, with larger works, or complicated and longer works, memorizing is not the best option. It's probably because I'm used to seeing choirs singing larger works, with orchestra, perform with the music. Maybe the reason choirs use the music with orchestral works, is because the orchestra is using music and the look of the picture is better for the audience if everyone holds music.

What do you think? Next time, we'll talk about how to memorize. There are several techniques and I'd love to get your imput on that.

Singing Overtones!

posted by Ruth Butterfield-Winter

OK - I know them as whistle tones or harmonics. As a daughter of a flute player, I used to hear my Mom's students practicing overtones, or whistle tones by covering all of the key holes on the flute and blowing softly with their flute embrasure, until they produced what sounded like a high pitched whistle. By blowing a little harder, they could make the whistle produce a pattern of notes above the original whistle tone. The actual notes are specific, in other words, you won't hear a diatonic or chromatic scale. You hear the original note, then the octave above, then the fifth above that, then the fourth above that, then the third above that, and so on, as pictured in this graphic here.

You've probably seen stringed instrument players; violinists, guitarists, bass players, even harpists, tune with overtones. And there are plenty of pieces written for instrumentalists that use these sound effects, if I can call them that.

But, singing overtones?

I can't find the break in my voice halfway in the middle and I don't have an voice embrasure! The words are English, but singing overtones?? That is nuts. It doesn't even make sense.

Well, while attending a vocal seminar in Monterey last Fall, Directed by The Choral Project's Artisitic Director and Conductor, Daniel Hughes, I finally found out how to produce overtones while singing.

Here's a sample of me singing overtones into my iPhone video camera!

Pretty cool huh? Can you hear the overtone series? Play it again, a couple of times. If you listen carefully, you probably will start hearing them more and more! What a fantastic way to train your ear to hear more than the average listener!

So, how did I do it? This is the way Daniel Hughes taught us, in a nutshell. Here's the secret:

• Sing a D (right above middle C on your piano)
• While you are singing the D, sing the sounds "oh - oo - er - ee"

On the site: http://www.spectralvoices.com/techniques.htm: the post suggests:

"Vowel sounds and lip shapes are important in fine-tuning the harmonics. The lowest harmonics are emphasized with tight "oo" sounds, while increasingly higher harmonics can be heard as vowels change through "oh...awe...ah...ay...ee," and everything in between."

You try it. It's a lot of fun. I intend to practice until I get really good.

Add some comments here on how you produce overtones while singing.

I am an Athlete; I sing!

posted by Ruth Butterfield-Winter

Are musicians in good physical shape?

I just came back from a 20 minute run; I need to break in my brand new running shoes. As I was running, I was thinking about this: If I am in good shape physically, will I be a better musician? The only answer I could come up with was, "Of Course!" But, why is this the case?

I remember studying piano at the Curtis Institute of Music, in Philadelphia. I was in a practice room one morning working on a difficult piece. Time flew by, partly because I was enjoying the process, but also because I needed to "woodshed" certain passages for technique. I stopped to take a break and realized that I was sweating! I was sitting down the whole time! How could I be sweating? I realized at that moment that I am an athlete!

I recently started singing, outside my shower, on a regular basis. Many times, the music requires that I sing a sustained pitch for a long time. I have noticed a big difference in my ability to produce long (in duration) tones when singing since I've started running. My body is stronger and my lung capacity is more controlled, and I don't get as exhausted after a rehearsal, as I did before I started running. I am learning to use the muscles available for singing correctly. Therefore, for me, as a singer, I am an athlete.

Musicians are athletes!

Granted, there are many musicians who don't look like marathon runners (not many members of the general population do)! However, in order to play, or sing, through 5 - 45 minutes of music without a break, you need stamina. Have you ever looked at a bass violinist's hands, or watched the abdomen of a flute player. Next time you get a chance, look at the embrasure of a brass player. Musicians are sexy defined athletes. We should have a magazine called "Musician's Illustrated" and feature the latest lips on the cover.

Talent vs. Skill

posted by Ruth Butterfield-Winter

If you had to choose between having talent or skill, what would you choose? Of course you would say, "I would rather have both." But, what if you could only have one, which would be better?

Some people are born into their talent; Both parents are doctors, the daughter might have a better understanding of medicine than a girl born of a pastry chef. And the pastry chef's daughter, most likely, will be a better cook. 'Not necessarily,' you might say, but it's possible; and does happen quite often. Let's say, the daughter of the doctor wants to learn the skill of baking. She can learn to bake and hone her skill to become a great pâtissiere.

I was thinking about talent vs. skill during our trip to Arizona. What about music? If you are saturated from an early age in music, maybe Mom played "Baby Einstein" on her tummy while you were in the womb. Or one or both of your parents were musicians, and you were born first (like me). Very likely, you would have a sense of music and have an innate talent for it. However, there is the possibility that even if your your environment, at an early age, was saturated with music, you may emerge with little or no talent. Your Mom or Dad may insist on giving you piano lessons and you just rebel, with a vengeance. But you find that you like to sing and you pursue that. Let's say, at first, people ask you to stop singing because it is so unbearable, but you're a kid and anything kids do, is darn cute. But as you get older, you just can't hold a pitch in a bucket! Can you acquire the skill to sing well?

I think you can. I believe that if anyone wants to do something bad enough, they will be able to do it. I believe that's called passion. With honest guidance from a professional and trusted teacher, an "untalented" musician can be taught the discipline of music. They can hone the skill. To develop a true ability to sing (or do anything) requires a lot more courage and push than someone needs if she has pure talent.

Superficially, talent is better. But, let's say you have the talent. If someone puts a piece of music in front of you and asks you to sing it or play it, you can easily read it or do a damn good job of faking your way through it. You have the talent to float by with minimal work. Relying on your talent is so dangerous, in my opinion. It is so easy for a person to go to rehearsals and "sight-read" every run-through. The "sight-reading" is not perfect, but it is good enough and the talent is there to make the rehearsal productive. But, what of the subtle mistakes. What of the intimacy of knowing the piece cold. Being able to make the part your own, with the control necessary, so that if nerves overwhelm you, you can fall back on the muscle memory and technique you developed in the practice room.

Yes, for me, if I had to choose between talent and skill, I would choose talent. But without skill, i.e. technique, practice, discipline, & passion; talent is meaningless.

What do you think?

ACDA - Fun in the warmth

We are marching in the light.... We had such a great time in Tucson. Some of The Choral Project members are still there. The ACDA conference will end tomorrow with a performance of Arthur Honegger's "King David" by the ASU Symphonic Chorale, NAU Shirne of the Ages Choir and The Arizone Choir, with a Guest Chamber Orchestra. It will feature one of The Choral Project's Alums, Josh Palkki! Stay tuned for more fun stuff.

The TCP Mission - what it means to me.

2010 has been a tough year so far for The Choral Project. The mission for the group is "Healing our world through music and words." This season, we have really had to live this mission. Through music and words we are healing from the loss of one of our talented and loved members, Daniel Lee Hooper, who died on January 24th after a routine surgery. The rest of the choir was rehearsing at a weekend retreat. We got the news on Sunday evening and it sent a shock throughout the choir and stunned the friends and family of those who knew Daniel Hooper. Daniel Hughes, our Artistic Director and Conductor of The Choral Project, was affected more than any, since Hooper, as I call him, was an integral part of Daniel's life. They joked together that they may be the same person in different time zones. Daniel thought of Hooper as a futuristic version of himself. They played piano duets together, they lived in the same house together, they discussed the same music, whether audibly or telepathically. So much of their lives where intertwined. I had no idea of how much I would miss him, but now that Hooper is gone, the void is overwhelming. Music, especially one of Hooper's favorite choral compositions "Musica Animam Tangens" by Joshua Shank, has played a huge part in healing The Choral Project's world and mine.

As if that is not bad enough, last Monday, February 22nd, Daniel Hughes and his partner, Keith Byron, were in a car accident on the way to a Choral Project rehearsal! A city bus smashed into them as they sat at a red light preparing to turn right. Both Daniel and Keith are OK, but Daniel sustained a gash in his left forehead and got several stitches. Both Daniel and Keith are still sore after a week. Once again, music and words play a big part in helping to heal our world.

We are now heading to ACDA in Tucson, AZ to sing, because that is what we love to do. We express our love through music. We speak words of kindness and encouragement to each other and to the world. It seems natural. It seems right.

Well Done Choirs

We are all a little nervous because of the choreography, which includes stomps, claps, yelps, marching among other things to think about. Tonight's performance was dedicated in memory of Daniel Lee Hooper, one of The Choral Project's Altos, pianist, arranger and section leader. He was also a good friend to all of the members of the group and especially close to the Director, Daniel Hughes.

The program was executed in a beautiful arch, entitled: we gather, we pray, we play, we transform and we celebrate. The choir took stage and welcomed the audience with the lively Karimatanu Kuicha, by Ko Matsushita. The choralography, by Yvonne Farrow, who worked with The Choral Project during their 2006 "One is the All" breakthrough production was stunning. The choir looked as if they wanted everyone in the audience to come to their awesome village. Then the choir transitioned gracefully into the next piece "Illumina le tenebre" by Joan Szymcko, which was mesmerizing and haunting. Beautifully executed, we could see the light from above blessing each and every one of us. The alway entertaining Willcocks "Musical Risotto" was flawlessly executed and included all of the playful touches of Denise Owen and Kelli Leuder as the dueling divas.

As a tribute to Dan Hooper, The Choral Project next performed one of the most beautiful pieces in their repertoire, which also happens to be one of Mr. Hoopers favorite choral compositions. "Musica animam tangens," written by the young composer Joshua Shank. The love of music surrounding us was palpable. Then the choir ended their set with the celebratory South African Folksong "Babethandaza." We are marching in the light of God.

We then got a real treat from the San Ramon Valley High School Treble Clef Choir. This group of beautiful, talented young ladies really charmed their audience. Directed by Mr. Ken Abrams, the TCC opened their set with "Hoj, Hura Hoj" by the Czech composer Otmar Macha. A lively piece with beautiful melodies. They then performed the Heinrich Schutz "O lieber Herre Gott" with harpsichord (patch) accompaniment. Joan Szymko was again featured on the program with "Nada Te Turbe" and then "Duerme Negrito" the beautiful lullaby written by Atahualpa Yupanqui, Argentine singer & song writer. "She Weeps Over Rahoon" is a song featured on The Choral Project's album Water & Light. It might have been difficult for some of the audience members to stifle the urge to sing along. The selection provided the back drop for a dance routine that was beautifully performed by one of the choir members. Next the Treble Clef Choir sang Two Traditional Camp Songs put together in one selection called "No Time." For the grand finale, we were treated to the uplifting gospel song "Still I Rise" sung enthusiastically and featured four of the choir members.

The Choral Project performs tonight!

The Choral Project will be performing their ACDA rep tonight, Monday, March 1st in a joint concert with the San Ramon Valley High School Treble Clef choir in Danville at 7:30 p.m. It's a free concert. Come and get a sneak peek at the exciting stuff they are doing and cheer them all on as they all get ready for ACDA in Tucson this week.

San Ramon Valley High School

501 Danville Boulevard

Danville, CA 94526

My humble beginning with The Choral Project

Here is a comedic take on my early days with Daniel Hughes and The Choral Project. My husband's views may be a bit skewed, but his description of the singing prowess of this group is quite accurate.

Song

More seriously, working hard never felt so good. Rather than just a concert performed, it is a shared emotional experience for both the performers and the audience. Come and join in the fun.

Musical Risotto

This is one of the pieces we will be performing next week at ACDA in Tuscon, AZ
http://www.youtube.com/watch?v=oikcpQuR0QU

This is a fun piece to sing and a real crowd pleaser.

Looking forward to ACDA next week

The Choral Project will be performing on Thursday, March 4th, at 8:30 a.m. in Tuscon, AZ for the American Choral Directors Association (ACDA) Opening Ceremonies Concert. The concert is at St. Augustine's Cathedral, 192 South Stone Ave, Tucson, AZ. We are very excited to participate. It has been 10 years since we've been invited to perform.

The Choral Project, founded by Artistic Director Daniel Hughes (pictured in the right hand corner) in 1996, has developed an outstanding reputation for performing high-level choral literature and bridging the gap between text and music, singer and spectator. The 48-voice ensemble has performed throughout Northern California in concert performances, interfaith services, as well as choral festivals and invitationals, including performances for conventions of the American Choral Directors Association (ACDA) and the California Music Educators Association (CMEA), showcase concerts for the National Association of Composers of the USA (NACUSA) and a performance by invitation to represent the State of California at the National Cathedral in Washington, D.C., as part of the California State Day Celebration Service.